Hi everyone, it's NGZ and we find it for a new video
In the video we talk about Q.e Favelas, in this video we will talk about Koba laD
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#BS1 : COMITÉS STOP MACRON ! - Duration: 6:50.
For more infomation >> #BS1 : COMITÉS STOP MACRON ! - Duration: 6:50. -------------------------------------------
iPhone 6s Akku wechseln / battery replacement (4K) - Duration: 4:08.
For more infomation >> iPhone 6s Akku wechseln / battery replacement (4K) - Duration: 4:08. -------------------------------------------
How to make a bishop sleeve pattern //Pattern Making - Duration: 7:27.
In this video i' am going to show you how to make a bishop sleeve
Take a normal sleeve, trace that out, and then from there on, we shall flare the sleeve
Draw two lines on each side of the center line in equal measure
Slash the lines you just drew, but only to the edge
Don't separate them completely
Now flare the sleeve out in equal measure. Use masking tape to hold the sections together
Trace the sleeve out
Add seam allowance
To make the bishop sleeve, what you do, is gather at the bottom, and join it with a cuff, or an elastic band
Take your wrist measurement
Draw two lines at a 90 degree angle
Measure out 7 inches and mark
Decide the width of your cuff. I used 2''
Double the 2'', for the cuff to be 'self finishing' at the bottom
Add seam allowance, 1/2''
The cuff joins to the sleeve, which will have been gathered to match the cuff's width
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[Medibang] Speedpaint: Original Art - Duration: 5:01.
For more infomation >> [Medibang] Speedpaint: Original Art - Duration: 5:01. -------------------------------------------
BREAKING: Democrat Official ATTACKS Trump Supporter In This State… FACING CRIMINAL CHARGES!!! - Duration: 1:42.
For more infomation >> BREAKING: Democrat Official ATTACKS Trump Supporter In This State… FACING CRIMINAL CHARGES!!! - Duration: 1:42. -------------------------------------------
BREAKING: Democrat Official ATTACKS Trump Supporter In This State… FACING CRIMINAL CHARGES!!! - Duration: 1:41.
For more infomation >> BREAKING: Democrat Official ATTACKS Trump Supporter In This State… FACING CRIMINAL CHARGES!!! - Duration: 1:41. -------------------------------------------
Apple | iMac Pro
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Two S.Korean Pilots Found Dead - Duration: 0:54.
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Grégory Boudou en garde la vue : le fisc ne s'intéresse pas seulement à la boite de nuit du frère - Duration: 2:15.
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Mercedes-Benz S-Klasse S 400 d 4MATIC Lang AMG Line - Duration: 0:54.
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Mercedes-Benz C-Klasse AMG C 63 S Coupé - Duration: 1:01.
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Mercedes-Benz E-Klasse AMG E 63 S 4MATIC+ - Duration: 1:02.
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Toyota Verso-S 1.3 VVT-I DYNAMIC - Duration: 0:59.
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Ford Fiesta 1.0 EcoBoost 100PK 5D S/S Titanium - Duration: 1:00.
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Audi A4 2.0 TDI PRO LINE S Navi Xenon 143PK! - Duration: 0:56.
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Tesla back on the road to recovery? - Duration: 2:00.
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Opel Corsa 1.3 CDTI ECOFLEX S/S 111 ANNIVERSARY EDITION (96pk) 5-drs/ Airco/ Cruise/ Elek. pakket/ I - Duration: 0:54.
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Understanding Toto's Africa - Duration: 7:25.
hey, welcome to 12tone! today we're gonna be looking at the internet's favorite song,
Africa by Toto, which starts with one of the most iconic riffs of all time: (bang) and
if we ignore this bit here for a second, we're basically just moving back and forth between
two chords: A major and C# minor.
these two chords have what's called a mediant relationship, which just means their roots
are a third apart and they share a lot in common.
in the grand scheme of things they're almost the same chord, which means moving back and
forth between them doesn't really give us much of a sense of motion.
this makes it hard to nail down the key, but in cases like this I tend to just assume the
first chord is the root if I don't have a good reason not to, and looking ahead, there's
some pretty good evidence that we're in the key of A.
so what about this G# minor then?
that's not in the key of A, so what's it doing here?
well, here's the thing: we're not actually in A major.
we're in A lydian (bang) which is like the major scale but with a raised fourth degree.
this removes a lot of the tension the major scale has, giving us something that sounds
less like it's moving and more like it's just… floating.
as for why this specific chord is being used here, we could look at its harmonic implications,
but I tend to like to analyze riffs through more of a melodic lens, and there's a pretty
simple melodic device that explains what's going on here: the escape tone.
this is where your melody is about to move in one direction (bang) but before you do
you take a quick step the other way first, as a sort of fake-out.
(bang) it gives the melody a more interesting shape, and that's pretty much what's happening
here, just with chords.
but if it's basically just moving back and forth between two chords, why does it sound
so good?
well, that mostly comes down to the rhythm.
this is a great example of what's called syncopation, where instead of playing on the beats, you
play in between them.
here, most of the attacks are played a 16th note late, and if we move them all forward
(bang) it goes from being one of the most iconic intros of all time to sounding like
someone getting a B- on their Intro to Piano final.
that one little rhythmic adjustment changes everything.
but enough about the intro, let's look at the verse.
(bang) now, this is a bit weird, so I'm gonna analyze this two different ways, and you can
decide which one makes more sense to you.
first, it's possible that this is a key change, and we're playing in B major now.
if that's the case, we've got a pretty good example of what's called functional harmony,
which is basically the idea that different chords in a key have different functions,
or jobs to do.
we start on the I chord, move to the III minor, then to the VI minor.
these all have what's called tonic function, which means they're at rest.
there's not a lot of motion yet.
then the bass walks down and we end up on this A major chord. this isn't in the key
of B major, which makes it an example of what's called modal interchange, which is where you
borrow chords from another scale.
in this case, we've taken the bVII chord from B minor, which usually has subdominant function.
this introduces a bit of instability, helping take you away from the peaceful sound of the
tonic function chords before it.
next we see E major, the IV chord, which also has subdominant function.
the bass, though, is playing an F#, which isn't in the chord. this adds a bit more color,
and also alludes to the V chord of the key, which has dominant function, pointing back
to the root. we never actually see that dominant, though, instead switching back to this G#
minor.
this is still the VI chord, and it has tonic function again.
then we see the riff, which is A major to C# minor, which can be viewed as the bVII
and the II chords, encircling the root before we go back to B and start over.
viewed like this, we've got a floaty, dreamy progression that moves back and forth between
tonic and subdominant chords, adding in some occasional tension without ever building up
enough for a real resolution.
