Youtube daily report Mar 23 2018

Mrs. B. started having a leaky bladder after her third child, notably whenever she laughed hard.

The problem worsened as she grew older, and by the time she was in her 60's,

she was wearing a pad purchased at the local pharmacy.

Mrs. B. finally came in to the doctor for help and asked about medicines

that promised help for incontinence that she had seen advertised on TV and in magazines.

The doctor referred her to physical therapy to help her learn pelvic muscle exercises

and, after a second patient plea, also prescribed the medication requested.

The patient didn't do the exercises but took the medicine, which was quite expensive.

Over the next three months she noted maybe some improvement with leaky bladder,

but she still needed pads, and she began experiencing problems.

Side effects included constipation, dry eyes and mouth, blurry vision,

insomnia, headaches, and depression. Also, she had recently fallen several times.

This is not an uncommon story. About one third of all women, older than 60-years-of-age,

experience some level of urinary incontinence and this is twice as often as in men.

Incontinence in women is generally the result of previous pelvic surgery, childbirth, and/or menopause.

In men, it is generally the result of benign or malignant prostate growth

blocking the urethra and bladder exit, which can cause an over-expanding of the bladder.

If the dilation lasts for too long, this, in turn, can cause

loss of bladder contracting strength and worsen the problem.

In men, it is important to remove the blockage by either shrinking the prostate with medication

or surgically opening the pathway before the bladder becomes over-expanded for too long.

In women, the medications are much less helpful and have safety issues, especially in older women.

The most important way to help women starts with pelvic floor

muscle strengthening exercises and the sooner the better.

Also, there are bladder training techniques, pelvic surgeries,

and even bladder stimulation devices that can help.

Experts advise slow tightening and relaxing the pelvic floor muscles

200 times a day . . . whenever you think of it.

Make it a habit tightening the pelvis whenever you smile, and smile often.

That would help women and men alike.

Bottom line: especially in women, medications can only be of minor help,

but carry with them dangerous side effects and cost.

Pelvic floor muscle strengthening exercises are more effective than meds,

without side effects, inexpensive, and underutilized.

Do it with a smile so you can laugh without worry.

For more infomation >> Tighten Your Pelvis Whenever You Smile | Richard P. Holm, MD - Duration: 3:21.

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コックピットから見るフェラーリ「FXX K」の過激ドライビングが公開【動画有】 - Duration: 1:49.

For more infomation >> コックピットから見るフェラーリ「FXX K」の過激ドライビングが公開【動画有】 - Duration: 1:49.

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(March 23, 2018)Taraji P. Henson; Patrick Schwarzenegger... - Duration: 39:42.

For more infomation >> (March 23, 2018)Taraji P. Henson; Patrick Schwarzenegger... - Duration: 39:42.

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Live with Kelly and Ryan (9/23/2018)Taraji P. Henson; Patrick Schwarzenegger.... - Duration: 39:42.

For more infomation >> Live with Kelly and Ryan (9/23/2018)Taraji P. Henson; Patrick Schwarzenegger.... - Duration: 39:42.

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ベントレー・ベンテイガPHEV用充電器のデザインは「フィリップ・スタルク」！時代はデザイナー充電器だ - Duration: 4:07.

For more infomation >> ベントレー・ベンテイガPHEV用充電器のデザインは「フィリップ・スタルク」！時代はデザイナー充電器だ - Duration: 4:07.

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SYSTEMA #KHOSROW HELLY MAINTAINING DISTANCE 1 - Duration: 5:21.

The questions that often arise you put this thing there why

because in your programming

because it's an exercise you know what you're gonna do

You say to yourself, I have more range to push

slip-up

he can catch me or already screw me up and that's it for me

because you don't think the fingertips to get the efficiency you need

in reality fingertips have the efficiency you need

Your goal is not to bring him down

or make a galipette so that he falls there with his fingertips

if you can do it so much better for yourself.

I pay dearly and I learn fast

That's my motto

so the idea is to take the entire length of your arm

Just try to touch

it wouldn't be so deep that if I'm there.

because right now I have a beautiful push.

we're not here to make a beautiful push.

