Not a problem. Any time I really like an image, I use another free AI to redraw it bigger. There's a lot of AI based image size websites out there, but the one I usually use is called Upscale Media. Simply upload your image, give it a few seconds, and you'll have the option to make it bigger. You'll also have the option to have the AI redraw and increase the quality. And since it's free, I usually just do both. Download the image. You're done. Now, there's a lot more people using the website now, so it takes a little bit longer. But if you sign up and make a free account, you will be able to upscale 45 images every month, which is totally worth the no money it takes. Just upload, go to storage, click the image, transform, transformations, upscale, hit refresh, and download your image. So, hope that helps and as always, I hope you have a fantastic day and I'll see you around.


Last lecture we had been looking at transformation to the arbitrary reference frame, we derived the equations for the transformation and that can then be applied to the equations of the induction machine. I had suggested that you do it as an exercise, so before we go ahead let us start once again, I mean let us take a stand back and look at what really we have done before we proceed further. We started out with the induction machine equations in the natural reference frame, you had Va, Vb, Vc of the stator, Va, Vb, Vc of the rotor remember that in our notation, Ab and C mentioned as the superscripts refer to the rotor, Ab and C mentioned in the subscript region refer to the stator, so all electrical variables voltage V and I will have subscripts if we are referring to stator variables, we will have superscripts if we are referring to rotor variables. On the other hand as far as resistances and inductances are concerned which one they belong to whether they belong to the stator or to the rotor will be referred to by the subscript alone, the subscript of S in the machine data resistance and inductances, the subscript of S refers to the stator whereas the subscript of R refers to the rotor that is the notation that we are following. So here we have the induction machine equations in the natural reference frame, so you have three quantities on the stator, three quantities on the rotor, applied voltages and then you have Ia, Ib, Ic of the stator and those of the rotor, so this is the operational impedance description which arises from V equals Ri plus d by dt of ? which is the flux linkage which can then be written as L x I, so this expression arises from that, so you have three stator equations, three rotor equations and you can see that the mutual terms this area and this area refer to the mutual terms between the stator and the rotor and they obviously depend on the rotor angle, these angles are again defined here, ? R is the rotor angle, ?1 and ?2 are defined in terms of ?R and this enters the picture because the rotor is now rotating with respect to the stator and we said that this is rather involve description because as the rotor rotates the angles are going to change at every instant the angles are going to be different and this description has to be evaluated at every rotor angle which means it is going to make the numerical evaluation quite difficult. And therefore we look for schemes of simplification, of course the schemes of simplification have other uses as well as we have been saying all along but at the outset that appears to be that you want to simplify the description and let us in order to do that in order to simplify the description you move on to a three phase to two phase conversion and how to do that we looked at MMF invariancy, so let us to recollect what is it that we have done let us consider we had three axis on the stator you have the stator A axis and then the stator B axis and then the stator C axis remember that these are axis of the windings that are there on the stator, so the three phase windings axis are separated by 120 degrees and that is what we have drawn here. Now if you energize this three phase system with a three phase voltage or V or I we have we can look at I for some flow of current is there in the three phases now these three together will then generate a net MMF and let us say that we draw the net MMF generated by the three phases as an arrow and we said that this net MMF which can then be defined by the length of the arrow and the angle that it makes with the stator A phase axis which we take as a reference in order to describe this net MMF it may be sufficient to take one component along the horizontal axis and another component along the vertical axis. So if we describe these two it is sufficient to describe the net MMF sufficient to give all details about the net MMF. So based on this we have in instead of describing the MMF as an FA and FB and FC we then choose to describe this as an F a and Fb two components of the MMF and then because of requirements of inversion and seeing what additional information was missed out we then added the F0 component as well which is a representative of the zero sequence component of the excitation or of the MMF. So we have in this manner succeeded in splitting or in representing the three phase MMF in terms of two phases. In other words what we are saying is that instead of three excitation terms which are caused by an excitation winding lying along the A axis another winding lying along the B axis another winding lying along the C axis instead of these three what we have done is we have switched over to two sources of MMF alone one MMF source along the F a axis along the a axis and one along the B axis and another for to cater to unbalance systems of excitation another along the zero axis the zero axis is deemed to be perpendicular to both a and B axis. So it would be an axis which is mutually perpendicular in that manner. So instead of these three A, B and C you now have these two and perhaps the zero sequence. Now though this has been described with respect to the stator you could also do a similar transformation with respect to the rotor as far as the stator is concerned the three A, B, C are stationary in space and therefore a and B axis pertaining to the stator are also stationary in space as far as the rotor is concerned the A, B, C axis of the rotor are rotating in space and therefore the a and B axis are also rotating in space. So you now have instead of the three A, B, C phases you have a stator a axis a stator beta axis and then you have a rotor a axis and then a rotor beta axis call it beta R and that makes some angle at a given instant which is equal to the rotor angle that is the ?R that you are talking about. One thing we must understand very well at this stage that let us say you are looking at the stator a and beta axis so you have the stator a let us call it a S then and ?S for the stator we had looked at the net MMF generated by the three phases of the stator winding and whether you consider the MMF source now to be along the a and beta axis or a, b and c axis the net MMF is always the same we are talking about representing this vector or a phasor either in terms of a, b components or in terms of a, b, c components only the set of axis that are different but the MMF phase phasor is the same. So having defined this for a, b, c to a, beta for the stator one can define similarly for the rotor and therefore as far as all the six phase currents are concerned this is how the relationship would be this matrix M enters the description here and here so I a, ?0 for the stator is M times I a, b, c I a, ?0 of the rotor is M times I a, b, c of the rotor note that you have superscripts here and you have subscripts here. So this defines the three phase to two phase transformation and similarly one can define a transformation for voltages as well and then when these two are applied to the induction machine equations what we get is this you have V a, ?0 of the stator and that of the rotor transpose that means this vector is given by this operational impedance description multiplied by the vector of I a, b, etc. Now again in this case because the rotor has been split into two phase components that are still rotating with respect to the stator the mutual terms M1 and M2 which arise here are still dependent on the rotor angle we have not yet got rid of the rotor angle dependency. So we still have to simplify it further so what do we do we then transform to the stationary frame in this only the rotor variables are transformed the stator is already stationary there is nothing further that needs to be done the rotor on the other hand is rotating and if you make that stationary then all MMF sources are stationary with respect to each other and therefore the impedance description is not likely to have terms that are varying with respect to the rotor angle. So how do we do that you have F a, ? and 0 that is now transformed into these terms these are the rotor variables actually as mentioned by the superscript R but then this first term is on the a axis of the stator the second term is on the ? axis of the stator and the third term lies along the 0 axis. So in order to apply this for all the variables in the machine you then arrive at a matrix description like this where I a, ? 0 of the stator remains the same U is an identity matrix so I a, ? 0 is identity matrix into I a, ? 0 that means no transformation for the stator whereas for the rotor I a, ? 0 of the rotor is multiplied by C1 that is the matrix that you see here and it results in the rotor variables being referred to the stator a, ? axis the superscript R denotes that it is the rotor. So if you use this description apply this to the machine equations remember again what we are trying to do you have the a, ? 0 axis of the stator this is a, s you have a, s and then you have the axis for the rotor let me draw the rotor axis here this is a, r and you have a ? r here let me rectify that line ? r and the rotor generates an MMF let us say that the rotor generates an MMF the space phasor of MMF generated by the rotor is here now earlier this MMF was described by two components one along the a, r axis another along the ? r axis now instead what we are doing is we are now converting it to MMF components that lie on the stator so we are referring to this component and this component so you have an f, r, a here and then you have f, r, ? here again one needs to see or understand from the figure that the MMF space phasor is really the same earlier we were viewing that from the a, r, ? r axis we were viewing that from the a, r and ? r axis and therefore you had an a, r part and a ? r of this f component now on the other hand you choose to view it from stationary reference frame that is choose to view it from this axis so what we are really referring looking at is obtaining this component and this component here these two still refer to the same rotor MMF space phasor the stator MMF space phasor and hence the a, v remain unchanged so if we apply this to the induction machine equations what we land up with is an equation set that looks like this you have v a, ? 0 of the stator v a, ? 