CHAPTER 1 Richard, come and play with me, underneath the willow tree, sitting in its peaceful shade, will sing the song papa has made, whilst its drooping branches spread, stretching far above our head, sweetly tempering the blaze of the sun's meridian rays. There the rose and violet blow, the lily with her bell of snow, and the richly scented woodbine round about its trunk doth twine. There the busy bee shall come and gather sweets to carry home. Oh, how happy we shall be, underneath the willow tree! CHAPTER 2 Sleepy Mary Mary raised that sleepy head, for the lark doth carol high, and the sun has left his bed. Mary ope that sleepy eye.  There's your sister, Geraldine, waiting at the mossy rock. Hark! the little chickens cries, loudly call for Mary's care. But if the sluggard will not rise, George their breakfast shall prepare. Who shall get the fresh-laid egg to place beside her father's cup? Who shall pour the tea I beg, if my Mary is not up?  Your book is there, the pointer in it, all ready to begin this minute. What? Pouch your lip and scream and cry, and say, I won't, I can't, oh, fie! Then go, and in that corner stay, till sobs and tears have passed away. Till you can come with your voice more mild, and say, Mama, forgive your child? What little girl is this, whose eyes smile through her tears, while thus she cries?   It is my Mary. Now her look is turned attentive to her book, and now her lesson she has read. Her task without a fault has said. Mama's best kiss she now has won, so well her lessons she has done. She's happy now, and good and gay, and joins her sisters at their play. There on the grass they skip, they sing, till all the hills and valleys ring. CHAPTER IV Edward thought he knew better than his mama. Brightly shines the winter's sun, or mountains clad with snow. Bly, then gay, the youthful throng sport in the plains below. Come, the venturous Edward cries, let's try yon glassy tide, upon its smooth and frozen breast will make a glorious slide. Oh, stay, his sister Ellen said. My dear's Edward, stay. You know mama forbade us all to try the ice today. Hush, foolish Ellen, see how strong, how firm the ice appears. Mama, I'm sure, if she were here, would banish all her fears. This stone with mighty force I throw, nor break, nor crack you see. Then surely I may slide secure, it will not yield with me. He said, and darted o'er the stream, then turned in triumph round. Come follow me, my comrade's brave, what danger have I found? In his success exulting now, he leaps with sudden spring. It cracks, it breaks, his cries are vain, he plunges headlong in. Who now, the hapless boy, shall snatch from a cold, watery grave? For Ellen flies with breathless speed, her brother's life to save. He rises half, her shawl she flings into his eager hand. Then with her playmate's added strength, she drags him safe to land. With shivering limbs, in dripping clothes, homeward he pensive turns. He deeply now alas, too late, his disobedience mourns. For three long months poor Edward groaned upon a bed of pain, twas three long months before he felt the breeze of heaven again. These three long months did Ellen strive by every tender care, to soften Edward's grief, and soothe the pain she'd wished to share. What joy for both, when he once more could join the festive throng. Yet off he paused amid their sports, to think if this were wrong. CHAPTER FIVE IMPATIENT JULIA Bring me my breakfast instantly, the impatient Julia said. It came, tis meal, tis nasty meal, when I had ordered bread. She tastes, oh, it is burnt, she cried. Pray take it all away, and bring some fresh and quickly to, nor keep me here all day. Her mother passing near the door, or heard her loud commands, and entering met the maid who held the breakfast in her hands. Julia, what shameful words are those, what shameful conduct, too. The milk is good, too good for those who ask and speak like you. From Betty, now your breakfast take, and drink it, if you choose, and beg that she your haughtiness and passion will excuse. What, silent and perverse become? Then, Betty, you may go, and give the milk to that poor girl who's in the yard below. She spins or labors hard all day, yet eats the coarsest food. She's thankful for the smallest gift, and smiles, because she's good.  No breakfast will you have today, nor need again appear, till from your brow you chase that frown, and from your eye the tear. Till you can come with cheerful mean and pardon ask from me, then if you are a better girl, forgiven you may be. CHAPTER VI. THE KUKU Little Kuku, comes thou here when the blooming spring is near, to sing thy song and tell thy tale to every hill and every veil? Tell me, is thy distant home far across the salt sea foam, or hast thou, hidden from the day, slept the wintry hours away? Welcome, cheering bird to me, where ere thy wintry mansion be in the earth, or o'er the main, welcome to these fields again. Short thy visit to this shore, April and May are quickly o'er, then, Kuku, chant thy strain in peace, for in June thy song shall cease. CHAPTER VII.  In winter, tis wet, and the roads are all dirt, in summer tis dry, and the weather is fine.  Not a splash nor a spot can get into my stockings, so nice and so tight round my ankles you tie.  When I'll walk with mama when she goes to the farm, you will never feel heavy through a long summer's day.  The one in the dirt I will constantly wear. The others, in summer, when the walks are all dry, so thick shoes and thin shoes rest quietly here. CHAPTER VIII.  To the garden we will go, take the rake, the spade, the hoe, dig the border nice and clean, and rake till not a weed be seen. Then our radish seed will sow, and mignonnette a long, long row, and every flower-it of the year shall have a place of shelter here, and gay profusion they shall spread, or each border and each bed, and when joyous may shall come will deck the lofty pole at home. Garland's gay and wreaths will twine, that with brightest colors shine, and dance around till setting sun proclaims the children's day is done.   LITTLE GIRL, LITTLE GIRL, WHAT TO DO THERE? TO GATHER A GARLAND TO DECK MY BROWN HAIR?  MY MOTHER HAS SENT ME, AND PLAYMATES I'VE NONE.    THE PESENT, OF FRANCE, SHALL BE THERE, AND ADD TO THE CHAPLET HIS LILLY SO FAIR.  CHAPTER X THE BLIND BOY Mama, what a pretty new basket you've got, little Emma exclaimed with delight. The strawwork below is so firm and so neat, and the bag such a beautiful white. I am glad you approve it, my love. I myself think it pretty and neat, I confess.  You remember no doubt that blind boy on the green, whose father and mother both died, and left him in poverty, sickness and grief, without a protector or guide. A kind and rich lady who heard his sad case restored him to life by her aid, then placed him secure in the house for the blind and all the expenses defrayed. There they taught him these beautiful baskets to make with strawwork of every kind, and now he's employed and his living can earn and is useful and happy, though blind. And may I believe it, cried Emma, that Jem, why so helpless and poor us to be, has made this nice basket without any help and as neatly as if he could see. As you doubt poor Jem's powers, her mother replied, what I've said to be true I must prove. So finish your work, get your bonnet and coat, and quickly come to me, my love. Her work was soon finished, her books all laid by, her coat and her bonnet put on. And joyfully taking Mama's ready hand to the school for the blind, she is gone. With delight and amazement, there Emma beheld poor Jem at his daily employ. As he plaited his basket, he sung to his work and smiled with contentment and joy. Ah, Mama exclaimed Emma, as home they returned, every penny you give me I'll save. Neither gingerbread, comfit, nor nut will I buy, till a basket of Jem's I can have. Entry winds no longer blow, far away are frost and snow. Peeping from its grassy bed, the primrose rears its modest head, amidst its leaves the violet blue, sense the air and morning dew. Hark, the skylark mounting high, carols in the clear blue sky, the thrush and blackbird from the spray, chant their blithesome roundelay. The little lambkins, safe from harm, in their snow-white fleeces warm, gamble o'er the sunny mead and prove their strength and try their speed, from yon grassy knoll they spring, and chase each other round the ring, to the farmyard we will go, where they milk the hornless cow. Mama will give us wine and cake, and a celibab will make. Then Jane shall hold the bowl, and margaretta milk it full. Each shall join to help the others, like good sisters and good brothers. CHAPTER XII SUMMER What does Bounteous Summer bring? The lengthen day and shortened night, milder breezes softly blowing, warmer suns, in skies more bright. Long and thick the grass is grown, ready for the mower's care, when his sith has laid it low, to the hay-field we'll repair. Each shall have a fork and rake to spread it widely to the sun. Many hands together joined make the labour quickly done. In the hedge the woodbind twining fills the air with sweet perfume. The blushing rose in gay profusion joins its fragrance and its bloom. In a mossy hedge row peeps the strawberry with lowly head. We can quickly fill our baskets with its berries, rosy red. Little Anna dearly loves strawberries red, and milk so white. We will carry plenty home, on them she can sup to-night. Anna loves to skip and play, but she can also read and spell. She learns with careful hand to sow, and she deserves her supper well. CHAPTER XIII. Autumn comes her prospects glow with yellow fields of waving corn, the reaper with his sickle bright haste to work at early morn. Whilst the morning breezes blow through the burning sultry noon, and till evening doos descend, still he works and labours on. Let us seek the harvest field, there is work for you and me. We can help the sheaves to bind, idle hands we need not be. When Maria's task is done we will too, the nut would go.  Oh! How tempting ripe they hang!  Bags and pockets all are full, and evening says we must not stay. With heavy loads we'll hasten home, and come again another day. These shall be our winter store. When Christmas holidays are come, then round the fire we'll social be, and give our happy playmates some. CHAPTER XIV WINTER Howling through the leafless trees, winter calls his northern breeze. Do not flower its dare appear in this season of the year? Yes, amidst the wintry scene, the daisy's lowly gem is seen, and though it boasts no varied dyes, the Christmas rose a charm supplies. Even through the frost and through the snow, in a merry group we'll go. Take our sledges and our skates, winter nare for sluggards waits. We'll throw the snowballs far and wide beneath the mountain's hoary side. Or build a giant tall and strong, with shoulders broad and limbs as long, as Gog and Magog in Guildhall, there it shall tower above us all, till sun and thaw shall melt its crown, and bring its snowy honors down. And when the darkening evenings come, fast away we'll scamper home, and standing close around the fire, the blazing faggots we'll admire, and sip our milk, and work and read, till nurse cries out, to bed, to bed. CHAPTER FIFTEEN ANN AND EDWARD PART ONE Loudly blows the northern wind, and fast the snow descends, low before the driving storm the slender willow bends. Why on such a dismal night does Anna open her door, and in her little ragged cloak walk quickly o'er the moor? She hastens to the neighboring town to beg some friendly aid, to save her mother, who so sick and ill in bed is laid.  But see how quickly Anne returns, a cheerful look she wears, and softly underneath her cloak, medicine and food she bears.  CHAPTER FIFTEEN ANN AND EDWARD PART TWO Bright shines the sun, the gentle breeze, and softened murmurs blows, and softly through the verdant mead the little streamlet flows. Close by a young fragrant violet bank, beneath the spreading thorn, his mother's stool and cushion chair are by a young Edward born, and from the lowly cottage door, with feeble steps and slow, Anna supports her mother's frame as to the bank they go. There, seated on her pillowed chair, she breathes the balmy breeze, whilst Anne and Edward quietly are seated at her knees. With merry hearts they now can meet her kind approving eye, and to her various questions give a cheerful quick reply.  