female announcer: GET THE MATH IS MADE POSSIBLE BY THE MOODY'S FOUNDATION.

[hip-hop music] - ♪ UH, YEAH, UH ♪ ♪ I WANNA MASTER THE TASK OF EVERYDAY MATH ♪ ♪ KIDS, IT'S A CRITICAL CRAFT, LISTEN IN CLASS ♪ ♪ NOW YOU CAN ADD, SUBTRACT, MULTIPLY, DIVIDE THE STACKS ♪ ♪ GOTTA KEEP YOUR NICKELS AND DIMES INTACT ♪ ♪ NOW YOU CAN COUNT THE AMOUNT OF LYRICAL BARS ♪ ♪ SO YOU CAN STAY UNDER THE SKY DIVIDING THE STARS ♪ ♪ CALCULATE YOUR SALES TAX AND KNOW WHAT THEY CHARGE ♪ ♪ SO YOU CAN KEEP TRACK OF THE DOUGH ♪ ♪ THEY SWIPE ON YOUR CARD ♪ ♪ YEAH, THEY CLAIM IT'S DIFFICULT ♪ ♪ BUT IT ISN'T THAT HARD ♪ ♪ IF YOU'RE SMART WITH THE DIGITS ♪ ♪ YOU MIGHT GET YOU A CAR ♪ ♪ A HOUSE, A BOAT, IF YOU'RE LUCKY, A PLANE ♪ ♪ SO WHEN YOU'RE PASSING DIFFERENT TIME ZONES ♪ ♪ THE WEATHER WILL CHANGE ♪ ♪ STAY ON POINT LIKE STALACTITES ♪ ♪ NEED THE MATH TO MAKE THE MEGA MUSIC ♪ ♪ AND GET YOUR CASH RIGHT ♪ ♪ IF YOU GOT A WORD PROBLEM AND THINGS LOOK BAD ♪ ♪ GET THE MATH ♪ ♪ IF YOU WONDER ABOUT THE NUMBERS, DON'T BE SAD ♪ ♪ GET THE MATH ♪ ♪ WHEN YOU CAN'T GET THE SOLUTION, DON'T GET MAD ♪ ♪ GET THE MATH ♪ ♪ FIND YOUR ANGLE WITH EXAMPLES, THAT'S THE PLAN ♪ ♪ GET THE MATH ♪ - I'M MANNY DOMINGUEZ.

- I'M LUIS LOPEZ.

- BUT IN THE MUSIC WORLD, WE'RE KNOWN AS AH-NA AND ENONYMOUS.

- AND WHEN WE MAKE MUSIC TOGETHER, WE'RE DOBLEFLO.

- ♪ ONE, ONE, ONE, ONE, ONE, TWO, ONE, TWO ♪ ♪ COUNTING TO THE BEAT IS A THING I DO ♪ NOW, AS MUSICIANS, WE USE MATH, BUT WE'RE NOT THE ONLY ONES.

PEOPLE USE MATH IN THEIR WORK ALL THE TIME, SPECIFICALLY ALGEBRA.

- AND TODAY WE'RE GOING TO TALK ABOUT HOW WE USE IT IN THE MUSIC BIZ.

- ♪ YOU CAN MAKE A CHEMICAL BY SOLVING AN EQUATION ♪ - AND ALSO HOW CHLOE DAO USES IT IN FASHION.

- ADD A LITTLE BIT MORE HERE.

- AND JULIA DETAR USES IT IN MAKING VIDEO GAMES.

WE'RE GONNA CHALLENGE YOU TO TAKE ON SOME PROBLEMS THAT WE ENCOUNTER ALL THE TIME.

- BUT YOU WON'T BE ALONE.

AFTER YOU'VE HAD A CRACK AT IT, YOU'LL WATCH JIAYUN, CALEN, CARTER, AND YASMIN GET THE MATH.

[hip-hop music] - MY NAME IS CHLOE DAO.

I AM A FASHION DESIGNER WITH A STUDIO IN HOUSTON, TEXAS.

I WAS THE SEASON 2 WINNER OF PROJECT RUNWAY.

I ALWAYS HAD STYLE.

I WAS VOTED "BEST DRESSED" IN JUNIOR HIGH.

IN HIGH SCHOOL, I MADE MY OWN PROM DRESS, MY FIRST GARMENT EVER I MADE FROM SCRATCH.

I WAS REALLY PROUD OF IT.

THERE ARE EIGHT GIRLS IN MY FAMILY.

I'M NUMBER SIX.

WE'RE VIETNAMESE, BUT WE WERE BORN IN LAOS.

IN 1976, THERE WAS A LOT OF CONFLICT IN LAOS, SO WE TRIED TO FLEE IT, BUT WE WERE CAUGHT, AND WE WERE ACTUALLY PUT IN FAMILY PRISON WHERE WE WERE SEPARATED FROM MY DAD FOR A WHILE, AND THEN FROM THERE, WE WERE ACTUALLY IN REFUGEE CAMP FOR A FEW YEARS.

AND THANK GOD OUR UNCLE IN DALLAS SPONSORED US, SO BY THE END OF 1979, WE WERE IN THE UNITED STATES.

EVENTUALLY, WE MOVED TO HOUSTON, TEXAS, AND MY FAMILY OPENED A SNACK BAR.

IN JUNIOR HIGH, I HAD TO WORK EVERY WEEKEND, AND I HATED IT.

BUT FROM ONE SNACK BAR, WE HAD A CHAIN OF DRY CLEANING STATIONS AND OTHER BUSINESSES, SO ANYTHING IS POSSIBLE, ESPECIALLY IN THE UNITED STATES.

