I'm now going to go through a relatively quick overview of how to apply the finite difference method to heat transfer and then in the next lecture we'll go into more detail about how the equations come about and how you set up the method. So the first step in applying the finite difference method to the heat equation or the heat diffusion equation is we do what is referred to as being grid generation. So let's imagine we have a rectangular plate which was the problem that we looked at when we were looking at solutions to the heat diffusion equation and any finite difference method that you apply to the heat diffusion equation, remember we're looking at in two dimensions study, we're looking for the temperature distribution within that plate and what I'm going to do I'm going to prescribe even more complex boundary conditions than what we were able to do using the separation of variable techniques. So there we have a plate with four different boundary conditions, one on each side and this is the problem of a square plate and then what we want to do we want to convert that object into a grid of finite nodes so we would recast that. So what we've done is we have represented our square plate through a series of grid points and then what we would do is we specify the grid spacing in this case it's delta x delta y and then we go through and we assign node numbers to each of the individual nodes. So what I've done here is I've expressed this node as being some generic node m, and we'll talk a little bit more about how the nodes relate to the equation in a moment and so this process in any finite difference technique is referred to as being grid generation. The next step in the finite difference method applied to the heat diffusion equation is to rewrite the mathematical physics equation in finite difference form. So if we have a case of the steady heat transfer in two dimensions with internal generation the heat diffusion equation and partial differential equation would look like this. Now what we want to do is we want to be able to express that in finite difference form and so going through a process that I will get into in the next lecture the following would result. So that's what the finite difference equation or version of the heat diffusion equation would be transformed into and the TMN in these equations here so there and there that refers to the temperature at nodal location m, n and the MN subscripts are basically just a bookkeeping approach that we use in order to keep track of the temperatures at different points within our grid that we generate in the first step. So that is the second step you recast your mathematical physics equation. The third step is to figure out how to handle your boundary conditions. So looking back at the plate that we're trying to solve our boundary conditions are here and we can see what is specified for this particular problem is a specific temperature along each of the walls of the plate. So an example for one of the boundary conditions could be the temperature at nodal location 1, 0 equals 2, 0 equals 3, 0 equals 70 degrees C and so that would be an example of how you would handle the boundary conditions on one of the sides. And the last thing that we do in this process is we need a way to be able to solve for the temperature distribution and the way that we do that is the following. So what you do is you apply the finite difference equation the one that we came up with here so this is the finite difference equation the finite difference form of our mathematical physics equation you apply that to every interior node so looking back at our grid that would be all of the interior node locations you apply the finite difference the equation the external surfaces have all had the boundary conditions applied there now the corners you got to be a little careful with because the boundary conditions are going to be essentially an average of what's going on on each of the walls but those ones have been handled by the boundary conditions it's the interior nodes that we're going to apply the mathematical physics equation to and that is going to result in a linear a series of linear algebraic equations that you need to solve with some technique and essentially you're using a matrix inversion technique and if you look in numerical methods textbooks there are different methods of doing matrix inversion for linear algebraic equations and one is the gauss-jordan elimination technique and this is a direct method another one is the gauss-seidel technique and this one requires iteration a final one and and then this is a code that hopefully i will be able to show you in two lectures from now but it is using excel and that involves a circular reference and iteration so those are different techniques that we can use to solve our set of linear algebraic equations that result from each of the interior nodes and applying the finite difference the equation to them and once we've done that what will come out of that process we will then obtain t m comma n for all the interior nodes and that essentially is then giving us t x y where x and y are at each of the discrete node locations that we established in the grid generation step at the beginning so if you want finer resolution make delta x and delta y smaller and you'll get finer resolution in your solution but of course there'd be more points and it would take a little bit longer in terms of the numerical analysis so that in a nutshell is kind of what the finite difference method applied to heat transfer looks like and what we'll be doing in this course we're only going to be looking at 2d solutions that doesn't mean that we can't solve 3d problems 3d problems we can solve using the same technique but essentially what happens is they require a little bit more bookkeeping because then you have a third index on your index notation for the temperatures and and it gets a little bit more complex but nonetheless would be the same technique that you'd be applying so bookkeeping not necessarily a technical term but it just means that you got a little more things you got to keep track of because then you're going to have t m and let's say oh not the best thing to put for an index and numerical methods how you could do ijk that would probably be another way it doesn't really matter what you put there it could be anything okay so that is a quick summary of the finite difference method applied to the heat diffusion equation what we're going to do in the next lecture we're going to go into more detail and i will go through a little bit more of an extensive derivation coming up with the translation of the heat diffusion equation at the finite difference form and then we'll take a look at a lot of the different boundary conditions that we can have in heat transfer and with that we'll be ready to solve problems provided that we have it all set up which hopefully if all goes well i will do in the following lecture show you an excel solution for that so that is the end of this lecture the next one we go into more details of this technique


Hi, welcome to the All Things LGBTQ Interview Show, where we interview LGBTQ guests who are making important contributions to our communities. All Things LGBTQ is taped at Orca Media in Montpelier, Vermont, which we recognize as being unceded indigenous land. Thanks for joining us and enjoy the show. Hi, friends. I'm here with Julie Enzer, a frequent guest on the show. Welcome, Julie. Thank you. I'm glad to be here. Well, we have a special treat today. We have a double billing. I'm going to interview Julie about a recent anthology that she's put together. And Linda, our other co-host, is going to come and talk with Julie about a poetry collection that she's just released. So you've been busy. I have. For viewers who may not know, let me read a short bio. Julie is the editor of Outright, the speeches that shaped LGBTQ literary culture, which is from Rutgers in 1922, 1922, 2022. It was a finalist for the 2023 Lambda Literary Award and then it won. So congratulations. I was so happy at one because it was so deserving. I was so fine in volume. Thank you. Elena should be should be proud of it. Elena Grocer, co-editor. You've also edited the complete works of Pat Parker, which won the 2017 Lambda Literary Award for lesbian poetry. And Milk and Honey, a celebration of Jewish lesbian poetry, which was a finalist for the 2012 Lambda Literary Award in lesbian poetry. You have an MFA and PhD from the University of Maryland. And you publish Sinister Wisdom, a multicultural lesbian literary and art journal, and most of the audience, I'm sure, knows Sinister Wisdom. That's been an ongoing project for many years that you've been doing that. It has. It's 14 years this year. Oh my gosh. Very impressive. You're indefatigable. I love it. Well, let's go to the collection we wanted to talk about, which is Fire-Rimmed Eden, Selected Poems by Lynn Lanendier. And we'll put the yes. We'll hold it up. It's backwards everywhere, but we'll put a picture up on the screen. Right. And I'd like to ask you from the get go, who is Lynn Lanendier? And how did you happen to become interested in her? So Lynn Lanendier was a poet who worked in the San Francisco Bay Area. She moved there right around the middle 1960s, and she lived there until her death in the early 1990s. I first encountered her in the archives of Barbara Greer. Greer was editing the latter.  And Lynn was one of her correspondents. And Barbara raved about Lynn's poetry, thought it was just fantastic. And Barbara Greer was not a big poetry reader or a big raver about poetry. So it really struck me while I was in the archive reading those, how much she enjoyed Lanendier's poetry and how fond she was of Lanendier as a correspondent as well. So after I was done at the San Francisco Public Library, I scoured used book sites to find the books of Lynn Lanendier because I was like, I have to read this. And I think one of the first books I was able to get my hands on was her book, A Lesbian Estate, which is included in the collection and was really like one of these big juicy collections of poetry. And I thought, wow, now I know why Barbara loved it. And then, you know, then it was uncovering all of the different sorts of collections. And I reached out and found Lynn's brother, Fred, and was talking to him about doing another book, another edited collection as I had done with Pat Parker's work. One of the things, you know, when I was working on Pat Parker, everyone who I would say Pat Parker to knew immediately who she was, many people had heard her read. Lynn was a much more obscure character. Many people in the Bay Area knew her. She did not have a national reputation in the same ways. But I found her poetry just electric as I sat down and was reading these used copies of her work that I was able to come up on. And also her brother Fred arranged for all of her papers to be archived at the San Francisco Public Library as well. And so I spent time with her papers and just sort of getting a broader sense of who she was as an artist and thinker, musician and person in the world. Well, you've been interested in her for 10 years. You've been working on this anthology, this collection for about a decade. Is that right? Yeah, yeah, well, well over a decade. I think I first encountered her in 2011 or so. I think that was the first time I was in San Francisco. And I said it aside, I just read the books until I was done with my dissertation. And then, you know, I knew I wanted to do another edited collection of her work. And her output is, you know, these are just selected poems in here. This book is a brick, but it was difficult to make decisions about what to include and what to not include. And I wanted to give, I wanted the first book that reintroduced Lynn to readers of poetry, to readers of work by lesbians, to be really a substantial introduction to her work and