CHAPTER SEVENTEEN George and Edmund Come hither, George, young Edmund cried, come quickly here to me, for yonder floats the little boat upon the swelling sea. Tis fastened by a single rope, and there is each an oar. And were we once, but safely in, we soon could push from shore. Oh, go not, Edmund, George replied. The storm is rising fast. The forest bends, the sea spray flies before the howling blast. The wind may howl, perhaps it does, but not so loud as you, who always scold and cry out, don't, when pleasure is in view. An anger Edmund spoke, and turned in pride, and scorn away, to wear the boat so temptingly, tossed in the little bay. He loosed the rope, he seized the oar, and vaulted oar the side, and rapidly his little boat flies through the stormy tide. The wind is loud, the waves are strong, and vainly Edmund strives to guide his boat, which furiously the tempest onward drives. His passion gone, his fears increase, and loud to George he cries. He looks, he listens, calls again, but still no George replies. In terror now, and wild afright, all prudence he forgets. In springing quick from side to side the boat, he oversets. His father saw the dreadful plunge, his father heard his shriek. For George, when Edmund would not stay, some aid had flown to seek. With desperate haste he forward springs, and throwing off his coat, plunges amid the foaming waves to gain the struggling boat. He reached its side, and diving down, seized on poor Edmund's hand. And senseless through the beating surge, he bore him back to land. It was long air signs of life returned, or he enclosed his eyes. The longer far it was, ere he from his sick bed could rise. What anguish and remorse he felt, what tears of sorrow shed. How good, how mild he vowed to be, when he should leave his bed. And let us hope his vow he'll keep. Become a steady boy. Know more his friends or parents grieve, but prove their pride and joy. CHAPTER XVIII FANNY Oh, look! the little Fanny cried, as wandering by her mother's side. They passed a cottage neat, though poor, with wood-binds clustering round the door. Oh, look, Mama, what lovely flowers I hear could stand in gaze for hours. That beautious rose, those lilies fair, and that gay bed of tulips there. Oh! How I wish they all were mine. They'd make my empty garden shine. Your empty garden? Fanny, pray, have all your flowers been stolen away?  The little girl whose flowers these are, watches and prunes them all with care. She rises early, labors hard, and does not toil nor care regard, but thinks her trouble well repaid. If she her parents thus can aid. These flowers to market off she takes, and many pence by them she makes. You surely, therefore, would not strive of this advantage to deprive the grateful child, who takes such pains to help her parents scanty gains. But come, my love, we must not stay, that shower will reach us on our way. Come, Fanny, come. Mama I will, but Fanny stayed and lingered still, each plant and flower at length being viewed, her way she thoughtfully pursued. A week had passed, when Fanny ran to her mama and thus began, mama, when you have time I pray that you would kindly walk this way, and let me show you what last night I finished ready for your sight. Mama complies, and Fanny bounds delighted, through the verdant grounds. With sparkling eye and steppelate, open she throws the garden gate, and look she cries in joyful tone, what play hours in one week have done. No weeds do now my garden spoil, the stones I cleared and turned the soil, the trees I pruned, I planted flowers, and watered them with plentious showers. Perhaps mama, with time and care, some new skays I may hence prepare, for that good girl who takes such pains to help her parents scanty gains. And of Chapter 18, Chapter 19, Alfred. How can I the south from the north ever know, when there is no S in the sky? Oh, how can I tell the east from the west when not the least mark I can spy? His mother, who sat at her work by the fire, to Alfred's request thus replied. Come listen to me, and I'll soon tell you how, the difficult point did aside. Wherever the sun rises, there is the east. Now that is both easy and clear. Wherever at evening he sets from your view, the west, my beloved, is there. Now you know where to find both the west and the east. We soon shall discover the rest. To the left is the south. To the right is the north, when your face is turned full to the west. And of Chapter 19, Chapter 20, William. My dear, cried his mother to William one day, as glowing and panting with heat, the parlor he entered in haste and alarm, and threw himself down on a seat. My dear, what misfortune has hurried you now, and brought you so soon from your play? Have you lost your new ball in the field or the pond, or has your kite flown far away? My ball, my dear mother, is safe in my desk. My kite rides secure in the air. But I brought a poor boy whom I left in the hall, and who claims your attention and care. I found him just now, as returning from play, I passed by the side of the wood.  Oh, quick, let us go, sure, we linger too long, cried his mother. My love, lead the way. William bounded, all eager, and soon reached the place where, reviving but weak, his friend lay. His bruises and wounds were examined with care, and happy was William to hear, that patience and time would restore him to health, for his life he had nothing to fear. With unwearyed attention, he sat by his side, and anxiously waited to know. If in climbing he fell, or if mischief was hurt, or another had given the blow, and as eagerly too did his invalid friend, to his mother and William relate, the cause of his sufferings and how he was found in so sad and so helpless a state. He had hastened, he said, in his play hour at noon, to the strawberry bank in the wood, or some ripe ones to take to his sister at home, who was ill, and they might do her good. As he climbed some high rocks in his search for the fruit, and held by the trees that hung oar, he slipped, the branch broke, and he fell to the ground, but he knew and remembered no more. His name too, he told, in the place where he lived, and quickly young William ran there. To tell his good mother, her son was now safe, and from them would receive every care. Delighted to hear of her gemmy again, she gratefully thanked his kind friend, who promised to bring him himself to his home, as he knew he would speedily mend. End of Chapter 20 Also the End of the Keepsake by Anonymous


Hi, I'm Zor. Welcome to Inizor Education. We continue talking about alternating current. In this particular lecture, we start basically a new chapter where we will talk about the Ohm's law for alternating current. And that would be related, obviously, with circuits which include not only resistors like in a direct current, but also inductors and capacitors. This lecture is part of the course, Physics for Teens, presented on Unizor.com. I suggest you to watch this lecture from the website. So you go basically to the menu on the left where you choose Physics for Teens. This is electromagnetism part of this course and the chapter is called alternating Ohm's law for alternating currents. Okay. Now it's really kind of involved topic and it has a lot of math which I actually consider to be a good thing and it brings certain precision. So we will talk about different alternating current circuits. We have three major elements. We have resistors, we have capacitors and we have inductors. Which can participate in the alternating current circuits. So I will dedicate this particular lecture to the Ohm's law if the circuits, AC circuits, alternating current circuits, include only resistors and resistor and capacitor in a series. Then the next lecture will be about resistor and inductor and the next one after that would be resistor, inductor and capacitor. So just a little bit more and more complex kind of things, but very much look alike. Now we do know that alternating circuit can include capacitors and inductors and direct current doesn't really go through capacitor. Alternating does. Similarly for inductors direct current basically goes through without any kind of interesting effects. While AC, the alternating current, it creates variable magnetic field and there are certain forces involved in this particular case as well. So it's kind of involved as I was saying but interesting and it's also a good exercise in math because we will solve differential equations and I might actually recall some complex numbers, theory, the Euler's formula, etc. Okay, so let's start. Now my first topic here is in this lecture the AC circuit with only a resistor. Well, that's the easiest topic here. So if you have an alternating current and resistor, now alternating current, this is the generator of alternating current and it's actually reducing the EMF, electromagnetic force, electromagnetic force has sinusoidal oscillations. Omega is the angular speed of rotation of the rotor inside of this generator. So my current goes up and down in some sinusoidal wave. T is obviously time and E0 is a peak EMF, peak electromagnetic force. Which is developed by this particular generator. So all the generators which we are dealing with are actually generating this type of sinusoidal wave of oscillations because it's based on the rotation of the rotor inside this tether. We talked about how generators are actually made, right? Okay, so this is my EMF or voltage if you wish. And this is the only thing which we have in the circuit which is a resistor with resistance R. Okay, so now let's just consider one tiny infinitesimal moment of time between some moment and the moment plus certain infinitesimal increment. Now during this time basically we can consider the electromotive force to be constant and the regular Ohm's law for direct current actually takes effect. And there are no other forces, components, fields which kind of take part in this picture. Because it's just a resistor, which means it just basically resists the electricity and the Ohm's law at that particular moment of time works quite fine without any kind of modifications. So this is the voltage, this is the resistance and this is the current. Now obviously since this is sinusoidal, this will be sinusoidal as well and I of t would be equal to E0 divided by R sine of omega t. So current goes in sync with the electromotive force with voltage. The amperage is in sync with voltage and this is the maximum the peak amperage. So this actually can be represented, well it actually represents basically the equivalent of the Ohm's law for alternating current. Now we also have a concept of effective current and effective voltage if you remember. Now the effective one that would be if we will average square of voltage or average square of amperage and we talked about this before and the peak voltage and amperage are related to the effective one as square root of 2. So if you remember effective voltage would be square root of 2. That's I effective and effective amperage would also be equals to square root of 2. So from this follows that since I0 is equal to E0 divided by R, peak amperage is equal to peak voltage divided by resistance. So effective amperage would be equal to effective voltage divided by resistance, right? Because each one of them is just square root of 2 smaller than the peak. So this is also an equivalent for AC for alternating current equivalent of the Ohm's law. Well, that's it for plane R, plane resistor included into this circuit. That's very easy. So this this formula and this formula, these two formulas represent basically equivalent for AC of Ohm's law for direct current. Nothing here. It's really very simple. But what we now will do we will include the capacitor here and that makes the whole difference. Okay. With capacitor we do have a lot of other things which are happening now. Here we have to go back and recall what we were talking about, about capacitor in the alternating current circuit. We actually had investigated how this type of circuit behaves. So when I was introducing capacitor in the alternating current circuit I did not have any resistor. And we did have whatever the research we have done. You can refer to that lecture. I will repeat a little bit because I will need exactly the same kind of formulas. But it makes really a very important difference, the adding of the resistor. Well, it seems that this circuit should behave like this one because actually it's more or less we're just