So, good morning. Let us continue our discussion on effectiveness factor. In the last lecture, we looked at how to get a concentration profile based on the boundary condition that we have. And then the concentration profile which was derived for first order reaction, intrinsically first order reaction that was used further to get the expression for the effectiveness factor.  Non-isothermal it can go beyond 1. We will look at that separately. But then it tells you how important is the pore diffusion. There was one more factor that we defined earlier that was Thiele modulus. Now, Thiele modulus can take a value from 0 to infinity. It does not have any limits as such. So, but then very large Thiele modulus means more pore diffusion resistance and we need to consider the pore diffusion effects while deriving or looking at the rate of the reaction. And small value of Thiele modulus is where the pore diffusion resistance is negligible. So, there is a inverse relationship between Thiele modulus and effectiveness factor. So, let us look at the effectiveness factor equation or expression that we derived in the last lecture. Eta is equal to 3 divided by phi 1 square y 1 because we are talking about a first order reaction now into phi 1 cot h phi 1 minus 1. And you know what phi is? Phi is the Thiele modulus for the first order reaction, which is nothing but or let me call this as phi 1 square, which is nothing but k 1 into s a rho c. You know what all this is? This is reaction rate constant per unit volume of the catalyst pellet or particle into r square divided by d e. So, I have this relationship, which tells me how effectiveness factor varies with respect to phi that is Thiele modulus. Now, I can plot this relationship and see how it looks. So, for a first order reaction and a spherical particle, remember we are doing all the exercise for a spherical particle. We are assuming particle to be exact sphere, but it may go away from sphericity and you have or it may go away from a spherical shape and we need to incorporate those effects also shape factors. You may have a cylindrical pellet, you may have a slab. So, the shape also matters because all the equations that we have derived are for a spherical particle. So, the effectiveness factor that we have derived is applicable to spheres and for the first order reaction, very important. Just remember what we have done. So, before we go ahead, let me quickly revise what we have learnt because this procedure that we have followed is very important that can be used for deriving or getting the expression for the effectiveness factor for other geometries. As I said, you may have a cylindrical pellet, you may have some other geometries a slab. So, in those cases, how to get a effectiveness factor? We have to follow a certain procedure. So, what have we have done here? Same procedure has to be followed, but of course, applicable to that particular geometry. Now, what we have done is we have taken a balance, component balance which is the form of a differential equation, component balance, a differential element in the geometry. Remember, for sphere it was a differential element. Once we have that, so you get a differential equation with appropriate boundary conditions. Try and solve this if possible. Why we want to do that? Because effectiveness factor is equal to flux into area, external area divided by the rate at external conditions and this flux is nothing but of course, this is proportional to dc by dr or dx, whatever is a gradient. Of course, that is multiplied by diffusivity with an appropriate sign and so on. But the gradient is important and if you want to get a gradient at r is equal to capital R or at the boundary flux at r is equal to capital R for a spherical particle, but in the case of a slab, it would be at x is equal to l. So, at the external surface, where I am sitting and observing the molecules going inside a pellet, inside a particle and a rate at which they are going inside, so flux into area, flux is always per unit area. So, now look at this equation and need this and that is the reason I am getting the, I am solving the equation to get a concentration profile. Then substitute it here and whatever you get is the expression for the effectiveness factor. For simple cases like spherical geometry and first order reaction, it is easy to get analytical solution on expression for effectiveness factor. For nth order reaction or for some complex geometry, it will not be possible to get a expression for the effectiveness factor as such. It will be a quite complicated or rather you have set of equations to be solved simultaneously to get a value of eta that is effectiveness factor. So, this is a general procedure how to get eta. We may, if time permits, probably we look at different geometries or one more geometry to get a value of effectiveness factor following this particular procedure. So, it will be clear and of course, while writing these equations, the coordinates may be different right now using spherical coordinates. But in the case of slab, it will be what? It will be along the length cartesian coordinates. In the case of cylinder, it will be cylindrical coordinates. So, the procedure remains same, but then of course, we will have to take into consideration the geometry fine. Now, let us look at a relationship how it looks phi versus eta. I am plotting a log log plot. So, I have this Thiele modulus. Value varies from say here you have 1 then you have 10 somewhere then you have 100 somewhere. So, it is a log log plot. It is a log and again here you have say 0.1 effectiveness factor 0.2, 0.4 and so on. Finally, it will be 1 here. Now, it is easy. The relationship is inverse is going to go like this. Now, at very low values of phi, let us talk about a first order reaction that we have derived expression for. At very low values of Thiele modulus, the value of effectiveness factor is going to be 1. So, 1 here. Maximum value for isothermal reactions and it will remain 1 over a range for very small values of phi depending on what is the rate constant. So, so many other factors how these two things play with each other or there is a interplay of reaction and diffusion. Now, as we go on increasing the value of phi, effectiveness factor is going to go down and this is what you are likely to see the relationship between eta and phi. Remember, it is not going to go to 0, it is 0.1 is a log log plot here. So, it is very clear that as phi increases the effectiveness factor goes down and what is effectiveness factor? Effectiveness factor tells you what is the resistance of pore diffusion. So, if the pores are open, then my rate of reaction is R is equal to K C A S that is surface concentration raise to N. But at C A S is not seen by all the catalytic sides if there is a pore resistance because inside a catalyst particle the concentration drops down.  If it is 1, then you have you are comfortable. It means no pore resistance. Now, this is for the first order reaction. For the 0 order reaction it would be somewhat like this. Why? Effectiveness factor will be more for the 0 order reaction compared to first order for the same value of Thiele modulus probably because the sensitivity towards the concentration is relatively less.  Sensitivity is less and that is why the effectiveness factor is slightly higher. For the second order reaction it is sorry it should anyway start from 1. It is this way. So, this is for the second order. This is for the first order and this is for the 0 order. We have derived equations for phi. Remember, we have derived equations for phi for 0 order, first order, second order, any order or nth order, phi n. So, this phi is for 0 order, first order, second order. So, let me write phi 0 is equal to R into k. S a rho c d e c a c a s. C a is coming down here. Why? Because it is c a s to n minus 1 inside a root. So, n minus 1 a is 0. So, it is minus 1. C a is coming down. First order phi 1 is equal to R. This is what we have already derived k. S a rho c. Let me write k 0 because it is rate constant for 0 order reaction. This is k 1 d e and now n minus 1, 1 minus 1 0. So, there is no concentration dependency. There is no concentration dependency. Phi 2, you can write the expression for phi 2. What will be the expression for phi 2? Phi 2 is, if you make phi 2 here, then instead of k 1, I have k 2 here and you have to multiply it now by c a s because now it is n minus 1. That is 2 minus 1. C a will appear in the numerator. So, phi varies if the order of the reaction varies. We have already seen that. So, this is the relationship. For different orders, the relationship will also change. The equation that we have derived, that is 3 by phi 1 square into phi 1 cot h phi minus 1. What was that relationship for? It was for the first order reaction. Remember, do not get confused. That is not a general relationship. For second order relationship will be different. We do not have expression for that. But, I can always calculate by iterations by solving those equations simultaneously and get this plot. Get these plots. For first order anyway, I have the expression. This is how it looks. Now, so you have a general plot. You have a general plot showing the relationship between phi and e t. I am not again going to show the coordinates and all. Now, there are two distinct regions in here. There are two distinct regions here. So, there is one region here, where eta is almost constant. Now, this is the region where reaction is not affected by pore diffusion. This is kinetically controlled. Pore diffusion effects are insignificant. Eta is almost 1. Constant means 1. Now, there is another region where eta is changing drastically with phi. What is happening here? Because, value of phi is increasing. The pore resistance is increasing and eta is going down. That means, the effectiveness factor is going down. Resistance is much larger. Now, here the control is taking place. It is taken over by the diffusion and not a reaction. So, in this part, it is the diffusion control or diffusion limited. So, it is very important. See, if you are in this region, then there is no point in working on those parameters which increase the intrinsic reaction. Like for example, temperature. Temperature will have, will not have that impact on the rate. If you are here, it will have some impact. We are going to see that. But, it will not have much impact on the rate compared to what it would be when you are here. Other way round, suppose you are here, then do not work on reducing the effect of diffusion. Why? Because, diffusion is already it is friendly, it is cooperating. That means, there is no issue here as per diffusion is concerned. So, do not try to increase the pore volume. Do not try to increase the effect to diffusivity. Do not try to reduce the particle size. It is very important particle size. I will talk more about it a bit later. So, here in this region where reaction is controlling or when it is kinetically controlled, then try and increase the temperature. Increase the temperature, your rate will increase drastically. Arrhenius equation or law. So, this plot tenses a lot. Diffusion control, reaction control. What about this region? Both of them are important. Now, in this particular region, now your relationship gets a bit simplified. If it is a first order reaction, what we had looked at was eta is equal to 3 divided by phi 1 square phi 1 cot h phi minus phi 1 minus phi 2. This was the relationship that we derived. Now, what happens is that if phi is very large, eta becomes equal to 3 divided by phi. Eta becomes equal to 3 divided by phi. It becomes a very simple relation phi 1 of course. It becomes a very simple relationship. Now, when I substitute for phi, phi 1 rather, eta is equal to 3 divided by phi 1 is equal to 3 divided by r root of de k 1 s a rho c. I am substituting for phi 1 for first order reaction. So, look at this eta effectiveness factor. Keep this in mind. I am not saying you should buy at it, but then always like sometimes, you can interpret the things based on the equations. If you remember those equations, they help you sometimes to come up with a quick estimate or interpretation of what is happening. Fine. In this particular case, eta is larger for smaller radius. Eta is larger for smaller radius or for a smaller particle. Now, you have two particles. Who will offer more resistance? This particle will offer more resistance. Why? Because the molecules have to travel longer path to reach all the sides from this to this. Whereas, the sides inside the small particles are accessible better than what it would be here, because there is not much distance to be traveled. So, that is the significance of it. Like, if your particle is smaller, the value of eta is large. Poor resistance goes down. Overall poor resistance. De effective diffusivity, it is quite obvious. If the defective diffusivity is very large, value of eta is very large. Simple. And look at the denominator. It is a rate constant. So, the intrinsic reaction. Intrinsic reaction, that means when the molecule is seeing the catalytic side, intrinsic reaction, adsorption, surface reaction and desorption. Three steps. Remember. So, the combined equation that we get for this, when a molecule is near the catalytic surface. From that, I am getting this intrinsic rate. If you neglect desorption and adsorption, then it becomes surface reaction. And this is the k 1 is the reaction rate constant that we are talking about. So, this intrinsic rate constant is also important. So, if the reaction is intrinsically very, very slow, what will happen? Eta will become very large. Why?  