0 of the rotor now in the stator reference frame is equal to this impedance description multiplied by the vector of I and here you see that the angle dependency in these mutual terms is now no longer there this is because now what we have is you have the a and ? axis a, s and the ? s axis and you had the stator coils here already and now in addition you have the rotor coils as well the rotor coils are pseudo stationary coils that means actual coils are rotating but the same MMF would be produced by imagining these two coils to be stationary and a suitable current therefore goes through that so with this then you have the impedance description as it appears here and the expression for the generated electromagnetic TE is given by 3 by 2 times MSR into I, ? of the stator into I, ? of the rotor – I, ? of the stator into I, ? of the rotor so this is the description that you land up with. In this description then the induction machine behavior is seen through completely stationary coils on the ? axis and a and if a stationary coil has to produce a rotating MMF then these coils must be excited with voltages that are at supply frequency so we have also seen how these relationships affect the V and I terms we find that when you look at stator referred stationary frame excitations we found that the variables are all at supply frequency and therefore your I, ?, I, ? all these vectors are supply frequency AC terms. In many occasions we said then that it would be useful if these variables are DC or therefore it is better to look at this from a rotating reference frame and therefore you transform this further which was what we had been seeing in the last few lectures couple of lectures that you now transform these variables a, ?, 0 now these are stator variables where this you now have the stator axis a and ? and then further you define another set of axis which is really rotating with respect to time let me use this color so you have a d axis and then a q axis this makes an angle ? at the given instant and d, ? by dt which is the speed at which the new set of axis is going to rotate we simply call it by ?x if that is the case then the same MMF produced by the same MMF produced by excitations on the a and ? will now be produced by excitations along d and q if those two have to produce the same MMF then the equations are relating a, ?, MMF sources and d, q, MMF sources is given by this expression so when you now both stator and rotor excitation sources are along the a, ? axis so you have to transform both of them to rotating axis and if you need to transform both the relationship between the a, ? axis terms and the d, q, 0 axis terms now looks like this where d, 1 is the matrix that we see here again I would ask you to remember that what is really happening is that we have a net MMF that has been produced which is result of excitations along the a and b axis say for example stator if you take the stator then this is the net stator MMF that will have a b axis component and that will have an a axis component again what we are doing is the MMF remains has to remain the same we now want to locate a d axis component and a q axis component that is all that we are trying to do we are looking at the same MMF from a different set of axis so we are now looking at this d axis obtaining the d axis component and q axis component which is what this vector is the MMF is still the same the space phasor of MMF in reality remains the same we are choosing to look at it from a new set of axis so if you now apply this to the induction machine equations this is where we stopped in the last lecture which I had suggested that you do it as an exercise so if you apply this to the induction machine equations then the equation set that you land up with is like this you have vdx vqx and v0x these are the voltages along coils that are now imaginary coils rotating along with the dq axis lying along the d axis q axis and the 0 axis similarly rotor coils d axis q axis and the 0 axis these are the voltages that are applied those are related to the flow of idx iqx i0x etc by this description note that now you have a term here this is an equation for vdx which is rs plus lssp which is the self that is the resistance drop plus the self inductance di by dt but now the q axis also influences the voltage along the d axis even though they are at 90 degrees with respect to each other now if you remember and look remember back on the stationary reference frame equations when we derived them it we talked about pdmf term which arise in pseudo stationary term that is the a beta coils of the rotor when they are referred to the stator they become pseudo stationary and in those equations you had pdmf term appearing now this dx coil is also a pseudo stationary coil and therefore it has a pdmf term arising from all coils on quadrature axis which means the q axis now it has an omega x into lss and similarly here you have another pdmf term which arises due to rotor q axis term and this is a di by dt term that is arising due to the same coil on the same axis coil that of the rotor but so you have di by dt terms for the self flow of current and then a mutual current but flowing along the same axis this is multiplied by idx this is multiplied by iqx this is also qx term similarly if you look at the q axis you have a pdmf term due to the d axis current a self di by dt term and a resistance term of course due to its own current and then another pdmf term due to the d axis current d axis coil of the rotor and q axis coil of the rotor contributes a di by dt term. So the rules look the same in order to formulate this impedance description one can do it by observation also if one remembers that in pseudo stationary equations for pseudo stationary voltages you have pdmf term arising due to flow of current in the other axis here on the other hand if you look at the pdmf term they arise due to the difference of speed between the axis and the actual coil speed omega x now is the speed at which the axis rotates omega r is the speed at which the rotor is actually rotating and so the pdmf term now depends upon the difference between omega x and omega r similarly here here and here all the pdmf term depend on the difference between omega x and omega r these are simply di by dt ms which are self and those along the same axis the expression for the generated electromagnetic torque is given by this iq of the stator multiplied by id of the rotor minus id of the stator multiplied by iq of the rotor. So here this x or rather omega x can be chosen as per our requirement we have chosen d a d delta by dt that is the speed of the axis that could be anything you could even fix it at 0 in which case it becomes a stationary frame and therefore one can arrive at various simplifications of that equation if you want reference frame rotating at synchronous speed you would then put omega x equal to omega s which is the synchronous speed if you want a frame rotating at 0 speed that stationary frame you would put omega x equal to 0 in some cases it may be good to do the whole analysis in terms of reference frame fix to the rotor in which case you would put omega x equal to omega r if you look back at the earlier equations if you put omega x equal to 0 you see that this term goes away and this term goes away omega x equal to 0 would mean stationary reference frame that means the stator coils are really stationary now they are no longer pseudo stationary and therefore there is no speed induced emf which is what we had earlier also if you put omega x equal to omega s that is the synchronous speed then you have speed emf terms here this term omega s minus omega r now becomes a slip dependent term omega s minus omega r is nothing but slip times omega s if you put omega x equal to omega r then these two terms which are actually coils of the rotor your reference frame is also a rotor rotating reference frame reference frame rotating with rotor speed and therefore they are now no longer pseudo stationary coils are really moving at omega r and therefore this speed emf term becomes 0 similarly this speed emf term would also become 0 on the other hand these two will have speed emf terms because you are now moving the stator to a reference frame which is rotating at rotor speed so in this manner then one can simplify these equations to look at it from any reference frame that you want but as far as the equations are concerned though the transformations have been done to the same reference frame now we have transformed all the equations to the arbitrary reference frame the rotor turns are still different from those of the stator the stator turns if you assume that it is NABC remember we went from 3 phase to 2 phase at that time NABC would get converted to some other number which may be root 2 by 3 times NABC or some number like that so the stator turns in the dq reference frame are not exactly equal to the stator turns in the 3 phase reference frame they have been modified and so also the rotor turns have also been modified but however the rotor turns are no longer are not really equal to the stator turns one can refer all the terms to the stator all the electrical variables of the rotor to stator turns itself just like the way you do for single phase transformer you refer the secondary side to the input side by multiplying it by the turns ratio in the same way what we can do is the dx rotor coil for example if we take all the variables associated with rotor coil voltages V and I can be transformed to stator turns itself which means again you go by the mmf root so N aß is the number of turns of the rotor coil in the aß reference frame multiplied by idx which is the current flowing through the dx coil dx that is in the arbitrary reference frame the aß reference frame number of turns to the stationary reference frame number of turns to the arbitrary reference frame number of turns there is no change so this still remains the same this must then equal to the stator turns multiplied by whatever is should be the current that is flowing through we know N aß we know idx that is the current that is flowing actually in the dx coil of the rotor we know the stator number of turns and therefore we can find out what idx dash is or we can choose to express idx in terms of idx dash by this equation similarly if we say that input power is invariant we can derive an expression for Vdx as well in this format so this can now be substituted in the machine equation what happens there is that this idx that is there has now been rewritten as N let us look at that equation again Ndx by N aß into idx dash so this is Ndx by N aß into idx dash that is what this would be the qx term would also have Ndx by N qx by N aß into iqx dash Nqx by N aß into iqx dash dx dash should have been on the numerator so let me delete that and rewrite it this would be Ndx idx dash similarly these voltages Vdx would also be equal to N aß by Ndx multiplied by Vdx dash and similarly the qx also from the previous equation we write it. Now you see that this term Ndx by N aß which is multiplying idx is really going to be multiplied by the terms that are along this column so you have 3 by 2 Msr P idx now instead of idx you have Ndx by N aß into idx