a selection of her poetry from across her lifetime of productivity. In addition to the poetry, she also wrote multiple novels. She has multiple completed novel manuscripts, plays, and also photography, lots of other creative output. She was really a creative polymath. Well, I first heard about her. When you gave that talk at the Stonewall Museum in 2020, you gave a wonderful paper about Lynn Lanandir and two other poets, and you read a poem that we're gonna end our interview with, which is one of my favorites, maybe of all time. I just love it. And I love about her work that shows, includes pets and the animals that are an important part of most of our lives. But I digress. Tell us about the Saphic Classics Project and how you happened to put this collection together. Yeah, so the Saphic Classics has been something a sinister wisdom has been doing since 2010 or 2011. We first published, our first Saphic Classics was a reissue of Minnie Bruce Pratt's Crime Against Nature, which I thought was a crime against us all that it was not available after the end of Firebrand Books. So we republished that. And we've done one or two Saphic Classics pretty much every year since then. Some of them are really beloved poets like Minnie Bruce, like Pat Parker. Some of them are poets that are equally beloved, but not as well-known, like Lynn Lanadi or Tatiana de la Tierra is very well-known in particularly among Latina lesbians, but has had a smaller profile, though I think that's really changing. And our commitment with the Saphic Classics is to bring books back that we think are going to be of interest to contemporary lesbians. And I think equally important, and this is part of my affection for Lanadiere, I'm always looking for books that are going to spur lesbians to think about new forms of creativity, new ways of being in the world. So that the books are both a pleasure for people to read and beloved books that have fallen out of print. I think that's one piece of it. But also I think the books are themselves provocations to invite us to not just be engaged in looking back at what happened in lesbian literary life, but also to be thinking about how we continue to be an active conversation with our past and how our past is one of the things nudging spurring us to do new creative works as we move forward. It's not only it's works besides poetry or is it all poetry, these Saphic Classics? It's a works in addition, besides poetry, we've done, we just did, last year, we did Judy Granz the Highest Apple, which is her collection of writing about lesbian poetry, but it's prose. We also published an original new book by Judy, Eruptions of Anana, which is her meditation on thinking about the mythology of Anana and how that sparks creativity as well. So it's an open series with not a lot of hard and fast rules, because when there are a lot of hard and fast rules, I tend to chafe against them and want to break them all. Hi, that's a great attribute. Well, Lynn Lanadier has five collections of poetry and one posthumous collection. Why did you choose to fully reproduce two books and include selections from the others? Because the two books that are fully reproduced, A Lesbian Estate and Cluterus Lost, which I just love that title, I really think of those two books as books that profoundly defined Lanadier as a poet, but also books that I think are profoundly formative in how we think about lesbians, lesbian poetry and lesbian communities in the 1980s. And when, as I was spending time with those two books and thinking about extracting pieces out, there would be ways to do that, but I also wanted readers to have the opportunity to experience those books in their fullness as Lanadier constructed them and put them together, because Lanadier, like lots of other lesbian poets in the 70s and the 80s, was deeply involved not only in writing the poems, but in shaping the books. So just like how Pat Parker was involved in shaping how those early books were published through Women's Press Collective, and Judy Gron and other poets, Lynn Lanadier was engaged with how her books were put together with Jess, and they were published by Man Root Press, which was the independent press that Jess ran, and she was involved with what size are they going to be, what paper is going to be used in them, what images, what the cover will look like. She was involved with the production of those books all the way through. And I think that's an important part of our heritage as lesbians, as lesbian poets, and so that's why I wanted to include them in their completeness in this volume of the book. And you decided to put together the collection because youth and your audience is primarily two questions at once.   Yeah, you know, I mean, my audience, the really beautiful thing about my life right now is my audience is this community that's around sinister wisdom, women who subscribe to sinister wisdom, and now since the pandemic, I also have this amazing experience where almost once a month I gather with this audience on Zoom and we do readings and we dance together and people talk to me all of the time about what they're thinking about, what they think is interesting. And so I feel like the sinister wisdom audience is this incredible gift to me as a writer and as an editor because they're reading and thinking along with me. And so that was the audience that I was thinking about in relationship to putting this book together. Now, of course, the better commercial publishing decision for this book would have been to do a 100, 125 page book that's selected, that's only like the greatest hits for Lynn Lanadiere. And I hope that that will happen in the next, I don't know, 10 or 15 years. But I wanted, I'm also, as you noted, a scholar deeply invested in what's in our archive in telling complex and rich stories about lesbian life and lesbian literature and lesbian culture. And I wanted to have a book with that kind of richness and that kind of texture to begin. And so then people can, I hope, and people are already telling me within the sinister wisdom community, what are the greatest hits? What are the poems that they love? What are the poems that leave them somewhat cold? I mean, I received multiple emails after the book went out to our subscribers with different reports and reactions, including some lovely comments from people who were friends with Lynn at different times of her life and all of that. So I feel like this is a book very much invested in the community. And, you know, of course my greatest hope is that some, I was, I sold a lot of these books at AWP to a lot of young writers. One woman had on her book bag that she was an Anarka feminist. And I said, and I gave her a copy of the book, I said, you have to read this book. So my greatest hope is that the slim, the best of Lynn Lanadier poems will be edited by another young woman who's encountering this right now. And in 15 years, she's gonna say, these are the best ones. And she's gonna come to Sinister Wisdom to publish it. That's wonderful. That's a great plan for the future. So speaking of Anarka feminism, please tell us what it is and how it weaves through Lynn Lanadier's poetry. Well, you know, it's rooted in this idea of being an anarchist, of really chafing against institutions and systems.  And Lanadier strung them together as an Anarka feminist. She explored it in some of the poetry. I think it's, to me, the word really reflects the vibrancy of feminism and lesbianism during the 80s and 90s when people were invested in understanding and assuming, well, of course you're a feminist, but what kind of feminist are you? And then giving its meaning in terms of what issues were there were important, what kind of activism could be expected and what kind of poetry might you write from that? And how I see an Anarka feminism playing out through Lanadier's work is partially these ideas of what feminism means to her, but it's also working at a language level in her work. She's interested in unsettling what language does, unsettling grammar, putting together different types of words, challenging the sort of fundamental structures of language. And I think she does that in lots of interesting ways, sometimes to good effect, sometimes to effect where I was like, I'm not fully sure what that means, but I'm so invested in the journey of what she's thinking about and how she's trying to find meaning through her poetry. Well, one interesting thing for me is I observed that her cousin is Karen Brodeen and I was a member of the second wave collective during that time and all the issues of second wave published her work before I got there. And you mentioned kind of the political infighting, she sort of differed from her cousin about Anarka feminism versus socialist feminism. Could you just talk a minute about that? Cause I find it's very interesting and reflective of the time. Yeah, yeah. I mean, so Karen was, and there's a great new book coming up that considers some of Karen's work. Karen was a socialist, was committed to these kind of institutions and formations of socialism. And I think Lynn was a part of her conflict with Karen was about that she didn't want to be a part of that of an organization, of a program that was prescribing what people's behavior or thoughts might be. That I think that's how Lynn saw it. I don't think that's how Karen saw it. I think Karen saw it as like we, I have a system to really share ideas and have collective action. And I think Lynn was less interested in the ideas of collective action in the ways that Karen was. So there's a way that Anarka feminism is deeply to me interested in action but not the collectivity of the action. Interested in nodes of people doing different actions. They may all come to the same end but they're not coordinated. That's how I think of this difference in different sorts of ways. I think that's also very interesting and it does bring back the time and all its interferences and vehemence. Let me ask you, let's go back to the collection. You have a very rich selection of photographs. I mean, you're clear that it's a poetry collection and not a biography. But you have all these wonderful pictures and you end the anthology with a picture of Lynn Lanadiere and the dog, which I love. But tell us how you had to include all these photographs, how you found them, how you had to select them and place them. Yes. Well, Fred Lynn's brother was a great interlocutor and he is a photographer himself. So I think he was also very focused on what are the images that would help tell Lynn's life story and he shared those images with me. Primarily, most of them are from Fred. Some of them are from her archives that he placed at the San Francisco Public Library. And I think in terms of why I wanted to include them is I'm interested in a reading of the work that invites us to imagine her life. It isn't a biography, but her work, the selection of work is across the really productive period of her life until her death. And I wanted people to have images that they could associate with her and understand more of who she was as a person. And I think a part of that is because her death is very tragic, she committed suicide. And I talk about that in the introduction and I didn't wanna shy away from that because I think that's a part of our story as a people. But I also wanted to humanize her as well. And I felt like the photographs were an important part of that humanizing force in telling Lynn's story. Well, speaking of not shying away from things, I have one more question. Would you mind talking about your decision as an editor to include poems that might reflect racism into cementism or cultural appropriation? You say you don't wanna sanitize the collection. Yeah, I don't wanna sanitize the collection. I want, I think that one of the things as we look back and reread people's work from earlier times, we're always bringing our own experience