So, diffusion does not have much impact on the reaction. If intrinsic reaction, that is the value of k 1 s a rho c is very, very large. It is instantaneous. In that case, your problems. Problem in the sense, the poor resistance will play an important role. Because reaction is becoming very fast. So, all these integral factors are D e and intrinsic reaction rate constant together. All these three factors are very important as far as effectiveness of a particle, catalytic particle is concerned. So, it is better to keep this relationship in or equation in mind. Although this is applicable to first order reaction. For any n-th order reaction, you know, there will be some other terms related to surface concentration as well. The first order reaction, that is the only order or reaction in which effectiveness factor is not a function of concentration, surface concentration. Both effectiveness factor and Kille modulus. So, this is the significance of effectiveness factor. And for very large values of phi, it becomes a simple relationship. Eta is equal to 3 by 5. Now, what happens if you have n-th order reaction? A general n-th order reaction. If diffusion effects are significant, again you can derive equations. It will be slightly complicated. And then if you make simplification saying that value of phi is very, very large. What does it mean? Value of phi is very, very large means diffusion effects are significant. If you see that particular plot, I am towards a zone where intraparticle diffusion controls the overall rate. In that case, they have come up with the rate. They have come with the expression, a straightforward expression for effectiveness factor which is given by. Now, for first order reaction, we already know it is phi 1. But then, for n-th order reaction, it becomes 2 by n plus 1 raised to one-half, that is square root of 2 by n plus 1 divided by, sorry, into 3 by phi n. So, this is the definition of effect. This is Thiele modulus for n-th order reactions. Can I expand it further or rather elaborate it further? 1-half, 3 by r, root of D e k n s a rho c c a raise to or c a s raise to 1 minus n. If you take this out, 1 minus n by 2. If you take c a s out, it will be 1 minus n by 2. This is for phi very, very large. Very important. I mean, zone where particle diffusion is controlling, not in the intermediate zone, not in the zone where reaction kinetics is controlling the overall rate. It is the diffusion that is controlling. The value of phi is very large. Value of eta is relatively small. So, this equation is very important. I am going to come back to this. So, we have talked about the relationship between eta and phi. We have spent so much time understanding the significance of eta. We spent time in understanding the effect of parameters like effective diffusivity, radius of the particle and intrinsic rate constant, how they impact, how they make an impact on effectiveness factor and so on. Now, what is the objective? Objective is to design a reactor. Remember, I told you in the last lecture also, say for example, I have a CSTR. I want to design this CSTR, solid catalyzed reaction. It can be a fluidized bed reactor. It can be a spinning basket reactor. It can be a plug flow reactor, whatever. So, I have a performance equation. Say for example, I have a CSTR performance equation is r A w is equal to 0. Now, what is the r A? So, entire exercise here is meant for getting a right equation for r A or expression for r A. In a normal case, it is case A. If you come, you take into consideration the effect of adsorption, desorption, then I have Langmuir initial wood, Euler ideal, whatever. But then, if there is effectiveness factor coming in picture, there is a pore diffusion that is coming in picture. It becomes now very simple how to consider the effect of pore diffusion in the design equation.  What is r A intrinsic? It is when there is no pore diffusion resistance. Remember the denominator term in the expression for effectiveness factor. When the pores are opened up, all the sides are exposed to the external environment. So, that is nothing but the rate for calculated at the external surface. But because there is a pore diffusion resistance, the overall rate or the actual rate will become equal to eta into this. Remember eta is equal to actual rate divided by rate at external surface. Now, I am interested in the actual rate. As far as design is concerned, I am interested in the actual rate. So, this is actual rate. So, actual rate is eta into the rate calculated at the external concentration, external surface concentration, because here we have external concentrations. I hope it is clear. So, instead of r A i, now I can say r A s. Why? Because this is calculated at the external surface. And this r A s will be in terms of C A s.  So, I can write this as if it is a first order reaction, then K C A s, of course, there should be a negative sign here, because it is a reactant. If it is product to be positive, right. So, fine. Now, I can solve this equation. Sorry, it should be w here. I can solve this equation. If w is given, I can calculate C A s that is conversion. If conversion is given or C A s, that is outlet concentration is given, I can design the reactor to know how much catalyst is required, provided I know eta, provided I know eta. And I have told you how to calculate eta based on the properties of the catalyst, right. For the first order reaction, eta is equal to 3 by 5. If it is pore diffusion control, strongly pore diffusion control is equal to 3 by r, root of what is it, T e into K c. K 1 rho C s A, right. So, this will come here for the first order reaction, fine. So, this is how I solve a design problem, this is how I deal with the reactor. So, all the exercise last two lectures that we have spent or two or three lectures that we have spent on effectiveness factor. From reactor design point of view, it is only this factor that is important and comes from this expression. This was first order. Of course, for other orders, you will have different equation, alright. Effectiveness factor. Now, effectiveness factor will change your kinetics and it may give you an impression that reaction is behaving in a very different way. Suppose, you ignore inter particle diffusion and try and generate some data in laboratory, you will get some effects which are probably not expected. For example, say activation energy. Will it reduce or will it increase in the presence of pore diffusion resistance? If you have more pore, higher, larger pore diffusion resistance, the activation energy is going to go down. Why? Because the sensitivity to the change in temperature of the reaction rate will reduce if you have more pore resistance. Arrhenius law is applicable to intrinsic chemical reaction and not with the pore diffusion. Pore diffusion, that sensitivity to temperature will be relatively less. It is not, it does not come in the form of Arrhenius law then. So, there is a problem then. If you have pore diffusion, then you will see the activation energy which is reduced drastically and you would not expect that low activation energy. So, such things are possible. Order will change. In the sense, the apparent order or observed order in the experimental data will be much different or likely to be different rather than the actual order. So, we are going to see if there are pore diffusion effects, what are the observations possible when I do experiments in laboratory. Now, what kind of experiments I am going to do in laboratory? You have already seen the different laboratory reactors. A fixed bay reactor, a differential reactor. There can be a possibility of slurry reactor, having a slurry reactor, a batch reactor. Specially for catalytic pallets, there is something called as spinning basket reactor which is quite common in laboratory to generate a data for such reactions. What is spinning basket reactor? This is the reactor, the normal reactor. Let me draw it this way. You have stirrer in a normal reactor. Now, this stirrer will have basket attached to it. Now, why basket? There will be another basket like this. And when I stir this or when I give motion to this shaft, the entire basket rotates. So, this basket is attached to the stirrer. Now, what is the purpose of this basket? It holds a catalyst. It holds a catalyst. These are catalyst pallets. Now, what is happening here is instead of putting the catalyst pallets outside, I am putting them inside a basket. Why? Because it is likely that because of intense agitations, these particles or pallets may disintegrate or other get may get converted to fines, small particles. And you know the importance of radius here. You know the importance of particle size here. If it gets converted to fines, then the pore diffusion if it is important, the reaction rate will get will increase because of particle sizes come down. So, I do not I want to see the real effect. What exactly is the pore diffusion effect? I do not want particles to get converted to smaller particles because of some mechanical action. I put them inside a basket. So, they remain intact. At the same time, I need agitation to overcome the other resistances, especially the external mass transfer resistance. We are going to learn the effect of external mass transfer resistance later. But then that effect is also nullified or other it is reduced here or almost eliminated here by having very high speed of agitation. So, this is called a spinning basket reactor. Very common. That is why I spend some time on this spinning basket reactor. So, I am doing experiment in laboratory. So, I am using a spinning basket reactor. It is in a CSTR mode say that is reactant going in product coming out. And I do some experiments and determine the rate and from this rate, I back calculate the reaction kinetics. What does it mean? In the first part of reaction engineering course for normal homogeneous reactions, you have spent some time estimating the kinetic parameters like rate constants, order of the reaction from the laboratory data. So, from the laboratory data, how to get a rate constant and all? You already know about it. The same thing I am doing here. Now, instead of using a simple reactor there, I have a spinning basket reactor. I told you the purpose of that. And from CSTR, from inlet outlet concentration, I know what is the rate at which the reaction is taking place or you may use a differential reactor. And then I calculate rate at different concentrations. I calculate rates at different concentrations and if I plot them, what do I get? I get a relationship like this. C A S that is external concentration and a rate. You can take the modulus of that like if it is a reactant then it should be minus. So, the quantity would be plus. If I have these, I go on changing the concentrations and at different concentrations, I am calculating the rate or measuring the rate, not calculating. I am measuring the rate, observing certain rate. I am going to see something like this. Now, this is a log log plot. Sorry, I forgot to tell you. This is a log log plot. So, if I get a straight line, what is the slope? If I have rate is equal to k minus k C A raise to n, k n rather a. If I take log of both sides, of course negative, negative and make it positive and take log of both the sides, then the slope is nothing but an order of reaction. Now, if poured, if you judge the slope reaction