I don't really like this analysis, though, because it doesn't match what I hear when
I listen to the song.
the point that feels most resolved to me isn't the B at the beginning, it's the riff, where
we go back to A, and I don't think we ever really left that key, so let's try analyzing
it there instead.
viewed like that, the B major becomes the II chord, which has subdominant function.
normally the II chord is minor, but remember, we're in lydian, so II major isn't surprising.
what is surprising is this D# minor: that chord contains an A#, which as you might imagine
is rare in the key of A natural.
there's a couple ways to spin this, but I'm gonna dust off an analytical tool that I really
don't get to use often enough: secondary tonic function.
secondary functions are chords that function not relative to the actual key, but to, well,
a secondary one.
they're kinda like modal interchange, where we borrowed from another scale, except this
time we're borrowing from another key instead.
by far the most common of these is the secondary dominant, where we steal a V chord in order
to set up a resolution to somewhere other than the root, but in theory we can expand
this idea to cover other chord functions as well.
when we were analyzing this section in B, we said that these two chords were just extending
the restful, tonic sound of the I chord, and I think that's still what's happening here.
they're extending the function of the B, it's just that the B is subdominant now.
this gives these first two bars a sort of conflicted feel: it's at rest with itself,
but it rubs against the overall piece.
anyway, from there the rest is simple.
we have A, which has tonic function, E, which has dominant function, and then we step through
the G# minor to get back to the A in the riff. before we move on, though, I want to address
one last thing.
if you listen to this section, it kinda sounds like the riff jumps out at you from nowhere,
doesn't it? well, that again comes down to the rhythm: the bar before it is cut in half.
most of the song is in 4/4, which means each bar is four quarter notes long, but the last
bar of the verse is in 2/4, meaning it's only two quarter notes long, so we're expecting
to hear one more chord but then boom, suddenly we're in the riff. it's a nice trick.
anyway, the chorus is fairly straightforward: (bang) this is a variation on one of the most
famous progressions of all time, lovingly dubbed the four-chord song: (bang) the only
difference is that, instead of starting on the I chord, they start in the middle, with
the VI minor.
normally when I see this flipped-around version I like to analyze it as a minor variation,
like I did in our video on Otherside, but here, the melody makes it pretty clear we're
still in A by sitting on that note for, well, basically the whole time.
seriously, in the first line, only the words "from you" are sung on a different note.
they don't want to make the key ambiguous here.
which brings us to the last line of the chorus, which does something a little different: (bang)
here, where we'd expect to go to E major, we instead get C# minor.
this is reminiscent of the riff, but more importantly it disrupts the flow of the harmony.
E major is the V chord, which has dominant function, but C# minor, despite sharing most
of its notes, is generally considered tonic because it contains the 3rd degree of the
scale, which makes it a lot more stable.
this is just a brief interruption though: we still get our E major, and then we see
this: (bang) I could talk about functions here, but really this is just a walk-up: we're
going from the V chord back to the I and stopping at every other chord along the way. and, again,
the timing of the riff feels surprising.
this is partly because we added an extra bar to the end of the chorus progression, but
also because the last chord before it, G# minor, is syncopated, appearing a 16th note
later than you'd expect.
and that's pretty much it.
well, almost: one thing I didn't get to touch on much was the instrumentation.
it's got some really cool-sounding synths, as well as using a couple unusual percussion
instruments like congas and gongs, which help add another element to the song that wouldn't
be there with just a typical four-piece rock band.
so, yeah.
that's Africa.
the song, anyway.
not the continent.
there's probably other videos out there if you're looking for that.
anyway, thanks for watching, and thanks to Patreon patron Gregory Schultz for suggesting
this song! if you'd like to see your favorite song analyzed, just head on over to Patreon
and pledge at any level.
you can also check out our store, join our mailing list, like, share, comment, subscribe,
and keep on rockin'.
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Are Plastics Too Strong? - Duration: 2:45.
Hi, this is Emily from MinuteEarth.
Plastic is incredibly strong, and can be molded into a mind-boggling array of stuff.
But that strength also makes plastic stick around long after we actually need it, because
unlike most materials, it simply doesn't ever fully break down.
Each type of plastic is made of one chemical unit, such as ethylene, repeated thousands
of times over in long, noodle-like strands, which is why plastics' names all start with
"poly," the Greek word for "many."
Quadrillions of those strands get tangled together like cooked pasta to form everything
from saran wrap to space shuttle sheathing.
Over time, forces like heat and tension can separate the tangled strands of plastic from
each other, causing big pieces of plastic to break into smaller ones.
But the individual strands themselves are glued together by thousands of carbon-carbon
bonds, which are among the strongest types of chemical linkages: neither normal amounts
of heat and pressure, nor the other usual destructive forces, can break them.
So while large bits of plastic break apart into small bits, those small bits never really
disappear.
So scientists are noodling around for a way to create less permanent plastics.
New versions, such as polylactide, are still made up of repeating chemical units, but instead
of those everlasting carbon-carbon bonds, the chains are held together by different
types of links, like carbon-oxygen bonds, which can be easily cut - even by water - and
the resulting bits can ultimately be digested by bacteria.
So after a few dozen years out in the world - or just a few months in the right processing
facility - these new plastics can degrade completely into just carbon dioxide and water.
But so far, there are some drawbacks: polylactide, for example, is more expensive than traditional
plastics, and the carbon-oxygen bonds that make it degradable also give it a fairly low
softening point, making it not so practical for some uses.
So, we still haven't cooked up the perfect plastic yet, but scientists are excited about
the pasta-bilities.
This video was sponsored by the University of Minnesota, where students, faculty and
staff across all fields of study are working to solve the Grand Challenges facing society.
One of these challenges is to ensure we have clean water and sustainable ecosystems, and
part of the solution is to develop technologies that are better for the planet.
In the Department of Chemistry, Professor Marc Hillmyer and the researchers in his group
- like graduate student Guilhem De Hoe - are creating biodegradable plastics made from
renewable resources, and they are working with the University's Center for Sustainable
Polymers to advance promising new plastic candidates towards commercialization.