dash and therefore what we can do is this can now be multiplied by Ndx by N aß and relieve this term from here you can remove Ndx by N aß from here and simply keep this as idx dash that Ndx by N aß is absorbed into the set of entries here similarly this would also have to be multiplied by Nqx by N aß and then that term can also be relieve from here and this would then be made qx dash. Now you have this vector V here and the dx axis and the qx axis these two voltages have been multiplied by N aß by dx and therefore one can take that on to the right hand side therefore multiply now let me remove this so multiply this row by Ndx by N aß multiply this row again by Nqx by N aß which means all the terms here they are going to get multiplied by Ndx by N aß or Nqx by N aß all terms here are again going to get multiplied by Ndx by N aß which is the same as what is happening here but all the terms here are going to get multiplied once because of multiplying by Ndx by N aß for terms along these two columns and again by the same number for terms along these two rows therefore all these terms are going to get multiplied by Ndx by N aß whole square that is what is going to happen if we simplify it to the number of turns as well and therefore we can give these new definitions so let us go to the next slide. Now MSR always gets multiplied by Ndx by N aß which is what we see here Ndx by N aß whereas all the terms here are getting multiplied by Ndx by N aß whole square so it is like referring the secondary side impedances to the input side by multiplying it by the square of the turns ratio so we denote all those terms as Rr dash Lr dash and so on whereas these terms they are 3 by 2 times MSR into Ndx N aß we will call that as Lm so all the terms here now become simply Lm. Now this Lss now it was Lss plus 3 by 2 times magnetizing inductance of the stator phase now that the mutual inductance has been multiplied by the number of turns and is also multiplied by 3 by 2 that is the same number that is going to come here so Lss can then simply be Lss plus Lm whereas the rotor self inductance is then given by this term here you had 3 by 2 MSR multiplied by now that you are referring it to stator number of turns itself this coefficient for the generated electromagnetic torque also simply becomes Lm now this is a simpler equation to write because all the terms have been referred to the stator you no longer have to worry about what are the actual number of turns in the rotor all these terms can then be determined by your normal induction motor blocked rotor test and no load test where the equivalent circuit is determined as seen by the stator. So this form is then very useful and in this case we have used ?x equal to ?s that means we are talking about the synchronous reference frame now these equations can be we can use the notation of vectors to simplify writing this equation Vdqdq is then the vector of voltages on the stator and rotor Idqdq is the vector of flow of I along the stator and rotor the notation simplifies I mean notation signifies that the rotor variables are in the dq reference frame stator variables are also in the dq reference frame we will leave it to understand by the equations whether we are talking about the dq reference frame rotating at synchronous speed or rotor speed or whatever arbitrary speed that one may have at which speed it is rotating is known from the entries on the speed matrix that is g1 and g2 in this case because you have ?s you are talking about synchronous reference frame so one can write that equation as V equals r x i plus l x p i that is di by dt plus g1 term multiplied by ?s x i plus another speed matrix multiplied by ?r x i rlg matrices are shown here rlg1 and g2 are shown here and the generated electromagnetic torque is dependent on g2 as I transpose g2 x I now why this notation is useful this can then be used to look at what your small signal modeling can be now we may just like we did in the case of DC machine if you remember we looked at equations in the stationary reference frame and then we said that from these equations one can even derive expressions for DC machine and then we found that those equations are in general non-linear and we try to linearize those equations by applying small disturbances the same thing can be done here as well this is the original equation what we saw on the last slide V equals r i plus l di by dt the g1 ?s x i I have removed the dq dq subscripts for simplicity we understand that we are talking about the synchronous reference frame that is understood one of the advantages of the synchronous reference frame for this particular application to derive the small signal model is that all variables are DC and therefore any just you can now look at applying a step change etc and under steady state because all variables are DC d by dt of the steady state variables would still be 0. So if you take this equation and apply a small perturbation to the input variables that is V and to the load torque which we will see then this becomes V0 this 0 the O in the subscript here this refers to steady state term that means we are looking at the machine operating under steady state and then you apply a certain disturbance to it. So if you apply a certain disturbance delta V in response to that all the response variables that is i ?r and the generated electromagnetic torque which is a function of I again they all undergo disturbances again so you have I0 plus ?i here I0 plus ?i here ?s which is this frequency of the supply that you give could also be change if you are talking about an inverter driven induction machine for example the inverter can feed the induction machine with any frequency supply and therefore you may choose to vary the supply frequency as well that which means that the operating frequency can also undergo a change. So if you then apply disturbances to all the rotor speed undergoes a disturbance this is the same expression rewritten with all the variables as being composed of a steady state part and a disturbance part but however the equations for the steady state itself should be valid and therefore V0 must be equal to ri0 plus lpi0 plus g1 ?s0 into i0 plus g2 ?r0 into i0 and therefore those terms can simply be removed from the expression so V0 cancels with ri0 and then lpi0 g1 ?s0 i0 and then g2 ?r0 i0 and therefore the small signal quantities themselves are related by ?v equals r ?i plus lpi ?i from the third term here you would have g1 ?omega s0 into ?i but this being a product of two small disturbances is neglected so you have only g1 into ?s0 into ?i plus g1 into ?omega s into i0 similarly from these two terms so this is a equation describing the relationships between the disturbances and the response to that disturbances the generated electromagnetic torque is given by i transpose g2i so torque will then undergo a small change which is given by i0 plus ?i transpose g2 into i0 and therefore ?t itself can be written by this expression and you have the mechanical equation the mechanical equation is nothing but j times domega by dt equals the generated electromagnetic torque minus the load torque minus perhaps b into omega and therefore this can be written as j into d by dt of ?0 plus ?omega equals t plus ?t minus tl0 minus ?tl minus bomega 0 minus b ?omega and as usual if we remove the steady state part of it then domega 0 by dt gets cancelled with this t0 tl0 and bomega 0 and what is remaining is d ?omega by dt which is given by this expression ?t minus ?tl minus b ?omega the j is brought to the denominator so this is how it is ?t itself since it is a function of ?i can be written as some g3 into ?i minus this expression. Now this set of expressions which are voltages and due to the speed can then be combined into a state combined and rewritten in the form of the state variable description which can then be used for further determination of transfer functions and responses due to that pole 0 analysis and so on just like in the manner which we did for the DC machine. So I leave that again to you as an exercise to rewrite this in the state variable format and see how the equations look like. We shall stop here for today and continue in the next class.


Hi everyone, Joe for jasmiescasebreaks.com. We did it. We knocked out this Hit Parade triple case break, 2021 Hit Parade Baseball Platinum Edition triple case break. One spot gets you two random hits in this break. So we only sold 15 spots. We're gonna double up your names. We're gonna open up three cases, show you all the hits and then type in all the hits, randomize your names, randomize the hits and we match you up with something. It's gonna be across various series as well. So you're gonna see in a second as we go through this break, but we've got a case of series 25, we've got a case of series 26, and we've got a case of series 27. I'm not sure if it's gonna make too big of a difference between the different series, but just for full transparency, that's what it's gonna be. Very big thanks to this group here for getting in on the action. Thanks to the people who bought spots straight up and congrats again to the people who won spots in those three different fillers we did. I know this has been marinating on the site for a little while on jazby's casebreak.com, but I appreciate your patience and waiting. And it's finally here. So hopefully we can match it with something awesome. Let's double you up. So that's gonna be 30 names right here. But make sure that's 15 names on that list. Yeah, so that's gonna be 30 total. We're gonna open up the cases first and show you all the hits and then type them in in the order that they were pulled, right there. Then we'll roll the dice, we'll randomize your names, we'll randomize the hits and we'll see what you get matched up with. So let's get on with it. Good luck, everybody. So here's the first case, series 25. So 2021 baseball platinum edition by Hit Parade, series 25. Good luck. We've got a little Thursday night football on the background and the Seahawks have struck first with the DK Metcalf TV. So the Seahawks are up. Six nothing, I'm assuming after the extra point, it'll be seven, DK Metcalf, seven nothing, yes, now seven nothing Seahawks. Whoa, whoa, that's pretty fast. Hold on, so now I can switch, because they're going to commercials, I can switch over to Red Sox Raze. Let's see what's happening there. All right, Raze still up to nothing. All right, first one out of the gate is going to be Chris Bryant. Send him home, Triple Relic and Autograph from Triple Threads Baseball, 17 out of 18. That's pretty nice. That's from 2020 Triple Threads Baseball. All right, next is going to be a plate, patch, and Autograph, that's Mike Piazza, one of one. So someone's going to get a train whistle. So someone's getting a train whistle there. Bryn, Bryn, I think you've learned a valuable lesson. Never wait, just get spots. Don't worry about the last spot mojo. Next up is Dylan Carlson, six out of 10 red ink Autograph from Diamond Icons Baseball.  