is dominating and I generate this data, I am going to get some slope. Now, the question is whether this n that I am getting is the actual order or not. If the diffusion effect was not there, my earlier exercise reaction engineering part 1, n is equal to the order of reaction as simple as that. But now, I am working with pellets. I have a spinning basket reactor and it is possible that particle size is large or diffusivity is relatively small. Then that case, pore diffusion effects are going to play an important role. In that case, the question is whether the n that is a slope that I calculate here is going to be the order of actual order of the reaction or not. The answer is no. The answer is no. Why? Look at this. If you have actual order n, if you have actual order n, then because of pore diffusion effect, the order that you see is different from n. So, what is that? The rate observed is equal to eta into the intrinsic rate. So, this is equal to pore diffusion effects are significant. Then what is the value of eta? Eta is for any nth order. You already looked at this. C s, I have taken it out of the square root. That is why I divided by 2. Now, look at the order. This is eta and then you have K m. See, this particular expression is for eta. So, I have written this for eta. Then r a is equal to K n. You will have a negative sign here. K n into C s raise to n. Then you have some number here, which is function of D e. Then K save r, whatever n and then C s raise to n plus 1 by 2. I am just looking at the term that involves C s, because C s raise to n into C s raise to 1 minus n by 2 together gives you n plus 1 by 2. You can write here all this with K n come out of the square root. Coming in the numerator and so on. So, what is happening? Now, this particular term or this says that the order that I am going to see, when the pore diffusion effects are significant, when the pore diffusion effects are significant is n plus 1 by 2. Whereas, the actual order is n. So, this is called as falsified kinetics. That means, the actual kinetics is called as falsified kinetics is different, but in the presence of pore diffusion effects. If I do experiments in laboratory, try and interpret that data. I am likely to get an order, which is different from what it is actually as far as the intrinsic kinetics is concerned. So, the apparent order, apparent order becomes or n observed becomes n plus 1 by 2. So, you are going to get this. So, this is going to be a slope from the experimental data. And if you want to calculate the actual order, it is going to be 2 into n observed minus 1. And this is my actual order. I hope it is clear how the order will change, if the pore diffusion effects are significant. And I am doing experiments in laboratory. What will happen to activation energy? What will happen to activation energy? I will come back to this expression. I will come back to this expression. Look at this. I have this. Now, where is the activation energy coming in picture? Activation energy is because of the effect of temperature on K n. Now, again there will be some constant. But now, look at K n. Now, I will separate the terms of K n. K n will appear in the numerator like this, root K n. So, even if the reaction is first order, the dependency of rate on K n is not straight forward. See, if this was not there, sorry, so it was not there, you have rate is directly proportional to K n. Now, because of this factor, what is happening is, rate observed is proportional to root K n and not only K n or not K n rather. It is root K n. K n raise to 1 by 2. Now, let us look at activation energy. What is activation energy? Arrhenius law. Arrhenius law. K n is equal to K m is equal to A, that is, frequency factor exponential minus delta E by RT. How do I get activation energy? I have told you 1 by T versus ln K and the slope gives me delta E, right. This is how I get it. So, what I am going to do in the boundary, I will do experiments at different temperatures. I will get a value of rates. From rates, I will calculate the rate constants or initial rates will directly give you the rate constant because you know the initial concentrations for batch reactor. For continuous reactor, if I know the concentration from concentration, I can calculate the rate constant if the rate is known. So, ln K versus 1 by T, I calculate delta E. Now, if the pore diffusion effects are significant, then what is going to happen? See, the rate is proportional to root K n and not K n. It is proportional to A into exponential minus delta E by 2 RT. Now, as far as Arrhenius law is concerned, I have this term coming in picture. If I do the same exercise, I am going to get this value delta E by 2 whereas, the actual activation energy for the intrinsic reactions delta E, right. Because of this square root, the dependency has changed. In fact, dependency has become less sensitive to temperature or rather the rate has become less sensitive to temperature. The activation energy has come down. Simple, what is activation energy? Activation energy is something that shows how the reaction is sensitive to temperature. If the activation energy is large, the reaction is very highly sensitive to temperature. If the activation energy is low or small, the reaction is insensitive or very less sensitive to temperature. And that is what is seen is being observed here. In the presence of pore diffusion effects, the sensitivity has gone down. So, delta E observed is equal to, this is observed entire thing which is equal to delta E actual divided by 2. I am going to see this. I am going to get a slope equal to delta E by 2. May be noted here that we assume the effective diffusivity to be independent or insensitive to change in temperature. It can change with temperature, especially in the gas phase reactions. It is a bit sensitive to temperature. In that case, they will be combined effectively. That means, the temperature will make influence on not just the intrinsic rate constant, but on the diffusivity as well. So, this is again one more example of falsified kinetics. Falsified kinetics because of pore diffusion effects. So, kinetics is normally done for intrinsic reaction because all these, but all these effects like pore diffusion later on we are going to see external mass transfer. So, they are going to make an impact, their impact and they will change the values of apparent or observed, change the values of activation energies or the observed activation energies would be different from the actual activation energies. That is what we have seen. So, the order and activation energies they are likely to be different if or they are going to be different if pore diffusion effects are there. You have to be very careful. Falsified kinetics. Now, can effectiveness factor be greater than 1? Now, from whatever discussion we have before, effectiveness factor has to be less than 1 because the concentration goes down inside a particle diffusion resistance increases. So, the overall rate that we are going to observe is rate calculated at the bulk conditions. So, effectiveness factor which is observed rate divided by actual rate, actual means the one that is calculated at the external surface. If that is a ratio then it has to be less than 1, but in some cases this effectiveness factor is likely to be greater than 1 and that happens in the case of non isothermal reactions. If the heat effects are very large and heat dissipation is not that good. So, I am going to explain it qualitatively just in 2 minutes now and later on we will see which are the factors which are important. So, if you have a particle then the concentration reduces as you go inside, but since the reaction takes place inside there are thermal effects associated with it, heat is evolved and because heat is evolved the temperature inside will go up and if the conductivity of the particle is not good enough or not sufficient enough in that case the temperature will not reduce or heat dissipation rate will not be significant. So, the temperature inside a particle inside a particle T i and this is T. So, T i is greater than T, T i is going to be greater than T that is inside a particle the rate is likely to be higher because rate depends on what? It depends on concentration and temperature. So, concentration is going down, but a temperature is going up. So, some there is some combination of this concentration and temperature that it is possible that a rate inside is higher than rate calculated at the external surface. Rate inside is higher than rate outside that means effectiveness factor which is ratio of these 2 is likely to be greater than 1 and that happens for non isothermal cases if the heat of reaction is very large not just that, but the heat dissipation also to the outside surface is restricted because thermal conductivity of the particle is not that high. So, this is the non isothermal case and it is quite likely that you may have effectiveness factor being greater than 1. So, if you do some experiments and get a value of effectiveness factor observe value of effectiveness factor to be higher than 1 do not get perplexed do not get confused. See where your reaction is exothermic or not the reaction is exothermic this is quite likely to happen. Thank you. So, we will we will discuss this further and solve some examples if possible. Thank you.


So in this example, we have already observed some binomial data. We've observed why successes in n trials. We want to get the predictive distribution for new data that we're denoting y new, and that will be how many successes in a possible m trials that may or may not be the same as n. We're not constraining it. We have previously used a conjugate beta prior, so that this would be the prior distribution is used, and note that this BAB is the beta function, and it's a gamma function, so gamma of A times gamma B over a gamma of A plus B. So the resulting posterior distribution, the derivation of which is in other videos on this channel is is, so g of tau given y, n, a, and b is a beta, a plus y, b plus n minus y distribution. So that's equal to tau to the a plus y minus 1, 1 minus tau to the b plus n minus y minus 1 over the beta function of a plus y b plus n minus y. So that's our posterior distribution. We of course have our usual types of constraints, the tau is between 0 and 1, that a plus y has to be greater than 0, b plus n minus y also has to be greater than 0, and y has to be less than or equal to n. So our new observation, our predictive density for our new observation, f of y, new, given our previously observed number of successes, our previously observed number of trials, and the number of trials we want to deal with here, is the integral from 0 to 1, because that's a relevant range of tau. And then this y comes from a binomial distribution, so we'll use m, choose y, new, tau to the y, new, 1 minus tau to the m minus y, new, and all this times our posterior distribution, tau to the a plus y minus 1, 1 minus tau to the b plus n minus y minus 1, detail, and this is all over a constant with respect to tau at least, which is the beta function as given here. So I could start by bringing out what doesn't depend on tau outside the integral, so that's equal to m, choose y, new, 1 over the beta function here, and the integral of tau, and I group all my terms in terms of tau, a plus y plus y, new minus 1, 1 minus tau to the b plus n minus y plus m minus y, new minus 1, detail. I note that this is the same functional form of tau to the something minus 1, 1 minus tau to the something else, minus 1, as a beta distribution. I recall that the integral from 0 to 1 of tau to the a minus 1, 1 minus tau to the b minus 1 over the beta function of a, b integrated with respect to tau is equal to 1, so the integral from 0 to 1 of tau to the a minus 1, 1 minus tau to the b minus 1, detail is equal to the beta function of a, b, and hence I can just replace the appropriate terms here to get that this f, y, new given y, n, and m is equal to m, choose y, new, and then my numerator is going to be my beta function of the term in here, a plus y plus y, new, and the second term is going to be b plus n minus y plus m minus y, new over the b, the simpler beta function here, a plus y, b plus n minus y, and that's actually the answer. This is what's known as a beta binomial distribution, also known as a polyad distribution, and if a and b are both integers so that a plus y and b plus n minus y are integers, this is the negative hyper geometric distribution.