Thanks, University of Minnesota!
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An update from Charlie and Mark in Itajai - Duration: 3:29.
I am here in Itajai.
Charlie and I left the Falklands a few days ago.
We came back here to try and coordinate all the logistics of getting the boat up here as
quickly as we can and prepared in time with the new mast to rejoin the race and restart
for the next leg.
The rest of the team is still in the Falkland Islands and they are preparing the boat
for the transit here to Itajai.
They have had to convert the ballast tanks to diesel tanks.
They have had to reprovision the boat for a different type of passage which we hope,
best case scenario, to be about 10-12 days.
They have also been able to secure a jury rig on the island
which will aid in the journey up here.
They are getting prepared for the delivery crew to arrive hopefully later today to the
handover and start making their way north.
They guys actually tried to leave the Falkland Islands a few days ago and motor toward the mainland
of South America.
They ran into some mechanical and technical issues which were totally separate from the
dismasting.
Which forced them to return to the Falklands, which is where they are currently.
Since then, they have been using the time to properly prepare, rig up a jury rig, increase
the fuel capacity of the boat, and do everything we can to try and make the trip from the Falklands
to Itajai as quick and efficient as possible.
It has really been a collective team effort to try and get the boat back here.
Every little win feels like a small win.
There are still a lot of things that need to go our way in order for it all to happen
but we are going to keep pushing and keep fighting.
It is all we can do.
In our situation, the rig was in multiple pieces.
There was a lot of the rig still in the water thrashing about in a pretty furious sea state.
We were in jeopardy of basically poking a hole in the boat in the hull of the boat
which would have been a very,
very grave situation.
So, fortunately, we were able to cut everything away and salvage the hull, which was what
we were able to do.
It was not our first choice, by any means.
We never want to put anything in the ocean
but we set out in this campaign to be the
most sustainable team in the race and we are not going to let this incident stop that.
We are going to offset our entire carbon footprint and this will be added to that so we are going
to work with 11th Hour Racing specifically to make sure that is the case.
We know what is so watch this space for how we are going to take care of that.
This has been a very trying time for our team and it has been for a while now.
On behalf of Charlie and I, and the whole team, we really appreciate all the support
we have received from our sponsors, from the Volvo Ocean Race, friends and family, and
really all of our fans and supporters around the world.
This team is an incredible group of people and I think you really only see that when
you face adversity.
And we certainly have had a lot of adversity in the last couple months.
The team spirit continues to remain strong.
Everybody still really motivated to get back in the water and try and win this next leg
into Newport.
And put our best foot forward for the rest of this race.
Thanks to all of continuing to support us and we look forward to getting back on the
water and making you proud.
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Ivre Jean-Vincent Placé a retourné un bar « comme une équipe de rugby » - Duration: 2:49.
For more infomation >> Ivre Jean-Vincent Placé a retourné un bar « comme une équipe de rugby » - Duration: 2:49. -------------------------------------------
What can you do with Thunderbolt 3? DIY in 5 Ep 75 - Duration: 3:42.
Power Rangers, The Flash, Harry Potter - what do they all have in common?
The thunderbolt!
But I'm not talking about that.
I'm talking about this guy!
Hey everyone, welcome to DIY in 5, the show where we make tech easy for the everyday user.
I'm your host Trisha Hershberger and today we are talking about brand spanking new technology
- ThunderBolt 3.0.
What is it?
What does it do?
Why should you care?
And so on.
If you find the info in today's video useful, go ahead and hit that subscribe button so
you can find out about more awesome new tech and impress your friends when you chat about it later.
So what is ThunderBolt tech and where did it come from?
Thunderbolt was originally a hardware interface standard developed by Intel in collaboration with Apple.
It was twice as fast as USB 3.0 at the time and could transfer both serial data
to hard drives and peripherals AND video data to displays.
Now this tech was, and still is, so impressive because it combines PCI Express and DisplayPort
into two serial signals plus it provides power all in one cable!
Did I mention it could also daisy chain together?
IE - I plug my hard drive into my computer and my monitor into my hard drive and it all works.
The first two iterations used a Mini DisplayPort connector and were revolutionary for their times.
But now, we've got ThunderBolt 3.0, which uses an even smaller USB-C connector,
and blows its predecessors out of the water!
In comparison to ThunderBolt 2.0, it doubles the bandwidth to 40Gbit/s - which is crazy fast,
uses less power by half, and can output two 4k displays at 60Hz
plus transfer up to 100 watts of power.
I'm not kidding, it's widely called, and I quote, the "usb-c that does it all."
Plus, the fact that it uses the widely accepted USB connector opens it up to tech outside of Cupertino.
Ok, so why would you need Thunderbolt 3?
As 4k becomes more prevalent and SSDs get faster and larger and laptops get thinner
and smaller, the ports we know and love just can't keep up.
Do you want a two 4k display set up with only one cable to your computer?
Thunderbolt 3.
Want to frequently access data on more than one external hard drive and do it quickly and seamlessly?
Thunderbolt 3.
(cough - 4x faster than usb 3.1! - cough)
Want to beef up your laptop graphics with an external GPU?
Thunderbolt 3!
Want to connect to a friend's PC using one cable and get a 10Gb Ethernet connection between the two?
Thunderbolt 3!
And how about all of that at the same time plus charge your laptop?
DONE AND DONE!
Now I know I know.
Simmer down Trish, but new tech like this enables things to go from futuristic concept
to in-consumer-hands reality.
eGPUs are a great example.
Only a few years ago, eGPUs were a distant idea of what dreams may come,
and now they are being mass produced!
Laptops & ultrabooks can be made thinner than ever without the need of bulky ports.
Docking laptops with the ease because of the speed and simplicity of a single cable.
Up until now VR headsets have needed multiple cables to deliver the resolution needed
for a high end experience, but Thunderbolt 3 can push the pixels fast enough
so that soon this may not be the case.
The benefits are endless.
So where do you find this new tech?
If you see a tiny lightning bolt logo,
you can be sure that the port or cable in question supports ThunderBolt 3.
Now, these logos aren't required so sometimes you may get a pleasant surprise, but usually
this is a solid indicator.
Where do you think ThunderBolt tech will take us next?
What would you like to see?
Let us know in the comments.
It's really really fun to dream.
I'm Trisha Hershberger and I'll see you next time with more DIY in 5.