You didn't like him

he's here

sufficiently Good there even if it pushes

But as soon as he moves poc

And I take the same distance

So really think that if

the person doesn't belong in your intimate space

Creates maximum distance with your physical barrier

So using

If you've done 15,000 years of taikedo you can stop it with your foot and then you do

it like this

but if it's not the case, put your hand on it. It's more than enough a finger stroke and hop

second

It's not action number one I push and action

number two, I'm going.

It's a single action I rebound and then

My goal is not to physically unbalance him.

in a way that breaks your face

every action required mental programming

decision making sending signals and then action

That's what Evgeni says

there It changes his program.

That's all I want. I'm confusing his neuro-muscular system.

more than its structural system

It's just so he can change his program.

third

You will realign your work as konstantin Komarov says

third

Didn't go backwards before you did that to yourself.

and staying in eye contact with him is always an invitation.

The idea is hop

And he's gonna go fuck someone else.

Yeah, but if I'm not where there's nobody if there's nobody

coming tangent, you shoot him what

there's nobody around

what's he doing

had you ever seen someone run across the street to ask for an address

aggressively

So it's always when there's a lot of people poking around.

You pass, he's going to plant someone else.

or piss someone else off.

Your goal is to go home.

You're not the sheriff.

If you're the sheriff, you have the badge.

you have the tool

you have the teammates

And you have a warrant

If it's not the case you go there

someone else is going to meet this person

maybe she'll calm down on her own since she's focused on you

try to correct all that

Really take the distance and then hop

And then leave

You've got it over your shoulder somewhere.

but don't go like that.

I'm afraid of you. I invite you

everything is based on your first line of defense

it's your appearance your posture

Knock, that's good

I'm not looking at

Even you see that my eyes change

even when I talk about it for those who can read their eyes

It's not the eyes from before.

I start from an action I have action eyes

I don't know what the heat isn't the same as what I get behind.

you should be able to read all this about yourself.

The thing he said but if you weren't careful enough

when he leaves

If you watched him he'd leave

and he couldn't look at it at all either.

That's the other mistake.

it's the same corollary

or we leave like this we watch

or we leave and we don't look at it at all.

If you observe how he leaves

even if he leaves like this.

I'm still in his peripheral vision.

I see it I see it then I can't say

It's my peripheral vision.

I can't tell his color from his eyes.

but all the actions I will see them

Peripheral vision is done first to detect speed

Try to fix it, it's fine with you.

If you liked that video

don't hesitate to liker

commenting is interesting

have positive or negative comments

but constructive if possible

and sharing around you

Bye. See you soon.

For more infomation >> SYSTEMA #KHOSROW HELLY MAINTAINING DISTANCE 1 - Duration: 5:21.

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Avengers: Infinity War

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The Making of The Epic FF9 Medley Pt.2 - The Epic Ending (5/6) - Duration: 1:59.

The ending of this medley is quite interesting

This whole section here is just based on 2 bars from the ending of Melodies of Life

That is the little oboe solo that you hear after the very last chorus

So I just used those 2 bars to build this typical prog ending...

in which a theme is being repeated...

but every time you add something more to the mix to make it bigger and bigger...

until it hits that beautiful final soaring guitar solo.

So for example the 2nd time I added an acoustic guitar on the left and an electric one on the right.

And the drums get more presence by switching from the ride cymbal to the open hi-hat.

Things are just little tricks to spice things up.

And on the 3rd iteration I added a female choir...

and of course Dr Pez' guitar solo which make it even more epic !

If you don't know about Dr Pez you should go and check his channel right now !

I actually did one of the things I'm the most proud of with him...

which was this giant piece of music based on the Ocarina of Time soundtrack.

It's called "Tempo of Time"

Go check it out right now ;)

For more infomation >> The Making of The Epic FF9 Medley Pt.2 - The Epic Ending (5/6) - Duration: 1:59.

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「Nightcore」→ Lost In Japan Shawn Mendes Cover Lyrics - Duration: 2:48.

This video includes lyrics on the screen

For more infomation >> 「Nightcore」→ Lost In Japan Shawn Mendes Cover Lyrics - Duration: 2:48.