adding a very simple device in this circuit resistor, which is just like slowing down the electrons or whatever you think about this resistance. But it introduces a significant other detail which we will address. Okay. So the first thing we do is let's consider something which we called voltage drop. Now voltage drop, now this thing is generating certain voltage. This is EMF, voltage if you wish. Now whatever is generated here goes through this circuit and there is a voltage drop on every component because there is a difference in voltage between these two plates and between these two ends of the resistor, right? So let's call this voltage drop Vc and this voltage drop would be Vr. So this EMF is generated, then the voltage drops here a little bit, then here a little bit and returns back. So what it means is that whatever is generated is the sum of these two things and these are all obviously depend on the time. Again, in the direct current when basically the electricity has a constant voltage, these are also constant and the same equation actually is true. Whatever is generated difference in potential should be equal to sum of difference in potential between this and this and then this is this. So at any moment in time we have exactly the same kind of equation. So at any moment in time there is a difference in potential between electric potential between these two ends and that should be equal between this and this plus this and this. Or if you wish the whole sum of these should be equal to zero because this will be then with a minus sign. So the whole sum of all voltage differences between the ends if you will put this and put it on the right with a minus sign. It would be zero. Okay, so that's exactly the same thing. But this is a very important equation which we have to keep in mind. It's logic basically. It's nothing it's not derived from anybody. It's just a concept of voltage drop between ends of this device and this device and this device actually. Since it's a closed circuit, right? Okay Now let's just analyze each part individually. But with VR it's simple. If you have a difference in potential between this and this then as I was saying before there is an ohms law for the alternating current because at any moment in time we don't have anything but the difference in voltage and resistors. So the IR on T this is the current which goes through this is supposed to be equal to difference in potential on the ends of this which is voltage drop divided by R, right? Now let's just think about I will next talk about IC. So the current which goes through the capacitor but it's the same circuit, right? It's a closed circuit which means whatever electrons are coming here they're coming here as well. So I see the current through the capacitor and IR the current through resistor should be exactly the same because it's a circuit. It's a closed circuit. So I might actually drop the whole thing here and that would be exactly the same for this as well as for this resistor, right? Because the same electrons are going through this and this. Okay now let's talk about this one. So from this we can see that the voltage drop is equal to R times I of T, okay? So that's about this one. Now what about this? Well we have to consider what exactly is a capacitor. Some time ago we were when we were introducing the capacitor we were talking about if there is certain voltage between the plates there is a certain charge which is accumulated. So the QC of T is the charge between these plates and it actually grows with the voltage, the greater the voltage between these things. Well the more electrons they actually have to have. So the ratio is a constant which is called capacity. So the capacitor has certain capacity or capacitance whatever you prefer. So this is supposed to be given like R here, the capacitance here should be given. This is the characteristic of the capacitor, right? So this is a constant. The growing of the voltage between these two plates results in the growing of the charge between these two plates. So from this we can see that we can put it this way. This is equal to VC of T. So we have expressed VC, the voltage drop on the capacitor through this and the voltage drop on the resistor through this. This is the characteristic of capacitor, this is the characteristic of resistors. Well but we have these two different. Well they're not so different between let's just recall what is the current. Current is rate of change of the charge. So when this charge between these two plates is changing that's what actually generates the current. It's the rate of change of the charge. So what I would like to say is that I of T is equal to Q derivative. This is the rate of change, right? So derivative of the Q is actually I. Derivative of the charge accumulated on the capacitor's plates is exactly the current which is circulating in the circuit. And this is actually a definition of the current. From here we can actually make some kind of a differential equation for this. E of T which is E0 sin of omega T is equal to VC which is this one which is QC of T divided by C plus VR which is R times Q derivative of C of T divided by no, without any kind of equation. So that's my that's my equation. Now let me wipe out everything else. So all we have to do is solve this differential equation for Q, take derivative of Q and that would be my current. That's how I will connect my current with the EMF to produce something which is equivalent of the Ohm's law, right? So how can I solve differential equation? Well let's just simplify it a little bit. First of all let me just divide it by R. So this thing doesn't really be here, okay? Now let me just make certain simpler notation. So Y of T would be equal to Q C of T. 1 over RC would be A and B would be E0 over R. Then my equation would be Y derivative plus AY equals B sin of omega T. So that's my equation where A and B and Y are these guys. How can I solve this equation? Okay, first of all I can actually put the answer right now and refer you to notes for this lecture which contain actually the whole derivation. But I would like just to make some basically some introductory comments about how I can solve this equation. Here it is. It would be nice if this is not just the sum of derivative and basically the function itself with sky-efficient. It would be nice if it would be a derivative of something. So if it's a derivative of something and I know the function on the right, B is a constant, right? Then I would just integrate the right part to get the left. But this is not a derivative of something unless I will do something about it. Now let me just recall something. If you have X of T times Y of T and you take derivative of this, well if you remember the formula for the derivative of the product is XY plus XY or let me just change the order of this. Okay, does it look like this one? Well if I will multiply this by X of T, I will have X of T Y T plus A X of T Y of T, right? So how can I make this one into this? Well if this is a derivative of X of T, if this is X of T derivative, then I will have the same formulas here, right? So I have to find the function X of T derivative of which is A times this function. Well this is simpler. This is X. X equals E A to the power of A T because what's the derivative of this? Well this is X of T, I mean. Well derivative is the same function. It's an exponential function times the derivative of the inner A times X of T. This is the characteristic property of the exponential function, right? So that's exactly what I'm going to do. I'm going to use X of T which is equal to this and multiply both sides by it. So what happens? I will have E to the power of A T times Y of T plus A E to the power of A T Y of T equals B A to the power of A T sine of omega T. So I just multiply by E to the power of A T. Now I can replace this with E to the power of A T derivative, right? Because the derivative is this one. Okay? So let's do that. Okay? And what is this now? Well this is a derivative of the product E to the power of A T times Y of A T derivative. And it's equal to B E to the power of A T times sine of omega T. Now all I have to do is integrate this to get E to the power of A T times Y of T and divide by E to the power of A T, right? So right now I need an integral of this. Now this part again I will not go into the details. I'll just tell you how it can be accomplished. It can be accomplished by converting sine of omega T using the Euler's formula. Let me remind you the Euler's formula. Cos sine phi plus i sine phi is equal to E to the power of i phi. Remember this? Again go back to the complex numbers in the course. On the same website there is a mass for teens course, prerequisite for this one where it's all explained among complex numbers and trigonometry functions. Okay? So basically if you will replace from here you can get the value of cosine. Well let's do this. Minus i, well let's put it this way, plus sine of minus phi equals E to the power of A T, right? Minus. Why? Because cosine of minus phi is the same as cosine of phi, right? So all I did I put minus phi into this formula and I get this one. But now I can just get rid of this sine because the cosine is an even function. This guy goes out because sine is odd function and I have this. From here I can get the value for cosine which is equal to, so cosine of phi is equal to this plus this. It will cancel out divided by 2. So E to the power i phi plus E to the power minus i phi divided by 2. And sine of phi is equal to how to get sine. I have to subtract and I will get 2i. So it will be E to the power i phi minus E to the power minus i phi divided by 2i. So I can replace sine with the difference between two exponential functions and that means that the whole thing becomes, well difference between two exponential functions and the whole integral actually becomes integral of some exponential function. And phi would be in the exponent part of this thing, right? Because if you will multiply it by E to the power of i phi it will have E to the power a t plus i phi, right? So it will be just plain exponential function. So from now on I will just give you the result of integration of this thing divided by E to the power of a t. So I will give you the result for y of t. And again details you can find in the notes for this lecture. So y t the result is equal to b a sine omega t minus omega cosine omega t divided by a square plus omega square plus constant. Since we are integrating, right? There is a free constant here. Now this is y of t which is this one. Now derivative of this is i of t, the current, right? So before we are differentiating this by the time what I can do I can simplify it a little bit. Look what's inside. Let me just divide this thing into two parts. Okay that's the same thing, right? And a divided by square root of a square plus omega square. I will call a sine of some angle phi and omega divided by square root of a square plus omega square. Cosine of phi. Where phi is basically if I will divide one by another I will have a tangent, right? Tangent sine divided by cosine is a tangent of phi. So tangent of phi is equal to this divided a divided by omega. So I'm just introducing a new variable a divided by omega where a is this one and as a result I will have the tangent. Now from this from this I can rewrite this thing using these types of expressions. So what will I have? I don't think I need this anymore. I will have this thing remains. So b divided by square root of a square plus omega square. Now this would be sine times sine minus cosine times cosine which is a formula for cosine of an sum of two angles with the minus sign, right? So I will have sine phi sine omega t minus cosine phi cosine omega t. That's what I will have, right? a divided by this would be sine and omega divided by this would be cosine. Okay which is equal to b divided by square root of a square plus omega square times. Now what is this? This is minus cosine of omega t plus phi. So that's what my y of t is, plus some kind of free constant which we don't care right now because we will take the derivative anyway from this from y to get the current. Well that's what it is. Now let's take derivative now. So i of t would be derivative of this, right? The y of t is the charge. Rate of change is the current. So this is b divided by square root of a square plus omega