IN MY 20s, I DECIDED TO REALLY FOLLOW MY DREAM TO BE A FASHION DESIGNER, SO I ACTUALLY ENROLLED AT FASHION INSTITUTE OF TECHNOLOGY, GOT A DEGREE IN PATTERN MAKING, AND I WORKED IN THE INDUSTRY FOR EIGHT YEARS DOING PRODUCTION, PATTERN MAKING, AND DESIGN.

AND AFTER EIGHT YEARS HERE IN NEW YORK, I DECIDED, "YOU KNOW WHAT?

IT'S TIME TO BE MY OWN BOSS."

SO I MOVED BACK TO HOUSTON, TEXAS.

SINCE I OPENED MY STORE, LOT 8, NAMED AFTER THE EIGHT GIRLS IN MY FAMILY.

FOR MY STORE, I CREATE THE DAO CHLOE DAO LINE, AND THAT LINE REALLY IS A COMBINATION OF EVENING WEAR, COCKTAIL DRESSES, AND A LITTLE BIT OF SPORTSWEAR MIXED IN.

IT'S PRETTY MUCH MY DREAM COLLECTION THAT I GET TO DESIGN EVERY YEAR.

I WOULD DESCRIBE MY STYLE AS CLASSIC CONTEMPORARY.

TODAY I'M IN NEW YORK, AND I'M GONNA MEET WITH TIGER J, AND THEY'RE MY MANUFACTURER FOR MY LINE FOR QVC.

EVERY TWO WEEKS, I MEET WITH THE DESIGN TEAM AT TIGER J, AND WE GO THROUGH PRODUCTION AND DESIGNS.

I THINK WE'RE DOING THIS, LIKE, BRIGHT MAGENTA.

- YES.

- AH.

YOU CAN LOOK GOOD IN THE RAIN.

- EXACTLY, AND IT'S GOING TO HAVE THE PRINTED LINING, SO WHEN SHE OPENS IT UP, IT'S GOING TO HAVE THAT POP OF COLOR.

- OH, FROM HERE, RIGHT?

CAN'T WAIT TO SEE THE SAMPLE.

I SHOW THEM MY SKETCHES, MY DESIGNS, WHAT I WANT, HOW I WANT TO REINTERPRET CERTAIN THINGS: ADD SLEEVES TO THIS, SHORTEN THESE PIECES, ADD A DIFFERENT TRIMMING.

SO WE'RE JUST GONNA EXTEND THE SHOULDER, NO SET-IN SLEEVE ANYMORE.

WE DON'T HAVE TO DO THIS LITTLE HAND TOPSTITCH.

KEEP THE POCKET, TAKE OUT THE ZIPPER, BUT ADD THE BEADING INSTEAD.

EVERY SEASON, TO PUT A COLLECTION TOGETHER, I DO AN INSPIRATION BOARD, AND IT REALLY HELPS FOCUS WHAT MY COLLECTION SHOULD BE ABOUT.

IT COULD BE PICTURES FROM A MOVIE.

I MEAN, FOR ME, IT'S A LOT OF TEAR SHEETS FROM MAGAZINES, PICTURES FROM THE INTERNET.

A DETAIL ON A BRACELET THAT I LIKE, I'LL STICK IT ON THE, YOU KNOW, INSPIRATION BOARD.

SO IT'S PRETTY MUCH ANYTHING THAT HELPS YOU TO STAY FOCUSED AND GETS YOU INSPIRED AND, YOU KNOW, KICKS YOUR CREATIVE JUICE.

I'M EXCITED TO SEE HOW THIS FITS.

WE MAKE ONE STYLE THAT GOES FROM SIZE 2 TO 3X, AND IT REALLY HAS TO LOOK GREAT ON A 2 TO AMAZING IN A 3X ALSO.

IT'S KIND OF COOL TO SEE THE SMALL AND THE 1X TOGETHER.

SO THAT'S REALLY A WIDE RANGE OF BODIES TO DESIGN FOR, BUT I LOVE THAT CHALLENGE, BECAUSE I THINK IT REALLY MAKES YOU A BETTER DESIGNER SO I REALLY HAVE TO THINK ABOUT HOW TO INCORPORATE SLEEVES, HOW TO DO PRINTS THAT WORK FOR THAT KIND OF BODY, HOW TO DO SHAPING THAT'S FLATTERING.

I LOVE THAT CHALLENGE, NOT JUST FIGURING OUT WHAT'S THE RIGHT FABRIC, WHAT'S THE RIGHT PRINT.

THIS ALSO BOILS DOWN TO THE PRICING-- MAKING IT AFFORDABLE FOR EVERYONE-- AND THAT'S REALLY DOING A LOT OF MATH.

THIS WORKS.

GOOD.

I'M HAPPY.

SO I NORMALLY START WITH A SKETCH, AND THIS IS THE SKETCH THAT WE'RE STARTING OFF WITH TODAY, AND FROM THERE, I DO A SAMPLE, AND IT HELPS ME FIGURE OUT THE LABOR AND THE MATERIAL COSTS.

THIS TOP NOW IS COMING OUT AT $40.65, AND THAT INCLUDES LABOR, MATERIAL, AND THE MARKUP OF 220%.

THAT IS DEFINITELY TOO EXPENSIVE, SO I NEED YOU GUYS TO HELP ME COME UP WITH A POSSIBLE SOLUTION TO MAKE THIS TOP $35 OR LESS.

THAT'S THE CHALLENGE.

OKAY, HERE ARE THE COST SHEETS.

THIS IS THE ACTUAL BREAKDOWN OF THE REAL MATERIAL WE'RE GOING TO USE FOR THE GARMENTS.

THE MATERIAL INCLUDES THE POLY CHARMEUSE, WHICH MAKES UP THE MAIN PART OF THE TOP, THE POLY CHIFFON TRIM, THE LINING, AND THE BEADS.