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BREAKING: Inner City Kid Just Taught Crybaby David Hogg A HUGE Lesson He'll NEVER Forget - Duration: 5:59.
Valentine's Day 2018 wasn't a day of joy for many in the nation as we watched a school
being shot up by one of its former students . Parkland, Florida was rocked by the tragic
shooting that took the lives of 14 students and three teachers that day.
In the wake of that terrible attack, a star was born, and his name was David Hogg .
The son of an FBI agent and aspiring CNN journalist, and Parkland Florida student, Hogg took his
place in front of the camera that day and has been in front of it pretty much every
day since then.
The teenage spokesperson for the leftist anti-gun campaign has gotten a lot of attention, much
of which has been on the national stage.
Because of the political statements and news media attention that Hogg has received, he's
also gotten attention from another institution; colleges.
TMZ reports that while Hogg hasn't received a scholarship yet, he would be accepted into
the New Mexico State University, should he choose to attend there:
David Hogg might not be good enough for the University of California, despite his activism,
he was rejected by four UC campuses — UCLA, UCSD, UCSB and UC Irvine . But he's now
got something in his back pocket … a possible full ride in New Mexico!
TMZ has obtained an acceptance letter from the Dean of the Honors College at New Mexico
State University.
Dr. Miriam S. Chaiken was pleased to inform Hogg he was welcome at the campus … and
so are all the other Parkland student leaders.
In the letter, Chaiken says she's been inspired by the work David and his fellow students
were doing in the wake of the Marjory Stoneman Douglas High shootings … taking to the streets
and demanding new gun control laws.
She writes, 'Please tell David , Emma (Gonzalez) , and any other of your student leaders, that
they are welcome at the William Conroy Honors College and at New Mexico State University.'
Chaiken goes on … 'I can assure them that they will be admitted to our university, and
I will personally make it my commitment to raise as much funding as I can to support
them with scholarships.'"
It seems as if New Mexico State college is looking to ride the Hogg/Gonzalez express
to more media attention for his school.
While their story might sound like the American dream, one Texas student with big dreams and
a lot of hard work did something much more impressive than touting the liberal agenda
for his acceptance letters.
KCTV5 Houston shared the story of Micheal Brown, and his acceptance into the 20 best
schools in the nation:
"Micheal Brown stared at the acceptance letter in front of him: It said yes.
So did the next one.
And the one after that.
The 17-year-old from Houston applied to 20 of the best universities in the US.
He was admitted to every single one with a full ride and $260,000 in additional scholarship
offers.
'It's something I'm proud of because I see my hard work paying off, determination
paying off, sacrifices paying off,' the student told CNN.
Of those 20, he listed his top eight choices as: Harvard, Princeton, Northwestern, Yale,
University of Pennsylvania, Stanford, Georgetown and Vanderbilt."
So, an inner-city kid who's not running around screaming in people's faces about
how evil they are if they support the Second Amendment got into every top college in the
country, but David Hogg CAN'T. Yeah, that's gonna leave a mark!!
HAHAHAHAHA.
Whatever we may believe about the school systems and how they make their decisions, at least
Hogg and his compatriots are citizens, legally allowed to attend school here.
According to the Western Journal, the state of California wants to make sure that the
legal residents pay more, and illegals get a break in tuition:
"The University of California system voted in March to raise tuition for out-of-state
students by nearly $1,000, a hike that will not apply to illegal alien students.
The system's board of regents approved the proposal to increase out-of-state tuition
by $978 by a 12-3 vote, The College Fix reported, but California law allows illegal alien students
to evade this charge by enrolling as in-state students.
'All students — regardless of immigration status — are subject to the same tuition
and fee structures, based on their residency status,' UC spokeswoman Clair Doan told
The Fix.
California Assembly Bill 540 mandates that illegal alien students can obtain in-state
tuition if they attend high school in the state for a minimum of three years and earn
a California high school diploma.
'It's really incumbent upon Congress to close that loophole now that it's exposed,'
Federation for American Immigration Reform spokesman Ira Mehlman told The Daily Caller
News Foundation.
While colleges do not ask students for their immigration status, public schools are constitutionally
prohibited from denying K-12 students free public education on the basis of their immigration
status, according to the 1982 Supreme Court decision Plyler v. Doe.
'UC does not ask its students nor applicants for their immigration status,' Doan explained.
But the spokeswoman speculated that the UC system enrolled approximately 3,700 illegal
alien students.
Doan may have arrived at this number by identifying illegal alien students via the students'
usage of taxpayer ID numbers and not social security numbers, according to Mehlman.
The University of California system educates nearly a quarter of a million students.
UC's board of regents will vote on increasing base tuition by $348 for all students in May,
but its members promised to revoke the hike if the state legislature provides the system
with more funding.
UC regent chair George Kieffer reported that UC students have 31 percent less funding each
in 2018 when compared with their 2000 counterparts."
Do you think that Hogg and his illegal friend should get a break on tuition?
Let us know in the comments.
-------------------------------------------
How Old Do You Have to Be to Start Trading Penny Stocks? - Duration: 1:20.
For more infomation >> How Old Do You Have to Be to Start Trading Penny Stocks? - Duration: 1:20. -------------------------------------------
Renault Twingo 1.2 16V COLLECTION - Duration: 1:14.
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Huit symptômes d'insuffisance rénale que vous devriez connaitre - Random888 - Duration: 3:40.
For more infomation >> Huit symptômes d'insuffisance rénale que vous devriez connaitre - Random888 - Duration: 3:40. -------------------------------------------
Academy of Art University
For more infomation >> Academy of Art University-------------------------------------------
Opening Boxes and Hunting Pennies - 2018 D Box! - Duration: 10:54.
