When we use the word Qi in Chinese medicine, there are a lot of different opinions about what that actually is. But I'll share something that I know for sure to be true, which is that when we talk about Qi, we're often talking about the function of something. So when we say something like, there's kidney Qi deficiency, or spleen Qi deficiency, the easiest way to translate that could be one synonym, which is function deficiency. So today in this video, I want to talk about what's called kidney Qi deficiency or kidney functional deficiency and some of the key signs and symptoms for it. Hey guys, Dr. Alex Hine, author of the health book, Master of the Day, licensed acupuncturist and doctor of Chinese medicine. So before we jump into this video, two very important links that are right below the video. The first is if you'd like to become a patient of mine locally in Los Angeles or virtually via telemedicine, you can contact my private practice right below this video. There's a contact info button right there. The second is there's a free download I've put together for you, which is four daily rituals that could potentially help you add years to your life with traditional Chinese medicine. And that is right below if you want to download that. So maybe the first hallmark sign of kidney Qi deficiency. Actually, we could say the hallmark demographic would be the middle age male who begins to experience these signs and symptoms, right? Textbook, first one being frequent urination, especially nighttime urination. So when we talk about nighttime urination that's frequent, that's clear. This is a clear sign of the lower jaw from a Chinese medicine perspective getting deficient and getting cold. So frequent urination, but most often frequent nighttime urination is one of the key signs and symptoms that we tend to see. The second sign and symptom we see is usually feeling cold. So one of my mentors said to me once, he said, why do you hear every middle-aged or elderly man say, I'm ready to move to Florida where it's warm? That's because the kidney yang is getting weak. It's getting run down. And the way you could think about that is that we call it the Ming men. The way that I could explain it the most simply is that it is the primordial fire of life. It is the person's oomph, right? In our culture and in most cultures, I think there is a concept of what is the oomph, what is the yang, what is the primal force that makes people feel alive and feel strong and feel fertile and be virile, and what is that thing, right? There's a concept for it, which is why we say terms like burnout. Well, what burned out, right? Like what specifically burned out? We talk about burning the candle at both ends. We have these cultural sayings to understand a concept. And the concept, you know, I don't think there's a real thing that is kidney chi that will be ever measured. I don't think there's a real thing that's kidney yin or kidney yang that is ever measured. I think they are ancient concepts that physicians and people used to observe and describe functions in a time in history that predated biochemistry by literally thousands of years. And the amazing thing is that these formulas all still work to treat those symptoms very effectively. So when we talk about these functions, kidney chi, kidney yin, kidney yang, we're talking about these physiological aspects of the body and of certain organs. So when we say burning the candle at both ends, or the yang is getting weak, the Mingmen fire, the primordial fire is getting a little bit doused. One of the patterns for this is kidney chi or kidney yang deficiency. And so feeling cold is because that fire as a concept has gotten weak. And so decreased immunity, poorer circulation, definitely worse sexual performance, urination, these are all related to that aspect of deficiency and cold in our perspective. The third kind of symptom is back or knee issues. It's common to see people at this time also experience knee problems, hip problems, whether it's osteoarthritis or they end up getting a hip replacement. Very, very common in knee replacement, hip and knee replacement, double hip, double knee replacement. Let's just make them bionic, you know? Maybe they can put like a special thing in my arm they can replace this and then I can just not even have to feel the pulse and I can have an ultrasound machine. Then I can just feel the pulse, feel the ultrasound. It'd be pretty cool when I'm 146. The fourth sign and symptom is actually respiratory problems. So it's common to see people with things like shortness of breath, asthma. These breathing problems is the thing that the kidney grasps the chi. And it's a very difficult concept to explain. But clinically, one of the patterns you'll see in chronic asthma is that you often need to treat it clinically from the kidney perspective and not just from the lung perspective. And so in the same way, you know, something very similar, you often are treating heart problems from the kidney as well, which is why you look at a lot of the formulas, you know, some of the diuretic formulas that are related to hypertension, the kidney and the heart share that relationship obviously both physiologically but even from a Chinese medicine perspective for thousands of years that's been observed as well. So these formulas can be used for respiratory or cardiovascular problems at the exact same time. So it's cool to see that modern medicine has this relationship and ancient Chinese medicine observed this relationship as well. So edema, for example, can be another one.  So it's common to also see, for example, men at this age where they're having nighttime urination, the sleep's not so good. And they're also having problems with getting or maintaining erections. So impotence, one of the patterns for it is a kidney chi or kidney yang dysfunction. So when we treat fertility, sometimes for both men and women, we're often treating the kidney, there are other patterns as well. But this is a very common kind of cliche textbook pattern. So if you see some of these patterns and you're getting up at night for the first time in your life and maybe sleep's not so good or you're also having some anxiety, depression, maybe some edema, some shortness of breath, some of these problems, you may be moving in towards that kidney chi deficiency pattern or kidney function deficiency pattern. And again, in my experience, Chinese formulas are very, very effective for this kind of pattern. And we have some formulas that are so famous and so well studied. In Japan, they're actually used over the counter. So shen chi wan, kidney chi pill, is over the counter for men over the age of 50. It's just like a textbook pattern, night sweats, nighttime urination, boom. And with shen chi wan for a couple months, they're all good. All right, guys, that's all I have for today. Five symptoms of or five signs of kidney chi deficiency. I thought I would share it because if you notice this happening, you may understand why it's happening and that it's not necessarily something to be afraid of. But in addition to seeing your PCP, this is a very well understood pattern in Chinese medicine for a very long time. All right, before you go, if you'd like to become a patient locally in Los Angeles or virtually via telemedicine, the contact info for my private practice is right below this video. And otherwise, I will catch you guys in these related videos over here.