to it. And that includes our own judgments of it. And we're living in a different time. I've lived in an incredibly different world than Lynn Launadier lived in. Well, she was doing most of her work. I was a young child and a teenager. And so I bring my own sense of meaning, my own sense of values and my own judgment to her work. And that includes identifying, there's one poem that feels very racist to me. It also reflects how a lot of people spoke about Vietnamese people during the Vietnam conflict. And I didn't wanna take that out because I think what poetry calls us to do is to grapple with the difficult. That it calls us to understand and think about what is the world that we're in now? What values do we have now? What's shaping those values? And what are different worlds that people lived in? Not only in the past, but in our present. And so I didn't want to take out those, I didn't wanna take out the things that were difficult. And I also didn't want to, I didn't want people to look away from her because she doesn't reflect the current politics or the current best thinking about how to talk about things. So for instance, she spends three or four months in Mexico and a big part of the middle of one of her full collections and a big selection of it is included in this book is about her experiences as a white woman who was born and raised in the Pacific Northwest in Mexico thinking about not only the Mexican people, but also Mexican systems of cosmology and meaning making and how she's thinking through that, what she's finding meaningful herself. There's a lot of people who would look at that and view that as cultural appropriation. Other people would look at it and say, this is a little bit of being a cultural explorer. Feminist scholars have given us different ways to think about this. And I feel like her work reflects that and that we may make judgments about what she did, but in order to do that, we have to encounter the work and think about it and grapple with it. And that's always what I want, that when I'm teaching, that's what I want students to do to be able to get to the difficult things, to be able to grapple with them, to make decisions for themselves about where they come down in questions of morality and judgment. And I think we can only do that if we have access to things that are difficult. That makes perfect sense, doesn't it? Is there anything that you would like to add before we get to our concluding poem? What would you like to tell the audience about, in a nutshell, about fire-rimmed Eden and why they should pick it up? Well, the other thing I'll just note is that we used a couple fonts that are in, that's on the cover of the book and that are in the interior that were created by a young woman who's a font artist and they were adapted from lesbian feminist journals of the 1970s. And so there's a way that our typography, I mean, one of the things I'm, one of the dialogues I'm having with people working on sinister wisdom is how can we use more typefaces that were developed by women? And so that's, so there's a nod within the design of the book to the context in which Lynn Lanagere was working. And I feel like that's a really lovely, a lovely confluence where she was working, writing these poems, publishing them. She published in the letter, Barbara Greer published her poems in the letter and other feminist publications. And some of the, and the typography that comes to this comes from those publications. And so that it's again, part of how I see my work at Sinister Wisdom and in general as understanding the past and using it to remake things that we can use now and that will help drive us forward. And that's an impulse behind the collection also and much of the work, if I may observe. And that's great because I've been struggling a little bit with nostalgia and not settling for nostalgia, sort of how we can apply it and how we can look forward. And I think that's another part of the, I spend a lot of time arguing that lesbian feminism, lesbian separatism, lots of different formations were not racist, we're not backward looking, we're not taking us down a cul-de-sac that caused feminism to fail. And I make all of these arguments in my scholarly work and I don't want to overlook like I feel like we have to take in all the data. There are moments when feminists are racist, there are racism is a part of how we live in the world. And I think we have to hold on to all of those things if we're going to really discover new paths forward. So that kind of resisting nostalgia, I think is also being willing to look at the full record. Well, one thing, as I said, people we take, one thing I love about her poetry is its playfulness. And I've asked you to finish this part of the interview with a little reading from one of my favorite poems in the collection with which you chose to end it, Lesbian Heaven. So would you mind joining the honors? Yes, Lesbian Heaven. All the girlfriends you ever went with are together now and they're all getting along. They're lovers of each other and you're in the middle playing the lyre with Greek attire in the middle of a Maxfield Parish forest. Dough-eyed nymphs fondling pan pipes while the pure note sounds. Purple mountains rise over Aeolian forests and the wind is the pianist for a women's chorus and the longest fingered of all the women plays the lute. Pluck the cord for the wine, the flute chambers, Egypt's of desire and the glimmer bubble gurgles of a brook where each stone is smoothed to the consistency of knee and thighs and the sun, the gigantic pearl livens them.  All the pets we've ever had are tendered by the hands that kept them and they all behave. A beloved company among pillars uplift and glitter. Where Diana sets down her hunting implements and all the lesbians in heaven clamor to her limbs with tambour touch, the afternoon unfolds its sleeve. The night cadenza's its embrace. The stars become the beaded necklace of mourning with the moon as centerpiece and the gold of the painting shine on me and thee. Julie Enser, thank you for giving us this collection and audience, get it right away and start perusing the work of Lynn Lanadier. Thanks for joining us. Now we're gonna close this part of the interview and turn it over to Linda. Thank you so much, Ann. It's a pleasure. Always. Hi, everybody. I'd like to thank Julie Enser for coming on the show and being my guest and Ann's guest and all on the same day. So she's very adventurous. So Julie Enser is the author of four poetry collections, Avowed, Sibling Rival Repress, 2016. Lilith's Demons, A Midsummer Night's Press, 2015. Sisterhood, Sibling Rival Repress, 2013. And Handmade Love, A Midsummer Night's Press. She is editor of Milk and Honey, a celebration of Jewish lesbian poetry. I mean, Summer Night's Press, 2011. Milk and Honey was a finalist for the Lambda Literary Award in lesbian poetry. Welcome, Julie. Thank you. Thank you so much, Linda. I'm thrilled to be here. And what's other interesting too is Isabel Claire Paul is her freelance illustrator. She was born and raised in Michigan. It has a BFA degree in illustration from the College of Creative Studies.  And the work in this book of her drawings are just really incredible. How did you find her? So this was just like such a kismet. When the chat book of this came out, this is a picture, this is the chat book I'm holding up. My friend Cheryl Clark said to me, this really needs to be illustrated, Julie. And I was really like Cheryl, you know, I can't draw. And but, you know, Cheryl was just like, well, that's what needs to happen.  And then a dear friend of mine who we worked together on Michigan's Gay and Lesbian newspaper in the early 1990s, Tim Retzloff, Dr. Tim Retzloff, Tim was working on a history of gay pride in Michigan. He's a Yale trained historian and his book is about a gay history of Michigan, but he was wanting to adapt it for the 50th anniversary of the first Pride celebration in Michigan. And he hit on this idea of doing a comic book as a way to reach a broader group of people.  And that was Isabel Claire Hall. And so Isabel did this project with Tim and it was just really beautiful when it came out. And I was chatting with Tim about that. And then when it was done, I said, Tim, could I ask Isabel if she might illustrate some of these poems? And he said, sure.  And we just had the best collaboration. I mean, Isabel was a delight to work with. We were collaborating during the pandemic. She was a recent college grad, had moved back home to live with her parents, was trying to do her artwork. She read the poems and loved them. And I felt like really understood what I was trying to do and came up with these great illustrations. So I know here is one right here. Yeah. Yes, yes. They are really, really good and fun and insightful and really match the poetry beautifully. So many of your poems seem to be about identity both in how we see ourselves and how others label us. Do you think that the majority of your poems work to this question of identity or to reaffirm and embrace it? Do you do it in this book as well as the other books you've done? That's such a great question. I think I, you know, I'm really interested always in the question of how are we in the world and how do we encounter the world and how do we show up in the world for folks? And identity of course has a positive valence in the sense of bringing people together with shared identity characteristics to build a community. And also there is a particularly when we have an insurgency of right-wing thinking, there's like negative valence associated with identity. And people want to not be seen in relationship to an identity group but seen in relationship to other forms of constructed identities. And so I feel like I'm always thinking about that because I've always done work in identity-based communities. For me, it's been primarily gay and lesbian communities, but also I've done work as parts of other identity-based communities. And so I'm interested in exploring those connections and understanding where do we take on identity and embrace it as a category and where do we also chafe against it and say this isn't all that I am or there are things, there are parts about me that go against type for what the identity message is. So all of those things kind of I'm working with and thinking about. And of course, in this collection, there's the lesbian, the dyke identity, but there's also this very political identity of Pinko Kami and the association of Pinko Kami with an extreme left-wing but also there are elements that you see of the Pinko Kami dyke not being exclusively left-wing but moving across multiple ideologies. So those kinds of things are the things, the questions that I'm interested in. And I don't know, but could she be a red diaper baby? Well, so the interesting thing about the Pinko Kami dyke, of course, is like there's parts of the Pinko Kami dyke that are me, but there's also parts that are like other Pinko Kami dykes that I have known, right? So I am not a red diaper baby myself, right? Like my parents, we are true died in the world Democrats.  So I was not a red diaper baby, but I'm very interested in red diaper babies and have known a number of them. Me too, it's interesting, isn't it? So that was a question I was gonna ask you, like how much is this like you and how much is sort of this superhero or this person here in the book? So how many of these experiences have you had?  