Hello everybody hooded Cobra Commander 788 here and this is a quick look at GI Joe's shoreline defender from 1990 codename Rampart. Not to be confused with the coastal defender, which was kind of a trailer thing. I guess you could have the shoreline defender in the coastal defender, but I digress. This is Rampart. This is a figure from the 90s and when I look at 90s figures, this is what I like to see. In the 90s it wasn't all neon. Look at these colors. Look at these details. This would be a great figure in any era. I have to make sure you can see this. Just look at these details. This is incredible and the colors, they didn't go with any crazy colors at all. Everything is nice and subdued. You could imagine this guy is defending a shoreline. And in addition to an impressive figure, we have some impressive accessories. We have a big machine gun here with a quadrupod. There's actually two pieces there. It's much different from the bipods we got in G.I. Joe in the 80s. This thing is beefy and much less likely to get lost. He also has a missile launcher and this is the only thing that is a little out of place. It's a much lighter color than the figure or the other accessories. It has a strap and this is also quite substantial. That's also a separate piece. This is a flick missile launcher. It comes with a couple black missiles and you just drop those in. They kind of stick out the back here and you can launch the missiles by flicking them. This was the era before the spring loaded weapons and so I guess this is fine. It's nice to have individual missiles for a missile launcher. We didn't usually get that in the 80s. Getting back to the figure, the figure has two different ways that accessories peg on the figure. He has a peg on his leg for an extra black missile for his missile launcher. It's in pretty firmly but you can pull it out and that does stay on there pretty well so it's not very likely to fall off. In addition to that, over on his other side on his hip he has a peg and the machine gun actually hooks on that peg so he can hold it a little bit better. I have him holding the machine gun by this top peg here but it's got a handle. He might be able to hold onto that too but that looks a little thick and I'm not sure his hand would fit very well. It's a great figure. The figure looks great. It has great accessories. The accessories make sense for his specialty and he can carry them all at the same time. To me that's all wins. This figure is not quite ready to review yet. I do not have his file card but when I get back to looking at 90s figures I can't wait to look at this guy. This guy here is proof that the 90s were not all bad. This guy is a masterpiece. I love this figure. I look forward to doing a full review on it in the future. In the meantime please check back on this channel for full vintage GI Joe toy reviews in the future and subscribe so you don't miss any. I hope to see you soon.


Welcome back into the original gangsters podcast. I'm Scott Bernstein. I'm here for a really, really quick hitter episode. We're only going to be about five, 10 minutes at most. But I want to augment or give a companion piece to the Philadelphia new mob leadership episode of the OG pod that we got out right now, where we go over the shifting hierarchy in that family with the incarcerations of Hanson, Stevie Mazzone, and Dom Grande, who went away in the last couple of months, and the leadership of that group needing to reformat how that organization is going to be run for the next couple of years, because Grande and Mazzone are going to be away for the next five years. We talked about Mousy Massimino, Damien Canalicchio. I mentioned Joy Merlino's brother-in-law, Joy Bonfiglio. But I did not really get into the OG himself, Johnny Chang-Changalini, who is going to be, from what I'm hearing in South Philly, is going to play a big role in overseeing this shuffle in the hierarchy. And that doesn't necessarily mean that he's going to be a part of the administration. I think there's a good chance he will. But I think that still remains to be seen. But he is one of these kind of straws that serves the drink with the Philly group universally respected, not just in Philadelphia, but across the country with different crime families. If you've been watching us, and if you follow this stuff, you know that the Changalini name is mob royalty in Philadelphia, Tiki Changalini, RIP Tiki. He died earlier this year, 88 years old, and that was just a walking embodiment of what it meant to be an OG in this world out of Philly. Had three sons. We talked about it. They were on opposite sides of a war. The last man standing in the Changalini family is Johnny Chang, the oldest brother, the one who's probably over the years has been the most level headed. He's a true mob diplomat, very close to Joey Merlino, the reputed boss of the Philly family. And I think Joey, who's out in Florida, and then his reputed acting boss in Philly right now, Georgie Borgacy, they're going to be leaning heavy on Johnny Chang in this restructuring of the packing order. I think it's very possible that Johnny Chang slots in to a conciliatory role. I mentioned possibly Fafi, who I think had been an acting for Joe Legambi for spot duty on and off the last couple of years, but I'm talking to some more people. I think it's very likely that Johnny Chang slots in the conciliatory role. Possibly he'd come back to underboss. He was underbossed in the 2000s for a while, had to step away for some health concerns. He's been a couple since the 90s, but he is somebody that, again, is just very savvy when it comes to gangland politics. He can seamlessly interact with various factions, not just within the Philly underworld, but in the New York five families. From what I'm told, he represents Philadelphia in New York with the five families, travels a lot to the Big Apple and takes meetings with guys in the Genovese, guys in the Lucchese, more recently guys in the Gambino's. And he's just a very integral part of the way the Philadelphia mafia is going to operate going into the future. He's about 67 years old. And again, just a guy that a lot of people like, a lot of people trust. Other than Joe Legambi, I would say, I'm talking to authorities, talking to people on the street. There's nobody that Joey Merlino relies more on for counsel and advice than Johnny Chang. So I didn't wanna overlook Johnny when we were talking about what's going on in Philly right now, I think I referenced him a couple of times in terms of some of these new guys who they're, some of the younger guys who they're moving with. I said that Joey B has been seen quite a bit with Johnny Chang over the last couple of years with Uncle Joe over the last couple of years. And it's not a huge jump to understand why one of the groups that Johnny Chang's been seen meeting with over the last handful of years the Queens Gambino crew is where Joey B traces his roots to. But, and then we know from some other people including friend of the show, John Panisi, that when Panisi is on the street, he used to have a Lucchese bosses use him to deliver messages to Johnny Chang for Johnny Chang to deliver to Joey in the admin. So keep an eye out for Johnny Chang. He's the OG, everybody loves Johnny and I think he's gonna be a major factor in how this family looks going forward. Whether or not he's sitting in one of the top three spots or not, and if he doesn't sit in one of those spots it's by choice. It might be related to the health issues or just that he doesn't wanna be in the fray. But right now he's being relied on to help this musical chairs of a situation to get everybody in the right spot and get things moving in the right direction. So we'll see you next week for another full length edition of the OG pod. I'm Scott Bernstein for Jimmy who will be back next time and for Ben behind the glass, I'm out.