That's what makes playoff baseball pretty incredible. All right, next is Aaron Judge. Wow, with an inscription that says happy birthday tops. From 2021, tops tribute baseball, tribute tops 1975 Autograph card. That's pretty cool. Next up is Finest Moments Jersey and Autograph Buster Posey. What does it say down there? It says Posey does it all in victory over Cubs September 21, 2010. That's two out of five, another train whistle. This is from 2011, not just that second year Buster Posey. My Dodgers will be seeing a lot of Buster Posey in the next few games or so. Let's see, what do we have here? We've got a Bryce Harper, Tenacity, 23 out of 25, what is this from? Oh, it's from 2016 tops, Legacies of Baseball. Nice, nice on-card auto nationals edition of Bryce Harper, ooh, and a dual auto. Ooh, wow, 22 out of 25, dual autograph Ken Griffey Jr. on top, Edgar Martinez on the bottom. That is from 2017 Immaculate Baseball. That is strong, both Seattle edition. All right, so far so good. Raphael Devers, that is six out of 25. Pyrotechnics insert, that's pretty nice. That is from 2018, it's Bowman Tech Baseball. Rookie Devers, we'll see him in action pretty soon. Tampa Bay's up three nothing on the Red Sox right now. Hi James, doing well? Next is dual relic and autograph Jeff Bagwell. Nine out of 25 out of top Sterling. See ya, Mike. Pretty nice stuff here. Jeff Bagwell, part of the old Killer Bs back in the day. Tenth hit out of the first case, it's Roger Clemens. Blue Jays edition, two out of five. Silver ink auto out of Diamond Icons. Very nice, all right, so that was the first 10. And here comes the next 10, and so here is series 26. All right, so far so good. Let's hope the trend continues here in series 26. And we've got Carlos Correa, the hits just keep on coming. 11 out of 25, three color triple relic, or three color relic and autograph out of Inception Baseball from 2018. All right, next is signature stars Ken Griffey Jr. Reds edition. 73 out of 450 from an upper deck set back in 2004. Let's have a couple different Griffey opportunities here. Next up, we've got another Aaron Judge, two out of 25, Clubhouse Collection, Jersey and Autograph. We've got a piece of the pinstripe in there. Nice, we've got a pirate here, that's Cabrion Hayes from Clearly Authentic, Rookie Auto. Like that acetate look in Clearly Authentic, that's pretty strong. Really Rex? It's kind of weird. There's Boba Shet, nice autograph. Blue Jays edition from, what is this, Bowman Tech? 2017, it looks like. Nice, next box. Yeah, I mean, there's gonna be various prices on these, James, but all these are investment grade level cards. Ooh, we've got a chance to win a Roberto Clemente signed check, so we'll attach it to this card right here. And that is a gold frame, the straw that serves the drink Reggie Jackson, this is the A's edition. Gold frame, gold ink autograph out of 10 in 2017 Museum Collection, really nice stuff. There you go. So this goes with the Reggie Jackson gold frame. Behind there is like the little code that you have to put in to try to get that Roberto Clemente, that's cool. Next one is, wow, a Louise Robert draft ticket autograph. 40 out of 99, that's awesome. Nice, there's Devers with a single. Ooh, a graded card, yeah. Nice, PSA 10, Brandon Marsh. From 2018, Bowman Chrome, prospects autograph. He's been getting some ABs this past summer. Next two, and then another case. Next up is a nice Pete Alonzo rookie autograph from Top's Chrome Baseball. Awesome, it's got some grading potential there too. Met's looking for a new manager and probably looking for some more additions to the team. Next is Stadium Club, Raphael there, he just had a single here, PSA 10, 2018 Stadium Club. Rookie autograph, Raphael Devers, very nice. 30 out of 50. James is asking, why is that flawless basketball random hit break $3,000 spot, if you don't mind? I don't mind you asking. It's because it's flawless basketball. 2019, 2020 flawless basketball. Think about the rookies from that 2019 class. And think about how much one of those would be on the secondary market if you hit like an RPA or even better. Yeah, flawless is a super high end set and a lot of potential big return on the secondary market. That's why, here's series 27, last 10. Good luck. We got Aaron Judge, rookie auto Aaron Judge. Some awesome hits in here. Next up is Ken Griffey Jr. again, 10 out of 25. That's pretty cool, that's commemorating is Griffey Jr. bids a fond farewell. Sad times, May 20th, 2010, Penman should be there. Cubs, are they a hitting coach? I don't know if the hitting coach is the problem for the Cubs. They fired nine in batting coaches in the last 10 years. You gotta figure that out. There's Francisco Lindor, his bowman first. That's pretty cool. And his team USA gear, that's some awesome stuff here. Next. Next one is a Ryan Mountcastle rookie autograph from Bowman Chrome Baseball. You had a pretty strong year this year for the O's. O's have accumulated enough young talent and high round draft picks over the years where they may be, who knows, they may be able to be like a next sort of Blue Jays type team, a White Sox type team. Speaking of the Blue Jays, there's Jordan Grochan, 52 out of 150. Bowman first, blue parallel. Nice, their 12th overall pick back in 2018, is a graded card. Ooh, nice Ronald Acuna Jr., which we were able to see him in the playoffs. But here's 9-10, Ronald Acuna Jr., 29 out of 100 from tier one baseball. Centerings at 10, surfaces at 9-5, edges are at 9 and the corners are at 8-5. All right, next. Today is 17 out of 25, Jack Flaherty, silver ink autograph from 2018 Tops Inception Baseball. James, I wish Flaherty was $3,000 a box for 2019-2020 Flaherty's basketball. You tell me where I can find it at that price. Where are you finding a $3,000 a box? Trevor Bauer, Diamondbacks edition. 4-4-4 out of 500. And the next two. Definitive Garrett Cole Astros edition, three-color patch and autograph. 19 out of 20, yeah, 19 out of 25, gold frame on that too. Nice, rough start, rough start for him, but... This is solid picture, he'll bounce back. All right, and the final one. Good luck, it's gonna be nice. Luis Robert, another one, 8 out of 25, gold ink autograph for the White Sox. Nice, rough loss for the White Sox earlier today. I think they fell to the Astros, like 6'2", 6'1", or something like that, but I'm sure hopefully Luis Robert and the rest can make it a series. All right, boys and girls, I'm gonna pause the video. When I come back, we're gonna have all these hits typed in, and then we'll run that randomizer and we'll see who gets what. Stick around, I'll be right back. All right, welcome back, folks. We've got Josh on what not, pulling some big hits right here. We've got some big hits typed in right here. So we've got all 30 hits right here, and we'll do a quick little recap at the end as well. And I know it took a little bit of time typing all the hits, I'll show you the hits all over again, but here they are. We've got some train whistles coming up as well. So this is gonna be pretty nice. So we had the 15 spots that we doubled up to make 30. Here's all the hits. Let's go to this blank list right here, put all the hits here. So there'll be 30 on each list.  Good luck, everybody. The dice roll for both lists, nine times, four and a five. Your names first, one, two, three, four, five, six, seven, eight, and ninth and final time. It's just your names. And we've got Aaron on top, Fouad on the bottom. Thanks again, everybody. Whether you took the risk on those fillers or whether you bought spots straight up, I appreciate you taking the chance on that. All right, five into four, nine times for the hits. One, two, three, four, five, six, seven, eight, and ninth and final time. After nine, we've got the Francisco Lindor down to the Aaron judge. So here's how it all shakes out. So Aaron with the Francisco Lindor, Bowman first, the Team USA one. Jared with the Ronald Acuna 2019 tier one auto, BGS 910. Matt with the Bryce Harbor 2016 legacies auto to 25. Aaron with the Ryan Mountcastle rookie autograph. Nice. Michael with the Aaron judge 2019 heritage surging auto to 25. Robert with the Griffey, Junior, Edgar Martinez dual autograph to 25. I'll show you that again in a second. Matt with the Pia Lanto tops chrome baseball rookie auto. Steve Wright with the Chris Bryant triple, yeah triple relic from triple threads baseball, patch on autograph to 18. Michael with the Roger Clemens, diamond icon, silver ink auto to five. All aboard the big hit express, whoop, whoop. Fuad, you have the Aaron judge tribute baseball auto with the happy birthday tops inscription. Joe with the Louise Robert draft ticket autograph to 99. Matt with the Buster Posey 2011 finest jersey and autograph to five. All aboard, whoop, whoop. Robert with the Dylan Carlson red ink auto to 10. Matt with the Cabrion Hayes, clearly authentic rookie auto. And with the spot that you won, the Reggie Jackson 2017 museum collection gold frame auto. And we're also sending you that hit parade card with a chance to win the Roberto Clemente signed check. I don't know if that contest is still going on, but you can give that a shot. Chris with the Ken Griffey, Junior. Nice, upper deck signature stars, autograph to 450. Allen with the spot that you won the Brandon Marsh 2018 Bowman chrome autograph, PSA 10. And you got the Louise Robert, tier one gold ink auto to 25. Jared with the Jordan Groeschans, Bowman first auto to 150. Robert with the Jack Flaherty, inception, silver ink auto to 25, 2018. Jason with the Garrett Cole definitive patch auto to 25. Chris, Raphael Devers, 2018 stadium club autograph to 50, PSA 10. Joe with the Carlos Correa to 25, the 2018 inception patch auto. Danny got the Raphael Devers, Bowman Tech rookie autograph to 25. Steve Wright with the Jeff Bagwell, Sterling, dual relic and autograph to 25. Matt Lieber, the Trevor Bauer, Bowman first auto to 500. Robert with the Mike Piazza immaculate, plate, patch and autograph Mets edition, I believe. It's a one of one, Robert. All aboard the Big Hit Express. Jason with the Ken Griffey, Junior tribute autograph, 10 out of 25. Danny with the Boba Shet, Bowman Tech autograph, Fouad with the Aaron Judge, Bowman chrome rookie autograph. A lot of great stuff here, ladies and gentlemen. Thanks everyone for getting in. Here's another quick look at all of the hits. There's the Mets edition, that's a nice patch in here. There's the Dillon Carlson, there's the Happy Birthday Topps inscription, Buster Posey, Bryce Harper, dual auto. Pretty nice stuff here, ladies and gentlemen. Thanks. I know this was married, this triple caser was marinating for a little bit, but I think it was well worth, it was well worth the wait. Right in Marseille, definitely some upsides and PSA 10s are always great too. Pita Lonzo, that could be graded. There's Devers, 10, Adam was saying a little bit earlier. Red Sox looking a little tired, but there's still a lot of game left. There's the Aaron Judge rookie, Otto Crenkiffey, Jr., Francisco Lundor, his team USA here. There's the 910 Ronald Acuna, Jr., Garrett Cole, and of course the Luis Robert. So a lot of awesome stuff here. Thanks everybody for watching. Thanks everyone for breaking with us. I'm Joe for jaskiescasebreaks.com. I'll see you next time for the next baseball break. Bye bye.