square. Derivative of cosine is minus sine, but another minus would be the plane sine of omega t plus phi and times the derivative of inner function which is omega. So that's what we have derived this. Now let's go back to original constants. Instead of a and b we have to substitute whatever is necessary. So equals to b is e0 omega divided by r square root a square 1 over r square c square plus omega square times sine of omega t plus w equals 2. Okay if we will put r inside we will have this r square and r square, right? So r square would go here. Now if we will take omega out of this I'll have to put omega square here, right? In the denominator. So what I have as a result as a result I have r square plus 1 over, so let me rewrite it, r square plus 1 over c square omega square, right? That's what we have. And now omega cancels out and that's my result. So if you recall this thing 1 over c omega is called reactance of the capacitor and it's actually measured in ohms. So it's the capacitor's equivalent of the resistance. So capacitive reactance, capacitive reactance is functionally equivalent to resistance for resistor. We talked about this in the previous lecture. So instead of this I will put much more convenient xc. This is the resistance and this is the capacitive reactance and this is the main formula which basically gives us the ohms law. This is i of t. So obviously this is i0 the peak of the sinusoidal oscillation. So we have the peak is equal to peak divided by this r square. It's kind of sum but it's not just a sum. It's a quadratic sum of the resistor's resistor and capacitors' capacitive reactance. They are the same functionally, the same kind of characteristics. Whatever is for resistor, this is for capacitor. Well obviously since it's plain sinusoidal with the same, by the way, the same frequency, you can go into effective because they are only a square root of 2 smaller than the peak. So these two kind of representing the ohms law equivalent for ac formulas. And in this case this square root of r square plus xc square plays the role of a well resistance of the whole circuit which contains a resistor and capacitor. This is the resistor's resistance. This is the capacitor's reactance. But what's interesting is this phi. What is phi? Phi we were talking about. Phi was arc tangent of what? A divided by omega. Okay, instead of A we can put 1 over rc. So it would be this. Now 1 over omega and c is our reactance. So I can put instead of this, I can put this. Now it looks much better, right? So you see this is xc and this is xc which is actually 1 over omega c. Now this is the phase shift. So you see if my initial oscillations are like this the oscillations of the current are shifted. So the graph of this is just shifted by phi to the left whatever the phi is. And phi is some kind of a, now as a very quick check what if there is no r, no resistance. If you remember we were talking about this problem when I introduced the capacitors in the AC circuit. And we had very similar formula when the peak current was e0 divided by xc. Let me just remind you. The formula without resistor was i of t is equal to e0 divided by xc times sine of omega t plus pi over 2. Now that formula was derived when I introduced the capacitor in the AC, in the AC circuit. Now we have slightly different formula if there is a resistor. But what if the resistor doesn't exist that this formula corresponds to this? If r is equal to 0, well let's think about it. If r is equal to 0 then this would be square root of xc square which is this which is correct. Now if r is equal to 0 then this is infinity. And what is the angle tangent of which is equal to infinity? That's pi over 2, 9 to the degree, right? So that corresponds. My phi would be equal to, in this formula would be equal to pi over 2. So it corresponds to whatever we have derived previously for plain capacitor without any resistor. So resistor gives a different shift. Capacitor by itself gives the shift by pi over 2. But if there is a resistor as well then the shift would be different. It's kind of hard to explain for me why it happens from purely physical standpoint. But whatever it is it is. Maybe you can think about it like, I know it's slowing it a little bit. I don't know how to explain it from the physical standpoint. But addition of the resistor shifts the phase from pi over 2 to something other which in case of no resistor would actually be pi over 2. But in case of there is a resistor it would be a different angle. Well that's it basically. I do suggest you to read the notes for this lecture. They are much more detailed and the differential equation is fully solved, explained. So it's a good exercise in math as well. And well you know my opinion you can't go into physics without math. So on this note I thank you very much for listening to me. Read the notes for this lecture and good luck.


Dear colleagues, organisers, thank you for inviting me to the World Congress of Psychiatrists and Psychologists. I'm honoured to be a keynote speaker. Today I would like to discuss fantasy, fantasy defence when it goes malignant, when it goes awry, what it does to you and what it does to others around you. My name is Sam Baknin, I'm a professor of psychology in Southern Federal University, or Stov-on-Don, Russia, and I'm a professor of finance and a professor of psychology in the outreach programme of SEAPS, Centre for International Advanced and Professional Studies. Before I start, it's important to understand that fantasy tends to metastasise. Fantasy co-opts and hijacks every resource available to the individual. Fantasy takes over emotions, affect, cognitions, memories, psychosexuality and even one's own identity. Fantasy is addictive, it's anxiolytic, mitigates anxiety, it is safe, it buttresses the fantasy's grandiosity, self-idealisation. Actually, each of these dimensions of personality and functioning is mediated by the fantasy, is coloured by the fantasy and is distorted by the fantasy, and gradually all direct contact with and inner experience of one's psychological world and the world around, are lost. A robotic zombie emerges from within the fantastic space, regulated by its narrative. And so today I would like to explore four cases of fantasy, starting with trauma bonding. Trauma bonding is a widely misunderstood concept.  This supposedly creates trauma bonding. If you stop to think of it for a minute, you will see how ridiculous this is. Why would such behaviour create bonding? It's because trauma bonding is way more than that, much more than that. This is why it is nearly impossible to disentangle trauma bonding, to reverse trauma bonding. Trauma bonding involves re-traumatisation. The abuser triggers, reactivates, unresolved conflicts from the targets or from the victim's early childhood. Joanne Lachkar calls it archaic wounds, based on Freud and other early psychoanalysts. The abuser engenders a multi-layered and multi-dimensional resonance of unrequited pain and existential angst, both old and new. It's like replicating the past. It's like time travel. And by doing so, the abuser assumes a maternal role.  He assumes a maternal role within a shared fantasy. At first, during the love bombing and grooming phases, and then a bit later on. So during the love bombing and grooming phases, the abuser becomes a surrogate mother. He promises unconditional love via idealisation of the target or the victim. He idealises the target of the victim and then he gives the victim access to the idealised image. This is perceived by the victim as a form of unconditional love. You love me no matter what. You see me as perfect. It's addictive. It's difficult to break.   This pendulum, this abrupt switching between I'm your mother, I'm your loving mother, I idealise you, I see you as perfect, I love you as perfect. You should love yourself as a perfect being. This is the first message. And then the later messages I reject you.  So the transition, the abrupt transition between these two messages is what creates trauma bombing. This is the reason for trauma bombing. Who can give up on her real life mother?  It's difficult to give up on mother in any way, shape or form, symbolically or in real life. It's like getting rid of a big part of one's self. The abuser gives his victim or target a second chance. It's a second chance at writing all the wrongs of childhood. It's a second chance at resolving conflicts. It's a second chance at attaining and receiving unconditional love. It's a second chance at being seen, at being noticed. And not only being seen, but being seen as a perfect, idealized, flawless object. No one can give up on it. So bonding sets in. And this is what we call trauma bonding. It's a reaction to a fantasy. In this case, trauma bonding, exactly like narcissism, is a fantasy defense gun or eye. But it's a fantasy defense of the victim. What is fantasy?  This is the power of fantasy. The power of fantasy is to usurp reality and to replace it with something else, which appears to be as realistic and plausible as the world. Fantasies are either compensatory. You can't get the real thing, so you fantasize about getting it. Or fantasies could be inhibitory. You're afraid to pursue the real thing, so you fantasize about it. All fantasies, therefore, are in some way healthy or normal, regardless of their contents, because they help us cope with harsh, unpalatable, unacceptable reality. But when fantasy goes too far, it degenerates into all kinds and forms of mental illness. Schizotypy is psychological neoteny. It involves regression to pre-self-childhood, when the self is either not constellated or not integrated, when boundaries are fuzzy, boundaries are blurred, and there is a confusion between external and internal objects. Creativity and imagination are enhanced and predisposed to fantasy. And so fantasy, as I said, tends to metastasize. I repeat, it co-ops, it hijacks every resource available to the individual. His emotions, affect, cognitions, memories, psychosexuality, even his or her identity. It is addictive, it's anxiolytic, because it is safe. It buttresses the fantasy's grandiosity, self-idealization, because it restores a sense of inner locus of control. You control the fantasy, you can't control reality, you control internal objects that represent people, you can't control the people that gave rise to these objects. Actually, each of these dimensions of personality co-opted and hijacked by fantasy. Each of these types of functions, they're all mediated via the fantasy, they're collared by it, they're distorted by it, and gradually all direct contact with the inner experiences of one psychological world is lost. The emotional investment, the cafexis in fantasy, is total, and it comes at the expense of the person's reality testing. We can easily spot the captives of fantasy. They avoid reality, they opt for substitutive action. Their self-reported emotions, hopes, wishes, and dreams starkly contradict their actions. So we can have a client who says, for example, I crave intimacy, I love sex, and I seek love in a committed relationship, but at the same time, he chooses mostly objectifying sex with strangers or emotionally unavailable partners as a dominant practice. Is intimately a zone devolved into sexlessness, cheating, and dissolution? The praxis contradicts the declaration. Such a person also selects only inappropriate and incompatible, and therefore temporary mates who do not constitute a threat to the integrity and longevity of the fantasy by diverging from it, by undermining the idealized, largely imagined snapshot. The intrusion of fantasy into all areas of life, even casual ones, like, for example, casual sex, renders fantasy largely auto-erotic and solipsistic. Only a small minority of participants of both genders in fantasy actually consummate the fantasy, bodily or spiritually or psychologically. So this is trauma bonding. Let's take another type of fantasy, another case study. Identity disturbance. Cluster B patients suffer from identity disturbance. They are life-long, disappearing acts. They are emptinesses. They are pivoted on an empty schizoid core. There's nobody there. Cluster B patients are not about a presence. They are in absence. The abuse of substances helps these patients to suspend their existence, to not be themselves for a few hours, especially around other people, in social and sexual