Hello, I'm Martin Porcel. Welcome to this, the fourth talk in the public lecture series for Summer 2020, The Artist as Intellectual, a self-portrait as president of the Royal Academy by Joshua Reynolds. The focus of this talk is the self-portrait Reynolds painted on the occasion of the move of the Royal Academy to New Somerset House in 1780. The self-imaging projects is not that of an artist, but a man of intellect, a scholar, dressed in a plum-coloured suit in doctoral robes, holding in his hand a scroll of paper rather than a paintbrush, as one might expect. The picture was immediately on its completion, placed on permanent display at Somerset House. There it performed a public function, confirming Reynolds' position as president of the Royal Academy and the leading figure in the community of artists belonging to that institution. It was displayed in the assembly room with a pendant portrait of the architect of New Somerset House, William Chambers, who also held a post of treasurer at the Royal Academy. In truth, there was little love lost between the two men. For while Chambers enjoyed the King's favour and engaged in private architectural projects for George III, Reynolds was anathema, or as the King himself stated war bluntly, he was poison in our sight. At this point in his career, however, the King's favour meant little to Reynolds, who had the world at his feet. Reynolds' self-portrait was clean some years ago, rejuvenated by the removal of two centuries of accumulated grime. As a result, it exudes more than ever an air of swaggering self-confidence. Even the bust of Michelangelo seems to not indeference to Reynolds' achievements, something which I've always found quite amusing. Reynolds' poses adopted from Van Dyke, yet the overwhelming debt was to Rembrandt, not least in the dramatic presentation of the head and the black velvet cap, silhouetted against a plain light background. Indeed, Rembrandt is an artist we'll be returning to in the course of this talk. An engraving of the portrait by the prominent printmaker Valentine Green was published on 1 December 1780. The inscription reads, So Joshua Reynolds, Knight, President of the Royal Academy, Member of the Imperial Academy of Florence, Doctor of Laws of the Universities of Oxford and Dublin and Fellow of the Royal Society. The engraved image, the inscription on which matched the rhetoric of the painted image, confirms Reynolds' public stature as the leader of a British school of art. Indeed, the promotion of nationhood and national role models in the visual arts was a central theme in Reynolds' inaugural address, his ninth discourse, Summerset House, on the 16th of October 1780. It will be, he stated, no small addition to the glory which this nation has already acquired from having given birth to eminent men in every part of science if it should be enabled to produce, in consequence of this institution, a school of English artists. A school, it might be said, with Reynolds in the role of headmaster. In the exhibition, Joshua Reynolds, The Creation of Celebrity, which I curated at Tate Britain in 2005, we included over half a dozen self-portraits by Reynolds, as well as depictions of Reynolds by other artists, including this bust, sculpted by Giuseppe Cioracchi, made around the same time as the self-portrait. The bust, which is now also in the collection of the Royal Academy, originally belonged to Reynolds, and it may have been commissioned by him. It forms a useful comparison with the Royal Academy self-portrait. Modelled upon anti-classical imperial busts, it endows Reynolds with a heroic air, a tribute to his status as a modern philosopher, an intellectual who thinks about art as well as practising it. The classical format of the bust, with its tight curls of hair and toga, conformed to Reynolds's own views of sculpture as expressed in his 10th Discourse on Art, delivered to the Royal Academy in December 1780, where he upheld the superiority of idealised forms over those that conveyed detailed naturalism. Well, having provided an immediate context for the Royal Academy self-portrait, I'd like now to provide some insights into how it emerged by looking back over Reynolds's career at the various images he created of himself over a period of half a century, a total of 30 or so paintings and drawings, some well-known, others not so. As we will see, Reynolds had an abiding fascination with his own face, and particularly the persona he presented to the outside world. Collectively, his self-portraits comprise a kind of visual autobiography.  The earliest known self-portrait is this chalk drawing from around 1740, when Reynolds was aged 17, made presumably just after he had become apprenticed in London to the artist Thomas Hudson. He scrutinises himself with a steady gaze, concentrating his effort upon his facial features and his flowing shoulder-length locks of hair. Not perhaps the most handsome of men, but certainly very presentable. On the reverse side of the drawing is a study of the figure of Diana in red chalk, clearly an academic exercise. Notice the blue paper, which is the original colour of the sheet. In the drawing featuring Reynolds, the paper has faded to grey. The reason being is that it was subjected to daylight when it was framed, not by the artist himself, but by a subsequent owner, who appreciated its value as a record of the now celebrated artist as he had appeared as a young man. I suspect, however, that when the self-portrait drawing was made originally, it may have been conceived as an afterthought on the reverse of the academic sheet. The tradition of self-portrait drawing, which Reynolds absorbed through the pedagogy of his master, Thomas Hudson, had been handed down to Hudson by his own master, Jonathan Richardson, whose daughter he also married. Here on the left is one of the many self-portrait drawings made by Richardson, and on the right in red chalks on blue paper, a drawing of Hudson in his early 20s by Richardson. The link between the three artists goes beyond a common thread of portrait drawings to a shared interest in drawings by old masters. Richardson's important collection passing from him to Hudson and then to Reynolds, who continued to gain inspiration from these drawings throughout his career. Reynolds was also deeply influenced by Richardson's writings on art, which played a significant role in his own ambition to succeed as a writer and a thinker, as well as a painter. Although Reynolds terminated his apprenticeship with Hudson prematurely after only a few years, they remained on good terms, as Reynolds set about establishing an independent career. This is the earliest known self-portrait produced by Reynolds, made in his early 20s, as he moved back and forth between London and his native home in Devon. It remained with him throughout his life, and until recently it was in the possession of one of his descendants. Van Dyke has been suggested as a possible influence upon the portrait, although, as the art historian Lawrence Gowing was the first to observe, Reynolds may have been inspired by a self-portrait by Godfrey Kneller, which was at the time at Woebin Abbey. Reynolds would almost certainly have known it not at first hand, but via an engraving made from it by Isaac Beckett. Compositionally, the two works have much in common in terms of pose, demeanor, costume, and the focus of light upon the face in an otherwise darkened picture surface. Although it's slightly difficult to pick out, Reynolds has also introduced the device of the fictive bust within a novel surround, a common trope in such portraits of the period. As with the influence of Richardson in the self-portrait drawing, Kneller, then still a towering presence in British art, despite his death some 20 years earlier, was an artist to be admired and emulated. Reynolds's rapid development during the 1740s, both technically and in terms of his imaginative approach to portraiture, is nowhere better demonstrated than in this self-portrait of around 1748. Here, Reynolds relies on the inspiration of an artist of far greater stature than either Richardson or Kneller, namely Rembrandt, whom he was studying intently at this time through paintings, drawings, and engravings. This self-portrait is, in my opinion, among the most creative responses to the art of Rembrandt produced by any artist of the period. It's a painting that brims with self-confidence and self-belief, and one which demonstrates at a stroke that Reynolds's concept of imitation went far beyond mere copying. Here, he quite literally casts himself in the persona of an artist of vision, creating a shadow across his eyes with his hand and drawing upon the art of the past to peer into his own future. The oblong format of the portrait is also unusual, leading to a previous assumption that the composition had at some stage been cut down. However, the reason for the format is more straightforward. Reynolds having taken a standard 30 by 25 inch canvas used for head and shoulders portraits and turned it on its side, thus literally giving himself elbow room to accommodate his outstretched left arm and right hand holding his palette and brushes. In 1749, shortly after making this portrait, which may have been conceived as a kind of visual right of passage, Reynolds travelled to Italy. There, shortly after his arrival in Rome, he made this self-portrait drawing dated May 1750. The subject clearly looks like Reynolds, reminding us of the self-portrait drawing made 10 years earlier, and it exudes his customary air of confidence. Yet, when it was acquired by the British Museum from a London art dealer in 1897, it was identified speculatively as a self-portrait by a friend of Reynolds, John Astley. who had studied with him under Hudson. This in itself tells us that we know rather more about the appearance of the young Reynolds than was known a century or so ago. Also made in Rome, about the same time as the drawing, was this painted self-portrait. Unlocated for many years, I first set eyes on the walls of a London auction house nearly 20 years ago, when it was labelled as a portrait of an unknown artist. I sensed that it must in fact be a self-portrait by Reynolds, and its correct identity established. It was acquired by the Yale Centre for British Art. We don't know the painting's early history, but there's an intriguing story told by Reynolds' pupil James Northgate, who himself later visited Rome. As Northcote recounted, and he says, there was an extraordinary fine portrait of Reynolds painted by himself when in his studies in that city, and left by him in the house where he lodged at that time. It's quite probable that this was the portrait in question. If so, was it simply abandoned, or was it presented to a friend? I don't think so. More likely, I think, is that Reynolds decided quite deliberately to leave the painting as a substitute for his living presence, reminding those who lodged there later that they were following in his footsteps. In Italy, Reynolds, as one might expect, paid close attention to celebrated Italian masters such as Raphael, Titian and Tindoretto. He also continued to cultivate his abiding interest in Rembrandt. This picture, now in the collection of the Reich's Museum, but then housed in the Palazzo Corsini, captivated Reynolds sufficiently for him to make a copy from it, in April 1750, just after he'd arrived in Rome. A second self-portrait, quite probably made by Reynolds in Rome, was this painting, which Reynolds' friend and biographer Edmund Lohm described as, I quote, the Manor of Rembrandt, which it most definitely is. This one, if it was made in Rome, accompanied Reynolds back to England and remained with him for the rest of his life. Reynolds returned to England from Italy