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When You Keep Getting Rejection Letters - Duration: 2:17.

when you get your first rejection letter insert snapchat filter crying face. After

about 20 rejection letters

after more than 100 rejection letters.

Oh!

They Replied!

and you feel like giving up

what what because I've been to a million auditions

and the same thing happens every time where I get interrupted because someone

wants to get a sandwich or I'm crying and they start laughing or there's

people sitting in the waiting room and they're and they're like me but prettier

and better at the because maybe I'm not good enough. - Yes you are

No no maybe I'm not

Yes you are.

For more infomation >> When You Keep Getting Rejection Letters - Duration: 2:17.

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Why Do I Write My Roman Numerals Wrong? - Duration: 7:04.

hey, welcome to 12tone! this week I thought I'd take some time to address one of the most

common criticisms I get on these videos.

no, not the way I hold my pen, or how fast I talk, or even what these things are… ok,

fine, they're supposed to be elephants but I've seen people call them pigs, mice, and

even tapirs, and honestly I don't really care as long as they're cute.

no, today I want to address the controversy over the way I write my roman numerals.

let's get into it.

first, a quick review of the topic: each key has a set of chords associated with it.

for instance, in D major you've got these (bang) whereas F major has these.

(bang) at a glance, they look completely different.

there are no chords shared between the two keys.

but if we take a step back, they're actually pretty closely connected: in both cases, the

first chord is major, the second is minor, and so on, all the way up to the 7th chord

which is diminished.

the structure's identical, the only difference is where we start.

compare that to, say, E minor.

(bang) this has a couple chords in common with D major, but the way they're laid out

is completely different.

since in most cases theorists don't really care about the specific note you're starting

on, we often want to talk about a chord's position in the key rather than its absolute

pitch.

like, if you hear G major, is that the fourth chord in D major, the third chord in E minor,

or something else entirely? in order to show that, we label chords with roman numerals

indicating their scale degree, so if that G major was a IV chord, we'd know we were

in the key of D.

now let's apply that to the entire major scale.

the most common method these days looks like this: (bang) the major triads get upper case

numerals, while the minor chords get lower case ones.

if you studied at a conservatory this is probably the method you're most familiar with, but

it's not the one I use.

instead, I'd write it like this (bang) where all the numerals are upper-case and the minor

chords are just marked like normal chord symbols.

so if I know this isn't what my audience is used to, why do it? well, the obvious answer

is that it's just the method I learned first, but if that were the whole reason I wouldn't

have bothered to make this video.

before I get into the rest of it, though, let's take a look at the history of roman

numerals in music.

as far as I can tell, the first person to use roman numerals to represent chord functions

was an Irish composer named John Trydell, whose 1766 essay on music probably used them

to describe what he called "harmonical figures" although I couldn't find the original manuscript

and some sources claim that he originally used arabic numerals, not roman ones.

still, his ideas gained a lot of traction when his essay was used as the entry for "music"

in the original edition of the Encyclopedia Britannica in 1771. without being able to

read the actual essay I can't say for sure how he used them, but the reviews I could

find indicate that his contributions were largely forgotten for a long time and probably

weren't the direct ancestors of modern practices.

still, though, it's always good to know who came first.

this brings us to our next figure, a German composer and theorist named Georg Joseph Vogler.

Vogler is an interesting figure to research because he seems to have a small but dedicated

fan-base, and most of the things I could find about him were written in adoring tones more

reminiscent of a pop star than a eighteenth-century theorist.

even his wikipedia page boasts of "a long and colorful career extending over many more

nations and decades than was usual at the time."

anyway, Vogler was an eccentric and controversial figure, drawing the ire of contemporaries

including a little-known composer by the name of Ludwig Amadeus Mozart.

Vogler existed at an interesting time in the history of music theory, where harmonic analysis

was beginning to take center stage.

prior to that, the prevailing wisdom was that music came primarily from the overlapping

of melodies, and that analysis should focus on the structures and movements of those melodies.

that's a bit of an oversimplification, but this is a really complex topic that could

be a whole video on its own, so for now the important point is that theorists were starting

to look more at the idea of chord functions in harmony, and while Vogler didn't start

this trend, his work fit into it well.

his goal was to understand not just what the chords were but what they were doing, and

in order to do that he needed a way to differentiate between the same chord played in different

keys.

his solution was to mark them with roman numerals, and in his work all the numerals seemed to

be upper-case.

so I win, right? after all, my system came first.

well… not quite.