Hey everyone its Rob finds Treasure here and I thought we would go ahead and go
through or at least open up these four boxes first before I go through life or
you as you know I've been opening up my petty boxes at the bank and because I
had to that I had to pick up from the week I was on vacation and the two this
week I figured I'd just pick up all four save the opening to be live so I'm gonna
open all these I'm actually hoping for 2018 D's or 2018 uncirculated pennies to
tell you the truth it'd be nice to get a box out of these four but if not it
always be good to see uncirculated and if we can see a nice ender that'd be
cool too so let's go ahead and open this up if I can get it good there we go
alright first box it's definitely definitely circulated isn't it alright
don't see any crazy Enders
looks like a 1969 D I like to see a 1969 all right I don't see any wheat cent enders
that's a pretty good box of coins that go through so we'll put this to the side
because we're not going through it just a second right now we're just strictly
opening up boxes to see if we get it an uncirculated box or to see if we can get
a really cool ender and open in the same way let's try this bunch this nice seam
to my left side let's see how to circulate a coin box here and once again
I don't see any obvious wheat cent Ender's doesn't mean they're not in
there as you guys know that's another good class we'll go through that add
another time all right push these ones back in the corner here cuz that's my go
to later corners and let's try another box open up a bunch aside first look
it's not so lucky this time
wow this one's got some serious cool on it I hate messy tops on boxes guys I
don't know maybe it's just my OCD kicking in but I can't stand
alright looks like another circulated box all right not seeing any wheat
senators I see some 60s and 70s so that's cool that'll be a point one as
well and put that back here with another ones and let's open up the final box
like I said it would've been nice to get an uncirculated box I don't have one yet
and the banks can't guarantee me any and it's funny last year I started getting a
whole bunch of uncirculated boxes and it was driving me crazy and now I want one
and I can't get one but I think I've told you guys this before whatever I
really want whatever I don't mind gettin I do and look at this holy cow
we got one unbelievable that makes me excited that was worth it guys we have
got three boxes to go through which should be fun and then now we've got a
completely full box of 2018 D uncirculated pennies awesome we're
putting that aside and keep it in our collection because once we find out
there's any errors or any significant errors we will go through them
unfortunately where I live in Dallas we only get Denver mints mostly from
brand-new uncirculated boxes and as you know the Denver mints pretty good at not
having too many variety or errors so we'll put this aside and we'll open it
in later hunt now that we've done that lets get to cracking in one of those
boxes over there see me finding cool finds in any old weed sense all right
guys only in the second row and I just finished laying them out and look what
caught my eye right here let's look at it together
no VDB 1942 s we'll take it first wheat cent of the box
and it's not a bad one all right let's get back to the hunt
we're on roll number nine guys and I want to do this live with you look at
this wheat cent that is worn that is worn so I want to flip this with you
because I'm hoping it's a really old one
it's not that old at all at least it's pre 40s
it's a 1935 D that's not a bad year so it after the Great Depression so have to
check my records on that let me take a look to see how many I have of these and
we'll get right back to you all right guys 1935 D wheat penny has 47
million minted so it's under that 50 million minted mark which puts it pretty
rare and I only have four now I'm about 30 wheat pennies that I have to
categorize still in catalog but you know what
I'll take a 1935 d it's only my fifth that I have on record so pretty exciting
stuff let's keep looking all right guys well number 17 got
ourselves another week set here and this one that could be in the 50s 56 d we'll
take it put it next to the 35 d the 42 s so our third wheat cent so far let's
keep looking okay guys very next roll roll 18 kind of
an exciting find here look it we got a wheat set there in a wheat sent there
let's go out the back one first since we can see a little more of that one
probably in the 50s as well 53 d we'll take it low older than the
last and the other ones right here that's
worn a little bit more whoo that's a good year we'll take it
1930 Philadelphia all right I'll have to take my records see how many of those I
got but I don't think I have too many of those I'll be right back all right guys
we checked our records we have seven of these 1930 Philadelphia's it's pretty
scratched up but it is our oldest wheat cent of the box and that was two in a
row I don't get two at a roll very often but I'll take it
we are now up to five wheat cents we still got this hole to go through Plus
that many more rolls all right guys roll 27 got another
wheat cent here it's not a very old one it's a 1953 but we'll take it it is now
our sixth wheat cent in our second 53d same roll guys and I just saw peak out
of me nether wheat sent probably probably the 50's could be little older
what 1919 s that's in pretty good shape for a 1919 s you put this down for a
second it's got pretty good detail
that is not that bad at all I am happy with a 1919 s we will take that all day
had no idea was that old it's in good shape still research on that see what
the mint is and we'll be right back all right guys there was no little research
it's only my second 1919 s matter of fact I have a video here March first I
found my first 1919 s so that's pretty cool we got our second one and honestly
this one appears to be in better shape than the one in the video so I will take
it that is now our seventh wheat set and we'll get back to the hunt for sure
we're on roll 40 a little bit of a dry spell but we did pull out another wheats
in here guys 1956 dinged up but we'll take it that's now a tweet sense and
we've still got 10 and a half for us to go
well 43 guys in 1951 s Wade sent not in the greatest condition but we'll take it
that now makes a pretty good amount of weight since number nine if we can get
one more we'll have ten well we finished that box guys pretty good amount of
copper a lot of discards we did end up with 12 of those oh 9s a couple of
1959's no foreign coins in this box we end up with nine Wheaties couldn't find
one more to get to that double digits but we got some good years here 1919 s
1930 1935 d a 42 s 51's a couple of 53 DS and a couple of 56 DS I also have 4
1982 small date D Denver Mint pennies to way up they have the zinc look but you
always gotta weigh him at the end of the day I was a fun hunt for me got a 1919 s
if you enjoyed the video please give it a thumbs
and as always thanks for watching
-------------------------------------------
L'HISTOIRE DE KOBA LA D - L'UN DES PLUS GROS BUZZ DE 2018 - Duration: 5:39.
Hi everyone, it's NGZ and we find it for a new video
In the video we talk about Q.e Favelas, in this video we will talk about Koba laD
-------------------------------------------
Les cons, les grèves, les oeufs et les poissons d'avril - Le meilleur d'une semaine d'humour - Duration: 4:15.
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BMW 3 Serie Touring 2.0D BUSINESS LEDER | NAVI | CLIMA | - Duration: 1:14.
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Understanding Toto's Africa - Duration: 7:25.
hey, welcome to 12tone! today we're gonna be looking at the internet's favorite song,
Africa by Toto, which starts with one of the most iconic riffs of all time: (bang) and
if we ignore this bit here for a second, we're basically just moving back and forth between
two chords: A major and C# minor.
these two chords have what's called a mediant relationship, which just means their roots
are a third apart and they share a lot in common.
in the grand scheme of things they're almost the same chord, which means moving back and
forth between them doesn't really give us much of a sense of motion.
this makes it hard to nail down the key, but in cases like this I tend to just assume the
first chord is the root if I don't have a good reason not to, and looking ahead, there's
some pretty good evidence that we're in the key of A.
so what about this G# minor then?
that's not in the key of A, so what's it doing here?
well, here's the thing: we're not actually in A major.
we're in A lydian (bang) which is like the major scale but with a raised fourth degree.
this removes a lot of the tension the major scale has, giving us something that sounds
less like it's moving and more like it's just… floating.
as for why this specific chord is being used here, we could look at its harmonic implications,
but I tend to like to analyze riffs through more of a melodic lens, and there's a pretty
simple melodic device that explains what's going on here: the escape tone.
this is where your melody is about to move in one direction (bang) but before you do
you take a quick step the other way first, as a sort of fake-out.