in 1752. The trip marked a watershed in his career, not least as he was keen to impress upon his peers and upon his patrons that he'd been to Europe and that his art drew freely upon European as well as native British traditions. This self-portrait was painted probably just after his return. Again, Rembrandt provides the principal inspiration in terms of the modelling of the face and the strong contrasts of light and shade. It also possesses a directness of gaze which anticipates, by some decades, the Royal Academy portrait of 1780. According to James Northcott, this was the portrait that most resembled Reynolds in life, although I must confess that like so many of Reynolds' self-portraits, the real character of the person behind the portrait remains elusive. And unlike Rembrandt, who used his self-portrait at times to convey emotions and anxieties, Reynolds seldom gives much away. Now in the collection of the Tate, in the 19th century, owners included the celebrated artist Thomas Lawrence, himself a president of the Royal Academy, and the politician and twice prime minister, Sir Robert Peale. To own a self-portrait by Reynolds was clearly a mark of true connoisseurship. A key function of the self-portrait for Reynolds was self-promotion. We also know from the evidence of quite a few unfinished compositions that he continued to paint his portrait for practice, as in the present painting which only emerged recently hitherto unknown from a private collection. Whether it was simply abandoned or whether it was put aside due to the pressure of commercial commitments, we don't know, but in its incomplete state it possesses a real vitality, almost a speaking likeness as if Reynolds is opening his mouth, about to engage in conversation with the viewer. Reynolds was, we know, a highly sociable individual. He loved to entertain, and he loved to be entertained by both male and female friends. Yet, although he encouraged conversation, the evidence of those who knew him indicates that he generally preferred to listen than to speak, as we see in this satirical drawing of him seated with fellow artist Angelica Kaufman. Here, in an unusually informal portrait by Kaufman, his friend, and as it were rumoured, his would-be lover, Reynolds sits listening, his crooked fingers bending forward his right ear. Reynolds was famously hard of hearing, his deafness, he claimed, being brought on by a chill court through spending too long in the Sistine Chapel, admiring Michelangelo's great creation. Clothed in fancy dress, a so-called van die costume, Reynolds poses by a pile of books and papers, a clear reference to his literary ambitions and accomplishments. This was before he even began to compose his celebrated discourses at the Royal Academy. His status as an artist is referenced through the easel propped up behind him, while the same bust of the Divine Michelangelo that appears in his later self-portrait emerges here from the shadows, as if whispering words of encouragement into his shell-like ear. In May 1766, Reynolds was elected as a member of the Society of Dilitanti, an exclusive coterie of collectors and connoisseurs from the upper echelons of society. As Horace Walpole had commented famously some 20 years earlier, it was a club for which the nominal qualification is having been in Italy, and the real one being drunk. To mark his election, Reynolds presented a self-portrait, which still belongs to the Dilitanti Society. He painted another version, which he retained for himself. It was this portrait that he used to advertise the knighthood he received in 1769, following his election as first president of the Royal Academy. As we can see here in the inscription on the engraving made from it, Sir Joshua Reynolds. Here, Sir Joshua, as he was now known, is depicted just left of centre in Zoffery's enthralling portrait of the Royal Academy, exhibited at the RA in 1772. Reynolds' election as president of the Royal Academy marked a watershed in his career, confirming his preeminent position in the community of artists and in society in general. It also launched his career as a public speaker and as a writer, as he commenced his series of annual and later biennial discourses, in which he articulated his views on theory of art, the education of the artist, and the relationship between contemporary art and past traditions. Attired in a smart black velvet court suit, a court sword at his side to signify his knighthood, Reynolds is depicted by Zoffery in the act of conversation, his left hand gesturing as if to make a point, his right hand supporting his silver ear trumpet, adverting to his hardness of hearing. To the right, rubbing his chin is Dr William Hunter, professor of anatomy at the Royal Academy, his presence indicating the significant dialogue on the relative roles of art and science within the Academy, something in which Reynolds and Hunter agreed politely to disagree. Although Reynolds was in general on good terms with his fellow academicians, his immediate circle of friendships lay beyond the parameters of the Academy, with celebrated cultural luminaries such as Samuel Johnson, Oliver Goldsmith, Edmund Burke and David Carrick. These men formed the nucleus of his intellectual circle and it was in the context of these friendships that Reynolds was invited by the brewer, Henry Thrail, to paint a series of portraits to decorate his library in Streatham, South London. The writer Fanny Burney, who was a self-affirmed Reynolds, nicknamed the portraits the Streatham Worthies, in reference to the Temple of Worthies in the grounds of Stowe Buckinghamshire, containing sculpted busts of celebrated figures from English history, including Shakespeare, Milton, Locke and Elizabeth I. In each portrait, painted by Reynolds, he chose to express a particular character trait. In his own portrait, he depicted himself cupping his ear, a reference to his customary role as listener and to his partial deafness. This, however, we must remember was a private portrait, painted for intimate company and far removed from the image that Reynolds wished to promote in public. The Streatham portrait differed from the majority of self-portraits produced by Reynolds during the 1770s, and that he wore the clothing he adopted in everyday life. From now on, he more usually chose to wear the academic gown he acquired on being awarded an honorary doctorate in civil law by the University of Oxford in July 1773. He modelled it for the first time in this self-portrait, presented to the Corporation of Plimpton during the occasion of his being elected mayor a few months later. The paint surface of the self-portrait of Reynolds in his newly acquired Doctoral robes was barely dry when he dispatched it hurriedly to Plimpton to be displayed in the Corporation dining room. As Nicholas Penny has observed, it presided that the mayor's feasts had once an apology for his absence and a substitute for his presence. The function of the picture can be seen, therefore, to anticipate the role played by the portrait he produced for the Royal Academy towards the end of the same decade. While his election as mayor of his local town afforded Reynolds a great deal of personal pleasure and in turn reflected well upon the local corporation, its significance was overshadowed by the invitation Reynolds received in 1775 to present his portrait to the Uffizi Gallery in Florence to hang in the corridor of artists' self-portraits. As the number of related unfinished compositions testify, Reynolds put a great deal of time and effort into this production. Again, he donned his Doctoral robes, this time with the addition of the cap, drawing inspiration for the composition from portraits by Van Dyke and Rembrandt. In his right hand, he held a scrolled drawing by Michelangelo, upon which he had inscribed Henry del Divino, on the reverse, using his paintbrush. Reynolds scrawled in Latin an entire list of the public honours he'd received to date, including his knighthood, his presidency of the Royal Academy, his doctorate, his membership of the Royal Society, his fellowship of the Society of Antiquaries, his membership of the Florentine Academy and his mayoral position at Plybden, just in case anyone was in any doubt about his qualifications, beyond that of being an artist. According to the keeper of the Florentine Gallery, Reynolds' portrait was received almost as if it was a holy relic, while Zophany, also then in Florence, could not apparently refrain from running to embrace it. Although he also told people that it would soon fade and appear quite dreadful. So much for friends. The portrait of 1780 was the culmination of Reynolds' self-assessment as an artist, an intellectual, and it was painted at the peak of his fame. It's the defining image of his presidency, but it was by no means the final self-portrait. A few years later, he depicted himself in the guise of a shepherd. In a design, he made for painted window at New College Oxford, appearing alongside the glass painter Thomas Gervus. This is the window itself, with Reynolds and Gervus in the upper register at the left-hand side. You might just be able to pick them out. It was not, it must be admitted, an unqualified success. In the late 1780s, as his eyesight faded, Reynolds produced this portrait, which after his death his niece presented to George Prince of Wales. The image is strikingly different to the Royal Academy portrait, depicting Reynolds, as his friend Edmund Malone commented, exactly as he appeared in his latter days in domestic life. This was not a public image, and the fact that he presented versions to Malone and his other great friend Edmund Burke suggests that it was intended as a personal keepsake. It's also the only self-portrait in which he depicts himself wearing spectacles, which he used in later life when painting. Spectacles, of course, connote impaired eyesight. They can also be associated with vision and intellect. Thus, Reynolds' decision to depict himself in spectacles was, I think, not simply to portray himself as he appeared in daily life, but to present an image of an artist philosopher and a man of vision. In the summer of 1789, failing sight in his left eye compelled Reynolds to stop painting, and by the time of his death in February 1792, he was virtually blind. Reynolds was interred with full state honours in the crypt of St Paul's Cathedral. Twenty years later, his niece succeeded in erecting a monument to his memory in the crossing. At the insistence of his niece, the sculptor, John Flaxman, portrayed him in his doctoral robes, with one hand touching a pedestal on which was portrayed the face of Michelangelo, while in the other hand he held a copy of his discourses, a deliberate echo of the self-portrait which Reynolds had painted for the Royal Academy. Early in the 1930s, a quite different image of Reynolds was placed in the four-quarter of the Royal Academy at Burlington House Piccadilly, in the form of a bronze statue by Alfred Drury. Here he was portrayed unashamedly as a painter, a far more sprightly figure than he ever presented to his contemporaries. His statue continues to greet visitors to the Academy to this day. In 1973, on the 250th anniversary of his birth, the Royal Mail commemorated Reynolds with a first-day cover, featuring Drury's statue and Reynolds' own self-portrait in the form of a three-pen stamp, an indication of how much Reynolds' reputation was linked intrinsically to his public persona and the self-portrait. 2023 will mark the 300th anniversary of the birth of Reynolds. Exactly what form the commemoration will take, I'm not certain, although I suspect that once more it will be Reynolds' iconic self-image that sets the agenda and provokes further debate about this most enigmatic artist.