contexts. They leverage substances and they abuse them in order to obtain a persistent state of dissociation, a dissociative hiatus in life. Because cluster B patients are essentially nothing, but dead voids. They feel alive and existent only when they are not themselves. When they are, for example, inebriated, intoxicated, wasted, drunk, or when they act out, or when they switch into other self-states. For example, the borderline switches into a secondary psychopath. The narcissist switches into his grandiose false self. These clients, these patients, they feel alive only when they symbolically kill themselves. But not being oneself, denying oneself, migrating to other self-states which are essentially not you. These become a habit. And many of these people forget how to be themselves. Being themselves feels so alien, so sad, so dull, even vaguely menacing, that they avoid being themselves assiduously and for as long as they can. Gradually, incrementally, this overwhelming need to not be oneself by, for example, abusing substances, this overwhelming need to deny oneself, to suspend oneself, this need impacts all fields of life. The workplace, career, relationships, and family included. Another problem is that when these patients are not themselves, when they are, for example, drunk, predators of all types, sexual and emotional, take advantage of these patients. They gain access to their bodies, minds, and material possessions. They use these patients contemptuously, and then they discard them. And these repeated humiliations, rejections, and exploitation exacerbate the underlying conditions, induce anxiety and depression, and push the patient inexorably to harm herself and to escalate even further her attempts to vanish down the road to self-annihilation, down the rabbit hole, down the black hole. Let's consider another manifestation of fantasy, the fantasy defense. Case three, fantastic grandiosity. Fantasy involves cognitive deficits, it involves cognitive distortions. Ironically, the narcissist's grandiosity, fantasy defense, is less rigid than the grandiosity of either the borderline or the psychopath. Throughout his life, the narcissist is subjected to a barrage of narcissistic injuries and narcissistic modifications. These challenges remould or entirely suspend his false self, the locus of his grandiose self-deception. Psychopaths and borderlines do not experience any undermining of their variance of self-aggrandizement, narcissists do. Consequently, the grandiosity of borderlines and psychopaths is immutable, not amenable to any process of learning or modification via intrusions from countervailing harsh reality. The narcissist is much more flexible in this sense, is much less rigid, and that's because the narcissist's fantasy defense is outward oriented. Its main goal is to obtain narcissistic supply, so the narcissist must be alert and attuned to the vicissitudes in supply and in sources of supply around him. In other words, the narcissist must be embedded in the world in some respects, much more than the borderline or the psychopath. But all three share a fantasy of grandiosity.  This fantasy of grandiosity is the one which triggers self-states and pseudo-identities. This fantasy of grandiosity dictates or at least determines which emotions and which cognitions will come to the fore and become conscious. They are molded and shared, they are. Narcissists, psychopaths and borderlines are ratifications of the fantasy defense. Let's talk about a specific type of fantasy, usually common among narcissists. It's the shared fantasy. The term shared fantasy was coined by F. Sander, S-A-N-D-E-R in 1989. In his article titled Shared Unconscious Conflicts, Marital Disharmony and Psychoanalytic Therapy, published in J. Oldham and R. Libert as editors of the Middle Year's New Psychoanalytic Perspectives, New Haven, Connecticut, Yale University Press, pages 160 to 176. Okay, that's the reference for shared fantasy. What is a shared fantasy? The narcissist's ability to engage in a shared fantasy rests on three pillars. The environment has to be ruthless, easy to discount, fantastic or dreamlike in order to uphold this grandiosity, timeless, a perception of an eternal present so that actions do not bear consequences and boundless, no limit to what can be done or accomplished. So the environment is a first precondition for the emergence of a shared fantasy. The circumstances ought to be right, conducive to grandiose fantasies by yielding lots of money, sex, power, access, fame, celebrity or notoriety, effortlessly. In this sense, there is a psychopathic tinge or a psychopathic undercurrent in the shared fantasy. The narcissist expects to reap the rewards of the circumstantial rewards with no commensurate investment or commitment. The last and most important element, of course, in the shared fantasy is the intimate partner, the narcissist's partner in constructing the foliar dude, the mass psychogenic illness of the shared fantasy. The partner in the shared fantasy has to be present to avoid abandonment anxiety, has to be submissive, fawning, adulating, playful or childlike, and has to be mothering or fathering, for example, as a business associate. It has to be, the partner has to be addicted to the narcissist. So once the narcissist finds the perfect, comes across the perfect confidence of environment, circumstances, and partner, he establishes a fantastic space and then he invites the partner into this fantastic space via the log-bombing and grooming phase. One major element in the fantastic space is, of course, the idealized image of the partner. The narcissist exposes the partner to this idealized image in order to foster addiction. The partner becomes addicted to seeing herself via the narcissist's eyes.  Borderlines also have shared fantasies. They have three types, actually, of shared fantasy. The fairy godmother fantasy, the princess fantasy, and the damsel in distress fantasy. Each fantasy hails a different type of intimate partner. The fairy godmother attracts beneficiaries of largesse. The princess fantasy attracts a foaning subject, and the damsel in distress attracts rescuers and saviours. The borderline, exactly like the narcissist, takes a snapshot and introjects, she introjects via introjection. She takes a snapshot of her intimate partner, but is a persecutory object. So her snapshot actually initially devalues the intimate partner, while the narcissist's snapshot of his potential partner idealizes the partner. That's a major difference between borderline dynamics and narcissistic dynamics. In the borderline's mind, the intimate partner has the power to engulf her, has the power to harm her, has the power to cause her pain. So the snapshot would be tinged with fear, and dread, and rejection, and resentment, and disappointment, and hatred, even. It would be a persecutory object, and this inexorably leads to decompensation and acting out the equivalent of narcissistic modification. We can call it borderline modification. The narcissist's shared fantasy involves perfect love, adulation. It attracts intimate partners who are willing to play the roles or fan, playmate, and mother. The narcissist's first snapshot is intimate partner as an idealized object, and then as she diverges from the snapshot, converts her into a persecutory object which induces modification. Discrepancies in the shared fantasy provoke the narcissist to become a primary factor or one psychopath. Discrepancies in the shared fantasy provoke the borderline to become a factor or two secondary psychopath. Wrecklessness and fantasy are both clinical features of borderline personality disorder, and in some respects also of psychopathy. Fantasy characterizes the borderline's intimate relationships as well as it does with the narcissist. But her self-destructiveness, the borderline's self-destructiveness, her emotional dysregulation, her modulability as such, that she always sabotages what she has. As reality intrudes on the fantasy which the borderline finds intolerable and anxiety inducing, she begins to devalue the partner. She acts out egregiously, and the resulting deterioration and the quality of the bond justifies bouts of misbehavior, for example, cheating on the partner and reckless self-trashing on the way to a new man with the next fantasy. And like the schizoid and like the narcissist, the borderline has fantasies and intrusive dreams of socially condemned sex. She recklessly places herself repeatedly in harm's way in reality. To counter the ego-distony provoked by her sexual exhibitionism and extreme sexual self-trashing, the borderline, for example, fantasizes that the man or men multiple, even in a one-night stand or in group sex, care about her or love her. The borderline idealizes snapshots these sexual predators and interacts with the internalized objects rather than with the brutish and revolting or even dangerous or risky reality. The borderline weaves a narrative which she knows is fictitious but which allows her to pretend to make believe, to dream and therefore to act within a fantastic space. Any manifestation of kindness an expensive date, free drinks or drugs, a place to crash in for the night, flirting and courting, attentiveness, or affection or outright physical intimacy, all these are incorporated into the fantasy, all these legitimize the borderline's actions and conversely abuse, indifference, avoidance, nastiness or malice render her sex problematic. She becomes sex averse because these kinds of behaviors or misbehaviors shatter the fantasy. They deny her the possibility to express her core psychosexuality safely. Let's repeat this. When the borderline is exposed, for example in a relationship with the narcissist, to abuse, indifference, avoidance, nastiness, withdrawal, absence, malice, rejection, humiliation, all these, she becomes sex averse and she becomes sex averse because she can no longer idealize her narcissistic partner. She can no longer inhabit the shattered fantasy and without the fantasy she can't express her core psychosexuality safely, for example, with a partner. She can't feel egocintonic or legitimate about her psychosexuality and in this the borderline differs from masochistic women and from submissive women in BDSM. And so confronted with rejection the borderline becomes pseudo-stupid and passive-aggressive or anti-social in other words the secondary psycho. When the borderline's partner is as prone to fantasy as she is for example when she teams up with the narcissist or when he misreads her psychology entirely she embarks on fantastic pseudo-relationships that are founded on sex that are misinterpreted as love. Having misjudged the nature of the liaison and being faced with the exigencies of reality the borderline again resorts to fantasy. She ends up being discarded or she cheats on her intimate but sexless partner with a new fantasy action figure. You see the role of fantasy in all these disorders. The main role of fantasy is to allow people with cluster B personality disorders and not only cluster B personality disorders because this applies also to schizoid personality disorder paranoid personality disorder. One could generalize and say that the role of fantasy in personality disorders is to allow these people to function. They are unable to function in reality. Reality impinges very critical dimensions and determinants of their personality. Reality drives them to experience extreme pain, discomfort, egotistony, fear. Reality creates injuries and modifications. Reality is perceived as threatening and hostile so they can't function in reality they need to deny reality. They need to put a boundary or barrier or partition between themselves and reality and this firewall is the fantasy defense. Within the perimeter of the firewall, behind the firewall they are able to act. They are able to act in a way that approximates that is asymptotic to who they really are and behind the firewall they feel legitimized and above all they feel safe. This is why it's extremely difficult if not impossible to dismantle life-long fantasy defenses and types of relationships with fantasy dynamics such as trauma bonding or the shared fantasy. Thank you for listening and I'm open now to two questions. You can pose the questions on the chat or you can pose the questions verbally. The host will take care of it, I'm sure. Thank you again.