(bang) it gives the melody a more interesting shape, and that's pretty much what's happening
here, just with chords.
but if it's basically just moving back and forth between two chords, why does it sound
so good?
well, that mostly comes down to the rhythm.
this is a great example of what's called syncopation, where instead of playing on the beats, you
play in between them.
here, most of the attacks are played a 16th note late, and if we move them all forward
(bang) it goes from being one of the most iconic intros of all time to sounding like
someone getting a B- on their Intro to Piano final.
that one little rhythmic adjustment changes everything.
but enough about the intro, let's look at the verse.
(bang) now, this is a bit weird, so I'm gonna analyze this two different ways, and you can
decide which one makes more sense to you.
first, it's possible that this is a key change, and we're playing in B major now.
if that's the case, we've got a pretty good example of what's called functional harmony,
which is basically the idea that different chords in a key have different functions,
or jobs to do.
we start on the I chord, move to the III minor, then to the VI minor.
these all have what's called tonic function, which means they're at rest.
there's not a lot of motion yet.
then the bass walks down and we end up on this A major chord. this isn't in the key
of B major, which makes it an example of what's called modal interchange, which is where you
borrow chords from another scale.
in this case, we've taken the bVII chord from B minor, which usually has subdominant function.
this introduces a bit of instability, helping take you away from the peaceful sound of the
tonic function chords before it.
next we see E major, the IV chord, which also has subdominant function.
the bass, though, is playing an F#, which isn't in the chord. this adds a bit more color,
and also alludes to the V chord of the key, which has dominant function, pointing back
to the root. we never actually see that dominant, though, instead switching back to this G#
minor.
this is still the VI chord, and it has tonic function again.
then we see the riff, which is A major to C# minor, which can be viewed as the bVII
and the II chords, encircling the root before we go back to B and start over.
viewed like this, we've got a floaty, dreamy progression that moves back and forth between
tonic and subdominant chords, adding in some occasional tension without ever building up
enough for a real resolution.
I don't really like this analysis, though, because it doesn't match what I hear when
I listen to the song.
the point that feels most resolved to me isn't the B at the beginning, it's the riff, where
we go back to A, and I don't think we ever really left that key, so let's try analyzing
it there instead.
viewed like that, the B major becomes the II chord, which has subdominant function.
normally the II chord is minor, but remember, we're in lydian, so II major isn't surprising.
what is surprising is this D# minor: that chord contains an A#, which as you might imagine
is rare in the key of A natural.
there's a couple ways to spin this, but I'm gonna dust off an analytical tool that I really
don't get to use often enough: secondary tonic function.
secondary functions are chords that function not relative to the actual key, but to, well,
a secondary one.
they're kinda like modal interchange, where we borrowed from another scale, except this
time we're borrowing from another key instead.
by far the most common of these is the secondary dominant, where we steal a V chord in order
to set up a resolution to somewhere other than the root, but in theory we can expand
this idea to cover other chord functions as well.
when we were analyzing this section in B, we said that these two chords were just extending
the restful, tonic sound of the I chord, and I think that's still what's happening here.
they're extending the function of the B, it's just that the B is subdominant now.
this gives these first two bars a sort of conflicted feel: it's at rest with itself,
but it rubs against the overall piece.
anyway, from there the rest is simple.
we have A, which has tonic function, E, which has dominant function, and then we step through
the G# minor to get back to the A in the riff. before we move on, though, I want to address
one last thing.
if you listen to this section, it kinda sounds like the riff jumps out at you from nowhere,
doesn't it? well, that again comes down to the rhythm: the bar before it is cut in half.
most of the song is in 4/4, which means each bar is four quarter notes long, but the last
bar of the verse is in 2/4, meaning it's only two quarter notes long, so we're expecting
to hear one more chord but then boom, suddenly we're in the riff. it's a nice trick.
anyway, the chorus is fairly straightforward: (bang) this is a variation on one of the most
famous progressions of all time, lovingly dubbed the four-chord song: (bang) the only
difference is that, instead of starting on the I chord, they start in the middle, with
the VI minor.
normally when I see this flipped-around version I like to analyze it as a minor variation,
like I did in our video on Otherside, but here, the melody makes it pretty clear we're
still in A by sitting on that note for, well, basically the whole time.
seriously, in the first line, only the words "from you" are sung on a different note.
they don't want to make the key ambiguous here.
which brings us to the last line of the chorus, which does something a little different: (bang)
here, where we'd expect to go to E major, we instead get C# minor.
this is reminiscent of the riff, but more importantly it disrupts the flow of the harmony.
E major is the V chord, which has dominant function, but C# minor, despite sharing most
of its notes, is generally considered tonic because it contains the 3rd degree of the
scale, which makes it a lot more stable.
this is just a brief interruption though: we still get our E major, and then we see
this: (bang) I could talk about functions here, but really this is just a walk-up: we're
going from the V chord back to the I and stopping at every other chord along the way. and, again,
the timing of the riff feels surprising.
this is partly because we added an extra bar to the end of the chorus progression, but
also because the last chord before it, G# minor, is syncopated, appearing a 16th note
later than you'd expect.
and that's pretty much it.
well, almost: one thing I didn't get to touch on much was the instrumentation.
it's got some really cool-sounding synths, as well as using a couple unusual percussion
instruments like congas and gongs, which help add another element to the song that wouldn't
be there with just a typical four-piece rock band.
so, yeah.
that's Africa.
the song, anyway.
not the continent.
there's probably other videos out there if you're looking for that.
anyway, thanks for watching, and thanks to Patreon patron Gregory Schultz for suggesting
this song! if you'd like to see your favorite song analyzed, just head on over to Patreon
and pledge at any level.
you can also check out our store, join our mailing list, like, share, comment, subscribe,
and keep on rockin'.