Welcome to entertainment news right here on white pepper TV. I'm super excited You know why because finally 90 days of January have come to an end January in Asia I couldn't be more happier. Welcome to the show. My name is Phelin. You can find me at Phelin gene across all social media pages And of course you if you're tuned in right now make sure you get on the hashtag Go white pepper updates and talk to us if time allows it We're gonna be sampling some of your tweets and comments, right? Now, you know what the show is all about It's about training topics and some of the weird stuff that happened around the world But we love that and to help me break the stories down. We have our very own panelist I have my very own up panelist amazing panelist by the way. I call them my co-hosts So let's meet them starting with our very own superstar and CK I have the sassy JC, you know Yes, and we have a newcomer All right, can you introduce yourself? What's up guys? It's your girl Jerry Selene. Let's do this. Yeah All right. I love to have the mungies as we call him You know you can say it like a comma and we are very happy about it. What's up? Why have you been Quanzar? Thank you I am the one who is the best You are Selene?  You can say it like a comma You can say it like a comma You are the best I never thought you were going to ask me. All right, all right, all right. That's all. Ladies and gentlemen, the story is now our first story.  And Vanessa, I'm Day's ex-boyfriend, Juma Jux. She's packed dating rumors after being supported together in Zanzibar. Juma ended things with his girlfriend Naika recently after less than a year of dating. Juma ended things with his girlfriend Naika recently after less than a year of being together. Now videos of Jux and Huda have been circulating online and some fans believe they might be dating. Well, others think they just might be walking together. MCK workers are superstars. I'm going to do a video. I'm going to kick it. Oh, I'm going to kick it. Because the guy, I'm not going to talk to him. He's a maser and I like the way he dresses. Don't get twisted. I don't want to get into fights but I'll get into house fights. I'll get into house fights. I'll get into house fights but I'll get into house fights. Wow! Wow! I didn't see that coming. I'll post a video of Zanzibar and I'm going to like once you die, drop a new song, blah, blah, blah. And then... It's like we're going to the same, same crib. Because they're going to that clip. When you're on a record, it's like the same, same day beach, the same, same mini, the same, same spot. So I think they're just walking on something. Yeah. Our guy is just doing what she don't want to do. After all, Juma is single. Yeah. At least it's her life. Come on, I'm going to talk to her. It's her problem. But you post her in corner. You see, we're going to talk to her. We're going to talk to her. Okay, that is, I got it on our obare's IG. So we're going to talk to her. We're going to talk to her. Do you think that's true? There's just like being people who are hating. They're just hating on her. You know, social media. People can say anything to trash your name. People can say anything to trash your name. People can say anything to trash your name. You know, they're using her photos for something else. A lot of people use screenshots. They use screenshots because they use an IG. So like people can just, basically what I'm trying to say is people can just use you. No good. Even what happened. You remember what happened to me? The social media. Don't believe everything you read. It's very tricky. So I think they're working on something. I think they're working on anything. It's okay. It is okay. Fuck. MCK. She's not your guest. She's not my guest. She's my partner, okay. For me, I think they are working on something or not. That's your business. First of all, secondly, I don't know about Jukes, but he should at least try to come down to the door. He doesn't. I would like to announce in the upcoming conference I would like to acknowledge Jukes and the Executive Committee. They are working on something, but whatever they are working on, I don't know. I don't know. I would like to acknowledge Jukes and the Executive Committee. Now we go to the next story. The new film named the last thing he wanted was released on Monday, January 27th on Netflix. The 40-year-old took to Instagram and shared the news as the cast members post for fall tours. Who is happy? Who is excited? Eddie has always been there. He has featured on many movies, but funny enough we forget about the boy child. He is right here making moves. I'm very happy that he's made it, but you've actually touched a very important point. Eddie has been there. He's been doing this even before him, and he was making it big. We don't even remember him. He is representing us, way bigger. He's doing it big. I'm very happy at what he's doing.  Do you agree with him? Yes, I think he has said everything. When it comes to the boy child... It's true. He has said everything. Lupita has been a trend for so long. I just hope that Eddie is in a trend. It will continue like Lupita's. We should acknowledge him. He deserves the respect. He is a friend of 12 years as a slave. I'm a friend of 12 years as a slave. I'm a friend of 12 years as a slave. I'm a friend of 12 years as a slave. I think for this guy, the first time I saw him, he was in Kenya. He was in my section, and I was like, okay, I'm going to get married and act. He was in Kenya. He was in Kenya. He was in Kenya. He was in Kenya. He was in Kenya. It's a very good thing. He was in Kenya. He was in Kenya. He was in Kenya. He was a boy child. He was in Kenya. He was in Kenya. Kenyans, we have so much talent. I think the difference between Lupita and this guy is that what we want to feel so close to Lupita because we've seen Lupita's journey from sugar, from Nini, like to remember step by step, this guy just came up like, poof! No, no, I can introduce you like, poof! I'm Kenya, so I'm like, okay, so this guy is Kenya, and I get it. But for a movie that we go to Kimono from Akikujapa National Theatre, like you get, it's personal. Yeah. Like to remember to enter Akie, exactly. Exactly. And act movies are Kenya. Exactly. We want to struggle, like we want to struggle with the industry. So Akith Kapali, I'm like, by the way, she really, really deserves it. Yeah. So because we do them, I come out and put on a silver platter, and it heats. You get? I think that's the difference. All right. And on that note, we move on a lighter story somehow. Now, a 27-year-old model has come out to defend her 57-year-old lover after people kept on referring to him as her grandfather. Robert and Ada Owen say they are in love with each other and have decided to disregard those who mock them due to their age difference. Ada said, right, at first her mother did not like that she was with Robert, but she wished to eat, and now she is happy for them. She insisted, Hedges is just a number and has never been a problem for her. Check out Ada. Now, she says women should be more open-minded. She wants to take care of her children, her kids, and her sponsors. So, I'm going to start with you. What's your take? You think they're really legit in love? How much do you want? Oh my God. to start. As much as they say age is just but a number, imagine just taking your parents go through a lot, but anyway. He's older than your mother. He's really, really old. So, I know. Yeah, that's right.  He doesn't take your parents. Yeah. I don't know. She's saying like they're going off. I don't know. I'm trying to picture this like now they have a family problem. I don't know. Maybe the dad of this girl. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. Maybe it's just being traditional. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know.