Vogler's system didn't actually include chord quality at all: it always accompanied the

written works, so he didn't need to duplicate that information.

besides, if you're in a major key and you see a III chord, you probably know the structure

of the scale well enough to know it's supposed to be minor anyway.

he also didn't bother including the actual key, at least not as far as I can tell.

when a piece changed keys he'd just switch his numerals to match and assume you were

following.

again, this worked because it accompanied the actual piece so if you saw that a new

chord was now the I chord, you'd be able to figure out what happened.

not ideal, but good enough for Vogler's purposes.

and finally, we come to the person who is generally considered the actual father of

roman numeral analysis: another German theorist, Gottfried Weber.

his most influential work, whose name translates as Theory of Musical Composition, is a long

and thorough text describing everything you might want to know about early 19th-century

harmonic ideas, and it features what appears to be the first recognizably modern system

of roman numeral analysis.

he advocates for the use of key markers to show which key the chord is functioning in,

and he includes ways of differentiating between different chord qualities.

the entire thing is actually really fun to read, and I've linked to it in the description,

but let's get to the big reveal: how does he write his minor chords?

drum roll please… yeah, they're lower case.

so y'all win, right? this is the dude who basically invented the modern system, and

he says I'm wrong.

case closed.

well, not so fast.

just because it's what they did then doesn't mean it's still the right decision now.

I mean, the staff used to have four lines, noteheads used to look like this, and D# didn't

used to exist.

musical notation has lost a lot of the idiosyncrasies of the past because they weren't actually

good or helpful, they were just the first things we came up with, and I think that's

the case here.

so… why?

well, let's start by looking at the benefits of the lower-case system.

besides just being a legacy, I think it has one main strength: speed.

if you're only dealing with major and minor chords, then using this system lets you write

them faster and read them more easily.

this, I think, is why Weber preferred it: he included some symbols for when the chords

were diminished or included a 7th, but most of what he needed to describe was just major

and minor triads.

but that's not really the case anymore: a lot of music, especially in more complex genres

like jazz and modern classical, features much weirder chords. in these cases, the process

is still simple: you just take the chord symbol and replace the note with a roman numeral

showing its position in the scale.

if it's augmented, you write that.

if it's a sus chord, you write that.

any information that would be in the chord symbol gets replicated exactly the same way

in the roman numeral… except for one piece.

for some reason, the status of the third degree is shown completely differently.

it's unnecessary, it's confusing, and it doesn't actually make anything clearer, it just adds

another thing you have to learn.

that's why I prefer my method: it's consistent, and when it comes to notation, consistency

is really, really valuable.

anyway, if the comments sections of previous videos are any indication, some of y'all have

strong opinions about this as well, and now that I've had a chance to spell out my reasoning,

I'd love to hear your thoughts.

just keep in mind that Weber also said to use lower-case letters to mark minor triads

in our chord symbols and we stopped doing that ages ago, so why can't we drop them in

our roman numerals too?

anyway, thanks for watching, and thanks to our Patreon patrons for supporting us and

making these videos possible.

if you want to help out, and get some sweet perks like sneak peeks of upcoming episodes,

there's a link to our Patreon on screen now.

you can also join our mailing list to find out about new episodes, like, share, comment,

subscribe, and above all, keep on rockin'.

For more infomation >> Why Do I Write My Roman Numerals Wrong? - Duration: 7:04.

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HTC U12 Plus, First Look, Phone Specifications, Price, Launch Date, Concept, Trailer 2018 - SAK!!! - Duration: 2:50.

HTC U12 Plus, First Look, Phone Specifications, Price, Launch Date, Concept, Trailer 2018 - SAK!!!

The U12+ might turn out to be HTC's only flagship released this year.

Last week, it was reported the company was considering shelving the U12.

Rather than releasing two similar mobile devices with few differences,

HTC may opt to push the larger model as its lone high-end phone.

As we did for Apple's iPhone X Plus and LG's 2018 flagship,

we're bringing these concept images to you from Concept Creator.