-------------------------------------------
Are Plastics Too Strong? - Duration: 2:45.
Hi, this is Emily from MinuteEarth.
Plastic is incredibly strong, and can be molded into a mind-boggling array of stuff.
But that strength also makes plastic stick around long after we actually need it, because
unlike most materials, it simply doesn't ever fully break down.
Each type of plastic is made of one chemical unit, such as ethylene, repeated thousands
of times over in long, noodle-like strands, which is why plastics' names all start with
"poly," the Greek word for "many."
Quadrillions of those strands get tangled together like cooked pasta to form everything
from saran wrap to space shuttle sheathing.
Over time, forces like heat and tension can separate the tangled strands of plastic from
each other, causing big pieces of plastic to break into smaller ones.
But the individual strands themselves are glued together by thousands of carbon-carbon
bonds, which are among the strongest types of chemical linkages: neither normal amounts
of heat and pressure, nor the other usual destructive forces, can break them.
So while large bits of plastic break apart into small bits, those small bits never really
disappear.
So scientists are noodling around for a way to create less permanent plastics.
New versions, such as polylactide, are still made up of repeating chemical units, but instead
of those everlasting carbon-carbon bonds, the chains are held together by different
types of links, like carbon-oxygen bonds, which can be easily cut - even by water - and
the resulting bits can ultimately be digested by bacteria.
So after a few dozen years out in the world - or just a few months in the right processing
facility - these new plastics can degrade completely into just carbon dioxide and water.
But so far, there are some drawbacks: polylactide, for example, is more expensive than traditional
plastics, and the carbon-oxygen bonds that make it degradable also give it a fairly low
softening point, making it not so practical for some uses.
So, we still haven't cooked up the perfect plastic yet, but scientists are excited about
the pasta-bilities.
This video was sponsored by the University of Minnesota, where students, faculty and
staff across all fields of study are working to solve the Grand Challenges facing society.
One of these challenges is to ensure we have clean water and sustainable ecosystems, and
part of the solution is to develop technologies that are better for the planet.
In the Department of Chemistry, Professor Marc Hillmyer and the researchers in his group
- like graduate student Guilhem De Hoe - are creating biodegradable plastics made from
renewable resources, and they are working with the University's Center for Sustainable
Polymers to advance promising new plastic candidates towards commercialization.
Thanks, University of Minnesota!
-------------------------------------------
#BS1 : COMITÉS STOP MACRON ! - Duration: 6:50.
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Sauvée et protégée avec Sourate Al-Baqara (Vostfr) - Duration: 3:47.
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TEASER - Dialoguer avec le Street Art - Duration: 1:14.
I didn't start working in the streets because it was the street itself that interested me.
What I was interested in was working with what is real.
I knew that putting my name out there in the streets, leaving an image in the street,
meant I would be seen by thousands of people. It was a way to gain celebrity.
For me, street art was a way to bring art to a place where you least expect it.
My street collages are the perfect synthesis of all that I used to do.
I'm my own director and my own actor, and the street brings you the best audience that there is.
There's an urgency in the street, an urban flow, people going to work,
and with a single image you can deeply touch people's everyday lives with vibrant art.
Dialogue with street art
-------------------------------------------
Watch "No One" New Release
For more infomation >> Watch "No One" New Release-------------------------------------------
The VW Atlas Tanoak Is Not a Real Truck | Carguments - Duration: 4:45.
For more infomation >> The VW Atlas Tanoak Is Not a Real Truck | Carguments - Duration: 4:45. -------------------------------------------
Understanding Toto's Africa - Duration: 7:25.
hey, welcome to 12tone! today we're gonna be looking at the internet's favorite song,
Africa by Toto, which starts with one of the most iconic riffs of all time: (bang) and
if we ignore this bit here for a second, we're basically just moving back and forth between
two chords: A major and C# minor.
these two chords have what's called a mediant relationship, which just means their roots
are a third apart and they share a lot in common.
in the grand scheme of things they're almost the same chord, which means moving back and
forth between them doesn't really give us much of a sense of motion.
this makes it hard to nail down the key, but in cases like this I tend to just assume the
first chord is the root if I don't have a good reason not to, and looking ahead, there's
some pretty good evidence that we're in the key of A.
so what about this G# minor then?
that's not in the key of A, so what's it doing here?
well, here's the thing: we're not actually in A major.
we're in A lydian (bang) which is like the major scale but with a raised fourth degree.
this removes a lot of the tension the major scale has, giving us something that sounds
less like it's moving and more like it's just… floating.
as for why this specific chord is being used here, we could look at its harmonic implications,
but I tend to like to analyze riffs through more of a melodic lens, and there's a pretty
simple melodic device that explains what's going on here: the escape tone.
this is where your melody is about to move in one direction (bang) but before you do
you take a quick step the other way first, as a sort of fake-out.
(bang) it gives the melody a more interesting shape, and that's pretty much what's happening
here, just with chords.
but if it's basically just moving back and forth between two chords, why does it sound
so good?
well, that mostly comes down to the rhythm.
this is a great example of what's called syncopation, where instead of playing on the beats, you
play in between them.
here, most of the attacks are played a 16th note late, and if we move them all forward
(bang) it goes from being one of the most iconic intros of all time to sounding like
someone getting a B- on their Intro to Piano final.
that one little rhythmic adjustment changes everything.
but enough about the intro, let's look at the verse.
(bang) now, this is a bit weird, so I'm gonna analyze this two different ways, and you can
decide which one makes more sense to you.
first, it's possible that this is a key change, and we're playing in B major now.
if that's the case, we've got a pretty good example of what's called functional harmony,
which is basically the idea that different chords in a key have different functions,
or jobs to do.
we start on the I chord, move to the III minor, then to the VI minor.
these all have what's called tonic function, which means they're at rest.
there's not a lot of motion yet.
then the bass walks down and we end up on this A major chord. this isn't in the key
of B major, which makes it an example of what's called modal interchange, which is where you
borrow chords from another scale.
in this case, we've taken the bVII chord from B minor, which usually has subdominant function.
this introduces a bit of instability, helping take you away from the peaceful sound of the
tonic function chords before it.
next we see E major, the IV chord, which also has subdominant function.
the bass, though, is playing an F#, which isn't in the chord. this adds a bit more color,
and also alludes to the V chord of the key, which has dominant function, pointing back
to the root. we never actually see that dominant, though, instead switching back to this G#
minor.
this is still the VI chord, and it has tonic function again.
then we see the riff, which is A major to C# minor, which can be viewed as the bVII
and the II chords, encircling the root before we go back to B and start over.
viewed like this, we've got a floaty, dreamy progression that moves back and forth between
tonic and subdominant chords, adding in some occasional tension without ever building up
enough for a real resolution.