Let's try again. Good evening. Yeah there you go. Hello Boston.  My name is David Dower. I'm the Director of Artistic Programs here at ArtsEmerson and on behalf of all my colleagues at ArtsEmerson, Howround, the Emma Lewis Center and Emerson College, so happy to have you all tonight. We're here to celebrate the launch of a very important, powerful book, Daniel Beatty's Transforming Pain into Power, and we're gonna start it off tonight with a local poet. Before we begin, I would just like to make sure that we do the exit stuff. So take a look at the exit signs and in the case of an emergency, because it does get hot up in here when Daniel Beatty's performing, in case of emergency go toward the nearest exit sign and away from the building, okay? Got it? All right, thank you. So here we go. So the order of the evening tonight, we're gonna have to start with Jadid. We're going then to Kendall Ramseur, and then we're going to Daniel Beatty, and then we're going to an announcement that you all are going to be here for that I cannot wait to share with you, and then we're going to a book signing in the lobby, okay? That's what's gonna end up happening. So and people are filing in. We're all gonna just live with that. And I'd love to introduce to you a really lovely poet who I first met here when she was performing with J. Williams' Celebration of the Arts. Jadid is the founder of If You Can Feel It, You Can Speak It. And here she is to start the evening off with one of her own poems. Jadid, please. Good evening, Boston Paramount Theater. Good evening. You can say it back. Thank you. I am Jadid, and this poem is entitled When Our Mamas Named Us. Our Mamas Named Us, they knew we would change our names to fit the stage. That when they taught us to spell, we would write love letters for breaking hearts, and that when we learned how to talk, we would speak for the silent masses. I wonder if when they watched us walk, they could see us dancing to the music in our hearts. And if when they heard us laugh, they could testify to the passion in our throats. And if when they held our hands, they could sense our powers to heal. I wonder if when our mamas saw us cry, they knew then the emotions that we would personify. If when they witnessed our frustrations, they predicted that we'd be able to transform that into determination. I wonder if when they fed us, they realized we'd have a hunger that can't be satisfied, and that when they encouraged us, we'd be amongst those to be memorialized. I wonder if when our fathers left us, they realized that they were leaving behind legacies with bedtime stories of neglect and miss memories. I wonder if when our mamas watched us sleep, they knew the colors our dreams would keep. I wonder if when they chastised us, they knew that they were shifting strength. When they corrected us, they were knitting knowledge. When they loved us, they were curating confidence. When they hugged us, they were harvesting humility. When they protected us, they were forbidding fear. And when they smiled at us, they were perpetuating peace. I wonder if when our mamas celebrated our individuality, if they knew that they were initiating creativity. And when they applauded us, they were mobilizing mobility. I wonder if when they talked to us, they knew they'd be our greatest pedagogues. When they listened to us, it taught us to project our voices. When they read to us, it prepared us for diverse dialogues. And when they gave us options, it installed for us wise choices. I wonder if when our mamas demonstrated care, they knew that we would own the means by which to provide it. And that when they taught us our history, we would be willing and able to rewrite it. Pulling power and peace from all this war and rage, yes. I cannot help but wonder if when my mama named me, she knew I would change my name to fit this stage. Thank you. How perfect is that, huh? Thank you, Jadi. So our next artist, I'm so happy that he's with us tonight. When Daniel was here, how many of you saw emergency? Okay. And those of you, okay, now, those of you who haven't seen emergency, how many of you have seen knock, knock, the poem? Okay. So it's the Daniel Beatty crowd. So those of you, those of you who couldn't answer yes to either one of those things clap. Okay. Welcome. Welcome to the club. By the end of tonight, you're going to be wooing and wowing as well. And I'm so jealous that you get to have the first experience here tonight with Daniel. Some of us have had many and I'm still delighted by them. But when he was here with emergency, we had this beautiful event that Akiba Abaka organized. Yes, give it up for Akiba. That's right. Akiba is our director of audience development now here at Arts Emerson, but then she was working with us on developing the audience for emergency. And she organized an event at the Afro Americans Museum of the Arts. I'm sorry, I always struggle over that name. But we're Elma Lewis, the Elma Lewis Center of in Roxbury. And at that museum, she organized an event that included this next artist who played an incredible cello number for Daniel to welcome him to Boston. And so now he's here tonight with a whole band. And it's Kendall Ramsour, who is the winner of Boston's inspirational artist of the year from the Boston Music Awards. Since last we saw him, Kendall Ramsour. Boost the piano a little bit. In the meantime, how are you guys doing? I can't really see any of you. That's all right. I know you're out there. This first song is titled D major. It's a song that myself and Cordero Rodriguez wrote. And once we get the sound working, we should be ready to start. Just added two people to the band. They just walked on just now. I don't even know who they are. Carter, one of the backup singers here. Eugene Mudavo. We have Michael Lindo on the guitar and Cordero Rodriguez on the piano. Alright, so this next song is titled Try Again. Sounds like some of you guys know it. I don't know. Alright, so what I want to do, I want to teach you all the chorus. The chorus comes up in the song. I would like for you all to join me. I can't see you, but I can hear you. Okay? So no singing out too. Alright, so here's the chorus. Wake yourself up. Brush yourself up. Just try. Let's try it. Ready? I heard two people. Let's try it again. Ready? And wake yourself up and dream. Brush yourself. Try again. So you. Okay. So here we go. Whenever it comes up, you guys join us. Here we go. You seem to lose the time has come for us to slay the the judgment rendered is I live long as you. The foundations of your new real love our dreams we thought had passed away. So now let's start right here.  Wake yourself up. I guess you guys ready? Wake yourself up. Brush yourself up. If you trip up. Do we have time for one more? I don't know. Is that a go? That's a go. Alright. Would you guys like to hear one more? I hope I can remember how to play it. Alright, so this next song is titled No Love Like Mine. And it's from my debut album Time, which if you guys are interested in any of the songs we've sung or played, you can find it on iTunes, CD Baby and Amazon. Alright? So again, no love like mine. Feel free to snap with us. Thank you all so much. Thank you. That's really, really moving that he was at the first event and his career just keeps zooming. I hope you'll stop by and get his material on your way out as well. So now we come to the heart of the matter and I just want to also give a shout out to all of you who are watching online through the courtesy of HowlRound TV, our partners here at Emerson College. Thank you. HowlRound. And HowlRound, the Elm Lewis Center for Civic Engagement, Learning and Research and Arts Emerson are the co-sponsors of this evening's event. And so that's the service that we provide the nonprofit theater community all over the world really. Vijay Matthew on the camera back there. So thank you all for that. So here we go. When I first started working with Daniel, he was doing a piece called Emergency. We did it in DC together, then we did it here last year. Many of you saw that. You'll hear pieces of that here tonight. In the interim, he's written two books, not one, two books. And if you have children or know people with children, there's a book called Knock Knock. That is a children's book that is absolutely beautiful. Anybody here seen it? Some of you? Yeah. Just beautiful. Came out at the end of last year, I believe. And then right on its heels comes transforming pain into power. And so here tonight to talk us through, take us through his journey, both with that, the book and also in his life and how it leads to the book is the man himself. So please welcome Mr. Daniel Beatty. I'm actually not using the microphone. A little technical difficulties. Cast to bring you this breaking news report. A slave ship has just risen out of the Hudson River in front of the Statue of Liberty. That's right. You heard me. A slave ship has just risen out of the Hudson River in front of the Statue of Liberty.  I was laying here trying to get me some sleep. When all of a sudden I hear this loud or rush of water see this harsh blinding light and make me close my eyes real tight. Then when I open them again, there's this big cute ship standing right here in front of the Statue of Liberty, all old and worn down looking. Slaveologists are busy trying to figure it out. Yes, emotions are high as people from all walks of life pour into Liberty Island. One group calling themselves PON, pissed off Negroes, have brought tents and rifles and vowed to shoot anybody who try to move this ship. What? Yes, let's get some more live on the spot feedback from the crowd gathering here at Liberty Island. Slave ship, I thought this was the carnival crows. This old slave ship, I was in stunned silence. Then I started to worship. I started to pray. Thank you Jesus. Hallelujah. Thank you for not forgetting about your people. Thank you for his sign. Help us remember who we are. Oh, I came right away with my grand baby, Clarissa and her friend, Peter. Our babies need to see this. My name, Clarissa, and this my boyfriend, Peter. Hi, everybody. Hi. I mean, I guess I never really thought about slavery for this slave ship. Or Peter, he sometimes be talking about it, but I don't pay him no attention.  They think he's just about Africa and nothing. Oh, yeah, they tell us about Egypt, the pyramids and stuff right here, but none about Africa. Egypt is an Africa. You mean the people was black.  I am a slave olugist from Ghana, West Africa. During the time of the civil rights movement here in your country, we in Africa look to black America as inspiration as we fought for independence at home. And four years later, we are still looking, but the picture is much different. Do you know that our gangs, Crips and Bloods, in Ghana, it's appalling. It's a setback. In 2014, there are black people succeeding in every field. Tennis, golf, gymnastics. This is the last thing we need. I work in corporate America around the corner from here, and one of my colleagues just came into my office in tears after hearing the news on the radio, and she tells me she has papers that prove her great-great-grandparents owned slaves, and she wants to apologize. And I said, why are you apologizing to me, Kathy? It was your great-great-grandparents. She's hysterical. So I say, look at me, Kathy. You've been to my home. Our children play together. Look at this office. Kathy, I'm your boss. Working there at the Statue of Liberty, always been afraid of a terrorist attack on me. I never expected anything like this. I mean, not in a million years. This slave ship is proof that slavery is not history. It's reality. I write books on post-traumatic slave syndrome. How the experience of slavery still impacts the minds and hearts of black people today. Look at these people's faces. This is exactly why most of us don't watch those PBS specials or talk about slave with our children. We don't know what to do with the anger, but we have to learn from the Jewish people. They vow never to forget. Yo, check it, slave ship buttons. Yo, ma, check it, I got your slave ship buttons. Excuse me, sir, but what exactly are you selling? Buttons.  How will this story unfold? Stay tuned for further details. Good evening, Boston. Good evening, Boston. Again, my name is Daniel Beatty, and I cannot express to you how full my heart is to be back here in Boston, this city that has been so good to me, and particularly with Emerson College, with Arts Emerson, with this phenomenal team of producers and artists who have also embraced me with such love. So thank you all so much for being here tonight. What you just saw was the opening monologue from my one-man play Emergency, in which I play 43 different characters. As you just heard, Emergency is about a slave ship that arises in front of the Statue of Liberty in present-day New York City, and I choose this image for a very particular reason. For me, slavery represents the time of greatest bondage in our nation's history, and the Statue of Liberty is the greatest symbol of freedom in our nation.  What stands in front of our freedom? And that's a question that I invite you to consider this evening as I share with you my story.  