Are some of these you or are they mostly the superhero archetype? So the kernel of the collection really was me and me, there was a period of time when my partner and I moved back to Michigan where I had grown up and we lived in the house that I lived a good 10 or 15 years of my life in. And so the kernel of the poems was really trying to understand and reconcile that experience of what does it mean to go back? What does it mean to go back to being in Saginaw, Michigan? What's the experience of going home? And especially when you go home and you are now a different person like you've realized and achieved different, some aspirations that you might have had as a teenager but you've also come short on some things that you had hoped for. So that was the beginning of the poems that was thinking about, how does the Pink Hill Commie Dyke go home to this working class Michigan community? But then as I was writing the poems, they grew and grew and I wanted to include things that were outside of my experience that were more imagined because I had, because I was a part of a broader community of really Pink Hill Commie Dykes, right? And that had done a wide range of different things and I wanted to integrate some of them, some of the other experiences that I've observed people having. So there is a mix of my experiences, experiences observed from other people and then there's a couple of poems that are just really lights of creative fantasy. And I kind of meshed them all together in thinking about this archetype of the Pink Hill Commie Dyke. So it's a blend of all of those things. I know when I was thinking of this Commie Dyke as sort of a superhero.  I mean, it would be a great superhero. Yes, you are saying the same thing Cheryl Clark said when she read the new edition. She said, well, this is good. Now in volume two, the Pink Hill Commie Dyke needs a cape. So yes. Yes. And, you know, like a comic book or a, you know, get it on, get somebody in your wide range of friends to do a movie or a short movie about this Commie Dyke because I think it'd be great. So who is your audience for this? Yeah, it's always such a good question. You know, I talked a little bit about audience with Anne too.  So you know, like the first part of the poem, the first writing of it, your audience, I always feel like my audience is really me, right? Because I'm writing the poem to understand something for myself, to put language to something that's not quite there yet. Like the experience is there and I want the experience to have a greater meaning and texture. And so I bring it to a poem to discover something. And so in that way, I feel like the first audience, the first very tentative audience is myself. And how am I having, what conversation am I having with myself and what am I learning for myself, first of all? Like that's where the first, I feel like transformative moment comes. But then of course, as I'm writing and writing more poems and putting them together in a book, I am thinking about who might read it and how might it find a broader audience. And the beautiful thing that I have, of course, is through Sinister Wisdom, I feel like there's an audience of people that I'm in conversation with on a regular basis. And then I can imagine their reactions and I can share with them, of course, and hear what they have to say. And I'm so grateful to the Sinister Wisdom community because I feel like that's a community that I imagine for the reading of this. And of course, in the creation of this book, Isabel was an audience for the poems after they were written. And as she was putting them together and it was so gratifying that she loved the poems so much and that they inspired her for the artwork because I do want to reach an audience of younger women so that the Pinko Kami Dyke is not just the frumpy age, frumpy middle-aged woman that I am, but that the Pinko Kami Dyke is also a part of the imaginary for young women in their 20s. Yeah, that's a great answer, Julia. But do you ever worry, like sometimes when I'm writing and it doesn't seem to be politically correct or it doesn't seem to be, like using the word dyke these days could be problematic, right? So do you ever think about that and like what, or do you just go ahead and say, oh, be damned, I'm just gonna do what I love and wanna do when things important? So, well, in general, when I do think about it, I always come to that conclusion, oh, be damned, I'm gonna do what I think is important. When, I will say with this book, when I'm composing them, I don't, again, because I'm thinking about myself as the audience, I don't think about that political reception of them, but when I was reading the page proofs for this book earlier this year, I was struck by the guns and the use of the guns, the firing of the guns in these poems. And it gave me pause. I was wondering, like, how are people going to read this? What is the sort of, what is the state of the world around guns right now? Because it's been changing in my lifetime as a result of the school shootings that we've had. And, you know, and of course there's a broad, broad consensus on the left that we're opposed to guns, we don't own guns, guns are things for people on the right, which is not really my experience having grown up in Michigan, where lots of people own guns and lots of people hunt. So, I was aware of that while I was working with the page proofs that there is something that goes against type that is challenging within these pages. And, you know, and I have to say, like I'm aware of that and also I think we are complex people and there's no right way of thinking or writing.  Yep, yep. Besides it's not bad discourse, but, you know. See, you have a community among women which seems to be a recurring theme in your earlier work and main focus of your book, Sisterhood. It also seems it had a significant influence on Lilith's demons. So, do you find yourself revisiting this book, this theme?  So, is that right or? Yeah, I think one of the things I've been thinking about lately, so I think you're exactly right, like two big themes in lots of my writing, one is this idea of communities of women, you know, communities of women kind of like, in a certain way in my imaginary, they're the answer to lots of problems. Like if we would just all get together in community, we could solve problems, which I think is a little Pollyanna, right? Like, you know, if really pressed, I'm not sure I totally believe it, but I also do believe it. It's in a lot of my writing and a lot of my thinking. And then, of course, the other thing, like the other sort of magical moment in tons of my poems are orgasms, right? So, sort of like there's sort of like communities of women and explicit sexuality. And one of the questions I've been really mulling after a conversation with a friend is how do we write, how do we write erotics and relationships that are not sort of always at a climax of orgasm but are in the kind of mundane world of sex and sexuality that really is our daily life? Yeah. And so I've been thinking about that lately, but I know that the collections that I put together do not reflect that. They reflect kind of like a magical thinking about community and a transformative moment of orgasm. And that is a big part of what is in my imaginary. And even like with friendships, the sort of erotic women friendships that aren't necessarily, love interests, but really just intimate, very close women friends that we have, that we feel that sort of connection that I wouldn't say it's erotic, but it's more than what people typically call friendship. So I always found that interesting too. Yeah. So I think for the next time that we have, we will hear from some, we'll hear some of your poems. Okay. Is there anything that you would like the audience to know? I really suggest that everybody just go out and get this book. What a read. The illustrations are great. The ideas are sometimes horrifying, sometimes funny, but always insightful. So get your copy. Thank you. Well, I thought that I would read the first poem and the last poem of the book because I think that it's both, like both of these poems think a lot about the imaginary of the Pinko Kamidike and the archetype. I think they're not the most personal of the poems, but I think they start and end the book. So the first poem in the book is the Pinko Kamidike hijacks. And it has this gorgeous illustrations from Isabel. The Pinko Kamidike hijacks the commercial airwaves with a souped up computer, a black digital box and a broken down microphone that sits limp in its stand until she places her hand at its base and presses her lips to its metal mesh. Electrified, the whole contraption broadcasts her words, her voice, her shows over the air and into a thousand tiny radios across the region, across the nation. First, she kidnaps an alt-right talk radio station seizing control to broadcast lesbian folk music, Chris and Holly and Melanie and Bitch and Farron, then old recordings of Leah Delaria and audio tape shows from femurist Kate Clinton. She imagines this music, these stand-up routines, these objects of lesbian culture, transforming racist listeners into peace-loving, woman-loving omrads. When she has exhausted her supply of MP3s and discs and tapes, she takes to the airwaves directly. The Pinko Kamidike speaks and shouts and coos and questions and posits, then takes calls, interlocketing with people angry about queers and bosses and losses of jobs and opportunity. She is startled. They have more in common than she ever imagined. Exactly. And I should say, I assume all of your listeners are going to know that Chris and Holly and Melanie and Bitch and Farron are all women's music performers. Chris Williamson, Holly Neer, Melanie DeMore, Bitch was a group and Farron, of course, just goes by the single name. I always forget that I should say that at the beginning. I don't know any of them personally, but I do love their music so much, I call them by their first names. I know, and it really is like a what, 80s, 70s, 80s kind of a list. And Leah Delaria is another. Yes, yes, yes. And then just one more, does that make sense? Yeah. So then the last book, the last poem of the book also has a beautiful full page illustration by Isabel. And this is called The Pinko Kami Dyke Demonstrates. The Pinko Kami Dyke demonstrates for peace on Monday, welfare rights on Tuesday, economic justice on Wednesday, reproductive rights on Friday. On Thursday, she volunteers at the soup kitchen and Saturday morning, she is out at the abortion clinic helping women safely enter. She shows up at every rally, every demo, when people need a body out on the streets for rights or to redress wrongs. Organizers just think of her and she shows up with her old placard. She stores two in the garage. One says, another Pinko Kami Dyke four with an eight and a half by 11 inch space for a sheet of paper, sometimes white, sometimes neon pink, which she tapes on with handwritten words, equality, justice, peace, Medicare for all, abortion rights, economic equality. She writes the slogans needed for the specific rally. The other placard is nearly the same. Another Pinko Kami Dyke against and space for a sheet of paper, war, nukes, welfare cuts, pricks, though she uses that one rarely. When she lived in San Francisco, she was truly another, but in Kansas City, Iowa City, Kalamazoo, Bar Harbor, Cleveland, Lexington, Denton, Tuscaloosa, Augusta or any of the thousands of towns across America. She is often a Pinko Kami Dyke or the Pinko Kami Dyke, which is fine. Wherever she is, whatever the cause, the Pinko Kami Dyke is there, standing with indignation, standing with righteousness, standing with her sign, standing, she knows another era is rising. Beautiful. Thank you so much, Julie.  And where can people get this? And do you have a website we can put up for the book or? Yeah, so the book is available from the publisher Indolent Books, which is indolentbooks.com. And it's also available on my website, juliarenzer.com. And there's a link there. You can send, it's a PayPal link. If you send to me, if you want a signed copy, you can do it through my website. Okay, well, thank you very much. This has been a lot of fun. Thank you, Linda. It's been a real pleasure. And I'll talk to you soon. Yep. Thank you for joining us. And until next time, remember, resist.