Okay, so this one says how many grams of sodium chloride do you need or are needed to produce 9.21 liters of oxygen gas, okay? So we have the number 9.21 and we're going backwards to figure out well what was the mass that we had to begin with, okay? So it's the first thing we're going to have to do to convert from liters to moles, right? So this is at STP, so we've got that conversion factor that was given to us up there, right? For every 22.4 liters of oxygen gas, we've got one mole of oxygen gas, okay? So watch, cancel, cancel and we're at moles of oxygen gas. But we want to get to massive sodium chloride, so we're not there yet, right? So what do we use? Next. What's next? So we're going to get from moles to moles, so what is that called? Mole ratio. Mole ratio, so which mole ratio are we going to use? We want to get to sodium chloride eventually, so what are we going to use? On the top, what? 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. 2. Mole of sodium chloride? Okay, now what do we want to do? Convert it to grams. Convert it to grams, and how do we convert from moles to mass? Yeah. The moles are mass, very good, okay? So, how do we figure out what the moles are mass? Well, what mole are we going to be using? Sodium chloride, okay? Let's figure that out together. So 22.99 plus 35.45 plus 3 times 60. So at the bottom, we're going to put what? One mole. One mole. Sodium chloride. Very good. Sodium chloride. And on the top, I got 106.44 grams of sodium chloride. OK? Cancel. Cancel. And are we at mass of sodium chloride now? Yes, we are. So we should be able to just convert now. So I want you guys to try it on your calculators. Make sure you get the same answer as me. The two Sukfugs, 29.22 grams of sodium chloride. So hopefully you guys got the same. If not, you probably punched it into your calculator incorrectly. Are you impressed with yourself? Yes, you should be. I'm proud of you all. All of you guys, OK? If you're able to understand this, I'm real proud of you guys, OK?


Hello, and welcome to Adafruit Show and Tell. I'm Liz.  If you would like to join the stream, you can find a link to the live broadcast, in the live broadcast chat rather, on our Discord server at adafruit.it-slash-discord. First, we're going to kick things off though with some Adafruit folks and we're going to start with Scott. Hello. Hi, Liz. Thanks for hosting. Of course, yeah. Let me rearrange it. A little bit. What I've been doing is the IMX-RT is nearly there for us to release as a Metro. I've got it on my desk here and I've been experimenting with determining the performance of it. It's a lot more complicated of a chip and I want to get it configured so that we can get a good balance of RAM and speed. I've been playing around with that and ARM has a thing called SWO, which is a way of outputting performance data straight from the CPU out to the outside world. Let me share my screen. What we've got here is just as a test, I was doing two things here. One, I'm printing what you would normally see in the terminal but via this other path. Here you can see, for example, like trace back, you're trying to set the frequency and you can't. One neat thing about it is that it comes with this timestamp, which is actually dependent on the CPU frequency, so it should have per cycle accuracy for this timestamp. Then what I was trying to do here is output the instruction pointer for Python. For every individual bytecode thing that we run, how long does it take with my goal? Really, I wanted to see if I could output them all fast enough, because that's the challenge is this is a 500 megahertz CPU.  You can actually see here where it says overflow. The neat thing about it is if the things that are generating the stuff in the CPU work too fast, they detect that they're going too fast. They'll throw a thing that says, oh, by the way, we dropped something here because we couldn't manage to do it. I think what I'm going to end up doing is just slowing everything down, slowing all of the CPU down, and leaving the debug stuff faster to try to figure out how I can get the data that I want because ideally I would be able to do a trace where it says, this function was called from here to here, and this function was called from here to here, and we'd be able to see everything that's involved in actually running some code should be neat. That's very cool. I think what I have to do is I have to basically slow the world down on the chip. Like a quarter speed or a tenth of speed or even slower, where something that would run normally for a minute would take maybe 10 minutes, but I'd also capture all this data about it. Because there is all these complexities, like I can't really fake it between all the caching and stuff. I really just, I think you'll just slow the whole world down and capture it as much as I can to see how it's actually working. So that's pretty cool. And this SWO is actually on the SWD connector already, which is pretty neat. So I'm using just the stock Metro M7 for that right now. And then because I'm doing all this data ingestion and I was doing the logic analyzer stuff, I also picked up these two dev kits from DigiKey that I haven't actually played with yet. Okay. On the upside down, this is a super speed explorer kit. So it's a Cyprus FX3. Okay. Cyprus has these easy USB chips that are really geared towards like being an interface between a fast on board bus and the USB world. And super speed is five gigabits per second, which is pretty amazing. Very fast. So for logic analyzer stuff, for trace capture, that could be like really, really cool. So yeah, playing around a lot. Or you think of doing something with your Pi Cygrock project with one of those then? I am, yeah. So the FX2, which is the, this is a high speed device. So 480 megabits is like a very, very common chip in the Cygrock world already. So I'd like to support that from the Python side of things too. Very cool. So yeah, that's why I picked those up is because I think supporting those two boards would be really, really cool in Pi Cygrock. And I actually, for this SWO stuff, I'm using a decoder from Cygrock to do the analysis of the bytes coming in. So it's working out. That's awesome. Great. Well, thanks so much, Scott. Yep. Thanks, Liz. Thanks. Have a good night. Next, we're going to go to Internet Sensation and Barella. Hardly, Liz.  Thank you. Yes. Last time I was on, I was showing this kind of floppy hard case and knowing Pedro have had it on their show. The case is wonderful. It has an 80 fruit pie portal, which is fantastic. But there's no, there's no flop, what you call it, file icons like, like my other project. That the circuit Python community, Mark Thomas and Dan and Jeff have all been kind of working on getting animated GIF, GIF, however you'd like to say it, files playing on displays in circuit Python. So I could have done that maybe in Arduino, but that's not so much fun. I can confirm it's not as much fun. So there's been experimental in the nightly builds of 8.1. And so I just wanted to play with it and it became so much fun. I started putting them on to Twitter and masted on. And so you have the old schoolness of the floppy case. Excellent. And then you can put all kinds of videos on it. I love Max Headroom. He's very vintage along with the floppy. You can see my Twitter down here, whatever. You can go into my Twitter account and check out all the different videos that I've made so far. And also I believe on Ask an Engineer there's going to be a little loop about which videos I've made. I've made some of the startups for Mac and Amiga, a few memes, a couple Easter eggs. So it's really fun doing this and trying to think of things that mesh well between the vintage part and the video part because of all the memes. And I've gotten a lot of feedback from people who like the nostalgia. Some people are telling me what I'm doing wrong. But you know, a lot of people like the floppy nostalgia and the just position. It's great fun. So we don't have a guide yet. But one will probably be coming soon because we're finding the playback code in Circuit Python. But it will be there. So pick up some stuff and have a case printed. Then you'll be in the lane for when it pops up. Yes. That's awesome. Thanks for sharing that, Ann. And looking forward to more retro from you. Thank you. A good one. Next, for some more floppy stuff, we're going to go to Jeff. Hello, Jeff. You are muted. Oh, Jeff, you're muted. All right. I was just thanking Ann for putting Nyan Cat on the floppy. That was the one I asked for. Because, you know, it's got that retro style to it even if it's not from the true floppy era. Yes. But my guide, if you want to go to the overhead camera, for the feather wing came out today. So this here is the feather wing itself. And you pair it with an RP2040 microcontroller and plug it all into a vintage floppy disk. This is a Panasonic three and a half inch floppy. Oh, okay. And you can arc your old floppies with it using flex engine and grease weasel. You can use it as a mass storage device to actually mount it live on your computer in real time. And you can do other stuff with it. And we are looking. We're hoping that somebody will make floppy music with it. We don't have code for it yet. But, you know, you can move the floppy motor back and forth and make sounds with it. So maybe some kind of MIDI to floppy thing in the future. I don't know. It's not my thing. But anyway, yeah, so that's this. And you have to power it with five and 12 volts depending on the drive. And some other gotchas that I ran into. I've got two other floppy drives here. So this connector, let me unplug it. Maybe this connector has a key, which is this little nubbin here you can see that stops you from plugging it in the wrong way. That's handy. Well, this drive here, its connector is correct. So you can plug it in. This drive, it's hard to see. It's hard to focus. It's got the notch in the wrong position. So if you plug it in like this, which is how it fits, it's wrong. It doesn't work. And you can't flip it around because the key stops you from plugging it in the wrong way. All right. So and then my third drive. This might be why people don't use technology. It actually has both sides cut out. So you can for sure plug it in, but one of the ways is wrong. So yeah, just watch out when you're plugging in your floppy drive. The guide does mention how to do a quick continuity test with your meter just to make sure it's incorrect. And then if you've got one of these old guys, the honkin five and a quarter Oh, you'll need to find a different ribbon style connector.  