Hello and welcome to the CSS podcast! This season we're answering your most burning CSS questions and today we're covering something that you may have run into, which is the question of why isn't my element stuck where I want it to stick? It's fairly common for folks to be confused when implementing sticky elements, at which point they find themselves in a sticky situation. And it can be frustrating when either the sticky element isn't being sticky at all or is sticking in a way that you didn't want it to. I'm excited to say sticky a lot this episode, that's going to be fun. A sticky element? Sticky, sticky, sticky. Sticky, sticky, sticky, sticky. Anyway, okay, I've got it out of my system. Ready? If you don't know, a sticky element is unique in that it can switch between being relative and fixed. The sticky element observes either the containing block or its nearest scroll port slash scrollable parent. And the part that tricks people is the nearest scroll port, usually. But it can also be the containing block portion. So we're going to cover that today. To help illuminate this, here's a few common scenarios and their workarounds to help paint the picture of the issue, the why, and the way to unstick yourself from the situation. Unstick yourself. I like all the sticky puns. Also, a nice catch up episode is number 43 on containment, which gets a little bit more in depth. It gets a little bit more in depth on what a containing block is, which is pretty important concept. So definitely check out episode number 43. Nice. And like always in these burning CSS question episodes, we'll orient the conversations around a few sticky scenarios, why they're happening, and ways to get out. The easiest mistake to make in sticky elements is that you just forgot to specify the inset or something like top, left, right, and bottom. So without it, you run into the same issue that you might run into when you need position relative. The element has no sticky target offset to observe and actually stick to, so it'll sit in the flow of the DOM as it would by default. So you can fix this by just making sure that you have an inset specified. That's the first thing to check. Shakes fist itself. I put position sticky but didn't put top. I think that people also don't realize this because we talk about this a lot with position absolute inside of a relatively positioned element. That's something that we come up against a lot, but I think sticky is just used a little bit less often. And so people don't realize that you still have to apply your positioning when you are using sticky. Yeah, sticky. It's still fun to say. Okay, this next one I think is the most common cause of sticky woes. And that's when an unexpected parent element or maybe it is expected, I don't know. Anyway, it has overflow hidden or scroll or auto. So and it's stealing the containing block away from the one that you actually want to. So this is when it's not like it's not sticking. This is when you're getting it stuck in the wrong spot. And this particular stinker, the sticky stinker, even applies for overflow X. So like let's say you have some parent, it's got overflow X not overflow Y and you're trying to be sticky on the vertical scroll. It still will make the Y element stick to it because it's a containing block. And now it's containing stuff. And so that's where the observable edge is going to be is in that one, that space. So one workaround for this is you can set display initial on the unwanted containing block parent since inline elements can't have overflow set. But this might not be an option. Plus it also seems kind of weird to set display initial on something that's being a troublemaker. It probably had overflow set to something on purpose or display grid on purpose. Or you can change the DOM structure so that pesky parent isn't involved anymore. You can also set overflow to initial or unset and sort of like take away the overflow if that's an option. But yeah. Yeah, that's a good call because I agree like you could run into that and not realize they're connected and they might be. So another cause of an element not sticking is something that you also might not be expecting. And that's if the parent element is flex or grid and is stretching that sticky element to fill the space. So this means that for the element that you want to stick its block size is so tall because it's stretched that it actually is stuck but it doesn't look like it. It might not be behaving like you want it to but it's sticking. It's just stretched. So potential workaround is to set align self start or end depending on where you want to stick or set align content on the flex or grid parent to you're still aligning the element but you're just doing it in a different way either align content or on the element itself you could do align self. So two different ways to do the same thing. Yeah, this one was surprising to me on Stack Overflow how often it came up that people had grid or flex stretching their children so they weren't there. It had never happened to me. Because you don't see it right away if it's not like taking up that full height. I mean depends on how you set up your element but yeah. Another sneaky one from Stack Overflow that hadn't happened to me but I could totally imagine it happening if I'm using something like container queries is there's no height on the parent container. So the thing that you're trying to scroll within that you want to stick to it has no height which means there's no distance between the scroll area and the sticky element and so there's nowhere to stick because there's no scroll one runway. It's like already stuck inside of the zero height container. Another one from Stack Overflow I was like wow that's a I never heard of that but here's multiple people getting stuck on this with position sticky so. Getting stuck on it. It's funny because I feel like this is the opposite of the previous one but in both you're you're you're sticking but you're just not moving anywhere. There's no space to move around in. So that is there's so many things that you need to consider when you're applying sticky. So lastly another common issue with sticky is DOM order. So this can be tricky too as you need to nest elements appropriately to get the effect you want. So you want to make sure the elements that you want to stick at the top are first and elements that you want to stick at the bottom are last and in the show notes we're going to link three different demos. Each of them have different sticky effects and they each slightly adjust their DOM markup to make sure that the position sticky is working. So check those out for more details and to actually try out some of the results this could help get you unstuck if you're running in some sticky situations. Oh nice. All right key takeaways of this sticky stuck episode is the order of your HTML matters. This is one of the things that affects for me personally the most whether it's for containing blocks. So maybe you want to move the sticky element out of the containing block that's the offender or just so that you get the sticky effect you want you'll see that in the three demos that changing the DOM order changes the way that the sticky elements either overlap or push each other out of the way or whatever it is that they do. So order of your HTML is a big factor here. Yes also the presence of a containing block whether you have one or not also matters for your sticky elements. Apparently ensure the correct sizing of your scrollport and the elements so maybe your element is the same size of your scrollport or it's bigger than your scrollport or your scrollport is zero or your containing block is zero or something's happening and it's messing it up and check the sizing of those elements. And as a little bonus sticky elements usually only need a z-index of one so you don't have to worry about adding like a z-index of like 999999 to the sticky elements. There's nothing else to compete with in terms of the z-index stacking for the sticky elements. Unless you have other elements in that sticky so of course that's like an asterisk but for the whole sticky element itself usually need z-index of one. Yeah on Stack Overflow it's so funny all the answers were like oh just here's how you do it and they like show like here's the code to get the sticky effect you want and then the z-index was always wild. I'm like what is with these random wild z-index choices? Anyway it's kind of funny too. Generally you probably don't need z-index more than like three so if you have anything harder than that it might be worth taking a look into why. We do have a whole episode also on z-index. I don't don't know which episode number it is I'll have to look but we've got some z-index tips in there which talk about other things like containing block also I believe in that episode and why z-index may not be working so check that out. If you're setting z-index in 999 please please listen to that episode. All right that's all we've got for you today thank you again for joining us. Yeah if you have any css questions we'd love to answer them on the show please tweet us with the hashtag csspodcast. I am at yuna on twitter that's at una. I'm at argileink on x and twitter and blue sky and stuff like that and ask this question. x and twitter. Yeah your question could help a lot of people we'd love to hear it. And if you like this episode please give us a review on whatever podcast app you're using or share this podcast with a friend those reviews help other people find our show which means that we can spend more time unsticking sticky situations for you. Thanks y'all we're looking forward to your questions. To have a throw a few more in there. That was great. We'll see you next time.