I don't really like this analysis, though, because it doesn't match what I hear when
I listen to the song.
the point that feels most resolved to me isn't the B at the beginning, it's the riff, where
we go back to A, and I don't think we ever really left that key, so let's try analyzing
it there instead.
viewed like that, the B major becomes the II chord, which has subdominant function.
normally the II chord is minor, but remember, we're in lydian, so II major isn't surprising.
what is surprising is this D# minor: that chord contains an A#, which as you might imagine
is rare in the key of A natural.
there's a couple ways to spin this, but I'm gonna dust off an analytical tool that I really
don't get to use often enough: secondary tonic function.
secondary functions are chords that function not relative to the actual key, but to, well,
a secondary one.
they're kinda like modal interchange, where we borrowed from another scale, except this
time we're borrowing from another key instead.
by far the most common of these is the secondary dominant, where we steal a V chord in order
to set up a resolution to somewhere other than the root, but in theory we can expand
this idea to cover other chord functions as well.
when we were analyzing this section in B, we said that these two chords were just extending
the restful, tonic sound of the I chord, and I think that's still what's happening here.
they're extending the function of the B, it's just that the B is subdominant now.
this gives these first two bars a sort of conflicted feel: it's at rest with itself,
but it rubs against the overall piece.
anyway, from there the rest is simple.
we have A, which has tonic function, E, which has dominant function, and then we step through
the G# minor to get back to the A in the riff. before we move on, though, I want to address
one last thing.
if you listen to this section, it kinda sounds like the riff jumps out at you from nowhere,
doesn't it? well, that again comes down to the rhythm: the bar before it is cut in half.
most of the song is in 4/4, which means each bar is four quarter notes long, but the last
bar of the verse is in 2/4, meaning it's only two quarter notes long, so we're expecting
to hear one more chord but then boom, suddenly we're in the riff. it's a nice trick.
anyway, the chorus is fairly straightforward: (bang) this is a variation on one of the most
famous progressions of all time, lovingly dubbed the four-chord song: (bang) the only
difference is that, instead of starting on the I chord, they start in the middle, with
the VI minor.
normally when I see this flipped-around version I like to analyze it as a minor variation,
like I did in our video on Otherside, but here, the melody makes it pretty clear we're
still in A by sitting on that note for, well, basically the whole time.
seriously, in the first line, only the words "from you" are sung on a different note.
they don't want to make the key ambiguous here.
which brings us to the last line of the chorus, which does something a little different: (bang)
here, where we'd expect to go to E major, we instead get C# minor.
this is reminiscent of the riff, but more importantly it disrupts the flow of the harmony.
E major is the V chord, which has dominant function, but C# minor, despite sharing most
of its notes, is generally considered tonic because it contains the 3rd degree of the
scale, which makes it a lot more stable.
this is just a brief interruption though: we still get our E major, and then we see
this: (bang) I could talk about functions here, but really this is just a walk-up: we're
going from the V chord back to the I and stopping at every other chord along the way. and, again,
the timing of the riff feels surprising.
this is partly because we added an extra bar to the end of the chorus progression, but
also because the last chord before it, G# minor, is syncopated, appearing a 16th note
later than you'd expect.
and that's pretty much it.
well, almost: one thing I didn't get to touch on much was the instrumentation.
it's got some really cool-sounding synths, as well as using a couple unusual percussion
instruments like congas and gongs, which help add another element to the song that wouldn't
be there with just a typical four-piece rock band.
so, yeah.
that's Africa.
the song, anyway.
not the continent.
there's probably other videos out there if you're looking for that.
anyway, thanks for watching, and thanks to Patreon patron Gregory Schultz for suggesting
this song! if you'd like to see your favorite song analyzed, just head on over to Patreon
and pledge at any level.
you can also check out our store, join our mailing list, like, share, comment, subscribe,
and keep on rockin'.
-------------------------------------------
Invincible Iron Man #597 Review - Duration: 2:23.
Written by Brian Michael Bendis Penciled by Stefano Caselli and Alex Maleev
While MJ, Friday and Amanda keep searching for Tony, Dr Doom zooms across Latveria with
his mother Cynthia on his mind.
He burns up a makeshift memorial to her and returns to his castle.
Meanwhile Riri Williams arrives at MIT in style where the acting dean welcomes her.
He explains that things will be different from here on out, later informing her that
the Ironheart armor is technically still her property.
She summons it from a far off airport and it makes it's way back to her.
Not only that, she's introduced to the team that is working tirelessly to find Stark,
and recommended to them by none other than Blade.
Back across the planet, The Wrecking Crew is back and infiltrating the broken facade
of Doom Castle when they're discovered by Doom Bots.
The sentry robots take out some of the crew before an explosion interrupts them.
Dr. Iron Man Doom has returned.
Victor takes a few hits but although the goons think they got the drop on him, in reality
he was just recharging.
Finally Wrecker warns him the entire underworld is coming for him, before suddenly the Hood
appears.
The warning proves prophetic as the Hood and his gang rush in and team up on Doom.
With orders to tear the place apart, Victor lies in a heap of trouble.
But what happens next?
We'll have to wait to find out as this issue is left to be continued.
I mentioned in a review of Action Comics about how gleeful DC is on getting Bendis.
While they're running ads about his introduction, it's a painful reminder that his tenure here
is slowly coming to a close.
Still, what a ride it's been.
Thankfully giving Alex Maleev a chance to bid farewell too, this book just reminds me
how great Infamous Iron Man was.
I think I might go flip through that one again.
I give this one a 9/10.
If you like this video, there's hundreds more like it, spanning several current and classic
story arcs.
Click the boxes here for more playlists.
This video is also accompanied by my blog at nerdiestkidyouknow.com.
You can also follow links to my facebook or twitter pages, as well as a link to this very
issue for sale on my ebay page by clicking below.
For the Nerdiest Kid You Know, I'm Sam Terito.
Thanks for watching.
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