THESE ARE THE AMOUNTS IN YARDS AND THE UNIT PRICE.

PLUS THERE ARE LABOR COSTS FOR CUTTING, GRADING, AND SEWING.

THE COST OF MATERIAL, LABOR ALONE, ADDS UP TO $18.48.

WHEN YOU ADD THE 220% MARKUP, YOU'LL GET THE RETAIL PRICE OF $40.65.

- WHAT CHANGES ARE POSSIBLE?

- ONE IF THEM IS TO ELIMINATE THE SLEEVE.

ANOTHER THING YOU CAN DO IS TO TAKE OUT THE CHIFFON COMPLETELY AND JUST USE THE SAME FABRIC AS THE BODY.

AND ANOTHER THING YOU CAN DO IS ELIMINATE THE BEADS.

OKAY, MAKE IT WORK, YOU GUYS.

I'LL BE BACK, AND I'M EXCITED TO SEE WHAT YOU GUYS COME UP WITH.

BYE.

- ALL RIGHT.

RIGHT NOW WE KNOW THAT 220% OF THE WHOLESALE PRICE HAS TO BE LESS THAN $35, RIGHT?

- YEAH.

SO THAT WOULD BE 220 OVER 100 MULTIPLIED BY "W," OUR WHOLESALE PRICE, HAS TO BE LESS THAN $35.

- MATH ISN'T REALLY MY BEST SUBJECT, BUT I'VE FOUND THAT IF I WORK HARDER AT IT, THEN I ENJOY IT A LOT MORE.

SO THE WHOLESALE COST IS GOING TO BE LESS THAN $15.91.

- ALL RIGHT.

OKAY, SO THAT'S OUR GOAL.

- ALL RIGHT.

- SO WHAT CHANGES DO YOU WANT TO MAKE TO THE SHIRT?

- WELL, FIRST WE CAN TAKE OFF THE SLEEVES, SO IF WE TAKE OFF A HALF A YARD FROM THE CHARMEUSE SILK, WHICH IS THE SLEEVES, ONE YARD IS $3, SO A HALF A YARD WOULD BE $1.50.

- AND IF WE TAKE OFF THE BEADING, IT WOULD TAKE OFF THE 75 CENTS OF THE COST OF THE BEADING AND 75 CENTS FROM THE SEWING LABOR.

WHAT'S INTERESTING ABOUT THIS CHALLENGE IS THAT I FOUND THAT DESIGNERS DON'T ALWAYS BASE THEIR WORK UPON ART.

SOMETIMES IT'S ABOUT THE ECONOMICS OF IT.

- PUTTING THAT ALL TOGETHER TO GET A FINAL PRICE WOULD BE--WE WOULD HAVE TO TAKE THE TOTAL COST, WHICH IS $18.48, AND SUBTRACT $3 FROM THAT.

- SO WE WOULD TAKE THAT $15.48, AND WE WOULD HAVE TO MULTIPLY IT BY THE WHOLESALE MARKUP.

SO IF YOU MULTIPLY 15.48 BY 2.2, YOU GET APPROXIMATELY $34.06, WHICH IS LESS THAN $35.

- SO WHAT EXACTLY DID Y'ALL DO?

- WELL, FIRST WE TOOK OFF THE SLEEVES, WHICH BROUGHT DOWN 1 1/2 YARDS OF THE CHARMEUSE SILK.

- AND WHAT ELSE DID YOU DO?

- WELL, WE ALSO TOOK OFF THE BEADING, TAKING IT DOWN FROM $4.25 TO $3.50.

- IS THERE A REASON THAT YOU GUYS DIDN'T LIKE BEADING?

- WELL, I PERSONALLY DON'T LIKE BEADING.

I'VE HAD BAD EXPERIENCES WITH BEADING.

AND I ACTUALLY HAD A GRADUATION DRESS THAT I PUT IN THE CLEANERS, AND WHEN IT CAME BACK, IT WAS MISSING A LOT OF BEADS.

- YEAH, DON'T YOU HATE THAT?

- AND THEN THERE'S, LIKE, STRANDS OF THREAD HANGING OUT.

IT JUST DOESN'T MAKE IT AS NICE.

- GOOD SOLUTION, 'CAUSE, YOU KNOW, THE CHIFFON AND THE SLEEVELESS, IT'S STILL ELEGANT, BUT DRESSY AT THE SAME TIME.

AND FOR A TOP TO BE UNDER $35, I THINK IT'S REALLY GREAT.

WE CAN SELL THIS.

SO I SEE THAT IT'S UNDER $35 ALSO, A LITTLE BIT MORE EXPENSIVE THAN THE OTHER TEAM.

SO EXPLAIN TO ME WHAT Y'ALL DID.

- WE BASICALLY TOOK OFF THE SLEEVES FIRST, AND WE ALSO REPLACED THE POLY CHIFFON WITH THE POLY CHARMEUSE SILK.

- WHY CHANGE THE CHIFFON?

- THE POLY CHIFFON I KNEW WAS A LITTLE LESS DURABLE THAN THE POLY CHARMEUSE WOULD BE.

I THOUGHT WE COULD REPLACE IT.

- AND IT'S FUNNY 'CAUSE, YOU KNOW, YASMIN DOESN'T THINK BEADING WILL LAST, AND IT'S FUNNY HOW YOU THINK CHIFFON IS DELICATE.

SO, YOU KNOW, FASHION--EVERYBODY HAS DIFFERENT OPINIONS.

SO, YOU KNOW, AT THE END OF THE DAY, IT'S ALL ABOUT WHAT SELLS.

Y'ALL DID A GREAT JOB.

- THANKS.