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Nigeria, the most populous country in Africa, has one of the greatest incidences of mortality rates in the continent, with an estimated 15,000 cases and 10,000 deaths annually. cervical cancer is a major public problem in Africa, where it is the cause of cancer deaths among women. According to the World Health Organization, about 119,000 new cases and 81,000 deaths from cervical cancer in Africa in 2020, accounting for the global burden. There is therefore an urgent need for effective and sustainable ways to prevent and control cervical cancer in Nigeria and other African countries. Garasil is a vaccine that protects human papillomavirus, a sexually transmitted infection that cervical vaginal vulva and other diseases recommended for girls and boys 12 years, but can be given as early as, can be given to as late as 26 years old. I'm going to continue to have engagement internally with CBA, Federal Ministry of Finance, Customs, NAQS, and externally with European Union. With European Union, we are already getting some results. The EU has reduced the inspection of melons from 100% to 50%. We're not there yet, but it's better than 100% all the time. In the interim, I implore all Nigerian exporters trading in NAVDAC regulated products to obtain necessary certifications for processing of their products. The National Primary Health Care Development Agency comments the introduction of the use of code-revalent Garasil single-dose schedule into a routine immunization in Nigeria in 2023. The decision to deploy the off-label as a single-dose schedule is based on scientific evidence that shows that a dose of Garasil vaccine can protect against cervical cancer. Human papillomavirus NAVDAC is in support of these data from immunogenic CTC trials, analysis of efficacy trials, and post-observation studies among demonstrated and single dose of vaccine is sufficient to elicit a response that provides similar and a multi-dose regime against initial persistent HPV infection. I am delighted to stand here with the DG of NAVDAC and our partners and donors to share that this vaccine will be provided free of charge to all eligible girls in Nigeria commencing on October 24, 2023. Alongside our partners and donors, we have secured over 6 million doses of the HPV vaccine and essential supplies. We have conducted numerous fora to raise awareness among stakeholders, including parents and caregivers regarding the pivotal importance of HPV vaccination. To address any concerns or misconceptions, we have engaged with communities and established a robust monitoring and evaluation framework to measure the impact and progress of the vaccination campaign. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Hello everyone. Thank you dear for that introduction and for everything you do for the community as president and CEO, the shepherds of good hope. I'm looking forward to visiting the new units that are being built here in Canada that will allow you to help even more vulnerable people. It's great to be here with you, Minister Hussain and Mayor Watson for this important announcement today. I'm glad Councilor Hoogley can join us as well. This pandemic has laid bare gaps in inequalities in our society that we must continue to address. That includes the fact that far too many people do not have a roof over their head. And that's why we're here this afternoon. Because we know that building a safer, more resilient Canada starts by making sure that everyone has a safe place to call home. Since 2015, our government has made unprecedented investments in housing across the country. And last year, we saw that the pandemic made needs even more urgent. We saw the challenges and challenges caused by this crisis. So we knew that we had to act without delay, so we set foot on the initiative for the rapid creation of housing. When we launched the Rapid Housing Initiative last year, we projected it would create up to 3,000 affordable housing units right across the country. Well, in March, we exceeded expectations. That number became over 4,700 new units. Well, today we're reaching even higher. We're investing an additional $1.5 billion in the Rapid Housing Initiative for a total of over 9,200 new homes for Canadians who need it most. That means thousands of people with a safe place to stay. Thousands of people for whom life will get brighter. We're doing what it takes to make sure that everyone gets a roof over their head. Today, we're investing an additional $1.5 billion to create more affordable housing for those who need it. With this new investment in the Rapid Housing Initiative, we're talking about our initial target of over 3,000 homes, with over 9,200 affordable new homes for the most vulnerable. Here in Canada, the Hope Living project I'm going to visit this afternoon is already in construction. Thanks to the new investments through our program, the risk of the establishment will be converted to create new homes for people in situations of itinerance or at risk of becoming it, more specifically the residents or members of the Indigenous community. To be able to do that is an essential need. So we're going to keep going. We're going to continue our efforts to end up with itinerance in this country, because everyone deserves to have a safe and affordable house. What we saw in the pandemic is that there's still a lot of work to be done, and it's all together, with partners like the Mayor of Watson and organizations like the Berger de l'Espoir that we're going to continue to do it. The Rapid Housing Initiative is about real, positive outcomes for real people. We made a promise to end chronic homelessness in Canada in the coming years. So programs like this are concrete steps to do just that. This is about supporting those experiencing homelessness or who are at risk of homelessness. It's about creating safe and affordable places for women and children who are fleeing violence. Unfortunately, we've seen a shadow pandemic on top of COVID-19. Violence against women, gender-based violence, increase over this past year as people are forced to stay home to be safe in homes that aren't always safe. It's also about ensuring that we're there for seniors, for Indigenous peoples, for people with disabilities, for racialized Canadians, for refugees, and people from LGBTQ2 communities who have higher risks of vulnerability and need extra support sometimes, particularly in times of crisis. That's what our government continues to be focused on, and today is another example. For a different example, one of the ongoing projects that receive funding through the Rapid Housing Initiative is a partnership with Atira Women's Resource Society in Surrey, BC. They're developing a modular housing apartment that will serve women experiencing homelessness, including Indigenous women, trans and two-spirit women, and women who are struggling with substance abuse. One of the most important transformative things that a government can do is invest in housing. My friend Adam Fawn often points out that housing isn't just a problem. It's also a solution, because with a roof over their heads, people can live a better life. They can get a good job and support their family. It's good for our communities. It's good for our economy. It creates and supports good construction jobs, but mostly it creates opportunities for everyone. And it's part of our plan to create one million jobs to drive Canada's recovery. Building a better future is making sure that our communities are more secure and that our economy is stronger. It's also making sure that no one is left behind. With today's announcement, we continue our efforts to create more affordable housing and more affordable housing for the middle class, the essential elements of our future. And we are getting closer to our goal of eliminating chronic littering in Canada. Before I finish today, I want to say a few words first about the heat wave in Western Canada. The temperatures recorded this week are unprecedented. Lives have been lost, and the risk of wildfires is at a dangerously high level. Our thoughts are with people who have lost loved ones. Yesterday, I spoke with Premier Horgan of British Columbia. Minister Blair spoke with Minister Farnworth of BC. The federal government, as always, is here to help in any way that we can. But today and for the coming days, let's continue to make sure we're there for each other. So check in with your neighbors to make sure that the senior in your building is doing well. Check in with your loved ones. We've seen more and more of this type of extreme weather event in the past years. So realistically, we know that this heat wave won't be the last. That's why investing in good, safe housing for the most vulnerable is so important. I also keep in mind that our new law on climate has been adopted by the Senate yesterday. This law ensures that the Government of Canada respects its essential commitments to reduce emissions until our country reaches carbon neutrality. To help us reach net zero, yesterday our government announced that 100 percent of car and passenger truck sales will be required to be zero emission by 2035. This will mean less pollution and more innovation. We know that this is where countries around the world are already going. So as we already have with automakers in Ontario and elsewhere, we're going to continue to work with industry partners to position Canada as a global leader for electric vehicles and clean energy. Together we will make our air and our economy cleaner for now and for future generations. On the eve of Canada Day, the horrific discoveries of hundreds of children at the sites of former residential schools in B.C. and in Saskatchewan have forced us to reflect on the historic and ongoing injustices that Indigenous peoples have faced. Our government continues to be aware, to acknowledge the truth so that we can chart a better path forward in the spirit of reconciliation. Today I also want to talk about the arson and vandalism we're seeing across the country targeted at Catholic churches. This is not the way to go. The destruction of places of worship is unacceptable and it must stop. We must work together to right past wrongs. Everyone has the role to play, not just institutions and organizations, but all Canadians, Indigenous and non-Indigenous, need to take tomorrow yes to celebrate the country that we are, but also to reflect on all the work we need to continue to do and understand with respect and compassion that some of our fellow Canadians don't feel like celebrating tomorrow and we need to pledge to ourselves and to all Canadians that we will be part of working together to build a better future for generations to come. We will work together to right past wrongs. That's what we'll continue to do.