Not just your physical freedom, but your freedom to dream, to have possibility and hope to manifest the most extraordinary outcomes for yourself and for the people you love.  Not just your freedom as an individual, but your freedom as a member of the city, this larger Boston family, your freedom as a member of this human race. What stands in front of our freedom? Tonight I'm going to share with you a lot of my business. I'm going to tell you a lot of my personal story, and I just ask that you keep your minds and hearts open to what I have to say. I was almost born in prison. At the time of my conception, my father was a wanted heroin dealer, but my mama was six months pregnant with me. The cops broke into our home and the heroine was there, and so was my mama and daddy. My mama was facing 10 to 20 years in prison. My father was facing 20 to 40. The judge gave my father a choice. He could either turn in the higher-ranking members of his crew and he and my mom would be set free, or he and my mother could both go to jail, which would cause me to be born in a prison hospital. My father made the decision to be a snitch, as it's called, in the world of criminal activity, but in my heart I believe an inheritance of imprisonment was still passed on, and so much of my life and so much of what I'm interested in as a writer and performer is about this journey to get free. How do I break free and how do I inspire the possibility of that breaking free and those to whom I'm able to tell my stories? When my mom and father were both released from prison, my mama went off to be a social worker. My mama's always loved helping people, and my daddy was my principal caregiver. He was the one who changed my diapers and he tells me stories of carrying me on his shoulders all around town, and he had this big huge afro, and I would sit on his shoulder and I would hold on by holding on to his afro. Unfortunately, my father's guilt over turning in the other members of his crew caused him to start abusing the hero when he was once only selling, and this poem that I'm going to share with you is what happened next in my personal story. Sometimes I feel like a thaw, sometimes I feel as a boy. I shared a game, we played it every morning until I was three. He would knock knock on my door and I pretended to be asleep till he got right next to the bed, then I would get up and jump into his arms. Good morning Papa, he would tell me that he loved me. We shared a game, knock knock, to that day when the knock never came. And my mama takes me on a ride past cornfields on this never ending highway to reach a place of high rusty gates. A confused little boy into the building carried in my mama's arms. Knock knock, reach a room of windows and brown faces. I wanted a window sitch, my father jumped out of my mama's arms and run towards me towards my papa's only be confronted by this window. Knock knock trying to break through the glass trying to get to my father. Knock knock as my mama pulls me away before my pop even says a word. For years he has never said a word. As old years later I write these words with a little boy in me who still awaits his papa's knock. Papa come home because I miss you. Miss you waking me up in the morning telling me you love me. Papa come home because there's things I don't know and I thought maybe you could teach me how to shave, how to dribble a ball, how to talk to a lady, how to walk like a man.  And years later a little boy cries and so I write these words and I try to heal and I try to father myself and I dream up a father who says the words my father did not. Dear son, I'm sorry I never came home. For every lesson I failed to teach here these words. Shave in one direction with strong deliberate strokes to avoid irritation. Do the page with the billions of your ballpoint pen.  No longer will I be there to knock on your door. You must knock for yourself. Knock knock down doors of racism and poverty that I could not. Knock knock on doors of opportunity for the lost brilliance of the black men who crowd these cells. Knock knock with diligence for the sake of your children. Knock knock for me for as long as you are free these prison gates cannot contain my spirit. The best of me still lives in you. Knock knock with the knowledge that you are my son but you are not my choices. Yes we are our father's sons and daughters but we are not their choices but despite their absences we are still here. Still alive. Still breathing with the power to change this world. One little boy and girl at a time. Knock knock who's there? We. Thank you so much. As you just heard in that poem my father was arrested and incarcerated for the first time in my life when I was three years old. My mama took me to visit him in prison and he was behind a glass and I couldn't reach him. And as children we're very self focused and we view the world in terms of our most basic needs. We've not lived on the earth long enough and we're children to understand that many times adults make choices or things happen that have nothing to do with us. So in the space of my father's incarceration and the abandonment that I've been experienced I made up some false ideas about myself. I must be bad if my father would leave me. Over time that thought became an internalized feeling. I am bad. I'm unworthy of love. I'm ashamed and I hope nobody ever finds out. Over time that internalized feeling manifested in the behavior. Now for many of us many of our children even when we become adults those behaviors are obviously negative for children it could be acting out in school being disrespectful to parents being emotionally withdrawn. Not being able to express what we really feel in the world. For me that behavior wasn't obviously negative in the beginning. For me it was I will over achieve to the point of exhaustion to prove to myself and to other people that I'm not bad. Negative experience my father's abandonment negative thought I must be bad if my father would leave me. Negative feeling I am bad. Ultimately negative behavior I will over achieve to the point of exhaustion to prove to myself and other people that I'm not bad. Right? So as I offer this idea I invite you to consider allow your minds and your hearts to wonder back to any moments that may have shown up in your own life where an event happened that was out of your control that was traumatic that was negative that was difficult which perhaps caused you to think a thought about yourself feel a way about yourself and ultimately manifest it in a behavior perhaps a behavior that is still present in your life today conscious or unconscious so we're going to talk a little bit more about that later but I love to tell you a bit more of my story. With my father's incarceration my mama was our sole provider and she worked very long hours to make sure that we were taken care of and this next form that we're going to share is about my mama and as I share this form I also invite you to think about your own mothers or the mother figures in your lives or that have been in your life. A grandmama sometimes an auntie maybe even a teacher who really stood in the gap. For me and for many of us I know that mamas have stood in the gap in a very powerful way and there is nothing in my experience like the gift of a mama's love so this form is dedicated to my mama and all the mamas who are here this evening. Mama I saw you raise five of us by yourself with the father nowhere in sight. I saw you inspire revolution with a chicken and two potatoes. I saw you limp home late at night after a long days work with sores on your feet. I saw you gracefully remove groceries from the cart when the bill got too high. I saw you pray when brother stole a microwave to buy drugs. I saw you make Christmas a ceremony and I could have sworn we were royalty. I saw you hold a home together like a foundation that would never crumble. Mama I never saw you dance. I never saw you dance and I wonder what happened to your music because I've got an instinct you still know how to groove and so like a soulful incantation I write this dream for you. I see you stand in a celestial ballroom lit by the moon. I see you wear a gown of a rose petals woven with gold thread. I see you sparkle like the necklace of stars upon your neck. I see you're comfortable in shoes cut from the clouds. I see you're happy with the mate adoring every inch of your essence and mama he looks like Denzel. I see you laugh is Nina and Luther sing eternally for you and mama I see you dance. Yes mama I see you dance and I say dance mama dance break the flood gates of countless uncried tears and dance mama dance for all the nights you slept alone with no warm arms to hold you dance mama dance for all the dreams that you forgot so we could make it through the day. Dance mama dance like your nightmare is ending like joy is beginning like life is not through with you yet. Life cries swirl twirl dance mama dance dance dance mama dance. Here there's a beautiful baby out there singing along with me sing on baby sing on so that poem is for all the mamas despite my mother's best efforts to raise us without a father in the home my older brother ten years older became addicted to crack cocaine and as too many of us in this room know crack cocaine is a horrific drug and sometimes when I was alone with my brother he would get violent because when mama was off working long hours I would run across the street to a neighbor's home or to the church down the block so that I could be safe until my mama would come and get me. One of these experiences when I'm ten years old I escape from the house and something stops me in my tracks in the church parking lot and I'm a ten-year-old boy at the time and I close my eyes and I see myself as a grown man and I'm dressed all in black and I'm standing on a stage in front of hundreds of people and I'm speaking now as a small child I didn't know exactly what that vision meant but I knew this much I am made it I knew that there was a purpose to the pain that I was experiencing the pain that my family and larger community were experiencing and I firmly believe in that idea that there is always the possibility of purpose and power in our pain. When I was ten years old something else really transformative happened for me. My third grade teacher Mavis Jackson played a recording for me for the first time of Dr. King's I Have a Dream speech and a whole world of possibility opened up for me here is this man this black man who didn't look so different than my father and my brother and he was using words and emotion to inspire and in my mind to literally change the world and I ran to my third grade teacher and I said Mrs. Jackson I want to do that I want to use words like Dr. King and she helped me write my first speech in the third grade called I think the best I expect the best and because she was an extraordinary teacher she didn't stop there she called the local service organizations the NAACP the SCLC the Kiwanis the Rotary all of them as she said I've got this third grade who's written a speech can he come to your meeting and share and they would tell the state convention then the national convention before I knew it was happening I was traveling all over the world giving speeches this model of possibility that Dr. King provided for me this love of words of language and passion became my bridge over troubled waters it became such a huge deal for me that by time I was a junior in high school I was receiving letters from Harvard Yale Princeton to apply I ended up receiving a scholarship to Yale University and though I dealt with many insecurities while I was at college upon graduation I was awarded one of the university's highest honors thank you thank you thank you and I share this story for a very particular reason first reason was that in the midst of chaos my passion and my love of the arts and of language and of words really became a bridge over troubled waters but there's another aspect of that moment in my life that I'm just now starting to be transparent about as I stood on that stage at Yale University in front of all of my teachers all of my classmates all of our parents and friends I was miserable in fact I was so miserable that some weeks before I had tried to take my own life and you may ask yourself why would this young man who was by anyone's definition a success be so miserable that he would have tried to kill himself negative experience my father's abandonment negative thought I must be bad negative feeling I am bad ultimately negative a behavior I will over achieve to the point of exhaustion to prove to myself and other people that I'm not bad and when achievement fails to heal that initial wound I'm still in pain so I made up in my mind in that moment that I was going to go on a path to try to create a life that I would truly love and I made up in my mind in that moment that I really needed to heal and for me that healing was about going back to my first love my daddy so I'm going to share with you an excerpt from transforming pain to power I have a book y'all I'm excited about it and this is about the moment when I make the decision to reconnect with my father I'm back home and dating Ohio and I've decided to do it I'm going to visit my father in prison this will be the first time I've seen my father in more years than I can remember at least 10 as I ride