ONE OF THE THINGS THAT INTERESTED ME ABOUT THIS PROBLEM WAS THAT THERE WAS A LOT OF SOLUTIONS AND IT WASN'T JUST LIMITED TO, LIKE, ONE THING, LIKE, I GUESS, MOST HIGH SCHOOL CURRICULUM IS.

- WELL, HERE IS THE ACTUAL FINAL PRODUCT.

AS YOU CAN SEE, I ACTUALLY DID A LOT OF WHAT YOU GUYS SUGGESTED.

I TOOK OFF THE SLEEVE.

I, YOU KNOW, CHANGED THE CHIFFON TO THE ACTUAL SAME BODY FABRIC.

I TOOK OUT THE BEADING.

AND I EVEN TOOK OUT THE LINING.

YOU KNOW, FOR ME, THIS IS A GREAT PRODUCT, BECAUSE IT'S FASHION AND IT'S THE RIGHT PRICE.

AND--I DON'T KNOW.

WHAT DO YOU THINK OF IT?

- IT LOOKS GREAT.

- IT LOOKS AWESOME.

- IT DOES.

- I WOULD WEAR IT.

- YOU WOULD WEAR IT?

I LOVE IT THAT YOU WOULD WEAR IT.

YOU KNOW, WHEN A GUY WANTS TO WEAR IT, I KNOW I DID A GOOD JOB.

[laughter] [hip-hop music] ♪ ♪ - MY NAME'S JULIA DETAR, AND I'M AN ARTIST AND PROGRAMMER AT ARKADIUM.

ARKADIUM MAKES ONLINE AND FACEBOOK GAMES.

WE'LL LOOK AT ALL SORTS OF GAMES FOR INSPIRATION.

SO THIS IS A GAME CALLED FOR SALE, AND IT'S A PRETTY SIMPLE GAME.

YOU HAVE ALL THESE PROPERTIES, AND THEY EACH HAVE NUMBERS ON THEM.

SOMETIMES WE'LL LOOK AT GAMES WE'VE PLAYED AS KIDS THAT WE REALLY ENJOY-- BOARD GAMES, CARD GAMES.

- I THINK IT MIGHT BE INTERESTING IF THERE WAS SOME WAY TO TURN THE LOWEST PROPERTY INTO THE MOST POWERFUL PROPERTY.

- THEN, YOU KNOW, MAYBE YOUR STRATEGY IS TO COLLECT ALL LOW NUMBERS INSTEAD OF ALL HIGH NUMBERS.

AND WE TRY TO FIGURE OUT WHAT MAKES THEM FUN, WHAT MAKES THEM INTERESTING, AND HOW WE CAN COMBINE DIFFERENT GAMES TO BRING OUT A TOTALLY DIFFERENT EXPERIENCE.

SO THIS IS ONE OF ARKADIUM'S GAMES THAT WE'VE DEVELOPED, IT'S CALLED MAHJONGG DIMENSIONS, AND IT'S ON FACEBOOK.

IT'S A REALLY POPULAR GAME.

IT'S PRETTY SIMPLE.

IT'S JUST BASICALLY A MATCHING GAME, AND YOU HAVE ABOUT A MINUTE TO MAKE AS MANY MATCHES AS POSSIBLE.

AND THERE ARE THESE LITTLE BONUSES THAT GIVE YOU EXTRA POINTS FOR MATCHING THEM.

AND YOU COMPETE WITH YOUR FRIENDS.

SO THESE ARE ALL OF MY FRIENDS UP HERE, AND THEY HAVE PRETTY HIGH SCORES, SO I'M PRETTY COMPETITIVE, SO I TRY TO GET A SCORE THAT CAN BEAT THEM.

- WE NEED TO REALLY START THINKING ABOUT IDEAS FOR A SEQUEL TO MAHJONGG DIMENSIONS DELUXE.

HOW CAN WE MAKE IT A BETTER GAME?

- TO COME UP WITH NEW IDEAS, SOMETIMES WE'LL HAVE A BRAINSTORM, BASICALLY JUST COMING UP WITH NEW IDEAS ABOUT WHAT COULD BE FUN.

CURRENTLY, A LOT OF THE GAME DEVELOPERS ARE MEN.

HOPEFULLY THAT WILL CHANGE SOON, AND WE'LL GET A LOT OF GIRLS THAT ARE REALLY INTO, YOU KNOW, MATH AND WOULD LOVE TO, YOU KNOW, MAKE THESE VIDEOGAMES, BECAUSE THEY'RE-- IT'S A LOT OF FUN.

I GOT INTO GAMING BECAUSE I LIKE THE COMBINATION OF BEING ABLE TO MAKE THE ART AND BEING ABLE TO MAKE THE ENGINE.

SO ALL PROGRAMMING LANGUAGES ARE MATHEMATICALLY BASED.

THIS IS THE SOFTWARE THAT WE USE, AND IT'S CALLED FLASH.

WE USE TO IT TO DEVELOP ALL OF OUR GAMES THAT WE MAKE.

AND AS I MOVE MY MOUSE AROUND, YOU CAN SEE THESE NUMBERS CHANGING.

SO EVERYTHING THAT MAKES THESE OBJECTS ON THE GAME MOVE IS ALL BASED ON THIS "X" AND "Y" GRID.

WHEN I WRITE CODE, I WRITE FUNCTIONS, AND FUNCTIONS CAN DO ANYTHING.

THE CODE I'M WRITING IS GOING TO MOVE AN OBJECT ACROSS THE SCREEN.

AND IF I WANT TO MOVE ANYTHING ON THE SCREEN, I HAVE TO TELL THE COMPUTER, "OH, WELL, YOU KNOW, THIS IS ITS COORDINATES NOW, "MOVE UP HERE AND, YOU KNOW, TAKE, LIKE, YOU KNOW, A MINUTE TO DO THAT."

SO I WANT TO MAKE IT SLOWER.