Hello and welcome back to yet another GCSE lesson.  What does it mean? And how can you even find good A02 points to include in both your language and literature exams? Now, remember that A02 assessment objective two relates to relevant use of subject terminology. Just a very fancy way of saying when the examiner is looking at your response, right? So when you're making your point, then you're adding your evidence and then identifying whether the writer has used a language or a structure technique. You need to be able to identify some really good language and structure techniques. So what I wanted to do within this very brief lesson is to show you guys the top ten language techniques and the top ten structure techniques. You will find in any unseen extract and indeed, to be honest, even you can use these techniques for literature. OK, so this is the text that you're going to be writing about for your literature, paper one and paper two exams. But of course, also these literature techniques are relevant for your language, paper one and paper two exams. So in terms of being very, very clear on language and structure, remember when it comes to A02, this is you showing off your awareness of subject terminology. In other words, are you able when you're quoting to pick out and to identify interesting language techniques that the writer has used right when you look at the building blocks of the language? Are you able to identify what techniques is the author using? But equally, you need to be able to make sure that you identify some interesting structural techniques. Now, let's begin by looking at the top ten language techniques you will find in any extract. If you get stuck, just remember these techniques and look for them as you're reading any literature extract, but even any language extract. OK, so starting off with the literation. This is when two more words start with the same letter. This is different to a simile. Again, yet another very, very popular language technique that writers like to use. This is where they're comparing two things using like or as. And this again is a really powerful language technique. The third technique that you'll find in any text is the writer's use of a metaphor. This is when they're describing something as if it were something else.  The weather is being mentioned in some way, the sunshine, the rain, and usually it reflects the atmosphere or the mood. The fifth language technique that you find in any text is oxymoron. Writers like to use oxymoron, which is a very specific type of juxtaposition. This is when two opposite things are shown, hot and cold, up and down and so on. The sixth language technique you can find in any text is anything to do with semantic field. Remember, semantic field simply means category. OK, so in other words, two or more words that belong to the same category. Roses, daffodils and tulips, for example, belong to the category, the semantic field of flowers, iPhone, laptop, mobile phone, belongs to the semantic field or the category of technology. Again, very, very popular language technique that writers like to use. The next seven technique is onomatopoeia. This is just basically sound words like boom, fizzle, crash, woof and so on. The eighth language technique you will find in any text is hyperbole, which means over exaggeration. The ninth technique is personification when objects are given human like qualities. The tenth technique, now this, I've subdivided it into really specific forms of imagery. OK, so writers like to use imagery when it comes to painting a vivid image in the reader's minds. And more specifically, you can sound even more fancy and impress your examiners by talking about the writer's use of auditory imagery, right? So for example, if they use onomatopoeia, this is auditory image because it's related to what you can hear. They also use olfactory imagery, which is to do with smells. OK, so this is like a pungent smell, a sharp smell, a citrusy smell. That's what we call olfactory imagery. And also writers love to use tactile imagery. OK, for example, smoother rough surfaces. This relates to what we can feel when we touch something. Obviously, all of this is painting an image in the reader's mind. If you forget everything else, remember those 10 language techniques. Now, let's talk about structure. In terms of structure, the first structural techniques that writers love to use is the use of tense and sometimes they'll even shift between the three. So present, past and future. If there's a shift, that's also a structural technique. It's very, very powerful. That's the first structural technique you'll find in any text. The second is to do with repetition. OK, so just a repetition of the same phrase over and over again or the same word over and over again. The third structural technique is to do with anaphora. This is when one subject is used and it's constantly repeated and referred back to within the text. This is called anaphora. This is a really powerful structural technique and it's a Grade 9 technique. The fourth technique is, of course, listing and you can even be more fancy by talking about a syndetic listing. This is where there's listing without any and, but because, OK, it's just listing with commas or the opposite, which is syndetic listing where they use lots of ands and buts. OK, so I bought apples and pears and bananas and this and that. We call that syndetic listing as opposed to the opposite, which is a syndetic listing. The fifth structure technique that writers use is rhetorical question. Very, very popular. A question that's not meant to be answered. The sixth, which is very closely related is hyperfora. Sometimes a writer will pose a rhetorical question and immediately answer it. We call that hyperfora. When a question is asked and then immediately answered. Really powerful structural technique. The seventh, and this is a personal favorite, OK, is declarative sentences. Declareative sentences is a sentence that states a fact, feeling or mood. Right now, I'm just speaking in a series of declarative sentences. If you're ever stuck with structure, just default to the writer's use of a declarative sentence. You'll never go wrong with that. The eighth technique that lots of writers use, not all, but lots of writers use is circular structure when it starts and ends in a similar way. The ninth technique is the one word sentences. We call this a minor sentence. OK, so when you have a long sentence, it slows down the pace of the text. And then when you have a short sentence, it speeds it up. It creates a kind of jarring effect, right? So you're kind of reading and gliding along the page, reading, reading, and then suddenly, boom, there's just one word, minor sentence. And what that does is it kind of creates a shock factor. OK, and the final technique that writers love to use structure is ellipsis, the three dots. OK, this is really interesting punctuation that writers like to use in their writing. So guys, when it comes to AOT and especially using subject terminology being able to identify the use of language techniques by an author in any text as well as the use of structural techniques, memorize these 10 language and structure techniques and you will be absolutely fine for any text, be it for language or literature. Thank you so much for listening.