in the car next to my mother all manner of thoughts and emotions course through me do I look like him what if he doesn't like me what if I don't like him I arrive at the prison a mass of gray and brown industrial complex a large muscular imposing guard stands at the counter as I enter the first door take everything out of your pocket and place it in that basket I do as I'm instructed terrified as I remove my keys and my wallet from my pocket I can feel the sweatiness of my palms the guard presses a buzzer buzz a gate opens enter through there gate one slam buzz another gate opens gate two slam I enter a room of tables and brown faces men with their children girlfriends mothers wives sit not touching but with the longing to touch pouring from their eyes some of the men are chained around their ankles some also around their wrists anxiously I stare in the direction from which I see the men arriving and departing I can feel my heart beating in my throat I swallow hard eager and afraid to see my father he enters wearing a bright orange jumpsuit he has salt and pepper hair and is much older than I remember the guard removes the chains around his ankles around his wrists thank god he walks slowly towards me and opens his arms and I jump knock knock in this moment I am once again the little boy that longed for his daddy in this moment all the love I felt for him as a small child comes flooding back to me as I sit and listen to his stories some certainly lies and excuses I devour every word desperate for them to be true desperate to understand to believe that his choices his abandonment were not my fault like to underscore a line I devour every word desperate to understand thought to believe feeling his choices his abandonment were not my fault so I've spent a lot of time thus far talking about the pain but my real intent in writing this book my real intent in writing plays like emergency when I speak about a very painful time in our nation's history like slavery my intent is for us to know that no matter the pain that has showed up in our lives as individuals the pain we may be experiencing now the inevitable pain that will show up in the future no matter the pain we experience as a human community as a city of Boston as a nation no matter that pain there is a possibility of transforming that pain to power this book talks about my personal journey to heal part of it was with my father personally about learning to forgive part of it was about me allowing myself to really feel my feelings rather than resisting them so that in the space of feeling them I could learn what information was there and also being able to move through it part of the experience for me was clarifying my purpose learning and asking myself what was the experience of this particular pain that could be information that could be useful to someone else and the greatest thing that I began to discover in this process was the gift of creativity I began to discover that even in the midst of all of the sadness that was occurring in my life all of the years truly of sadness when I would have a singing lesson or perform a concert when I was in an acting class or perform a play I was experiencing a level of freedom that I did not even think was possible for me and I began to pay attention to where this feeling of freedom was rooted and for me I found this space of freedom to be rooted in my breath and the book I call it this idea of the authentic self this idea that there is a space inside of us all that is creative potential that is the unlimited potential to create do or be anything that regardless of the experiences that have shown up in our lives as individuals or as a community regardless of the negative thoughts we develop in response to those experiences as individuals or a community the feelings that we develop and ultimately the behaviors we develop regardless of all of those things there is a creative potential inside of all of us that can interrupt that cycle take ownership of the narratives of our lives as individuals and our lives as a nation, as a city, as a community we have the power within us to rewrite the story and to transform that pain into power and what I began to discover which was hugely important for me is that our deepest pain is often the path to our highest purpose the very things that could almost take us out the very things that we wish we could stop thinking about we've sat on a therapist's couch about we prayed to God about the very things that we wish would go away sometimes those very experiences that very pain is the path to our highest purpose I wrote knock knock I wrote transforming pain to power truly I wrote every play that I've written I performed with the passion and emotion that I performed largely because my father was exactly who he was right and in the space of that understanding I really have no reason to hold resentment towards him I have no reason to live in a space of unforgiveness the other thing that I'm going to share with you is about the power of language in our narrative that we say about ourselves as individuals or a community part of breaking this cycle of negative experience leading to negative thoughts, negative feelings, negative behavior and this this work that I'm talking about in the therapeutic circles is called the cognitive triangle right so and it becomes this triangle of behavior that people feel that they can't break out of because then it reverses once you get in that cycle you then once you're in the space of behavior in a certain way you then have feelings because of that behavior and resulting thoughts and it seems to be this inevitable cycle for me one of the most powerful tools about breaking this cycle was beginning to speak to myself the truth about myself separate from the experiences of the things that had happened in my life right so I still to this day have a binder and it's a black binder in the first few pages of this black binder what I call my gratitude pages and it's all the miracles all of the wonderful things that have happened in my life and the second set of pages are my affirmations and it's corny as some people may think it seems I have stood on stages around this world I have taken my binder with me to various marriots and holiday ends or wherever it is that I've been staying and as I run on that treadmill and I'm breathing deeply or I'm on that elliptical machine I'm speaking to myself about myself and retraining my own thoughts and it's been because of that process that I'm able to stand before you today and not pretend like I don't ever have stuff that I don't ever have moments when I'm angry ever have moments when I'm sad because that's part of being human but I'm able to stand before you today and say I am no longer that little boy that young man who doesn't want to be alive I'm no longer having huge moments of beauty in my life pass me by because I'm living in a cage of fear and sadness and false ideas I have been able to transform my life by speaking the truth to myself about myself and because I'm a playwright I wrote a character about it his name is Twan Twan has grown up in a housing project his father is incarcerated he's been held back two years in school because he's dyslexic and the teachers haven't identified it immediately but he's got a powerful mama and an incredible mentor and he's on his way to Morehouse the same school Dr. King attended there's a Morehouse graduate out there, okay but despite everything Twan has achieved he still has those voices of self-doubt in his own head and as I share Twan's story I invite you to consider the voices of self-doubt that may be in your own mind the National Science Association says the average person has 50,000 thoughts a day 50,000 thoughts a day think about it we wake up in the morning what am I going to eat for breakfast what am I going to wear to work did I finish that assignment did I call that person back thoughts thoughts thoughts thoughts and it's also estimated that 70 to 80 percent of those thoughts are negative think about it we live in a world of airbrushed magazines celebrities who we treat as royalty who starve themselves to be a size zero we all get really good at masking what we truly feel because those are the social norms we're supposed to buy into then we look in the mirror and we're not able to celebrate our beautifully human selves and the survivors that we really are right so this is how Twan deals with it sometimes late at night when these projects get quiet I come upstairs here to the roof of building B and I talk to my mind try to be bigger than my fears you see I've been told every action begins with a thought and if you don't watch what you're thinking your thoughts will get the best of you it's like the mind is an untrained child you gotta teach what to do because sometimes my mind he tells me you will never be enough why even try you know it's gonna be tough look at where you live broken hopes broken dreams at night you lie in bed and scream the silent scream of a bastard child without a father as a guide there's no daddy by your side so you push your cries away and you fill that space with rage a rage that keeps you caged in a cycle that never ends you ain't gonna be no better than the man who fathered you able to create life but not to follow through your daddy left so you will too the sins of the father will visit the sun when life gets tough the abandoned run so sag your pants wear a frown give up first before life tears you down run from dreams run from hope it's the only way to cope with the failure you will be a spitting image of the father you will never even see those are the thoughts of my mind he says to me trying to choke out any type of hope or possibility and that's why I stand here on the roof of building B and talk back to my mind all right I've heard enough I know my path is rough but my mama she was there and she helped me to prepare a father she was not but still she gave me a lot and I have a mentor too and he helps me make it through say what you want but there's nothing I can't do because I define my destiny I won't let doubt get the best of me I will father myself and my children will see a black man stays this can't be just a phase this cycle can end it all depends on where we go from here you say when life gets tough the abandoned run well I say run black men run run to your children hold them tight help them make it through the night be more than you think you can be a man and take a stand and when you make it through reach back and help another person do what we all know must be done run black men run a fatherless child I may be but I decide who I choose to be run black men run run black men run run black men run thank you so much so Michael Eric Dyson wrote the ford for my book and he frames the book in this way which is actually very much how I wrote the book he frames it with the idea that personal healing is the first step to social transformation and larger societal healing right and I really believe that we as a nation we as a human race are in a very difficult moment we have fully bought in to illusions of separation we are polarized in ways that seem impossible and I firmly believe that even in the midst of the urgency of this moment and of this time there is still a possibility to transform that pain to power and I believe that that possibility lies in a movement that ultimately is going to be a human rights movement a space where we develop some shared core values some shared beliefs and some shared ideas about how we can heal as a nation where we begin to have those difficult conversations those conversations that we have in the safe space of a homogeneous community when we're with the people who look like us and talk like us and have a similar bank account as us and a similar skin color as us when we start having those conversations across community and when we develop some type of commitment and some type of space where we decide that there is something that's greater something that we want to believe in that's greater than these illusions of separation that keep us bound and for me I believe that greatest belief that greatest possibility of a shared core value a shared idea a shared reason to do this difficult work is for our children so for these last few moments of my sharing with you I would like to give you the voice of two children and one elder and these are characters from my play Emergency so I'm going to end with these characters and the last character will say goodbye to you so that will be my goodbye but before I share these characters I would just like to once again thank you from my heart thank you I travel to a lot of cities and a lot of spaces and there is something about the energy and the love that you give me as a community Boston that is unlike any other place that I travel and I'm really grateful for that hi everybody y'all not gonna say hi to me? okay hi I'm Peter and I have thoughts about this slave ship too everybody's always talking about what's going on with us kids but nobody ever wants to listen to what we have to say Clarissa and I we talk about it all the time Clarissa she's my girlfriend and she's the ball when we make too much noise in class our teachers get so upset and she bangs a ruler against her desk and she