Hey guys, how you doing? This is rich from rich TV live and I have some breaking news. Tesla is exploding up 11% aftermarket now at $645 due to the fact that they did beat Apparently the Tesla delivered better than expected Q4 2019 results on Wednesday Earlier the company reported deliveries of 112,000 vehicles during the fourth quarter a record for Tesla Shares and Tesla have continued to rally since Elon Musk's electric car maker reported a surprise profit in Q3 Tesla has reported fourth quarter results and it's a beat on earnings the stock spiked as much as 13% on the news after hours Here's how the company did versus expectations. This is breaking news on CNBC earnings 2.14 adjusted verse 1.72 per share expected Revenue 7.38 billion versus 7.02 billion expected according to Refinitiv Tesla said it expects positive cash flow and net income on a continuing basis going forward with possible Exceptions as it launches and ramps up production for new products the company's automotive gross margins were down slightly year-over-year and sequentially at 22.5% for the quarter the company said it has Already begun a production ramp for Model Y its newest crossover SUV at its Fremont, California car plant The company also plans to build the Model Y eventually at a factory. It plans to build in Brandenburg, Germany in 2021 Tesla shared a photo of the production version of the Model Y in its earning report for 2020 Tesla said vehicles deliveries should comfortably exceed 500,000 units on the energy storage and solar side of Tesla's business the company said it deployed 54 MW's of Solar in Q4 up sequentially by 26% and contributing to 436 million in revenue for the segment it made even more money in the quarter 580 million from services and other businesses which includes everything from repairing its customers cars to selling merchandise to fans Here's some of the revenues as you can see on this chart The company guided that solar and storage deployments should grow at least 50% in 2020 Tesla had already reported deliveries of 112,000 vehicles globally during the fourth quarter a quarterly best for the company that Number significantly topped Wall Street estimates and hit the low end of Musk's year-end sales goals So those are the numbers what I'm gonna do is I'm gonna try to stream the Financial report later on today when I get some time Tesla breaking out at 647 $649 right now up 11.71% aftermarket after posting a beat on Earnings estimates is your boy richard much to be live and I'm out the number one pick Tesla has not disappointed Up now around 50% in the month It's true.  Live, and I'm out peace


Soil is not our property. It's a legacy that's come to us from previous generations and we must pass it on as living soil for future generations. If we do not do this one thing, future generations will look upon us as a very irresponsible generation. Ha ha ha, I'm sixty-five and I'm riding thirty-thousand kilometers. Not a joyride at this age. Well, I thought before I'm too old and no good for anything, I will do my bit. Every one of you, let's do our bit and let's make this happen. It's a great pleasure for me. These beautiful Caribbean nations are going for this past. Cheers to oil! This memorandum of understanding that we are siding, it will also bring some technical assistance to the Caribbean region. This is a historic moment because here is the first step to turn around. Probably one of the most famous Indians and what you're doing today is really important because people like you who have a wonderful following of millions and millions of people and what you're doing with that is so important with saving the soil. If you want to say, I love you to your child, you must just say save soil because it is a more committed way of saying I love you. Every single one of us needs to get behind this really, really important mission. It's an extraordinary campaign. It echoes what we in the Commonwealth have been aspiring to do for a number of years. Next hundred days from 21st of March, we want the whole world to talk about soil. It is not about the motorcycle. It's not about the journey. It's not about the song. It is about moving people on the planet. Make it happen, huh? Nobody spoke about soil like Saif Guru does. I think if we all contribute, then we have a really strong voice. And everybody is so excited to hear Saif Guru. It's our time on the planet. What we do here is our business. Let's do the right things. I honestly didn't feel a part of the movement before. Obviously, I'd never met him seeing what kind of a following he has and how impactful it is. I really feel like I just joined a global movement. Graffiti artists supporting the safe soil movement, wanting to inspire the youth, and youth being the major population in the most parts of the world today, all graffiti artists to whatever walls that you have, make sure that you use this. Beautiful cities of Europe. It really resonated with me the message that we have to save our soil. It's our common issue together. It's not for one nation, for one person, but we as people have to unite and to solve this. This is a celebration of human beings coming together to do what they need to do. Wonderful meeting with the Agriculture Minister of Slovenia. Reshima Persu! All of us have been part of this destruction. The only way is all of us become part of the solution also. It is raining heavily tonight. A wave of hope is necessary for the future. Over 2,000 years ago, this evidence that he made the mistake of over-forming the region and the erosion that caused tremendous damage and that was also the fall of the city at that time. So, the Romans of today should never make that mistake once again. And we are very happy that we are aligned in our message to really hide the profile of soils. And we believe that it's very much needed. Young people getting into farming is very good. That's the future of the world. Thank you. In Geneva! I think it's a message of urgency, but it's also a message of hope. So, I'd really like to thank K. Sakburo for his leadership. The global movement led by him addresses the soil crisis by mobilizing people around the entire world. It touches your heart, you know, and his message is strong. This massive fountain in the lake of Geneva is lit up for safe soil today. With safe soil colors of blue and green, you cannot stop this. The moment is on. It's going to be on till the policies are done. See, when people want it, it definitely will happen. There's no question about it. Tell me, will it happen? Yeah! They're picking up speed. No matter what the hell, I have to keep going. You think this is a problem? Relentless commitment to what you do. That is the only solution. Safe soil, let's make it happen. We already have one action, which is an MOU to be signed between Isha Foundation and 4,000 initiative soils for food security and climate for cooperation in achieving our objective of creating a heavier soil. We were just sharing exactly the same objective. Increasing carbon content in the soil. I'm really humbled by your campaign, Saad Guru. What you are doing is really impressive. First I would like to thank Saad Guru for this campaign. I'm quite amazed and feel that it. I was very honored to be on the stage and be able to actually express that that his mission is what we need. It's fantastic, granted, been great. All Brussels. Let's put together and work on a common message for all to save a resource that determines our future, save the soil. We shall all stand up and make the most impact we can to create real change in the world. And then a smashing evening at the main event. The super enthusiastic crowd committing themselves to make this happen. It's heartwarming to see everybody come together. Save soil on the moon. Let's make it happen. Just look up the news and see in the last four months how many governments have started talking about soil because they see it's picking up momentum. But if you create three to four billion people talking about soil, that's it. That will be the main conversation in the government. Save the soil is a very important movement that we support as UNCCD. We would like to propose to the world to do whatever they can to protect the soil because it is our future. Save soil. Let's make it happen. Education ministry in Germany has now come into the picture officially and asked all the children to do artwork to support Save Soil Movement. It's been wonderful. Congratulations that you wrote to the Prime Minister. Let's make it happen. So, on the way to Batislava, well, the road surface is not great. Too many puddles of water. So, can't maintain very high speed. It's great that all of you are here in Batislava. Nobody ever imagined hundred years ago that we will have to save soil of all the things. Thank you for coming to Solania. It's a wonderful and I'm very happy to have the video campaign. I'd like to come in the kitchen and cook with me a little bit. Why not? Without soil being rich, food won't be rich. Without food being rich, our bodies will not be a full potential. What do you call this? It's a Sadguru Sar. Table twelve. The old heroes always built something which stands up like this, but the new heroes are those people who will nurture the soil which always lies beneath our feet, never stands up. Wonderful city of Belgrade. The UNFAO said something which really deeply hurt me is the soil that we're consuming right now belongs not even to these little children, belongs to the unborn child. This is an expression of our love and responsibility for our own lives and the future lives. I love the message that he sent and how he like broadened it that it's everybody's responsibility. I think there is a great potential for a good collaboration, partnership with the campaign, say, soil and what we are doing as a government. We can make it together. It's very important, bringing a certain sense of love and celebration towards the land that we walk upon. It's just afternoon, but temperatures are around two degrees, morning it was below zero, not a weather for motorcycle for sure. Going from Sofia to Bucharest, organize yourselves whichever way you want, form groups, come together somehow and see this happens. Satguru reminded me that I have a voice. People from Istanbul were really amazed by Satguru to appear and they were just so happy to see him. There's many people, if all of you are committed and you spend fifteen, twenty minutes a day to enhance the message, I think I don't have to go on riding like crazy. Yesterday I rode eighteen hours, can you believe this through Bulgarian roads? It's a honest expression of his wisdom and love for humanity, I think. He's been riding through very rough terrain, rough roads, dusty construction sites. It was a long drive and we were getting a little late for the live event at Tbilisi. He, right at the end, maybe five minutes before the event, decided that he couldn't stop for a break. In the traffic he was just removing his jacket and gloves and throwing in the car just to make it on time. The whole purpose of this moment is to first to bring this home that when you walk upon the soil, you know it is the source of your life. Keeping it alive is the most important thing. Will you make it happen? We could have touched or we nearly about 1.2 to 1.3 billion people have spoken about soil since 21st of March, but that's not good for us. We want three to four billion people. A gift from God, for the people, for the earth, for the soil. We must save the soil, we must plant the trees, we must replenish the forest, we must save our plants. Turning up the soil. Right now soil has turned into sand because we pulled out all the organic content. We are taking the life out of the soil. If we don't put that back, all the other concerns which are important to be attended to, but none of them will matter. This is not for us. This is for him and his generation.  Save soil. What I can tell you is a motorcycle driver. I also like motorcycles and it's not his. The main, this guy is devoted. This is what makes him so impressive. So he touches people. When it comes to agriculture, when it comes to soil, when it comes to soil ecology, our national borders mean nothing because microorganisms operate as a global system. People are talking about doctors without borders. I'm asking you, are you beings without borders? Are you alive without borders? The only way and the only way we can see the continuum of life process is that it can be... it has to be addressed globally. Implementation has to happen on the land and land is not managed by scientists. Land is managed by farmers. So it's extremely important. It must be a single point agenda, incentive based agenda. If inspiration, incentives and disincentives after a certain period of time, is the way forward. This is my appeal to every one of you because I don't want this COP 15 to end as one more convention with more paper and more paper. This must end with concrete action and action in such a way that is it's implementable.