Welcome to Jenkins governance board meeting. It's the 23rd of February, 2022 agenda topics. We've got news, press contact email alias, version number change, possibly at a year boundary or possible version number change at when we begin requiring Java 11 highlights from the mailing list and possibly an easy CLA status report. Any other topics that need to be on the agenda? Nothing for me. No. Okay. But that's not starting yet. That's just prepping, right? Yeah, well, and it's in the news section. So, okay. So we had a weekly release, several fixes for icon image things that had changed in 335. We've got the LTS release candidate that's out. It will release in two weeks and would love to have additional testing.  Google Summer of Code 2022 application has been submitted and we are having office hours every week and we had a webinar today. We're delighted to have five previous Google Summer of Code students as mentors this year on the Jenkins project. So one of Google's goals there is to try to retain new contributors. And this is one of those evidences that, hey, the Jenkins project has actually retained several of our former Google Summer of Code students as contributors. So really pleased. We've also got five additional mentors. So a total of 10 mentors right now identified and we're seeking more and more project ideas. Any questions on the news? Hey, Gavin, next topic, press contact email alias. How's the experience going? So I don't know how, what, where and how to talk about. So this has been interesting. I'm going to do an exercise in finding out who cares. I mean, in the most, most true sense of the word. So currently, I think I mentioned last meeting the press page is full of, you know, long time ago contributors. And I wanted to try setting up an email alias and we can fall back on the Google groups but there has been reports more and more of Google groups losing, not losing emails but marking emails as spam. A lot of people are saying that the developer list is now dropping emails on them. So one thing I prototype real quick was or I talked to the Discord support people. They have, there is a support for incoming posting my email and you can actually use custom emails for that. So we can set up a alias. So press at Jenkins.io and that goes to Jenkins, Jenkins.discordmail.com or something. I don't, it doesn't really matter but then that can route to the service and that can be either a category that can be generic thing or that can be a group. The category is nice because you could move a topic to regular some emails the wrong group, let's say press because you move it to the right category. It's nice and easy. But it means you can't add additional people to a thread. So, you know, I set up a group, I tested it out. I couldn't add in her to it. So there's no way to add extra people who might be curious or something like that. I don't know how much stuff we're gonna get to press that would be sensitive and that matters. This, the second option is a group. There's groups in discourse and they essentially it's just an email thread in your little notification box. It's not as easy to work with but you can add or move people. You could split it. You can even take an individual reply and turn that into a topic. It gives us the most flexibility. I think that's probably where I wanna go if we wanna go down this route. Yeah. I did talk briefly with the info team about getting up some aliases for emails which we don't currently do. It's gonna require time. Not probably a lot but time. So nothing's been done on that front. I've been testing with my own address. So, and we've got a recent addition to the info team that is somewhat of an email expert. Stefan Merrill has been added to the info team recently and he spent years doing email professionally. So. I don't think that's the level of requirement that we're gonna need. It's just right now, the MX is pointed at Mailgun which nobody has access to. It's not the right solution. It should be moved to a natural thing you've set up. And so that requires setting up something. I think there's a Linux foundation service that will do incoming email and forwarding and it'll just be done but just have to spend time and look into it. So if this is something we wanna do, this is then we prioritize it type thing. So that's my report on this. I can do screenshots or demo at a later time or whatever but yeah, it seems to work. I think I have Mark, I tried to pick one admin and one non-amend in there to kind of play with permissions and see what would work. So I think Mark and Pokeran will take a look but yeah, it's relatively straightforward. Right, yeah. So it's experiments ongoing and discuss in the info meeting and then again here next time we meet. Sure, I really don't know. I don't know what's in that step. So I think next steps for me would be emailing. This is the hard part, right? Of the who cares thing. I think it's emailing the dev list and saying there's five names on this press page, most of which aren't active people anymore. Does anyone wanna step up or step in or whenever else? The volume of email. So in the year I've been involved has been four, we've had four emails and one of them was about that Confluence hack. Right, so. Excellent, okay. That sounds great to me Gavin. Evelina, any objections from you? Does that seem okay to you? No objections. Okay, great. Let's go forward then. Excellent, thanks Gavin. Oh, good. And then I think I brought the next topic which light leads into yours as well. I've been keeping an eye on, so I have a thread on the forums about doing announcements more regularly, more public. So, you know, new, new, since things are doing with the highlights mail and that's that kind of thing. One of the things I've noticed is that over and over again, people think the Jenkins are doing Sember, right? They think plugins are Sember. They're like, oh, you only changed the minor version but this major thing changed and they think that's, you know, they're looking at the version this way. I was thinking, you know, we can move to more of a dated version number. So, in this case, so Ubuntu does, you know, I think twice a year, they release a dated one. So, 2304 and 2310 would be the ones this year. Is it that? No, 22, wow, I started that phone. 2204 and 2210. But then, you know, that would, we could do one, we could do per week. So 22.1, 22.2 and F52 releases. It just makes it a little bit less. People assume that it's a minor release set.  Right, yeah, exactly. So there are certainly plenty of examples in industry doing it that way where they're saying, they're admitting, look, let's get on a yearly cadence. And one of my worries with the current version numbers is how often lately I've been juxtaposing the digits 2 and 3 in various interesting ways and making mistakes in bug reports and other places where I just simply say things wrong. Yeah, and, you know, when someone in Gitter says, you know, I'm upgrading from 2.100 to 2.303, you're like, okay, so that's divided by 52, that's, well, that's a two-year release. Yeah, you know, and this would be a little bit more quick and easy for us to go, oh yeah, you're upgrading from one those four years ago, you really want to do it this way or you really want to follow these release notes. The problem is though, you know, we do have infra failures once in a while, you know, like a bad tagging or CI pipeline easy fix, and we usually just skip the release and go like so instead of, you know, maybe three or one failed, but three or two is fine. It'd be a lot more obvious for that. Yeah, but okay, it's going to be, it's fairly obvious anyway. So I think it's an interesting one and I like the notion of if it's, now would you envision LTS would be 23.01.1? Yeah, that would be my thinking. Yeah, so I don't have a strong opinion here but I wanted to bring it up and I thought it was worth discussing. Yeah, I think and leading zero intentional because we would expect to not have more than 99 releases in a year. I would hope we would not have more than 52 releases in a year, but yes. Right, okay. Because yeah, 99 would be, no, 99 would be just less than every release failing once. Right, okay. So what was it? 104 would be every release failing once. Yeah, so I think yeah, that would be legit. Good. So I think it's worth a conversation. This is probably one that justifies a context of a Jenkins enhancement proposal. And, but I like the idea. Let's hash through this one as compared to the next one. So this has the benefit that we just do it on a calendar event, right? It's annual. We're not trying to declare some features are bigger or smaller. We don't waste time or energy having those disputes. It's just the calendar that occurred. It's now the year 23. We're going to make the version number 23. Yeah. And it's like, I've been in a situation when I had a couple of Jenkins instances to review that had different versions and every time I just had to check when was this released? Is it something that is outrageous that is still up and running or not? And if you see it very clearly that it's a year or year old version or something, then it kind of screams update me or something like that. So I think it's worth exploring, definitely. When you log into Ubuntu Box and it says 16.04 on the login screen, you're like, oh no, no, no. I'm not touching this machine. Getting out of here right now. Or 14 or 12. Yeah, exactly. All of those are reminders. So, and Evelina, thanks for being the voice for the users. That experience is good justification to say, hey, you know what? This makes it very clear. And truly we don't have strong semantics for the version number two, right? It just doesn't, right? It's long ago. We've been through multiple major changes. We went through tables to divs. We went through, we're now in configuration form, modernization phase one. We'll go through phase two in June. And none of those have rolled the major number. So I think it's worth considering. In the end, those major numbers means something to you, to people who are developing it. Yeah, to the user of me, one thing, to the developer of me and a different thing, to the writer, the news reporter of me and the third thing, it doesn't mean anything to anyone. It may mean something like, okay, that