yells I am not impressed I am not impressed and Clarissa always whispers in my ear that's what she says to her husband when they're having sex I am not impressed she'd be cracking me up Clarissa and I aren't gonna have sex but we're gonna live together forever and I'm gonna be an opera singer I sing with the boys choir of Harlem and it's awful hook I mean it's mad cool right cuz it's almost like I get to be two different people it's like I live in the projects and there's trash everywhere but then I sing with the choir and we go to all these beautiful places and everything is different like once we took this trip all the way to Africa to sing at this festival all these black people from all over the world came to remember slavery and it was awesome and our director Dr. Turnbull he asked me to sing the solo and after we lit a bunch of candles and walked all the way through the whole village we finally made it to the Cape Coast slave dungeons and it was this big huge white castle and there was like a million gazillion black people there and I was mad nervous but then I sang look at me it was so sad and that's kind of how I feel when I look at this slave ship it's kind of like I just wish we were all the same color and we all talked the same and that God didn't make us all so different on the outside because it's almost like it's a trick to make us think we're more different than we are and everybody keeps getting food and that's whack you know sometimes I forget I'm black like I'm singing somewhere with a choir or I'm shopping with my moms and I'm not thinking about being black I'm just being me but it seems like somebody else always remembers our director Dr. Turnbull before he died he told us we sing a song of hope and even though a drug dealer or a prostitute might live on our block we can still be anything we want and it's like even though I live where I live because the choir I know there's places where I can go and I'm going to take Clarissa with me Clarissa baby child there's too much going on here Liberty Island for you to be running around like that Clarissa you hear me girl I raised my grandbaby Clarissa because her mom and daddy were they ain't able how old am I didn't your mama teach you not to ask a lady her age 82 yes time well I speak for a group of grandmothers of all races who have made a commitment to stand here at the water's edge for as long as our age and bodies can bear we understand that this slave ship is not about guilt no it's about healing about where do we go from here for ourselves for our cheering I've been here with my grandbaby Clarissa and her friend Peter all day since this morning when the slave ship first arrived and it is one particular story that keep coming to my mind about a village in West Africa with very little crime you know why when a person in this village commits a crime steals, lies, harms his neighbor the entire village forms a circle around the single wrongdoing man and they remind him of the good things he's done in the past the entire village reminds the fallen man of the moments when he was most beautiful America's one big old messy village we're gonna have to love each other Clarissa baby child you got about five more minutes for all that running around then I want you to come sit by my side and rest a while all right grandmama five minutes my name's Clarissa yeah and I'm a Libra yeah and I'm gonna drop it like it's hot drop it like it's hot drop it like it's hot yeah y'all want to be my friend don't nobody usually ever want to play with me except for my boyfriend Peter that he's always somewhere singing with the boys choir Harlem what y'all want to play hopscotch y'all want to play hopscotch I don't want that I want to tell y'all started I'm gonna tell y'all start I made it up I made up okay it's called kinky head and the three bears once upon a time that's how you start a story once upon a time there's this little girl called kinky head and she looked at like me yes she was pretty like me but nobody in the projects liked her so one day when her grandma was sleeping kinky had decided to lead a project so she could find her a friend and she was walking for like a really really long time for like fifty hundred million years and her fee was getting sold but then she see this big old slave ship and kinky head's like maybe I could find me a friend on the slave ship so she went but then she see this big bad wolf trying to get this little girl in a red riding hoodie but kinky head didn't pay them no tension then she go to the slave ship and she knocks on the side but nobody answered it then so kinky head's like where y'all at ain't nobody home but then the slave ship just opens and kinky head goes inside but then she see this old wicked witch trying to cook these two little white kids in a pot but kinky head didn't pay them no tension then she go to this other room and she see this table with three plates of fried chicken and sweet potato pie, a super size one, a medium size one and a smaller one and kinky head tasted the super size one but the chicken is greasy and the pie is running so kinky head didn't like it at the end but then she tasted the medium size one but the chicken is dry and the pie is all hard so kinky head didn't like it at that one. But then, but then, but then, but then, but then, but then, but then, but then, but then, she tastes the smaller one, and it's just right, and Kiki here eats it all up just like a good girl do.  She doesn't have any more disease inside, and she's just happy, and free, and healthy, because all the other little girls are. That's how it goes, okay? Then Kiki here goes home, and everybody in the projects likes her, and she's the most popular, and everybody wants to be her friend. All right, Grandma, I'm coming. I gotta go have my cocktail. No, y'all can't have them, Boston. That's my minimization. I'll see y'all later, okay? Thank you so much. Daniel Beatty. I remember this is a book signing party. Yes. So we're gonna see you all out in the lobby to sign, he's gonna sign books in the lobby, but before we do that, I just have one quick announcement. I've been waiting for months to make this announcement, and Sansan Wong from the Bar Foundation, you please come up here and make it with us, and Jamie Galoon from HowlRound, and Kelly Bates from the Elm Lewis Center.  Thank you so much. Yeah. So this is Sansan Wong, and Sansan's gonna start us off, Sansan, program officer at the Bar Foundation. Hi, good evening, everyone. Thank you. Thank you, David. I'm thrilled to be here tonight with David and Daniel. I'm very happy to announce that the Bar Foundation is awarding a multi-year grant to Emerson College to help bring Daniel Beatty to Boston with his transforming pain to power work. So this residency with Daniel will launch I Dream Boston, a three-year multifaceted civic engagement program and artist residency with Emerson's Elm Lewis Center, Arts Emerson, and HowlRound. So I wanted to talk to you a little bit about Bar. At Bar, our grant making in arts and culture seeks to enhance Boston's cultural vitality. One way we do this is to support innovative artists who can contribute to civic dialogue addressing long-standing social challenges and inequities, like racism, segregation, and income and educational disparities. So artists like Daniel powerfully lift up individual stories and engage diverse communities to imagine and enact a vibrant Boston. Now I'd like to introduce Elm Lewis Center Executive Director Kelly Bates, who will tell you more about I Dream Boston. You ready to dream Boston? You ready to dream Boston? I Dream Boston is going to be a powerful collaboration between you, between the community of Boston, between Emerson students. Let me hear you, Emerson students. And community-based organizations and leaders here in this room in Boston. And we will be able to bring the power of performance to youth and to adults throughout the city of Boston, who like Daniel, are going to be able to share their story and their purpose and find their voice and potential through a process of experiences and workshops that will transform them and through that transform us. This will be a multi-collaborative effort between you all. The Elm Lewis Center, Daniel Beatty, Arts Emerson and HowlRound. And we are going to make this unforgettable. And the way that Daniel made us feel is gonna be the way that we're gonna make people around Boston feel with your help. This is a wonderful, wonderful gift that we've been given from Barr. And I also wanna thank Emerson College for having the great vision to have Daniel with us to do this most powerful work. We're going to need you and we will be calling on you, thank you. And next, we'd like to introduce back to us David Dara of Arts Emerson, who deserves so much credit for this engagement. So just very quickly so you understand what's gonna happen with this residency. Daniel's book, Transforming Pain into Power, is full of all sorts of wisdom and exercises and transformational ideas that we will be putting into the form of workshops that Daniel will be here to work with us to develop and to lead and to train Emerson students to be part of the process of doing the work in the communities of Boston. And through Arts Emerson, we're going to be putting Daniel's work on the stage in every single season during the residency. So another announcement to come about the first project will be in next season and then we're also going to be commissioning and developing new work with Daniel during his time here. And all of this work, all of the work that's going on in the city, all the work that's going on on the stage, and all the work that's going on in the rehearsal studios is going to be documented through HowlRound, the Center for the Theater Commons, and this platform that we've developed for the Theater Commons. And Jamie Galoon is one of the developers of HowlRound platform. And so you can let us know how HowlRound's involved. Thank you, David. So as David mentioned, HowlRound will be documenting both the process and the results of Daniel's residency and the civic engagement throughout the three-year term. The way that we'll share that learning is through our online journal, through the live streaming TV channel like tonight. We have an interactive data map and through many other ways. So essentially the beauty of that sharing is that through sharing it, not only will folks here at Emerson and in Boston get to read and understand more about the impact of this residency, but nationally and internationally as well. This is going to be particularly important, the national side, as the I Dream Boston project evolves through the three-year term. I'm going to hand it over to Daniel now to speak a little bit more about the program and its vision. All right, cool. Thank you. Thank you. So this program is titled I Dream Boston. And this is actually going to be a second phase, a second city where I'm able to bring this work in this form. I've been doing the work in communities for over a decade, but we have just began after six, seven months of preparation, a three-phase pilot in Watts called I Dream Watts. And while Emerson College and the Bar Foundation are our partners here in Watts, our partners are the Kellogg Foundation, some support from Ford and an organization called Children's Institute that's been helping children, families, communities heal trauma for 106 years. And so what we've done over this process of it's going to be a little over a year total by time we're finished with that pilot, we've developed all of my exercises that will be a part of this training that will continue to develop here in Boston against 16 evidence-based principles to heal trauma that have been tried over this 106 years. In addition to that, we've developed research and evaluation measures because we're really asking the question, how do individuals and communities heal? And it's not about assumptions. And I very humbly stand before you with huge gratitude to the Bar Foundation, to Arts Emerson HowlRound, Emma Lewis Center, Emerson College, but with the clarity that I'm bringing this vision and this idea that I have, but the very first step of that vision is about listening. It's about understanding the tremendous work that people in this community, many of you are here right now, have been doing for years. And it's about through the creativity that I bring as a writer and performer, creating a space for a city-wide conversation around these issues. And so when we say that we will be reaching out to you, it's not a reaching out to serve a purpose that I'm just bringing, it's a reaching out and a linking arms and developing what I call authentic relationships when we are really hearing from each other. And you, as people who have lived and loved and been in this city for so many years, real having real ownership and agency in this experience. So again, I thank you all so much. I thank everyone gathered on this stage and I'm very, very excited to have this extended period of time in Boston. Let's head out to the lobby and sign some books. Thank you all for coming. We'll see you at the bars open. There are books out there if you don't have them and we'll be right out there in a few minutes with Daniel to sign. Thank you for coming.