So, let's start with Hesiod. Hesiod is not someone we have any historical data about. The only thing we know about him is what he tells us himself in his poems of the Theogony and Works and Days. Hesiod was roughly contemporary with Homer or whoever composed the Iliad and the Odyssey. We'll talk more about that when we get to the Iliad and the Odyssey. But if there was a historical Homer, he would have lived a generation before or after in the same generation as Hesiod. Who came first is a matter of debate that goes all the way back to the 5th century BCE Greece. And we're going to move from Hesiod's time, which is frequently described as the Greek Dark Ages, this time before the flowering of Greek civilization that we think of when we think of ancient Greece, which is mostly the 5th century Greece. But we're going to move into that time period, the 5th century Greece, when we get to Escalus, and it's important to recognize that despite the fact that we may think of Athens as being the sort of peaceful place with philosophers and playwrights and poets, this was during a time of warfare with the Persian Empire. So as I mentioned earlier, Hesiod says that his father came from the region of Cume in western Anatolia and moved from there to this rural area called Biosia around the slopes of Mount Helicon, which is a mountain to the west of Athens. So he's not in Athens, and Athens is not yet the sort of cultural capital we'll be familiar with that we may think of when we think of ancient Greece. It's on its way to becoming that, but it's not quite that yet. He probably lived sometime between around the year 750 and the year 675. That doesn't mean he lived to be 75 years old. It means that there's a 75-year period in which he lived and wrote. He may have lived 30 years, he may have lived 80 years, but it probably would have been sometime during that time period. So we can call Hesiod our earliest identifiable oral performer due to his multiple descriptions, autobiographical descriptions of himself.  And when we refer to poetry and poems, these aren't things that you would just sort of speak, but you would actually sing them. It would probably be more accurate to call them songs. And he's best known for these two works. There's a third work called The Shield, which may or may not be by him, but these two works, Works and Days in Theogony, seem to have been written by the same author or maybe not written, maybe just performed and sung and maybe someone else wrote them down, we don't know. Works and Days is written to Hesiod's brother, Perseus. He names Perseus in the poem and describes Perseus as being this really wasteful, lazy, and self-indulgent person. And he's trying to tell Perseus that you can't keep living the way you're living. You have to work. You have to dedicate yourself to hard labor because that is the lot of human beings in life. So a lot of what you read about Prometheus and Pandora is part of his description about why human beings have to work, why we can't just have fun all the time. And then he writes Theogony, which is this long description of the origin of the gods. And he doesn't just say this is the way I think things are. In the beginning of Theogony, he says that while he was acting as a shepherd, while he was working as a shepherd on the slopes of Mount Helicon, these muses, the daughters of the gods that give human beings the ability to sing poetry, come to him when he's out on the slopes of Mount Helicon, shepherding his sheep. He says, from the Heliconian muses, let us begin to sing. This is the invocation of the muse at the very beginning of Theogony. Let us begin to sing from the Heliconian muses who hold great and holy Mount of Helicon. One day they taught Hezzi a glorious song while he was shepherding his lambs under holy Helicon. And this word first the gods has said to me, the muses of Olympus, daughters of Zeus, who hails the Aegis, the shield that identifies Zeus, they say, shepherds of the wilderness, wretched things of shame, mere bellies. We know how to speak many false things as though they were true. But we know when we will to utter true things. So said the ready-voiced daughters of great Zeus. They plucked and gave me a rod, a shoot of sturdy laurel, a marvelous thing, and breathed into me a divine voice that conveyed things that shall be and things that were a foretime or in times past. And they bade me sing of the race of the blessed gods that are eternally, but ever to sing of themselves both first and last. So he's claiming that all of the things, the contents of his story, aren't just his artistic license. They're not just the caprice of his imagination. But these are things that these divine beings have taught him to sing and commanded him to sing. So notice he is claiming a certain divine authority, a certain kind of separation. You may have noticed several themes in both the short passages I asked you to read from both the Theogony and Works and Days. We come back to the same themes over and over again. And this is one of the things that indicates that both the Theogony and the Works and Days are probably written by the same person. One is the dominance of Zeus. Zeus is the most important god throughout the Theogony but also throughout Works and Days. He advocates in both the Theogony and the Works and Days, but especially in Works and Days tells his brother, you just have to accept fate. You know, you have to accept the way society works. You have to work within that framework. He emphasizes the necessity of labor. You have to work hard. You have to be frugal. And you have to be orderly. You have to keep everything in its place. That means keep yourself, your work habits orderly. Keep your farm, your flocks, your business orderly. But also recognize that you're part of this larger order and you can't upset that order. And you may have also noticed he is not a fan of women. He's got a lot to say about women and none of it seems to be good. So if we look at individual passages within both the Theogony and Works and Days, we see how important Zeus is. And we see the description of Zeus not just as this one god among many and not even just as the sort of the most powerful of the gods but almost as the god who decides what is right and wrong. In the beginning of the Theogony the muses sing of Zeus, the father of gods and men. And they begin and end their strain how much he is the most excellent among the gods and supreme in power. Raining in heaven, himself holding the lightning and glowing thunderbolt. When he had overcome by might his father Cronus and distributed fairly to the immortals their portions and declared their privileges. In other words Zeus has sort of created the order of the world as it is. He's not just the most powerful, but everything about the way the world is he overthrew the order that he inherited but now he's in charge and everything is where it is. The orders of the gods, the great chain of being is there because Zeus has decided it should be that way. And then in Works and Days he says through him mortal men are famed or unfamed sung or unsung alike as great Zeus wills.  Not by your actions, not by your individual autonomy. For easily he makes strong and easily he brings strong men for easily he makes strong and easily he brings the strong man low. Easily he humbles the proud and raises the obscure. Easily he straightens the crooked and blasts the proud. Zeus who thunders aloft and has his dwelling most high. In other words, it's not people that decide their own fate. It's not your own actions.  Zeus decides who you are. And it doesn't matter what you do he will decide if you're going to be strong or weak. He decides whether you're going to achieve glory in your life or not. There's no way to escape the will of Zeus. So it is not possible to deceive or to go beyond the will of Zeus for not even the son of Ioptus, Countenly Prometheus, escaped his heavy anger. But of necessity strong bands confined him Prometheus. Although he knew many a while. After he tells the story of Prometheus he wants to emphasize that Prometheus may have been very smart. He was known for being wily and crafty and intelligent. But it doesn't matter because no one can outthink Zeus. No one can outperform Zeus. No one can escape Zeus's will. And there's not really any way to get around Hesiod's portrayal of women. In works and days he says Zeus says, I will give men the price of for fire an evil thing in which they may be glad of heart while they embrace their own destruction.  In the likeness of a modest mind.  A plague to men over and over again. And then in theogony he refers to Pandora specifically as the beautiful evil. From her is the race of women and female kind. Of her is the deadly race and tribe of women who live amongst mortal men to their great trouble. So now it's not just Pandora but it's all women. No help meets, in other words, no helpers in hateful poverty but only in wealth. And this is a common misogynistic complaint that women just want to take a man's money. They don't want to actually help provide for the family or anything like that. And as in thatched hives, bees feed the drones whose nature is to do mischief by day and throughout the day until the sun goes down. The bees are busy and lay the white combs while the drones stay at home and the covered escapes and reap the toil of others into their own bellies. Even so Zeus who thunders on high made women to be an evil to mortal men with a nature to do evil. In all of these four recurring themes, Hesiod starts to show the type of psychology that is referred to as authoritarian.  I'm not saying, this is very important, I'm not saying Hesiod's a Nazi or Hesiod's someone who shares some particular culturally inherited set of beliefs. But rather he shows the signs of a type of psychology that has been studied around the world, especially over the last century. A type of way of thinking that individual elements of which tend to cohere whether we're talking about people with this sort of psychology in the United States in the 21st century or people on the other side of the globe. These sorts of themes that crop up, tend to crop up together. And it's the kind of thing that everyone is susceptible to. Authoritarianism is a state of mind that people tend to gravitate toward in times of social stress, like during a time of war, during a time of threat, if there's a plague or some sort of disease. People that are confronted with death, confronted with danger and afraid tend to show this type of psychology. And I'm not asking you guys to remember any of this, but I want to go over some of the basic elements of this type of psychology as it's been studied over the last 60 or 70 years. Authoritarianism as a psychology tends to prefer a strict social hierarchy. So you obey the authorities that are over you, but that means that people underneath you of lower rank, you have power over them. There's this endorsement of inequality. We don't expect everyone to be treated equal because some people are just higher up in the social order than others. We tend to believe that the world is just. We call this just world beliefs where everyone gets what they deserve. So if you don't have much, what's because you haven't worked hard. And if you have a lot, then it must be because you've worked hard. Also this social hierarchy means inequality among men and women. So women are expected to submit and have a very sort of submissive role, whereas men are supposed to do the work and women are supposed to submit to whatever the man wants. And there's also this justification of the upper class is usually this sort of warrior aristocracy, the people who have all the power. We presume that they're using that power for the good of the people below them and the only thing for the people of lower ranks to do is just serve the ones in power. It's for their own good and it's for the good of society. Authoritarianism also tends to depend on ethnocentrism, which means the way your culture, your traditions work, that's the way