might be a tricky update, but upgrade or something. Which is what the LTS is supposed to kind of handle. Yeah, good point. Now, I don't know what the impact is in various places of making such a change, but I think it's worth us evaluating it, bringing it as a proposal for discussion. Yeah, I don't touch core. I don't know what the implementation details would be. I don't know. The lease officer would have to be involved. Right. You know, I think about it last night. I think, again, we have so many people going, I'm gonna update from this version to this version, and I go to the change log. I'm like, okay, you know, 100 was, yeah. Right, you're applying all sorts of internal knowledge because the version number gives you no hints about it. Whereas if we switched to at least annually, the hint is, oh, this was in the year 23. Yeah, good. And we can be like six months ago, tables to div happen. So that's probably gonna be 2106. Okay, if you're in that range, maybe this is the problem. I don't have to go look at the change log. And I know Mark knows every version by, you know, is memorized in perfect memory on that, but the rest of us have to look that up. Yeah, exactly, yeah. Okay, Evelina, you look a little perplexed. Are you okay with this as it stands? Yes, I'm okay. Great, all right. Anything else, Gavin? So I assume the next step there is a, do you want to work with me on a JEP for it to try to describe it? Do you want to do it yourself? I don't want to do it myself. I'm not really sure I want to do it at all, but yes, I think that is the next step. So I'll probably get help from you in writing it. Okay, great. And I've got to explore some, certainly my employer will want to think carefully about what does this mean. So CloudBees is, and I suspect Red Hat may care. There are several other companies that are shipping things based on Jenkins, so we'll want to put it into the community and use the JEP process to vet it. Yeah, yeah, yeah. And maybe we just go to three. I mean, so there's all kinds of other, there's actual technical requirements. Chrome and Firefox are apparently this week, this month, both hitting version 100. And they're actually finding, well, in the case of browsers, there's user string parsers that are just breaking on a three-digit code, right? Right, because they expect two digits exactly. Yeah, so I mean, there's going to be more than just, hey, this is a cool idea. We're going to have to actually spend some time and see, you know, do we have version parsers, especially in like the plug-in site or, you know. We've got version number lib that definitely has some special knowledge about version numbers. So yeah, absolutely. Evaluate feasibility, et cetera. Good, I like that. Thank you. Okay, so and given that conversation, I think I'm mostly prone to drop this topic. I had considered, should we roll the version number to three.x when we require Java 11 or newer, because it's a major change. It's conceptually a breaking change because it may be that code, once we require Java 11 will not even execute on a Java 8 virtual machine. And so that for me was possible justification to roll the core version number from two to three. However, we would have 22 major versions before we have an issue, right? We can still do both. And I do think like if we start this year, we can do 20, what is it? 20 major versions before we even have a real issue, right? Overlapping the two processes. I do agree that a 3.0 actually sounds valid for Java 11 requirement because it signifies that you have to go look at the upgrade notes or the release notes, you know? Okay, good. And Evelina, thinking from how the users experience it, are we going to cause frustration and irritation if we, let's say in September, we roll to version three and then in January, we roll to version 23. Are we going to cause irritation, frustration, aggravation, should we have skipped September's role I mean, I imagine, I know in the customers I was working with, we, for example, for automatic upgrade of the plugins in using Jenkins's code, Docker, we were parsing Docker file to get the latest version, the version of Jenkins they are using. So I imagine there might be situations where there is some regex that users use to check what's the current version of Jenkins we're using. And if we can keep it to, I don't know, a number dot, a number dot, a number, then it's not going to be a gigantic change, but... I think Mark's comment was, and I don't, I think people are going to get upset no matter what, but I think the question was... I don't want to be that pessimistic, but it's not like it didn't cross my mind. No, no, but his comment was, if we roll to 3.0 in September and then in January, we go to 23.1, are people going to be upset? And the answer is probably some of them, some vocal ones will be, but most people are like, cool, new version, keep going. Yeah, and I mean, someone always will be upset. I do believe, as I mentioned before, that it does make sense. I would welcome it as a Jenkins user to have the version that tells me that it's fairly recent version or straight away with the number. And there might be some adaptation needed. And I'm not saying we have to retain this format, but probably sticking to that format would make it a little bit easier for some to transition. For many, it will be, I mean, they will barely notice really, so we'll not make everyone happy, but as long as the change makes sense and is supposed to bring a value, then, yeah, we should try. I'm thinking of the version number for plugins, for the, what is it? I don't have a better name for it, the CD version, the JEP to something, where people saw these new version numbers and panicked. And so we got to just be careful about making sure we communicate that because no one really has, and it's scaring people. And I don't really have a good solution to fix that. Yes. I mean, doing whole numbers, so 23.01 and 23.01.1 will be fine, but it's just something we want to make sure we make clear in communication. Makes sense. Yeah, but it doesn't mean that your Jenkins is 20 versions behind or something. Yeah. Right, we admit we're doing a discontinuity and it's an intentional discontinuity for the benefits we get on the other side. On their hand, Debian never changes the version number and you're really confused because it just changes the wording. Yeah, I really love Ubuntu's alphabetical naming because I know that A precedes B and D precedes B. Oh, I didn't even know they're alphabetical. Oh yeah, they are, absolutely. The animals they choose are alphabetically named rolling and it's really great, but yeah. Yeah, and then they roll over. They roll over to A again. So they wrapped around. Well, I mean, like Debian's, I think we're on 14 now it's stable, but maybe it's 15, I don't know, you know? No, it's 11 is stable, it's bullseye, but yeah. Wait, it's 14. Is 14 like the most unstable one? Yeah, yeah, on and on. Yeah, so yeah, I prefer dates and I've brought this up before and it kind of got the same with the 3.0 release, it kind of got meh, who knows? Well, and see, I'm gonna, JEP 2, I think it's 236 has been merged. That's the required Java 11 thing, but I'm gonna bring this, I think, as a pull request to that as a revision because I think it's worth the discussion in the larger community. Requiring Java 11 is big enough. Let's consider rolling to 3.x and at least have the conversation. Yeah. Okay, great. Anything else on that version number topic? No. Okay, next topic then. Highlights from the amazing list and community forum. I know it's kind of silly, but there was a thread with someone commenting about your ability. I think it was the platform meeting minutes where you had everything in chapters and different timestamps and I just want to double up, I wouldn't say chairing, but managing what six meetings for Jenkins and posting minute notes and having recordings and they are very well done and very organized. Well, and happy to do that. I only do those chapter things for meetings where I think chapters are really, really important. And the UX SIG is one of the words, it's white hot, right? People want to see exactly the thing that is being highlighted and so they jump right to it, see the little demo and then they're done. Yeah, good. But the whole thread, just wanted to shout it out here as well. It's a, yeah. Thank you for doing that. Happy to, thanks. And then I'm throwing out Daniel Beck released new GitHub Actions for doing basic security scans on plugins. So any plugin author can opt in and get warnings saying, oh, you're using this key says it's a secret, but it's a string. So you probably want to use a secret variable or you're not requiring a post on this endpoint. So all the basic security scanning that they do can now be done on a PR. So you don't introduce new stuff. It's pretty getting pretty good results so far. There's been tweaks on the actual permission model but so far everything looks pretty good. Yeah, I was delighted to see positive comments from Jesse Glick and from Basil Crow, both. That's two very, very positive endorsements for me. And yes, I'm sure it'll get better. And then the last one I'm adding because I'm biased and so is Mark. But the Markdown for a matter of plug-in, I forgot we never never posted that I released it. So I put it in the forms saying that you can replace the HTML parser, the safe one with a Markdown parser and it will let you put Markdown in anywhere you had to put HTML before. And PS, thank you very much. The terrible thing is I've got probably 100 or more jobs that I have to go undamaged all the HTML I inserted into them so that I can use Markdown to make them easier to read. Thanks very much, Gada. All right, so I'm gonna drop the easy CLA report off the agenda, Oleg's not available. Any other topics we need to discuss today before we close? Nothing from me. All right, thanks, everybody. Recording will be available probably within the next 24 to 48 hours. Sorry, Mark, did you have a recording for last week? It's not on the minutes. So I don't know if it got posted. I think for the one, two weeks ago it did get posted. I just haven't put it into the minutes. Yeah, I didn't. One of those failures on recording activity. No, it's all good. See ya. All right, thanks.