THIS NUMBER CHANGES THE SPEEDS.

I DO 5.

SO IN THIS GAME, ALL THE OBJECTS THAT YOU SEE ARE BEING CONTROLLED BY THE GAME ENGINE.

YOU'VE GOT THESE BASKETBALLS.

YOU'VE GOT THIS HOOP.

AND BASICALLY THE CODE CONTROLS HOW THEY'RE ALL HANDLED AND PROCESSED.

SO THERE'S A LOT OF MATH GOING ON.

MY JOB IS REALLY FUN.

I MEAN, PLAYING GAMES IS A LOT OF FUN, BUT MAKING THEM IS EVEN MORE FUN, BECAUSE JUST BEING ABLE TO WATCH OTHER PEOPLE PLAY GAMES THAT YOU'VE MADE AND REALLY ENJOY IT IS JUST-- IT'S A GREAT FEELING.

SO IN THIS GAME I DESIGNED, THERE'S AN ASTEROID AND A SPACESHIP, AND THE ASTEROID IS ON A COLLISION PATH TOWARD THE SPACESHIP.

THE ASTEROID IS MOVING ON A LINEAR PATH.

ITS LAST TWO COORDINATES WERE (13, 12), (10, 9), AND NOW IT'S AT (7, 6).

YOUR ASSIGNMENT IS TO PLOT A LINEAR PATH FOR THE SPACESHIP TO AVOID GETTING HIT BY THE ASTEROID.

THE SPACESHIP HAS TO MOVE IN A POSITIVE SLOPE, AND ITS SPEED MUST BE CONSTANT.

THE GAME ONLY ACCEPTS WHOLE NUMBERS, AND YOU CAN MOVE A MAXIMUM OF FIVE UNITS EITHER UP OR RIGHT.

AND YOU HAVE TWO TURNS TO AVOID THE ASTEROID.

OKAY, WELL, GO TO IT AND HAVE FUN.

- OKAY, SO THE FIRST THING WE SHOULD DO IS FIND THE SLOPE OF THE PATH OF THE ASTEROID.

- WE COULD EITHER PLUG IN THE POINTS OR DO A POINT-BY-POINT EQUATION.

- TO FIND THE EQUATION, WE NEED TO COMPARE TWO POINTS, RIGHT?

SO LET'S JUST DO THE TWO POINTS THAT ARE GIVEN TO US BEFORE THE CURRENT ONE.

- SO CHANGE IN "Y" OVER CHANGE IN "X."

OKAY, SO, 12 MINUS 9, 13 MINUS 10.

- AND, I THINK IT'S 3 FOR BOTH, RIGHT?

- YUP.

- OKAY.

SO THAT MEANS THAT ITS SLOPE IS JUST 1.

- ALL RIGHT.

- "Y" EQUALS "AX" PLUS "B," RIGHT?

- YES.

- OKAY.

SO... - SO WE ALREADY KNOW "A" IS 1.

- RIGHT.

- OKAY, SO--AND THEN WE'RE SOLVING FOR "B," BECAUSE WE ALREADY KNOW ONE-- ACTUALLY WE ALREADY KNOW THREE SETS OF "X" AND "Y" COORDINATES.

SO WE CAN CHOOSE ANY OF THEM.

OKAY, SO WE KNOW THAT THE EQUATION IS NOW "Y" EQUALS "X" MINUS 1.

SO WE HAVE TO MOVE THE SPACESHIP TO A POINT THAT DOESN'T INTERSECT WITH THE LINE THAT WE JUST CAME UP WITH.

- DO YOU THINK WE SHOULD MOVE IT OVER OR UP?

- WHY DON'T WE DO, LIKE, UP 5 AND THEN RIGHT 1, 'CAUSE IT HAS TO BE A POSITIVE SLOPE, RIGHT?

- OKAY.

SO AT THAT POINT, IT WOULD BE... - (2, 6).

AND THEN FOR OUR SECOND MOVE, WE HAVE TO DO THE SAME THING, I THINK, RIGHT?

- RIGHT.

- AND THAT WOULD LEAD US TO (3, 11).

- ONE THING THAT REALLY SURPRISED ME WAS HOW MUCH MATH IT TAKES JUST TO MOVE THE CHARACTERS TO GET IT TO DO WHAT YOU WANT.

- OUR EQUATION WAS "Y" EQUALS "X" MINUS 1, AND IT SHOWED THAT OUR SPACESHIP WOULD BE WAY OUT OF THE WAY OF THE ASTEROID.

[dramatic music] ♪ ♪ - HEY, GUYS.

SO HOW'D IT GO?

[together] GOOD.

- OKAY.

COOL.

LET'S SEE IT.

- WELL, FIRST, IN ORDER TO SOLVE THE PROBLEM, WE FOUND THE PATH OF THE ASTEROID, AND WE WANTED TO SEE WHAT THE SLOPE WAS SO WE COULD DRAW THE LINE TO MAKE SURE THAT THE SPACESHIP DIDN'T HIT IT, AND WE GOT THAT THE SLOPE FOR THE PATH OF THE ASTEROID WAS 1.

- AND THEN WE THOUGHT ABOUT WHICH WAY THE SPACESHIP SHOULD GO, SO WE THOUGHT OF ABOVE OR BELOW, AND WE WENT WITH BELOW.

- OKAY, SO LET'S HAVE YOUR COORDINATES, AND WE'LL SEE IF YOU WERE ABLE TO AVOID THE ASTEROID.

- OUR FIRST POINT WAS (5, 2).

- OKAY.

(5, 2).

- AND THEN OUR SECOND COORDINATE WAS (9, 3).

- AWESOME.

YAY.

YOU SAVED THE SHIP.

[laughter] ALL RIGHT, SO LET'S SEE WHAT YOU GUYS CAME UP WITH.