Good day to all of you. I am Dr. Gunjan Bajal, a radiation oncologist. A radiation oncologist is basically a doctor who takes care of cancer patients and tries to treat cancer by the use of high-powered x-rays called radiation. So with this technique, very often we need to give radiation before, after or along with other modalities like chemotherapy or surgery. However, as our machines have grown and become more advanced, now we are confidently able to say that using radiation, we can very often cure a large percentage of early and locally advanced tumors. With this, we bring to the table the prospect of organ conservation. This means that suppose you had a tumor of the voice box. Now this, if you were to treat surgically and remove the voice box, you would probably not be able to speak with your original voice at all. But with the use of radiation, these cancer cells can be totally destroyed and you can achieve a cure in a very high percentage of cases, thereby alleviating the need for surgery. And also, after the treatment, you may be able to use your voice to the fullest extent almost as good as it was before. This is called organ conservation, whereby we try to improve your quality of life, not only by curing the cancer, but also by the reduction of side effects and the imparting of function to your body, which would have otherwise been taken away. This same principle of organ conservation can be used for prostate cancer, whereby radiation is used to treat prostate cancer along with hormone therapy without any kind of surgery being required. This is also possible for the cancers of the mouth of the uterus or the cervix, where radiation has now become the standard of care all around the world. In other head and neck cancers, like in the cancers of the tongue, the base of the tongue especially, the tonsils, the pharyngeal pathway, the esophagus, that is the food pipe through which the food flows. Even in early stage lung cancer, very often radiation in the form of stereotactic body radiotherapy is used to completely cure the patients, giving a good cure rate of about 50 to 60 percent, which is very high compared to the older treatment survival rates. So, this message I would like to pass on to you. But having said this, I would always say in spite of our advances in technology, the best way to treat and cure cancer is to try to detect them early so that the morbidity of the treatment and the cure rates can be much, much, much better.


You were mowed already. Four days later. Two days later. Finally rested my body enough and then exploded.


Our whole vision with sneakerball is obviously the most important thing is to impact the community and these kids in local Atlanta are our priority. We talked about how we wanted to integrate and give these kids not only just the resources but the access to the people who are thriving in the sneaker world and help them understand that there is a connection bigger than just wearing sneakers but that they can have careers in sneakers. To come here and just kind of see how quickly everybody brought their idea to life is actually amazing. I mean they got directly to it. Let's get up, let's get started. It's always just kind of eye-opening just to see how you know the younger generation views creating. I want to say thank you to Georgia Power and sneakerball Atlanta for the opportunity just to be within the community just to hear some of the stories that the students have to share. I came here to inspire them but I left feeling inspired. I know that the future is in good hands. So when I hear a power forward I think of providing motivation and inspiration for those around you. Georgia Power is a foundation within the Atlanta community and I think that this campaign is giving the students the foundation that they need to be successful to follow their dreams. I think it's a big community where everyone can share their ideas and just help each other make their dreams come true. I'm so thankful that I won today because I didn't know that I was very creative. I just want to say thank you to Georgia Power because it's like you're getting power to make you succeed. A lot of these kids probably have a passion for sneakers or they're at home drawing and designing but no one's there to kind of make that elevate to the next level. So the Power Forward campaign is something that we want to continue to strive to make sure that these kids are building excellence. Power Forward!


The city of Bemidji is conducting a tree inventory on all boulevard trees focusing on the trees between the curb and the sidewalk. During the inventory, Minnesota Green Corps members will document the species of the tree and measure its diameter and canopy size. The information will be available on a mapping system to show where different species are located and the different ages of the trees. This will provide a better look at the urban forest and for the future planting of boulevard trees. Part of this tree inventory is to get a good picture of the tree diversity in our community because with like a changing climate and with new pests that might come into the area, it's important to know what we have and to plan for a more diverse forest so that we don't lose a whole bunch of one species. The time it takes to measure each tree depends on if there's any defects and the size. If you've enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland Public Television.


Any conic section is defined by the ratio of the distance between a point and the focus and the point and the directrix. If the ratio is exactly equal to 1, the conic section is a parabola. In that case, there is a point midway between the focus and the directrix. This will be the point on the curve closest to the directrix and focus. This point is the vertex. Suppose the directrix is horizontal and the focus at some point f. By a horizontal and vertical translation, we can move the vertex to the origin. And at that point, the focus will be at some location 0p, that's p units above the vertex, and the directrix will be the line y equals negative p, that's p units below. So, if x, y is a point on the parabola, the distance between the point and the focus will be, and the distance between the point and the directrix will be, and since the ratio of these two distances is equal to 1, this allows us to set up an equation, and we'll do a bunch of algebraic simplification to find, and this proves the first part of the following result. The equation of a parabola with focus 0p and directrix y equals negative p is for p y equals x squared. And if our directrix happens to run vertically, we can do a very similar set of manipulations to find the equation of a parabola with focus p 0 and directrix x equals negative p for p x equals y squared. So, let's see if we can find the focus of the parabola. Now, the key strategy here is that we know the equation for a parabola with focus 0p and directrix y equals minus p, so suppose we start with that one, and our equation will be for p y equals x squared. Now, our goal is to find a sequence of transformations that will give us this equation 8 y plus 2 equals x minus 3 squared. So, one of these things is not like the other. The first thing we might observe here is that in our parabola, we have x squared, but we really want x minus 3 squared. And we can get an x minus 3 if we shift horizontally to the right by 3 units. And if we do that, our equation becomes we also want a y plus 2 instead of a y, and so that means we're going to shift vertically downward by 2 units. Which we'll make our equation into, and we want coefficient 8 instead of coefficient 4p, and so that means that we'll get the same equation if p is equal to 2. And what this means is we can start with a parabola 4 times 2y equals x squared, which has directrix y equals minus 2 and focus at 0, 2. We can then apply the same transformations. We shift this parabola horizontally to the right by 3 units. Then shift it vertically downward by 2 units. And this will move our focus to 3, 2 and the directrix 2y equals negative 4. Or let's try to write the equation of a parabola with focus 4, 2 and directrix y equals 8. So let's start by graphing this information. So to begin with the vertex is midway between the focus and the directrix, and so this means it will be at 4, 5. Now if we move the vertex back to the origin, we have to move it left 4 and down 5, and this moves both the focus and the vertex. The focus will move to 0, negative 3, and the directrix will move to y equals 3. And so that tells us that p is equal to negative 3. And so our equation becomes, now let's put everything back to where it was. We'll need to move the graph right 4 units, and so our equation becomes, then up 5 units, which gives us our final equation. Or suppose we know where the vertex and the focus are. So graphing label, so remember the vertex is midway between the focus and the directrix, and given the way the points are located, that means our directrix must be vertical with equation x equal to 1, and it also means our parabola is horizontal. And again we can move the vertex to the origin by translating left 3 and down 8. And if we do that, the focus will be at 2, 0, and the directrix will be at x equals negative 2. So p is equal to 2. And since the directrix is vertical, we begin with the graph of 4px equals y squared. We found p equal to 2, and we'll shift everything back into place, right 3, then up 8. And that gives us our final equation.


For me, it's a privilege and an honor to be part of a group like GEMRA. As a public health veterinarian and scientist from Latin America, it's very important to me to bring up to the GEMRA meetings the analysis, perspective and mission from a fairly large geographical area such Latin America that is unique in many aspects. In the world, differences in culture, burden of diseases, political and economic situation, among others, have an impact in full-born diseases. So part of my mission in the meeting is to collaborate and contribute to the discussion and analysis from both a Latin American and a global perspective. Well, GEMRA is formed by a group of outstanding highly recognized scientists and experts from different countries of the world. This group provides an incredibly rich vision of expertise to address and help in the solution of microbiological food safety issues. The experts that participate in this meeting bring all their scientific skills and feel knowledge to the table. All that applied knowledge and work will protect people by helping in providing solutions to food safety and health problems in communities from all around the world.


All this month, get up to $50 off any Android smartphone from Appalachian Wireless, any Android you desire. All $50 off with two-year agreement, better service, bigger savings, that's today's Appalachian Wireless and East Kentucky Network Company. Employees from Daffodils boutique strutted their stuff on the runway for a fall fashion show at Riverview Healthcare Center. Experts at Riverview say they really enjoy the events the facility provides for them. It helps me a lot because I've been here for three years, it was after activities I'd go crazy, I really would, I really enjoyed it and it was nice to see the pretty clothes. The one that she had fancy pants on, they were stretch pants, but they were beautiful and they were something I really liked, I bet I could never afford them. I really enjoyed being here, I've been here three years and I enjoy it. The Daffodil models enjoyed themselves just as much as the residents. I was actually raised in this facility, my mom started working here when I was in kindergarten and then later on when I was around 14 I started working here myself, that's when I kind of figured out what I wanted to do with the rest of my life and in the meantime I started working at Daffodils while I'm going to college and when they mentioned that they wanted to come in here and get involved with the nursing home I was all about it, I was so excited and that I would get the opportunity to come back down here and work with them again and just make them smile because I know how much these events mean to them. Small businesses in the community are more than just retail stores, they're part of the communities they serve. There's a lot more to retail business than just selling goods out of your store and serving customers, it's also about the community and the work that we do in the community and this is just one of the many things that we do. For more information on Riverview Health Care Center visit them at the web address listed on your screen. Reporting from Prestonburg, I'm Sean Allen for EKB News.