But anyway, if you are into it, check out the guide. We've got Arduino code. We've got circuit Python code. We've got just a UF two that you put on and then you use it with the grease weasel and flex engine on your host computer. And that is for doing things like archiving your old floppy disks, which you were kind of asking me about before we went on. Yes, I have a quick floppy question because I kind of missed all the floppy things. And I was given this floppy in like the fifth or sixth grade so that I could put like homework assignments on it and then bring it to the computer lab to print from it. I think it was some sort of task to try and make us responsible adults. And I don't know what's on it. Like I don't know if it's actually I have in my elementary school hand ranked science report. So I don't know. Oh, that could be really cool. Like I don't know what's on here. So I was curious if this kind of floppy would work with the feather wing. Yeah. So you were saying it's a Windows floppy. Yes. And so yeah, with there's a mass storage demo. So if it's a 1.44 meg floppy, there were two different capacities. Then that'll just actually mount on your modern computer when you use that firmware. Okay. Otherwise you can use those two pieces of software I was talking about, either flex engine or grease weasel. Okay. And that will get you an image file. And then apparently with the seven zip program, you can open up that image file similar to how you open up a zip file and see what's inside. And the guide covers those things. So that's actually check out that guide right after you get off this broadcast. Excellent. I will I will use that to read the floppy. And then I'll transfer right over to the floppy music. That'll be a good workflow. All right. Awesome. Thanks so much, Jeff. Yep. Talk to you later. Have a good one. Next, we're going to go to John Park. Hey John. Hey John. How's it going? It's going well. First of all, I have a tell that I can't show, but I'm so excited because it snowed briefly here in LA today, which is so weird, but I can't show. I just melted like within two seconds to hit in the ground. Yeah. This was a little warm. But wherever that stuff comes from in the sky was very cold. So it made its way down as a sort of gross ice, chunklet things. That's what ours has turned to now. It's just gross and yeah. We've had some the hills out here about 3000 foot elevation and somewhere around 2,200 feet is there's been a snow line for a couple of days. So that's that's fun and weird. It's also terrible, terrible weather for I'm trying to do some spray painting. I'm actually on my midi version of the meowsic cat.  Wow. A guy. So today it has been variously gray and rainy, snowing and then sunny and very windy. So just perfectly terrible weather for trying to do any kind of spray painting. I was setting up walkers outside and painting and then bringing it in the shop to try to let it. I've tried to spray paint in similar weather here and it's just no good. Usually Southern California is like a great place for spray paint. Their weather is so dry and hot, but not today. So on to the thing I can show, which is if you pop the screen up there, what I've got is I've been working on doing some boards using these chalk key switches. So these are low profile key switches from Kale, the brand Kale. And here is an example of a sort of typical more common Cherry MX size switch next to the Kale. Right. It's got a nice low profile and we sell them, but we don't have any breakout boards for them and they have weird pin spacing and stabilizers and things. So you're not really shoved into any breadboard or perma-prote or anything like that. You kind of need a breakout. Yeah. So I took on a challenge that Lamore gave me, which was could you make a footprint for this in fritzing. So fritzing, I've done some PCB work in there and I've made some parts. This was definitely the biggest challenge for part making because I decided to go for the Reverse Mount Neopixel integrated into the same part as the footprint of the Kale switch. Okay. Yeah. This sort of worked and sort of didn't. Fritzing did not like that I was trying to make a SMD part and a through-hole part that was all one part. So yeah, why gets really weird? Like I kind of get so angry. I was able to get boards made. They work except for due to an error, just a straight-up error on my part. The holes got plated. So you can see there, it's plating there, which normally wouldn't matter except that can and did in one case, some of these solder joints. So I ended up with a problem. So I've revised that, but this is one of the ones that I had made that still has that problem, has the plating in there. And so the idea here is to make a little hex switch keypad, sort of like a hex shape, seven of these key switches. And let me adjust my exposure there so you can see a little better. I've got the reveal here. So here's one with really beautiful hexagonal keys. So those fit on top of this kind of weird stem that the Kale chocks have this little tooth thing. And so I've got my reverse Mount Neopixels under there glowing through. These are some commercially made keycaps that I got. They're a little hard to find at the moment, but Noe has started to work on a 3D printed variant of it so that we can do a project and people can get their hands on those. You could use this for anything. What I've got happening right now, if I turn up the exposure again and just flip this over, is I have a cutie pie mounted underneath. And right now it's up on some big risers there, so it's goofy, but eventually that'll be mounted pretty flush to there. So I'm just using kind of one pin per switch and using our keypad library. And then I have some code that I adapted from another project I've done, which was the modal MIDI keyboard. The idea there was a keyboard that plays notes that all sound good together, so you don't really have to know what you're doing. It's just more about selecting the intervals that you like. So I adjusted that to have a nice interval for these seven keys and each of them plays their own chords. So I have choices of like Lydian and Mixolydian and Minor and Major. So you can pick the mode you want, but then they each have their own sort of interesting intervals and even an octave thrown in there. So let me know if you can hear this well enough or I can turn it up. I can hear it, yep. Sounds good. Okay, so here's how I have them laid out. And there are a lot of keyboard projects out there that are using this idea of isomorphic layouts where it's not a keyboard sort of linear layout, but instead there are relationships among keys that sound good next to their neighbors and so forth. I didn't research any of that and I just kind of invented something sort of I think like it from scratch just because that was fun, but here's what it is with them played in order. So I've got an octave there, it's just not 12 semitones, but you can hear each of them have their own little chord. So the idea here is you can kind of come up with these patterns, these 2D patterns in your mind that work well visually for you and spatially for you and play things that I think kind of sound neat together. Yeah, it sounds really cool. So there's a little taste of the weird hex keypad and where I'm at with it. That's awesome. I can't wait to see how this all comes together. Yes, thanks so much. Modes and the hexes, great. Yeah, come on by tomorrow to the workshop. I'll dig into that a bit and sort of what the code is behind that and my thinking behind it. And maybe I'll even research the way this is properly done. So I'll have some, I'll be armed with some knowledge by tomorrow. Music theory and electronics, I love it. That's it. Yeah. All right. Have a good night. Thank you. Last but not least, we are going to hear from community member DJ Devon. DJ Devon, can you play us out? Sure. I'm glad. Okay. There's only one, only one. I know. It's a quiet night. It's a quiet night, but that's okay. Well, not with my mail boom box. Oh, wow. That's not quiet at all. Actually, this is only a 10% volume. Fair. And I barely have it on. So I really like the little mini mailbox from, I think Brent rebelled at this on printables. Yeah. And I did a make of that, but I wanted a big one. And this took 150 hours to print. Wow. All three pieces. Yeah. And I can't get the flag to stay on. Oh, no. Yeah. Well, I have to figure that out. I cannibalized the servo motor from the little guy and made the walls.  I didn't quite figure that into the dimensions when I did the servo. So the servo doesn't stick out far enough, but that's a problem for another day. Yeah. So in here, it's just, oh, God, where do I start? I have a pink Feather RP2040 with a Laura RFM95 Featherwing. So this mailbox is going to be a notification system for the real mailbox outside. I see. So it's going to do a lot of stuff as well as run octoprint, which I have plans in the future for using your guide for the octoprint stuff and then having a little LCD like right there as well as the notification for the print status and just like a whole notification bonanza kind of thing. It's the most functional mailbox I think I've ever seen. Well, it's not all working yet, so it's not that functional. Well, you know, eventually it will be the most functional. There are plans, yes. Oh, today I also got it working with Bluetooth. So it's a Bluetooth mailbox doctor print thingy. There's a small I2S amplifier in here. I don't know the name of it, the Max 9387 something or other. It's a mono amp, and you're not supposed to use this as a preamp to drive the 20 watt out of fruit amp. Now, the 20 watt is not I2S. It's just regular analog. It has I2C digital controls that you can kind of turn off and use a potentiometer and make it analog. So you have a digital I2C or an analog kind of thing and I have it set as I2C and that is not playing nicely with the little amplifier, which is why you're not supposed to use the little guy as a preamp because they both use I2C and they conflict with each other and tons of noise, tons of hum. If I turn this all the way up, it does not sound good. But I am working on that and I will figure that out and I think that's about all I have to show for now. This is definitely a work in progress. This is going to take a while. Yeah. Well, we like seeing works in progress because then, you know, it's all that more satisfying to see it working at the end. And are you documenting the build or the code you're doing anywhere? In my mind. In your mind. Fair. I guess not. No. No. Ultimately, this is going to be for a family member who lives out in the country. So like I can go to my mailbox and back, no problem, but they live really far away, which is why I want the Laura stuff. Plus, I can also use this to prototype the lid opening and closing. I'm going to use a an ultrasonic sent distance sensor. Okay. And another idea for the the distance is, yes, it will notify you of activity when it's open. But with the ultrasonic, I'm hoping that it can get distance just right so that if there's actually mail inside, it will tell you if there's actual mail inside. Ooh, that would be very cool. Yeah. So projects within projects within projects. Excellent. All right. Well, I like what you've done so far and looking forward to seeing how it goes along as you keep working on it. Thank you very much. And all you other community members out there, get in show and tell. I'm not the only one out here. All right. Have a great night. Have a good one. All right. That's good to do it for tonight's show and tell, but stick around in about five minutes right here is going to be Ask an Engineer with Lamor and PT. So until next time, hope everyone has a good night. Bye.