- WE GOT "Y" IS EQUAL TO "X" MINUS 1 FOR THE PATH OF THE ASTEROID.

- OUR FIRST POINT WAS (2, 6).

- OKAY.

- AND OUR SECOND POINT WAS (3, 11).

- AWESOME.

- NOW WHEN I PLAY VIDEOGAMES, I'M GONNA THINK ABOUT ALL THE MATH THAT GOES INTO THEM.

- MIC CHECK.

- OKAY.

LET ME--HOW'S THIS FOR VOLUME?

[hip-hop music] - ♪ UH, YEAH, UH ♪ - ♪ COME ON, BEAT OF THE FLOW, YOU KNOW, COME ON ♪ - ♪ UH, YEAH, UH ♪ ♪ YEAH, UH ♪ ♪ SO WE SAY, LET IT GO ♪ - ♪ 'CAUSE HERE WE GO, YEAH ♪ - ♪ LET IT GO, NOW HERE WE GO ♪ ♪ LET IT GO ♪ - ♪ LET IT GO ♪ - ♪ LET IT GO ♪ - ♪ 'CAUSE HERE WE GO ♪ - ♪ LET IT GO ♪ - ♪ NOW LET IT GO ♪ - ♪ NOW HERE WE GO ♪ - ♪ HERE WE GO, HERE WE GO ♪ - ♪ TURN THE LIGHTS OUT IN THE WHITE HOUSE ♪ ♪ KNOCK, KNOCK ON THE WALL, THE TAJ MAHAL ♪ ♪ AS YOUR SPIRITS CALL THROUGH THE CRYSTAL BALL ♪ ♪ YOU KNOW THE LABEL BE FROM BROOKLYN ♪ ♪ AND IT'S FOR Y'ALL, YEAH ♪ - MATH LITERALLY GOT ME STARTED ON MY MUSIC CAREER, BECAUSE MY MATH TEACHER WAS ALSO MY MUSIC TEACHER.

HE INTRODUCED ME TO MUSIC PRODUCTION AND HOW TO CREATE MUSIC AND WHERE TO GET THE EQUIPMENT, AND HE ALSO LET ME KNOW, LIKE, YOU KNOW, "WE'RE STARTING AN INDEPENDENT RECORD LABEL.

WOULD YOU WANT TO DO SOME WORK, MAYBE?"

AND I SAID, "HEY, YEAH.

LET'S DO IT."

- ♪ GO!

♪ ♪ AY ♪ - ♪ FIRE IT UP, FIRE IT UP, FIRE IT UP ♪ ♪ YUP CUPS UP ♪ I ACTUALLY MET ONE OF THE FOUNDERS OF THE BROOKLYN LABEL AT MY NINE-TO-FIVE.

HE ASKED ME IF I COULD RAP, AND I TOLD HIM, "YEAH."

- ♪ ANY GLASS YOU RAISE ♪ ♪ MAKE A TOAST TO THE RACE TO THE PAIN ♪ - I HAD DONE A COUPLE OF TRACKS WITH AMIHAI AND MICAH, AND I HEARD A COUPLE OF THE TRACKS THAT HE WAS RECORDING, AND I WAS JUST LIKE, "WHOA, WHO'S THAT?"

YOU KNOW WHAT I MEAN?

THIS DUDE COULD FLOW.

- ♪ SO THERE ISN'T ONE WITNESS, TURN THE TIME UPSIDE DOWN ♪ - AND EVERYTHING CLICKED HELLA WELL, AND WE WERE JUST LIKE, "YO, LET'S MAKE A NAME FOR THIS."

YOU KNOW WHAT I MEAN?

THERE NEEDS TO BE A NAME FOR THIS COLLABORATION.

AND IT'S DOBLEFLO.

- ♪ DO-BLE-FLO ♪ - ♪ FACE WHITE, SOUL BLACK ♪ ♪ MUST'VE CAME IN THROUGH THE BACK ♪ WELL, THE MUSIC THING IS A PASSION, YOU KNOW, AND IT'S SOMETHING I LOVE TO DO.

BUT, YOU KNOW, I STILL GOT MY NINE-TO-FIVE, YOU KNOW.

GOTTA TAKE CARE OF THAT.

I'M IN SCHOOL ALSO.

I'M ALWAYS JUST JUGGLING, YOU KNOW.

YOU GOTTA DO WHAT YOU GOTTA DO OUT HERE.

- JUST KEEP IT GOING, YOU KNOW.

STAY IN THE DUGOUT.

MAKE SURE WE'RE CRACKING 'EM OUT THE PARK.

- IT'S A DUO.

DYNAMIC DUO.

both: ♪ THROUGH THE CRYSTAL BALL ♪ ♪ YOU NOW THAT LABEL BE FROM BROOKLYN ♪ ♪ AND IT'S FOR Y'ALL ♪ ♪ YEAH, GO, GO, GO, GO ♪ ♪ NOW, COME ON, GO ♪ - I LIKE TO COMPARE OUR MUSIC TO FOOD.

THERE'S A LOT OF MICROWAVEABLE STUFF OUT THERE, YOU KNOW, AND A LOT OF IT IS RECYCLED, A LOT OF IT IS QUICK, BUT WHAT WE LIKE TO DO IS BASICALLY COOKING WITH LOVE.

YOU KNOW, IT'S SOUL FOOD.

WE'RE PUTTING POETRY INTO IT, WE'RE REALLY THINKING OUT OUR RHYME SCHEMES, YOU KNOW, OUR METAPHORS, ALL THAT, YOU KNOW.

YOU'LL LISTEN TO IT ONE DAY; YOU'LL GET ONE THING.

YOU'LL LISTEN TO IT ANOTHER DAY; YOU MIGHT GET SOMETHING ELSE.