This video is sponsored by Meller Lite. So I decided to get rid of my iPhone 11 Pro Max, basically downgraded to the iPhone 11. I got the black colorway and thinking about making a video about why I decided to do that. Give this video a thumbs up if you'd like to know why I downgraded to the iPhone 11 from the Pro Max. This video is going to be pretty similar to the last video I got some really good feedback from that video. Thank you all so much. I'm glad you all enjoyed it. I really don't want to do a skit for these past two videos and I mean including this video because I want to have more of an intimate conversation where I'm just thinking of things to talk about as the video goes along. One, it's easier to edit, but two, it just feels more intimate. It doesn't feel like a play, right? There's no skit or anything like that. One of the main questions or one of the most popular questions I typically get is how to get your first internship as an engineering major or as a computer science major. Which is a great question because you want to be able to get real-world experience, especially when you are an engineering major and when I say engineering major I'm going to just include computer science into that mix because a lot of computer science programs are within the engineering college. I know mine was so I'm just going to throw CS into the mix when I say engineering major. It's super important to have real-world experience especially if you're looking for a software engineering type of job because there's so much competition out there. There's a ton of jobs out there but there's so much competition out there and so many people are learning how to program at such a young age. They kind of expect you to know certain programming languages by the time you're like a sophomore or junior even if your university doesn't teach you those languages in the curriculum. So one thing you're probably going to notice is that your curriculum isn't going to necessarily align with what you're going to be doing in your day-to-day job as a full-time developer or as an intern but learning object-oriented programming for example is an important fundamental fundamental to learn in order to get that job because once you learn object-oriented programming then you can really learn any other language. All right so the number one thing to getting an internship is you want to make sure your resume is up to date you want to make sure your resume is appealing. So you really want to cut to the chase don't talk around things in your resume so in the top portion where it says summary don't do a whole paragraph about yourself just say hey I'm looking for a mechanical engineering job in X or I'm looking for a front-end software engineering job because recruiters come across a lot of resumes and it's much easier for them to see a resume that says hey I'm looking for this job and then they could think oh do we have this job available yes we do let me keep reading your resume to see if any of your skill sets fit the requirements we have for the job so then I'm gonna so then after your summary you want to have like your university that you attend your GPA put your GPA on there if it's over 3.0 if it's under 3.0 don't put it on there because a lot of times it may not even ask you what your GPA is especially if you already have experience but if you don't have experience um you still don't put your GPA if it's under 3.0 let them ask you because a lot of companies may not care even if you don't have experience so you have your university underneath your summary and the major you are studying or getting a degree in and then underneath that you want to have any relevant experience so if you don't have any experience that's okay put personal projects there put um any work experience that you have I think adding work experience outside of maybe the field of study you're in and you pair that with relevant projects to the industry you're interested in working in or the job you're interested in having or the company you're working for if you pair those two together even if you don't have experience that's relevant to the job or real world experience that's okay because sometimes you just don't expect you to have experience especially when you're 19 years old you're not going to have any software engineering internship experience or if you're 20, 20 years old or even 21 years old so make sure you put relevant projects that you've done in college and make sure you put down relevant projects that you've done like your own personal projects and have a github account have your github link at the top of your resume as well if you're looking for a programming internship and then underneath that you're going to want to have the actual skill sets that you have and you could flip the two but I think it's it depends I'll say if you don't have any relevant real-world experience put your skill sets first I don't know if there's really a rule to this I'm just giving you some advice and ranting right now but put your skill sets first and then underneath that puts your experience I'm pretty sure I've done that in my resume before keeping your consumers and subscribers up to date during every step of the journey is now easy through mail or lights email automation building strong relationships with your audience through warm welcomes to new subscribers celebrating anniversaries milestones and updates regarding your business or brand to your subscribers the very intuitive automation workflow tool allows you to build a new workflow in a matter of minutes and gives you the flexibility to create personalized workflow you can also track your results activity and your history the subscriber management tool allows you to organize your subscribers and so you can also create interest groups while keeping your email list healthy sometimes your subscribers are busy just like you are and can lose track of important emails and newsletters auto resend gives you the ability to automatically follow up with your audience consumers and customers who haven't yet opened your first email with that being said back to the regular programming next thing that you want to do which is the obvious thing is you want to show up to the career fair right like show up to the career fair especially you computer science and software engineering majors and I know I'm catering towards you all I'm sorry for any other engineering majors that I'm not necessarily catering to in this video but I think that by some giving is valuable to any major in general but since I was a computer science major I have more experience with that and that's typically what I can talk about or have some credibility to talk about but I would say show up to the career fair and the reason why I say that it seems obvious but to a lot of students they don't have the confidence to show up to the career fair and you want to show up because a lot of times just showing up kill Andrew that interview that's how I got my first internship I was a freshman I didn't have any real-world tech experience programming experience besides a program that I did in over the summer but I showed up and since I showed up I showed them that I'm passionate about software development I'm passionate about computer science and I have the drive to actually come and give you my resume even though I was 18 years old at the time and then they also gave me an interview and then I ended up getting an internship at the company that I'm working at right now as a 23 year old so yeah make sure you show up and it's another reason why it's important to show up is because it's much easier to explain your resume and your experience and just who you are as a person in person opposed to trying to make them figure out like who you are and if you um have the skill sets that are required for the job or if you're even good for the job a lot of times personality and um technical skill sets together can give you that push that you need to get into that door that you want to get into apply to at least 30 different internships and I know that in the professional services at Ohio University well within a Russ College of Engineering they recommend applying to 30 internships or 30 jobs because they figure you're probably going to hear back from 10 and get interview from you're probably going to hear back from 10 and you know hopefully maybe you get 10 interviews and then maybe three will give you an offer or maybe you'll get three interviews and one will give you an offer I think more so if you apply to 30 you'll probably get like four interviews and maybe one or two will give you an offer that just seems more realistic my recommendation is to apply to a hundred different internships the reason being is because the more internships you apply for the more likely you're going to get an internship because someone is going to show you some love someone is going to give you a call back and then if you may maybe you get a call back from 10 different companies and three of the interviews you know you're going to crush because they're not even technical right maybe they're using the star method and you do well with that or maybe they're technical and you know that you're going to crush it because you feel very prepared but maybe the other seven or the other five you don't know if you're going to get because they're really competitive well then maybe if you get three offers then you can start negotiating your your your salary or I would say what you're getting paid hourly for your internship so apply to as many internships as possible some people only apply to like 10 or they apply really late and that just doesn't make sense to me also make sure you don't only apply to big companies I can't even take credit for saying that Lee is the one who recommended that I say that but it's so so true one thing that I did um senior year that I kind of regret is that I only apply to super high-end companies and if I'm being 100 honest with you I didn't get any of those companies and the reason being is because well you know a lot of them were in New York and a lot of them were in like Silicon Valley and I didn't get them like I made it to a final round of interviews to a big tech company in San Francisco and I was as far as I got but if I would have applied to you know maybe mid-tier companies or companies that aren't as big I would have gotten more opportunities to live in other cities or work for other tech companies had I applied to companies that weren't so big or had such a big name behind them I'm not saying don't apply to big name companies or big big companies and what I mean big companies I mean big name you want to apply to big companies because they have a ton of opportunities for you but apply to big name companies as well but don't just say I'm only looking for this firm in Manhattan or this type of firm or this type of tech company and it has to be in San Francisco because the competition is tough especially when you're an Ohio kid like me applying to a job in New York or San Francisco where the students who are applying to those jobs that live in that city or in that state give FaceTime with those recruiters so it makes it that much harder for out of state people applying to those jobs another thing to make sure you attend our networking events for example at OU we have a partnership with Chase the National Society of Black Engineers had a partnership with Chase when I was there so they always throw networking events and going to those networking events were great because I was able to meet people that worked at Chase I was able to meet hiring managers that work at Chase get some FaceTime with them talk to them about my skill sets my experiences and what I want in a career and you're able to get cards of you know hiring managers that you won't be able to you wouldn't be able to do that if you don't go to a networking event I went to a ton of networking events when I went to the National Society of Black Engineers National Convention so I went to I've been to like Apple parties like literally like Apple corporation parties Twitter parties Microsoft parties not only was I was I able to meet other students who end up working at some of those companies or new people at those companies but I met people that work at those companies and you know coming living in Athens Ohio you don't always get those huge huge name companies every once in a while you'll get Amazon or Microsoft come in but you rarely get some of those Silicon Valley companies so I really take advantage of those networking events those are really really great and it's a it's a great way to get your foot in the door so since