you should live. You should accept your group's identity. You should not try to identify with people from other regions. Those people are foreigners and they're potential enemies. If they do things different, then that's a threat to us. And anyone who questions these conventions is regarded as a traitor or a threat to the group. Authoritarians also tend to be close-minded and remember that need for closure I described a few videos ago. They want simple answers that are true all the time. They stereotype people rather than understanding the particular quirks of an individual person's mind. This person is that stereotype, that's all I need to know. And also there's this fatalism, the superstition, which is a script where we infer a cause even though the cause may not actually lie behind a particular effect. Superstitions are usually false causal associations. There's an inability to recognize that something is actually new, that a new situation can't just be explained in terms of old, familiar concepts or schemas. And there's a strong anti-intellectualism. Intellectuals are dangerous, just like in the, you know, anyone who questions a convention or questions authority is dangerous. There's this idealization of a past golden age. And that word golden age actually comes from Hesiod. Hesiod says that when humans were first created there was this golden age where they were all, they lived happily under the reign of the gods, but then that was replaced by a silver age and then a bronze age. And it's the bronze age that Zeus wanted to wipe out, but they narrowly survived and now in Hesiod's day they live in an iron age. And this is a time of toil and of labor and everything is just bad. So this, authoritarians tend to believe that the past had this golden age and all the changes that have come along in society since then are some sort of decline or they're indicative of moral decay. And there's also a strong militarism. That is the capacity for violence is regarded as better, more virtuous than intelligence or empathy.  So obviously Zeus, if he's the most powerful of the gods, should rule the gods. Never mind if he's cruel, never mind if he's violent, never mind if he's not very intelligent. Authoritarianism as a psychological study started after World War II during the Nuremberg trials and that sort of thing. They were wondering how could ordinary people do the kinds of things that the Nazis do. And a psychologist at Yale named Stanley Milgram during the 50s and 60s had people come in, ordinary people would come in and be part of the psychological experiment and he would ask them to sit at this console and he would tell them that in the other room is another participant in this experiment and they're going to take this test and every time they get an answer wrong you press this button and give them a shock. But each time they got one wrong then the participant was supposed to go up to the next level and they would be giving these shocks and they would hear someone shouting and pain in the other room. And of course these participants didn't want to continue. They said, oh I'm hurting this person I don't want to continue giving this person a shock just because they answered this question wrong. But the experimenter would say that the experiment requires that you continue. And so many people would actually go against their own will because this authority figure told them to. Go ahead and deliver that shock and it would go all the way up to, if you can see the switches on the right, they're labeled extreme intensity shock and danger severe shock. And these participants would be asked to go all the way and deliver these extreme or dangerous levels of electric shock. And so many of them did that it really upset our view of human nature and of human empathy. But when they were asked why did you do this, why did you shock somebody even though you knew they were under a lot of pain most people would just say well the person in charge said that's what I'm supposed to do and I didn't want to stand up to him or I figured he knew what he was doing or it was his responsibility. Well the person who was screaming and pain in the other room was just pretending none of this, there was no actual real electric shock but it's the fact that people were willing to hurt others simply because this authority figure told them to that metaphorically shocked the people that kept up with that experiment. And a short time later at Stanford University the psychologist Philip Zimbardo had Stanford students participate in what he called or what came to be called the Stanford Prison Experiments where they had a fake prison and all these students knew that they were just acting these roles but by random choice some students were required to perform the role of prisoners some students were asked to perform the role of the guards and this was supposed to go on for a long period of time but the two groups adapted to their roles so quickly and so the guards became so malicious so cruel in torturing the prisoners and some of the people playing prisoners a few of them quit but a lot of them just accepted that role and there are videos of them and these videos are hard to watch because not only are the guards acting so cruelly but the prisoners themselves despite all that they're being put through and all the agony they're being put through they're staying with the experiment they're afraid to quit, they're afraid to leave they're afraid to break that order and just like the Milgram Experiments the Stanford Prison Experiments revealed just how quickly people can turn cruel when they're in an institutional order or this social hierarchy that puts certain people above others and part of that authoritarianism is this assumption that the person in charge deserves to be in charge and that this person must not just be there by chance or by deceit but this person is actually supposed to be there and this belief in authority we see Hezzi really sort of wrestling with and it works in days when he describes that that first sacrifice at Makoni where Prometheus creates the two piles of parts of the sacrifice docks he wants to give the best parts to humans but he makes the pile of bones and hooves by putting the fat on top of it makes it look the most enticing and tricks Zeus in works and days Hezzi tells us that Zeus was fooled by this he says for the gods keep hidden from men the means of life but Zeus in the anger of his heart hid the means of life because crafty Prometheus deceived him he says he did Prometheus did deceive Zeus therefore he planned sorrow and mischief against men he hid fire but that noble son of Eoptus stole fire again from men from Zeus the counselor in the holofinal stock but Zeus who delights in thunder did not see it so once again Zeus is being fooled by Prometheus afterwards Zeus who gathers the clouds says to him in anger son of Eoptus he says he is passing all and cunning you are glad that you have outwitted me and stolen fire so three times in works and days we are told that Zeus was fooled but in Theogony Hezzi does really trying to maintain that Zeus as authority is cannot be deceived he says for when the gods and mortal men had a dispute at Mekoni even then Prometheus was forward to cut up a great ox and set portions before them trying to be fooled in the mind of Zeus but Zeus whose wisdom is everlasting failed not to perceive the trick so just reminding us that okay Zeus is going to choose the one that Prometheus is trying to trick him into choosing but he wasn't tricked his wisdom is everlasting he knew he saw that he was being deceived but he played along or something of that effect and in his heart he thought mischief against mortal men which also was to be fulfilled in other words he chose the bone pile instead of the meat of the ox not because he was fooled but because he wanted to use this as an excuse to be cruel to humanity I'm not sure that that really makes him a better authority the type of authority that Hezzi praises so often during the Theogony with both hands he took up the white fat and was angry at heart and wrath came to his spirit when he saw the white ox bones craftily tricked out so again this sounds like the language from works and days where Zeus really is fooled but it's been followed by this narration so in the story the action of the story depends on Zeus not knowing that Prometheus has deceived him but Hezziid tries to maintain the schema of Zeus as all knowing all wise and if we're aware of the difference between the story and the narrative we can see the narrative trying too hard and it's trying too hard to add something that does not fit into that story specifically Hezziid is adding an explanation that fits his belief that fits his schemas as Zeus ought to be but it doesn't help explain what actually happens so the narrative says one thing but that doesn't seem to be what's actually in the story that it's trying to narrate it's an added explanation that's a little bit more than we actually need so if you're interested to learn more about the psychology of authoritarianism I'll give you this a quick slide and just pause it and come back to it later I'm not going to spend a lot of time on it but it is a very interesting course of study and it's something that I'm going to contrast to Estiolus and the way the psychology that Estiolus uses in Prometheus Bound


The Hope greenhouse was introduced as part of the Serving Crops project, a joint collaboration between the Ministry of Agriculture and the Taiwan Technical Mission that aimed to address the production challenges that farmers face as a result of climate change. This agricultural technology which can be used to grow cantaloupes, melons and other short crops protects regular outdoor growing areas from heavy rainfall, extreme heat and winds. Murky Zavier expressed his gratitude to the Taiwan Technical Mission and the Department of Agriculture for their continued support in improving his production methods. He notes that he has experienced an approximate increase of 90 percent in marketable yield using the Hope greenhouses. I noticed a few a few things remarkable things about the greenhouse. Before after harvesting I would look here and say what? I can count over 500 fruits on the ground that were not marketable but after I've harvested today maybe just a few fruits that will not be marketable and that is to me is a big big improvement as it relates to production for me. Remarkable improvement. Also I did a lot less spraying or treating of my plants under the Hope greenhouses. Less chemical which means that it is even better for our for eating and our consumption and that is one of the things that I I like very much because I eat everything that I produce and the less chemical that I can use the better it is for me. With a renewed focus on sustainable agriculture and food security, Minister for Agriculture, Fisheries Food Security and Rural Development Honourable Alfred Prosper encourages farmers to adopt the new technology as it has been successful in increasing farmer production. I am always of the view that for food security and addressing our food security issues in St. Lucia our farmers have to be committed they have to be able to make money and here is an excellent opportunity for murky to be able to sell his produce. He did explain that he got the yields were a lot higher than expected and the fruits looks like fruits coming from overseas is nice and shiny very good for the market and this is what I expect of our farmers to produce quality fruits to produce fruits that are able to sell and they can make money from it. As the Ministry of Agriculture continues its efforts to reduce St. Lucia's food import bill while also increasing our food security measures, farmers are encouraged to take advantage of all opportunities given under the Seven Cups project particularly the Hope Greenhouses to increase their yield and marketability for their products. From the communications unit of the Ministry of Agriculture, I am Anicia Antoine reporting.