My son is disrespectful, ain't he? Don't you think? How'd I get the belt? How'd I get the belt? How'd I get the belt? How? Because Loma didn't want to fight me. Loma, you don't want to fight me. Oh my god. That's what you really want to say.  Yeah, that was fun. That was fun. That was fun. Don't do it. Not a moment. Never been. Yeah, he be trippin'. And I told him, I said, listen, he's the undisputed champion of the world. He has every belt, and that goes without saying. Yeah, we on Boss Talk 101.  Your son got a lot of people that, you know, they say they don't...  You know what I'm saying? You got a lot of different challenges, man. What's the next one? My son is disrespectful, ain't he? Don't you think? How'd I get the belt? Yes, okay. It is true. How'd I get the belt? How? Because Loma didn't want to fight me. Loma didn't want to fight me. That's what you really want to say. Man, your son, man, you trippin'. Never been. Never been. Never been. Never been. Never been. Yeah, he be trippin'. And I told him, I said, listen, he's the undisputed champion of the world. He has every belt, and that goes without saying. He is the lightweight division that's on lock. And he has said that you must come through him. Yeah. In order to be a champion. That's real. And so with that saying in a sport, that's the most disrespectful thing to send to the guys that are in your division. You know what I mean? So we don't have to say that they're not good fighters. I think that all of them are incredible fighters. I think that they all have great stories, right? They stay down, they show resiliency. Even to be contenders, to be former world champions or future world champions, I don't have to say that. I just said that we got everything right now. That's real. That's real to me. That's real. Like I said, you guys, where did he grow up at? What did your son grow up at? At my house. In Vegas? No, listen, let me just tell everybody, because they're doing it wrong. They keep saying, what street? I'm a real one. That's real. I took my son everywhere, all around the countries. I took him to states, cities. Listen, we knocked on the good fighters. There was a New York, I mean Newark. Super guy, talented guy, Shakur Stevenson. Yeah. What's his name? We knocked on his door up there. Baltimore, Givante Davis. Yeah. Before the world, you guys didn't know who he was. I've already gotten a car and a Sprinter with my son. To get him now. We're going to Baltimore. Don't worry about a son. You don't know who he is. I do. Wow. You see what I'm saying? How did you choose all the different states that you're going to go to? You know all the cities, Detroit? New York, the Bronx, Brooklyn, you know what I mean? Listen, I didn't want him to hear no city, and it felt like it was no nigga that was nowhere better than him because he was from this project, that street, whatever. You know what I'm saying? I had already been to the federal penitentiary. I know everybody put on their pants one leg at a time. I just needed him to know that without going there. I needed him to know that it don't make no niggas nowhere different. We all the same. You know what I mean? It's what the skills you put in, what you, the work you put in, not the street you from, not the rag you claim.  I had to let him know that. But the only way we can do that is then now every the world say, do you know where he from?  That's real. Guess what? And he got all A's because guess what? He was raised in my house. That's real. I'm the principal. My 13 year old son, he get all A's. Who graded him? Me.  Man. I'm checking for his passion. Is it? You know what I'm saying? I'm checking for it.   My daughter, she's in traditional school. She's at Montessori School. My boys, you know, was different because I know what the peer pressure goes into with being a boy, being a young African American in America. So we had a different level of what we, how we raised my boys. That's real. No, no, I get it. My 13 year old, no, you ain't, no, no, no, no. He got the curly hair, he light skinned y'all. You niggas ain't getting a hold of him.  You won't see Sean Haney up there.


Welcome to Spotlight. I'm Liz Wade. And I'm Bruce Gulland. Spotlight uses a special English method of broadcasting. It is easier for people to understand no matter where in the world they live. In the 1800s in England there were frightening stories. The stories told of a huge dog that hunted the Baskerville family. It was not a normal dog. The dog was cursed. The stories said it glowed with a kind of light and it could disappear like a ghost.  But Detective Sherlock Holmes did not believe these stories. He was a man of science. He went to the Baskerville home with his friend Dr. Watson. Holmes examined the place where Charles Baskerville died. It seemed like there was no answer until Holmes found the paw print. It was the marking of a very real solid dog. And around it was a pale green paint that glowed in the dark. Holmes took some of the paint and put it between his fingers. He sniffed it and smiled. The game is afoot Watson, he said. With this one clue he already knew how to solve the crime. This is from one of the most famous stories of Sherlock Holmes. Sherlock Holmes was not a real detective. He was a character in books. Sir Arthur Conan Doyle was a famous writer from Scotland. He created Sherlock Holmes in 1887. But Sherlock Holmes is more than just any character in a book. He is one of the most popular characters in the history of the world. People are still writing about Sherlock Holmes. And he changed the way that detectives solve crimes. Today's spotlight is on Sherlock Holmes. Sherlock Holmes is a complicated character. Holmes is a detective. He solves crimes like murders and burglaries. He notices very small details that other people do not see. He makes quick decisions and he can remember very complicated things very easily. He is very intelligent, but he is also very messy. Holmes solved almost every mystery he ever faced. He also has a very good friend called Dr. Watson who is always part of the story. Sir Arthur Conan Doyle never wrote where Sherlock Holmes was born. But the idea for Holmes came from two places. The first was Conan Doyle's professor, Joseph Bell. Joseph Bell was a surgeon at the University of Edinburgh. Like Holmes he noticed small details. He could discover what happened to a person just by looking at their injuries. But other books also helped Conan Doyle invent Sherlock Holmes. The most important was called The Murders in the Rue Morgue. It was by a man named Edgar Allan Poe. The Murders in the Rue Morgue was one of the first detective stories. It follows a man named August Dupin as he solves two murders. He is much like Holmes in the way he solves the case. Sir Arthur Conan Doyle loved the murder in the Rue Morgue. But he felt that there were problems with the story. August Dupin solved the murders with a lot of skill. But the way he solved his crimes was not based on evidence. Conan Doyle wanted to create a detective who solved crimes by carefully looking around him. The detective would do what Joseph Bell did with injuries. But Conan Doyle's detective would do it with crime scenes. He would use the latest science. And he would use his wits and intelligence instead of relying on chance. In 1887, Sir Arthur Conan Doyle wrote his first Sherlock Holmes story. It was called A Study in Scarlet. It is a murder mystery that happens when Sherlock Holmes is young. In it, Conan Doyle describes Holmes as a very strange person. He is alone most of the time. And he is not good in social situations. But he is brilliant in his deductions. This is what he calls it when he examines all evidence in great detail. Then he imagines how the crime could have happened. This method of crime solving works extremely well. Holmes captures the murderer in three days. A Study in Scarlet did not sell extremely well. But Conan Doyle kept writing Sherlock Holmes stories. Soon his stories were some of the most popular of his time. And Sherlock Holmes became one of the most well respected characters in the English speaking world. This is partly because of Holmes's special way of solving crime. No one had ever seen anything like it. One of his most popular stories was called The Adventure of Silver Blaze. In this story detectives from the government approach Holmes. They ask him to solve two crimes. The first to find a stolen racehorse called Silver Blaze. The second is to solve the murder of the man who took care of the horse, the groom. The police believe that they have the murderer. He is a stranger who bet money against Silver Blaze. But the police cannot prove it. They are hoping Holmes will help support their theory. Instead when Holmes arrives he quickly proves that the police are wrong. He examines the crime scene and realizes Silver Blaze was not stolen. After the murder no one led the horse back to its stable. Instead the horse wandered off. This meant that the groom was the only person with the horse when he died. Holmes also realizes that a stranger could not steal Silver Blaze. There was a dog that guarded the horses. It would have barked at a stranger but it did not make a sound. Holmes understands that no person killed the groom. Instead the horse was the murderer. The groom was trying to hurt the horse. He wanted to win a bet where Silver Blaze lost. But the horse kicked its leg when it felt pain. It crushed the groom's skull then ran away. For many people this was a new kind of story. It changed the way people wrote about crime. Even today people are writing and making films about Sherlock Holmes. Current television shows like Sherlock, House M.D. and Elementary are inspired by Holmes. In fact Sherlock Holmes has a record in the Guinness Book of World Records. He is the most portrayed human character in film and television history. But Sherlock Holmes changed more than just literature. He changed the way people investigated crimes. Dr Ian Burney is a historian who studies crime scene investigation. He also studies Sherlock Holmes. He says... During that time there were people who investigated crime scenes. But they did not have a system. They were not scientific in the way they went about their work. These stories showed new ways of investigating crimes. In them Holmes protects the crime scene. He records everything. He looks at everything. Even the very small evidence with science. It is surprising but clear. Sherlock Holmes was a major influence on the crime scene as we know it today. In this way Holmes was just as important as a living detective. He helped people understand how detectives investigate crimes. He used real methods like finger printing. And he explained every step he took. He made crime scene investigation make sense. And he helped make crime scene investigation something people use all over the world. Laura J. Snyder is a professor at St. John's University. She wrote in the journal Endeavor... By creating a scientific detective... Conan Doyle gave the public a criminal catcher they could trust. Sherlock Holmes did not invent criminal science. But he did more than any other person to show it as a valuable tool in criminal investigation. Have you ever read any Sherlock Holmes stories? What is your favorite? You can leave a comment on our website or email us at contact at spotlightenglish.com You can also find us on YouTube, Facebook, Instagram and Twitter. The writer of this program was Dan Christman. The producer was Michio Ozaki. The voices you heard were from the United States and the United Kingdom. All quotes were adapted for this program and voiced by Spotlight. You can listen to this program again and read it on the internet at www.spotlightenglish.com This program is called Who Was Sherlock Holmes? Visit our website to download our free official app for Android and Apple devices. We hope you can join us again for the next Spotlight program. Goodbye.