The 3D artist/animator created the renderings exclusively for TechnoBuffalo.

Nothing has been confirmed by HTC,

but the visuals align with every report and leak published up until this point.

So, the images should be a strong representation of what's coming from the Taiwanese company.

Check out the full content, and then we'll give you our breakdown of the video.

Overall, the phone will be made of two materials.

The glass front and back will be sandwiched between an aluminum frame,

and even beneath the rear panel metal is present.

But it does look like HTC's gone with a sharper look than last year's U11.

The 2017 flagship was sold in three colors, one of which was an incredible Solar Red.

HTC could bring that back for the U12+ in addition to black and white.

Regardless of the color selected, the front will be black.

And the company may return to embracing on-screen navigation buttons.

That's because the top and bottom bezels are too thin to compensate for a display with an 18:9 aspect ratio.

Flip over the U12+, and you're going to discover a dual-camera setup.

The U11 didn't have one but other mobile devices from the company's have, so HTC is returning to familiar territory.

Beneath the horizontally-aligned lenses is a cutout for a two-tone LED flash.

Then there's a fingerprint scanner and HTC's logo stamped closer to the center.

HTC will, without a doubt, go with premium components for this phone.

The major leak involving the U12+ revealed it'll ship with a 6-inch WQHD+ LCD display,

Qualcomm's Snapdragon 845, 6GB of RAM, up to 128GB of storage, 16MP and 12MP rear cameras,

two 8MP front-facing cameras, a fingerprint scanner, facial recognition, a 3450mAh battery, and Android Oreo with Sense UI on top.

Those specs make it clear the U12+ will be no slouch.

For more infomation >> HTC U12 Plus, First Look, Phone Specifications, Price, Launch Date, Concept, Trailer 2018 - SAK!!! - Duration: 2:50.

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Donald Trump : les révé­la­tions d'une ex-Play­mate mettent (encore) à mal son couple avec - Duration: 4:13.

For more infomation >> Donald Trump : les révé­la­tions d'une ex-Play­mate mettent (encore) à mal son couple avec - Duration: 4:13.

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Why Do I Write My Roman Numerals Wrong? - Duration: 7:04.

hey, welcome to 12tone! this week I thought I'd take some time to address one of the most

common criticisms I get on these videos.

no, not the way I hold my pen, or how fast I talk, or even what these things are… ok,

fine, they're supposed to be elephants but I've seen people call them pigs, mice, and

even tapirs, and honestly I don't really care as long as they're cute.

no, today I want to address the controversy over the way I write my roman numerals.

let's get into it.

first, a quick review of the topic: each key has a set of chords associated with it.

for instance, in D major you've got these (bang) whereas F major has these.

(bang) at a glance, they look completely different.

there are no chords shared between the two keys.

but if we take a step back, they're actually pretty closely connected: in both cases, the

first chord is major, the second is minor, and so on, all the way up to the 7th chord

which is diminished.

the structure's identical, the only difference is where we start.

compare that to, say, E minor.

(bang) this has a couple chords in common with D major, but the way they're laid out

is completely different.

since in most cases theorists don't really care about the specific note you're starting

on, we often want to talk about a chord's position in the key rather than its absolute

pitch.

like, if you hear G major, is that the fourth chord in D major, the third chord in E minor,

or something else entirely? in order to show that, we label chords with roman numerals

indicating their scale degree, so if that G major was a IV chord, we'd know we were

in the key of D.

now let's apply that to the entire major scale.

the most common method these days looks like this: (bang) the major triads get upper case

numerals, while the minor chords get lower case ones.

if you studied at a conservatory this is probably the method you're most familiar with, but

it's not the one I use.

instead, I'd write it like this (bang) where all the numerals are upper-case and the minor

chords are just marked like normal chord symbols.

so if I know this isn't what my audience is used to, why do it? well, the obvious answer

is that it's just the method I learned first, but if that were the whole reason I wouldn't

have bothered to make this video.

before I get into the rest of it, though, let's take a look at the history of roman

numerals in music.

as far as I can tell, the first person to use roman numerals to represent chord functions

was an Irish composer named John Trydell, whose 1766 essay on music probably used them

to describe what he called "harmonical figures" although I couldn't find the original manuscript

and some sources claim that he originally used arabic numerals, not roman ones.

still, his ideas gained a lot of traction when his essay was used as the entry for "music"

in the original edition of the Encyclopedia Britannica in 1771. without being able to

read the actual essay I can't say for sure how he used them, but the reviews I could

find indicate that his contributions were largely forgotten for a long time and probably

weren't the direct ancestors of modern practices.

still, though, it's always good to know who came first.

this brings us to our next figure, a German composer and theorist named Georg Joseph Vogler.