YOU KNOW, IT'S SOMETHING YOU CAN KEEP LISTENING TO, YOU KNOW, AND LISTENING TO, AND, YOU KNOW, YOU'LL ALWAYS GET SOMETHING DIFFERENT.

IT'LL BE FULFILLING, YOU KNOW, TO YOUR MIND AND YOUR BODY AND YOUR SOUL.

♪ WITH SKILLS THAT'S SO OBVIOUS ♪ ♪ ME, I'M SYNONYMOUS WITH ROCK THE AUDIENCE ♪ ♪ KNOWLEDGE WITH MOVEMENT ♪ ♪ RESULTS MAKE YOU LOSE IT ♪ ♪ YOU FEELING THE BEAT, BUT ME, I ABUSE IT ♪ ♪ THEN BOOST IT WITH FUSIONS OF LYRICS AND MUSIC ♪ ♪ MY MUSE IS BECOMING A PROBLEM; CALL HOUSTON ♪ ♪ GET A Q-TIP, IF YOU AIN'T HEARD ABOUT THE E-TO-THE-N-O ♪ ♪ FROM THE NYC ♪ ♪ EMCEE, MAN ♪ A LOT OF PEOPLE MIGHT NOT BE AWARE OF IT, BUT MATH IS REALLY FUNDAMENTAL WHEN IT COMES TO MUSIC, WHETHER IT'S USING IT IN DRUM PATTERNS, BEATS, FINDING TEMPO, EVEN WHEN I'M WRITING RHYMES AND THINGS LIKE THAT, COUNTING, YOU KNOW, USING MATH TO DO RHYME SCHEMES.

both: ♪ THROUGH THE CRYSTAL BALL ♪ ♪ YOU KNOW THE LABEL BE FROM BROOKLYN ♪ ♪ AND IT'S FOR Y'ALL ♪ - YEAH, MATH IS A BIG PART OF THE DIGITAL PROGRAMS THAT WE USE TO MAKE MUSIC, AND WITHOUT HAVING A BASIS OF MATH, YOU WON'T BE ABLE TO USE ANY OF THE PROGRAMS THAT ARE SPECIFICALLY MADE TO MAKE MUSIC.

SO MATH IS A BIG PART OF WHAT WE DO, AND WE LOVE IT.

- ♪ LET IT GO, 'CAUSE HERE WE GO ♪ ♪ YEAH, YEAH, YEAH, YEAH ♪ ♪ NOW TURN THE LIGHTS OUT ♪ - ♪ IN THE WHITE HOUSE ♪ - WE'RE WORKING ON A NEW SINGLE WHERE WE'RE TAKING AN INSTRUMENTAL SAMPLE AND WE'RE MIXING IT WITH OUR ELECTRONIC BEAT.

NOW, THERE'S A PROBLEM, THOUGH.

[drumbeat out of sync with mandolin music] ♪ ♪ SO AS YOU CAN HEAR, THE TEMPOS DON'T MATCH.

YOU GOTTA BE ABLE TO MAKE THEM MATCH TOGETHER BY FINDING THE TEMPO OF THE INSTRUMENT SAMPLE.

- SO TEMPO IS MEASURED IN BEATS PER MINUTE.

THAT'S BPM.

NOW, AS YOU GUYS KNOW, WE CAN USE COMPUTERS TO DO A LOT OF GREAT USEFUL THINGS, AND ONE THING THAT WE CAN DO WITH COMPUTERS IS SPEED UP OR SLOW DOWN OUR ELECTRONIC DRUM TRACK.

SO WHAT YOU GUYS ARE GONNA BE DOING TODAY IS USING PRO TOOLS-- A VERY USEFUL COMPUTER PROGRAM-- IN ORDER TO CALCULATE THE BEATS PER MINUTE OF THE INSTRUMENTAL SAMPLE.

- SO HOW DO WE GET STARTED?

- FIRST, YOU'RE GOING TO NEED TO KNOW THE LENGTH OF THE INSTRUMENTAL SAMPLE IN TIME.

- AND THEN YOU'RE GOING TO NEED TO KNOW HOW MANY BEATS ARE IN THAT SAMPLE TO FIND THE BPM, WHICH IS THE TEMPO.

SO COUNT THE BEATS WITHIN THE SAMPLE, AND YOU'RE READY TO GO.

- GOOD LUCK.

- GOOD LUCK.

- SO IF THE SAMPLE STARTS AT 31.111 SECONDS AND IT ENDS AT 40 SECONDS, THAT MEANS THE SAMPLE IS ABOUT 8.888 SECONDS LONG.

- SO WE HAVE TO TAKE THE LENGTH OF IT, WHICH IS 8.888, OUT OF THE 60 SECONDS SO-- - SO WE CAN FIND OUT HOW MANY SAMPLES WOULD FIT IN A MINUTE.

- SO 60 DIVIDED BY 8.888 EQUALS 6.7568.

- SO THAT MEANS THAT THERE COULD BE ABOUT 6.75 SAMPLES IN ONE MINUTE.

SO IN ORDER TO FIND THE BEATS PER MINUTE, WE WOULD HAVE TO COUNT THE BEATS IN THE SAMPLE AND MULTIPLY IT BY THAT NUMBER.

- MM-HMM.

- SO LET'S COUNT THE BEATS.

[jovial mandolin music] ♪ ♪ - HOW MANY DID YOU GET?

- 17.

- I GOT 17 TOO.

ALL RIGHT.

♪ ♪ - 16 BEATS.

- OKAY, SO LET'S MULTIPLY IT BY THE 6.75 TO FIND OUT HOW MANY THERE ARE IN A MINUTE.

- SO THAT TIMES 16 IS ABOUT 108.