To date, about 100 genetic markers have been linked to obesity, but put them all together, and overall they account for less than 3% of the difference in BMI between people. The fat gene you may have heard about, called FTO, short for Fat Mass and Obesity Associated, is the gene most strongly linked to obesity, but it explains less than 1% of the difference between people, a mere 0.34%. FTO codes for a brain protein that appears to affect your appetite. Are you one of the billion people that carry the FTO's susceptibility genes? Who cares, as it only appears to result in a difference in intake of a few hundred extra calories a year? I mean, the energy imbalance that led to the obesity epidemic is on the order of hundreds of calories a day. And that's the gene so far known to have the most effect. The chances of accurately predicting obesity risk based on FTO status is only slightly better than flipping a coin. In other words, no, those genes don't make you look fat. When it comes to obesity, the power of your genes is nothing compared to the power of your fork. Even a small influence the FTO gene does have appears to be weaker among those who are physically active, maybe abolished completely, and those eating healthier diets. FTO only appears to affect those eating diets higher in saturated fat, predominantly found in meat, dairy, and junk food. Those eating healthier appear to be at no greater risk of weight gain, even if they inherited the fat gene from both their parents. Physiologically, FTO gene status does not appear to affect your ability to lose weight psychologically, though, knowing that you're at increased genetic risk for obesity may motivate some people to eat and live healthier but may cause others to fatalistically throw their hands up in the air and resign themselves to thinking that it just runs in their family. Obesity does tend to run in families, but so do lousy diets. Concerning the weight of biological versus adopted children can help kind of tease out the contributions of lifestyles versus genetics. Children growing up with two overweight biological parents were found to be 27% more likely to be overweight themselves, whereas adopted children placed in a home with two overweight parents were 21% more likely to be overweight. So, you know, genetics does play a role, but this suggests it's more the children's environment than their DNA. One of the most dramatic examples of the power of diet over DNA comes from the Pima Indians. The Pima Indians of Arizona have among the highest rates of obesity and the highest rates of diabetes in the world. This has been ascribed to their relatively fuel-efficient genetic makeup. Their propensity to store calories may have served them well in times of scarcity when they were living off of corn, beans, and squash. But when the area became settled, their source of water, the Gila River, was diverted upstream. Those who survived the ensuing famine had to abandon their traditional diet to live off of government food programs and chronic disease rates skyrocketed. Same genes, but different diet, different results. In fact, a natural experiment was set up. The Pima living over the border in Mexico come from the same genetic pool, but were able to maintain more of their traditional lifestyle, sticking with their beans, tortillas, and potatoes. Same genes, but seven times less obesity, about four times less diabetes. Genes may load the gun, but diet pulls the trigger.


it's bleach fill day welcome back how you doing thanks for coming you look gorgeous fabulous beautiful and you know it's early in the morning so I look a little tired over here I am struggling to to to put words together right now because I'm exhausted but really there's only like one little part of the day where I'm not exhausted and that's like the most inconvenient part of the day maybe like 1 a.m. to 3 a.m. I'm like wide awake ready to go ready to dance ready to party ready to function like the rest of society does but naturally the rest of the day I just want to take a nap but no I have to force myself to be a functioning part of this society a highly functional part of this society I for some reason just want to do everything and be everywhere but my body doesn't and that's okay because I make it do it anyway I forced it anyways today we got bleach fails our favorites the classic the bleach fell you know what this is it's hairdresser reacts let's watch some videos shall we let's do it first video is by life of Pat it's I completely screwed up my hair my girlfriend's hair hair dye fail oh I love when boyfriends get involved and screw their girlfriend's hair up the only thing better than 70 screen up their own hair is their significant other screening up for them watch it what are we doing Sally Hanson's Sally Hanson is not Sally's beauty supply what is Sally it's like a nail polish is the airbrush leg stuff Sally's beauty is a beauty supply store just wanted to call you out for that I just thought that was really funny so she's got some virgin hair and she wants to go purple oh I'm so excited for Alejandra I mean who breaks the who breaks the pinky swear and if you said me if you said that you do like get off my channel I might not be bald I think she's just consulted with her hairdresser friend maybe the hairdresser friend should have been like don't do it still so many of you get confused with the root thing I see comments all over the place like Brad says never start with the roots listen you can start with the roots if you're doing a retouch on your blonde hair otherwise if you're coloring virgin hair the roots process the fastest so you don't start with the roots you start with the ends and you work your damn way up and you do the roots last because those process the fastest with all the heat through scale that's that hope that makes sense now so she's gonna get really bright roots and probably really dark ends oh booty gurus come after me oh my beauty guru no I'm gonna say no I personally think the opposite so I love love when people try to mush through bleached like it's shampoo that it's a classic thing I see in these videos people going like not gonna work that way so oh no this is really bad at least she's going purple because purple cancels out yellow it'll help her situation a bit with that purple you know it's gonna be bad about this is that even if she went to a really talented professional at this point she would be there for the entire rest of the day and maybe even then we wouldn't be able to fix it because there's all spots of darkness going through her hair that means the hairstyles have to pick out every individual piece paint only the dark spots with a higher developer mixed with bleach and then go on the lighter spots and do a different developer it's just a complete mess if she came to Islam's version hair it would honestly be much easier much much easier than doing a humongous corrective job I've had a girl come into Islam with this exact hair situation took me three days and a lot a lot of money she paid a lot yeah that's what we do that's what we do yeah Long street of black No Victoria's like what had happened here and when and how and where and what did you do and I don't know if there's any saving that girl Yes The Starbucks Uniform on I love that Okay It looks a whole lot better, but still Oh Even if she puts purple over there, it's gonna still be very spotty and very Is it a good purple, okay So Listen definitely didn't look very good I'd recommend next time even if it is that screwed up Underneath do a darker purple on the roof and I let it purple on the ends It'll confuse the eye to make it look more even and natural like a natural purple You know right like just it'll it'll make it look nicer, but She was happy and I'm very happy that she changed her hair I think the purple suits her a lot better and makes her look more fun and vibrant and ready to go and like young and cool And fresh it's fun, so I appreciate that but next time don't screw it up that bad Okay. All right. Let's move on It's called bleach fail to strike my hair for 14 minutes straight trying to go blonde home. Yes Why are we changing her hair? It looks so Cute if she redid the purple and the pink. I'm really into the split color moment. It looks really good I'm not really sure what she's doing or what the goal is, but I think it's gonna make it blonde A bleach wash are we doing? Okay, so she's using vitamin C and clarifying shampoo to get this pink and purple out of our hair I am intrigued. I want to see if this works I wonder what that pink and purple color is will kind of hair color it is but I Will be very impressed if something good happens here. I don't see anything different Correct She got that A plus on that. All right, and perfect. We're working on the ends first in this case I wouldn't have done that people are always doing the reverse of what they're supposed to do here So because she's just trying to lighten that extra Layer of that demi permanent color off the top of her hair cuticle I wouldn't have started applying the bleach on that part first because it's already lightened You're just trying to do a little bit of lightening just to push that Color off the top of the hair cuticle, but in this case you should have started on the roots She's doing a retouch you should start on the roots and then after that root is Process then go on the ends and put the rest of a lightener all over that pink and purple that way Just lifts it up You shouldn't have to leave that on for more than like 10 15 minutes and if it doesn't come out after 10 15 minutes It's probably just not going to come out because it's so deep in that hair cuticle You're just knocking out get it out. All you're gonna do is fry your hair off fry it off You can only lift your hair so much. And so if under that pink it's already blonde You can't keep lifting your hair.   Oh Okay, she is 40 volume in this case you guys I would never use 40 volume. Oh Once I got blonde Get started Why girl? No That's because she has fine Medium thickness hair fine hair for some reason it likes the bleach. It thrives bleach I have fine hair. It's very difficult to break my hair off Like I could go over it and over it and over it with 40 volume and bleach and it would be like I don't want to break off yet Like believe me. I've been there before I was a hairstylist and it never broke up It's actually very interesting to me why why the purple come out and not the pink I don't know maybe the molecules of pink or bigger than purple. I don't know what I look like to a hairstylist. Oh Weird that is actually very weird because that's hot Hours hot pink still Just this side as well as like a couple of spots So she's gonna be half bald Oh, but we all know like I just might oh so she is going back on those ends with more 40 volume Oh, I will be surprised if this doesn't melt off I think just this side. It's still there. It looks better and her hair is not breaking off.   It's still wavy Okay, hair. Okay.  So I don't really care that much, but and she has the skin tone for pink hair She's gonna look dope. Where is your mom?  Oh, I'm excited for her to have pink hair It's gonna look so good. Oh I love mom. Is that her mom? She looks like a brat's doll and I love it. You guys have you seen a brat's doll speaking of brat's dolls hold on If this ain't me, I don't know what is how creepy is that this was not Apparently not drawn after me because like the artist contacted me. Hayden Williams was like Everybody says this looks like you but I didn't even know who you were if this ain't me. I don't know what is This is like actually my winter outfit. So anyway, I just wanted to mention that still pretty flattered by this Because I am a brat's doll and I didn't even know I was Back to this brat's doll. I think I like it. Same. It's just my hair is extremely damaged So I will be doing as much as I can to keep it attached to my head. Whoo Girl the pink looks so good. That's a very interesting pink It's not like a highlighter pink, but also like not like you kind of muted very pretty The only thing is I would have made it a little darker pink up at the root lighter pinker It just gives you that extra polish looks a professional did it kind of moment at the salon We usually don't just use one color roots to ends And that's the extra edge you get when you get your hair done professionally that just that Boy so that is all I have for you guys today Stay away from the bleach if you have to do it at home You really want to do it at home just do your research or don't or make a video about it If I can react to it, that'd be great Don't forget to follow me on my social media Twitter and Instagram at brahmano NYC follow my hair care brand X Mondo hair for updates and product launches coming soon. I also have new merch coming in the next couple weeks I almost don't want to say that because I don't want to screw myself over because I've been going back and forth about this design for a While, but I promise it's coming new merch. I'm so excited about it. It's honestly, it's it's awesome And I'm excited, but yeah, watch out for that and thank you guys so much for watching today Don't forget to live your extra life and I will see you all