Vogler is an interesting figure to research because he seems to have a small but dedicated

fan-base, and most of the things I could find about him were written in adoring tones more

reminiscent of a pop star than a eighteenth-century theorist.

even his wikipedia page boasts of "a long and colorful career extending over many more

nations and decades than was usual at the time."

anyway, Vogler was an eccentric and controversial figure, drawing the ire of contemporaries

including a little-known composer by the name of Ludwig Amadeus Mozart.

Vogler existed at an interesting time in the history of music theory, where harmonic analysis

was beginning to take center stage.

prior to that, the prevailing wisdom was that music came primarily from the overlapping

of melodies, and that analysis should focus on the structures and movements of those melodies.

that's a bit of an oversimplification, but this is a really complex topic that could

be a whole video on its own, so for now the important point is that theorists were starting

to look more at the idea of chord functions in harmony, and while Vogler didn't start

this trend, his work fit into it well.

his goal was to understand not just what the chords were but what they were doing, and

in order to do that he needed a way to differentiate between the same chord played in different

keys.

his solution was to mark them with roman numerals, and in his work all the numerals seemed to

be upper-case.

so I win, right? after all, my system came first.

well… not quite.

Vogler's system didn't actually include chord quality at all: it always accompanied the

written works, so he didn't need to duplicate that information.

besides, if you're in a major key and you see a III chord, you probably know the structure

of the scale well enough to know it's supposed to be minor anyway.

he also didn't bother including the actual key, at least not as far as I can tell.

when a piece changed keys he'd just switch his numerals to match and assume you were

following.

again, this worked because it accompanied the actual piece so if you saw that a new

chord was now the I chord, you'd be able to figure out what happened.

not ideal, but good enough for Vogler's purposes.

and finally, we come to the person who is generally considered the actual father of

roman numeral analysis: another German theorist, Gottfried Weber.

his most influential work, whose name translates as Theory of Musical Composition, is a long

and thorough text describing everything you might want to know about early 19th-century

harmonic ideas, and it features what appears to be the first recognizably modern system

of roman numeral analysis.

he advocates for the use of key markers to show which key the chord is functioning in,

and he includes ways of differentiating between different chord qualities.

the entire thing is actually really fun to read, and I've linked to it in the description,

but let's get to the big reveal: how does he write his minor chords?

drum roll please… yeah, they're lower case.

so y'all win, right? this is the dude who basically invented the modern system, and

he says I'm wrong.

case closed.

well, not so fast.

just because it's what they did then doesn't mean it's still the right decision now.

I mean, the staff used to have four lines, noteheads used to look like this, and D# didn't

used to exist.

musical notation has lost a lot of the idiosyncrasies of the past because they weren't actually

good or helpful, they were just the first things we came up with, and I think that's

the case here.

so… why?

well, let's start by looking at the benefits of the lower-case system.

besides just being a legacy, I think it has one main strength: speed.

if you're only dealing with major and minor chords, then using this system lets you write

them faster and read them more easily.

this, I think, is why Weber preferred it: he included some symbols for when the chords

were diminished or included a 7th, but most of what he needed to describe was just major

and minor triads.

but that's not really the case anymore: a lot of music, especially in more complex genres

like jazz and modern classical, features much weirder chords. in these cases, the process

is still simple: you just take the chord symbol and replace the note with a roman numeral

showing its position in the scale.

if it's augmented, you write that.

if it's a sus chord, you write that.

any information that would be in the chord symbol gets replicated exactly the same way

in the roman numeral… except for one piece.

for some reason, the status of the third degree is shown completely differently.