we're on the topic of conventions and conferences networking events make sure you go to conferences if you can let me tell you if you are a computer science major there's like a retail tech conference that's I don't know if it's still like this but it's literally free and it was free last year one of my friends went to New York City for free and she also went to LA the year before that and I have friends that I graduated with that went to Houston for free and there's these amazing speakers and all these retail companies who are looking for computer science and software engineering majors who are interested in working in the retail space because a lot of these retail companies need to revamp their apps they need to revamp their websites their databases they need tech because everything is you know on your phone nowadays everything is online nowadays most shopping is online nowadays for example so this conference is literally free and you get a chance to network and one of my friends actually is working at a company that I think she met at this retail conference where that she was able to network with so also engineering engineering programs will pay for you to go to those conferences I know at Ohio University I'll take advantage of that so I want to say every yeah literally every year I went to a conference for free and I got so many networking opportunities so many internship opportunities it was amazing because you go to these conventions where there's literally like 200 companies like literally from Ford to Google to Tesla to Microsoft to Dell all these companies looking to hire you know minorities when I went to the National Society of Black Engineers Conference and the retail conference for example so definitely take advantage of that so I can't I can't think of anything I might have missed um right now I think that is enough information to get you an internship forgive me if I ran it at all forgive me if I went on a rant at all really passionate about all this kind of stuff I really want to help you all get internships and full-time jobs it's so amazing when I hear that you all are out there crushing it getting internships and full-time jobs and that you're saying my videos helped you that's amazing keep commenting liking the video it lets me know that you're finding value in the content that I'm making so that pretty much concludes this video once again shout out to our sponsor Mailerlight make sure you click the link down in the description box to learn more about email marketing and how that can help your brand and your business


The human capital flight phenomenon in Nigeria and the growing emergency. The minutes of human capital flight in Nigeria is gradually nearing epidemic proportion. Every other day, young Nigerians, both gainfully employed and underemployed, are living the country in droves in search of greener pastures. The proverbial girls have become so withered on this part of the globe that its young talents have all become disillusioned. Jaipa Eurubaward, which represents running or living away, is a phenomenon of choice today and the singular ideology that unites Nigerians, large, yet growing young population. One is being seen as the best bet to get visas easily abroad, with various countries offering scholarships for master's and undergraduate programs, some of which come with an option for permanent residency. While the health sector has historically been the most hit by this phenomenon, it has now taken a deep root among other professionals, lawyers, bankers, engineers, software developers, etc. In the last two weeks, at least three of my friends jetted out of the country after becoming so frustrated with life and career here. Just yesterday, a colleague of mine quit his job as a leading law practice and is set to travel to Canada in a matter of days. An economy associated by astronomical unemployment indices, rising poverty, inequality, insecurity, poor capital income amongst other socioeconomic challenges has conduced to a debilitating brain drain, with potentially unhealthy consequences for the socioeconomic development of Nigeria. But who cares about this when faced with a decision that bothers on survivors? That is the question. Why female capital flight in Nigeria invariably leads to high foreign remittances back home? The negative consequences for the country far outstrips the perceived benefits. The human capital of any economy in today's knowledge-based global economy is its greatest resource. Therefore, no amount of foreign remittances can compensate for the shared investments in the human capital of other already advanced economies, such as the United States, Britain, Canada, Australia, and several parts of Europe. The above state of affairs paints the picture of a country in a human capital crisis. Unfortunately, comments credited to a senior minister of the current administration to the effect that her pool of medical professionals can leave the country if they so desire does not betray the mindset of a government conscious of this social anomaly. Yes, to stem the tide of the growing wave of human capital flights in Nigeria, the government will show considerable commitment and investment in the education and health sectors of the economy. Now, we're having this discussion at a time when the investment system has been shut down for over six months, going to the industrial action by academics in the sector certainly lives must to be desired. Not long ago, Nigeria used to be a net attractor of foreign professionals in her workforce, including students with the associated economic benefits for the country. If the contrary is the case today, we must pause to ask ourselves what happened. An objective answer to that question might well hold the keys to reversing the ugly trend of human capital flights in the country. How famous for the word jackpot, I don't know what you want us to stay or you want us to go because we all want to go. Some of us are here for different reasons and the jackpot thing. People used to frown at it, criticize people that travel, but now those of us that are staying back are beginning to look like we are not thinking because it is predictable out there.  Here to a large extent, it doesn't even matter what you do, where you're from, you're exposed to all the risk that is associated with living here. I know you talked about the health sector and also the education sector, but there's also insecurity. If you check this jackpot trend, it's very common or linked or associated with those people who are in the middle class, which is the working class, which is the potential leaders of tomorrow and almost bourgeois, maybe almost bourgeois. Why are they going? These people are educated, they are working so hard, they are paying taxes, meaning they have rights to certain things in the economy. They have rights to power, rights to security, rights to everything, and they're not getting any of them. They are working and paying taxes. That's why you're having a lot of these exploits, people are living. In those days to Jack Bar, you had to go and do prostitution in Europe, you had to go and do many jobs all over the world, and then people were living because they had to work very hard to be rich here, so you had to go do drugs or prostitution. Today, you just need to be very educated and you move. I will tell you something because a lot of my friends have moved. People are not moving because of themselves anymore. People are living because of their children. People are saying things like, wow, we've done eight years of this guy, eight years of this guy. What if a worse person then takes over again? That's not so they are going for their children. Exactly. So it's actually a big problem and it brings me back to what Elijah said at the beginning. The government has to go back. It's not a matter of making things difficult for us to live. You have to go back and solve the problem. It's not something you can fire, what you put on fire, don't smoke. It's not smoke. It's actually very, very deep. I consider that mine every day because I wonder what I'm doing here. So it's not about me, it's for my children. So I mean, people can say, well, I mean people have their own opinions, but that's my own opinion. Please, please go ahead. I think, Mr. Rimo, listening to what you have just said, let me focus on a little bit of emotional. The reason why I said this is because I think Africa, where the wind is in the world that we love our country, we have tried, like, our time, achieved some of a lot of travel tribulations that have affected us in Africa. Like, I'm from Sierra Leone, like, yeah, people will not live in Sierra Leone for anything. And then even though we are 10 years of the Wall Street or whatever, and then I know my grandmother returned back to Sierra Leone because she loves the country so much, from America. And then now you're saying this, there's a friend in Nigeria, a boy I studied with in India. It was like seven years ago. I was a certified ethical worker. It's wonderful. I read that several weeks ago, before coming to Nigeria, I told her I'll be coming to Nigeria. She sent me a picture of a Canadian visa, so I'm leaving for Canada. And so why are you going? It's in Nigeria. Everything is finished. So there's nothing I can do. And what our leaders don't understand is our natural resources is not the oil, not the gold, not the dam. It's human capital. So we look at a country like South Africa. You'll never find South Africa that want to leave because they have an industrialized economy. And secondly, they have government that cares about them. All we ask so in West Africa in general, this Sierra Leone Ghana, Cameroon and all of us, just show consent. Exactly. Provide, know that one day I'm going to get sick. You have the resources. You have all the money. You can get anywhere on the go. But make sure that when I get sick, there's a medical facility available. Make sure there's fire in my house. Yes, and ambulance are going to come and quench that fire. Very big. We just need that. Leave us with the rest. Leave us with the rest. And then if you can leave us with the rest, and then I feel like we will stay. Yeah. Okay. So my concern in all of this Jack by issue is actually the fact that our grandparents were Nigerians. Our parents are Nigerians. We are Nigerians. Our children are going to be mixed. Yes. Because again, and our children's children are going to probably be Americans and Canadians like fully, you know. So there's a gradual fade out of culture. And it's, there's a gradual fade out of tradition, you know, of our values. And somebody, a friend of mine told me that very close to a child's school in Canada, there's a cannabis store. Yes. So you can actually, cannabis is actually like, there's nothing bad about it. I know most of us in Nigeria will say, oh, cannabis. Oh, go forbid. Okay. Yes. Okay. Go forbid. My children must not even cite it. But then in Canada, there's a school, there's a store. So you can actually, as a parent, I could go pick my kid and just grab some, you know, grab some. Yeah. So those are the things that give us concern about JAPA.   She can never be a boy. Because now in the UK, in the US, yes, you can actually decide to wake up tomorrow. I said, mommy, I want to be a man. You know, like what's happening to Jeff Bezos' son? He even gave himself a female name. He said his name is Alicia, right? What they call himself. I can't remember the name. So he came to his father and said, daddy, you are the owner of Twitter, right? Fine. I want to be a boy. So, you know, those are the concerns about JAPA. But what are your opinions? Let's instill the right values in our children now. Well, the issue of gender, it's a very, very dicey situation. We don't want to go in that. But anyway, the point taken is we have to sit up as governments. We really have to sit up as government because people are living in the country. We can't affect to have brain drain on the economy. Just imagine the adverse effect it has in Nigeria. So it is a very, very serious problem. We need to consider it seriously. So I quite agree. And I'm particularly captivated by the thought of... Sorry, I don't get the name now. That has the borders on the cultural implications of potential generation. We have all been fixated by the economic consequences. But that is also an aspect of it that we may not quantify in terms of the consequences. Yeah. So hopefully, as Mr. Elijah said, it must take a turnaround in the situation here for this drift to be reversed. Until that is seen, I don't see that movement stopping anytime soon. The next is next after this timeout.