- SO THE TEMPO IS ABOUT 108 BEATS FOR THE MINUTE.

- UH, WHAT'D YOU GET?

- 114.86.

- YEAH, I GOT THE SAME THING.

- ALL RIGHT.

- WE WANNA HEAR WHAT TEMPOS YOU GUYS HAVE GOTTEN.

- WELL, CALEN AND I, WE ENDED UP WITH 114.86.

- OKAY.

- AND YASMIN AND I GOT 108.01 BEATS PER MINUTE.

- EVEN THOUGH I HEARD THAT THE OTHER GROUP HAD A DIFFERENT ANSWER, I WAS STILL CONFIDENT WITH OURS.

- WELL, LET'S PLUG 'EM IN.

SEE WHAT SOUNDS RIGHT.

[drumbeat out of sync with mandolin music] ♪ ♪ - YEAH, LET ME JUST STOP THAT.

ALL RIGHT.

- THAT DOESN'T-- THAT DOESN'T SOUND RIGHT.

- 114 DOESN'T SOUND RIGHT.

- YEAH.

LET'S SEE WHAT 108 SOUNDS LIKE.

[drumbeat in sync with mandolin music] ♪ ♪ YUP.

RIGHT ON POINT.

YEAH.

- I THINK WE COULD RAP TO THAT.

- YEAH.

- OKAY, WELL, YOU GUYS GOT DIFFERENT ANSWERS.

LET'S FIND OUT WHY.

LET'S START WITH COUNTING THE BEATS.

♪ ♪ - 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16. both: 16.

- YEAH, I THINK THAT'S WHERE WE WENT WRONG.

WE ADDED THAT EXTRA BEAT AT THE END.

- EVEN THOUGH CALEN AND I ENDED UP WITH ONLY A SMALL DIFFERENCE IN NUMBERS WITH YASMIN AND CARTER'S, WHEN WE PLAYED THE TWO TRACKS TOGETHER, WE HEARD THIS HUGE DIFFERENCE.

- WELL, WE FIGURED OUT THE CHALLENGE.

DO YOU GUYS WANNA HEAR WHAT IT SOUNDS LIKE WHEN ALL THE TRACKS ARE PUT TOGETHER?

- YEAH, SURE.

- ALL RIGHT.

♪ ♪ CAN YOU FEEL IT?

- I CAN FEEL IT.

- AND I CAN FEEL IT TOO.

- YOU CAN FEEL IT.

- ♪ UH ♪ ♪ HMM ♪ ♪ YEAH, UH, YEAH ♪ ♪ UH, YEAH ♪ ♪ NO GOAL'S IMPOSSIBLE; I DEALT WITH THE SETBACKS ♪ ♪ EVEN WITH SUCCESS, GOTTA LEARN HOW TO GET BACK ♪ ♪ YEAH, WITHOUT A MAP, YOU GOT TO ACCEPT THAT ♪ ♪ 'CAUSE IN THE CONCRETE JUNGLE ♪ ♪ WE'RE SURROUNDED BY BEAR TRAPS ♪ ♪ COMES IN THE FORM OF DUCT-TAPED BUNDLES AND PACKS ♪ ♪ NOW 5-0 IS ON YOUR BACK ♪ ♪ FAST-FORWARD TO THE DIPS IN THE YARD ♪ ♪ LIFTING YOURSELF NOW, BUT HOW YOU GET TO THAT PART ♪ ♪ GOT A STRONG MIND, GOT TO HOLD MINE ♪ ♪ NOT FOR THE GOLD MINE, BUT FOR A LONG TIME ♪ ♪ TILL I'M OLD, MAN, KEEP MY VIEWS ALL OPEN REMAIN ♪ ♪ 'CAUSE MY WORDS ARE GOD, I'M CHOKING LIKE THEY SMOKING ♪ ♪ SERIOUS IN THE BOOTH, BUT OUTSIDE HE'S JOKING ♪ ♪ THAT'S WHY THEY SAY THE KID'S THOUGHT-PROVOKING ♪ ♪ NO MATTER HOW OLD, YOU GOT SPACE FOR GROWING ♪ - ♪ YOU DON'T FALL DOWN, YOU CAN'T GET BACK UP ♪ - ♪ AND WE GET UP, AND WE GET UP ♪ - ♪ DON'T SINK TO THE BOTTOM ♪ ♪ CAN'T RISE TO THE TOP ♪ - ROCK OUT.

COME ON!

UGH!

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- ♪ ONE, ONE, ONE, ONE, ONE, TWO, ONE, TWO ♪ ♪ COUNTING TO THE BEAT IS A THING I DO ♪ ♪ SO I CAN GROOVE ON IT, MOVE ON IT ♪ ♪ SOUND REAL SMOOTH ON IT ♪ ♪ MATH IS THE BOMB, YO, I'MA LIGHT THE FUSE ON IT ♪ ♪ USED TO BE CONFUSED ON IT, DIDN'T HAVE A CLUE 'BOUT IT ♪ ♪ TILL I MET A WIZARD WITH A FLY PAIR OF SHOES ON HIM ♪ ♪ HE TOLD ME, "I'M A PUT YOU ON TO SOME MAGIC" ♪ ♪ I GOT THESE FLY SNEAKERS USING MAD MATHEMATICS ♪ ♪ YOU GOTTA DO SOME ADDING, PERCENTAGES, A FRACTION ♪ ♪ YOU CAN GET THE TOTAL WHEN YOU CALCULATE THE TAXES ♪ ♪ MATH IS LONG-LASTING; IT'S BEEN AROUND FOR AGES ♪ ♪ YOU CAN MAKE A CHEMICAL BY SOLVING AN EQUATION ♪ announcer: GET THE MATH IS MADE POSSIBLE BY THE MOODY'S FOUNDATION.