it's unnecessary, it's confusing, and it doesn't actually make anything clearer, it just adds

another thing you have to learn.

that's why I prefer my method: it's consistent, and when it comes to notation, consistency

is really, really valuable.

anyway, if the comments sections of previous videos are any indication, some of y'all have

strong opinions about this as well, and now that I've had a chance to spell out my reasoning,

I'd love to hear your thoughts.

just keep in mind that Weber also said to use lower-case letters to mark minor triads

in our chord symbols and we stopped doing that ages ago, so why can't we drop them in

our roman numerals too?

anyway, thanks for watching, and thanks to our Patreon patrons for supporting us and

making these videos possible.

if you want to help out, and get some sweet perks like sneak peeks of upcoming episodes,

there's a link to our Patreon on screen now.

you can also join our mailing list to find out about new episodes, like, share, comment,

subscribe, and above all, keep on rockin'.

For more infomation >> Why Do I Write My Roman Numerals Wrong? - Duration: 7:04.

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Observatorio en Ĝajpuro · Observatoire à Djaïpour - Duration: 1:08.

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UN TOUR SIMPLE MAIS TRES EFFICACE - Duration: 5:27.

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Laeti­cia Hally­day « ne supporte plus les critiques » : la veuve de Johnny dans le désar­roi - Duration: 3:05.

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SEO Site Checkup - Make Se...

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HelioRC Helio Spring, tuto flash ButterFlight + IMU-F - Duration: 4:31.

Hi, it's Motard Geek

Short tutorial video to show us how to update ButterFlight and IMU-F on the Helio Spring

We start by plugging the card into USB

The board appears in the configurator in com 7 (for me)

We connect to check the installed version

Enter "version" in CLI

As you can see version, 3.3.0 is installed

Now 3.4.X is out

We disconnect

it's not as simple as BetaFlight

We can't update directly from the configurator

Here this is not the last version and I think there is not the IMU-F code

If we check the officiel website, on the wiring page

They tell us to use the file at the bottom of the page tu update the Helio Spring

There is BTTF 3.4.3 with IMU-F1.0.3

We need to download it

Unzip it

This is this .hex file we need to flash on the controller

Back to the configurator

Open the downloaded file

Then click flash

The FC boot into DFU mode

It needs the correct drivers

Check the device manager

The STM32 Bootloader

If not, you can use ImpulseRC Driver Fix

Update in progress

Please wait

I hope future releases will include this update automatically

As I read on Slack

a configurator that allows you to directly flash the correct version with the IMU-F

Like BetaFlight, RF1 and even Kiss now

We can do everything from the configurator

After the flashing process will need to update manually the gyro

In the futur this step will be automatic

FC is flashed

Still booting

Com 7 just appeared

We can connect angain

Gyro is OK

Check the new version in CLI

It's good, ButterFlight 3.4.2

Last step, the IMU-F update

Just type imufupdate

FC will reboot automatically

It should be more longer to start

Because of the IMU-F update process

Then, we can connect again

Everything is now up to date

BuF and the IMU-F Gyro

I hope I can do a new video soon about a more friendly update process

Bye bye

For more infomation >> HelioRC Helio Spring, tuto flash ButterFlight + IMU-F - Duration: 4:31.

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My top 10 Automata songs - Duration: 15:12.

Automata has been out for over a year now but I keep getting asked about my favorite

songs from the game's soundtrack, so I figured I'd make this video for the people that are

curious.

I swear I'm not about to turn into a top 10 channel but since this is a very frequent

question, I thought this would be fun to make.

Although I'd like to preface this video by saying that I absolutely adore all of Automata's

soundtrack.

Keiichi Okabe and Keigo Hoashi are fantastic and I would, without a doubt, sell my soul

to have even an ounce of their talent.

Also do you see down there whose channel this is?

That's right, it's my channel!

If you disagree with me, that's cool and all, but let's agree to disagree.

There's no wrong answer here.

If you think I'm talking complete shit though, make your own list.

Have a blast.

Drink some water.

Talk about your feelings.

I'm trying to go off when the music was used and how it helped set the tone of the scene,

along with how much I actually like the song itself.

Also, I don't have any musical background of any sorts.

I'm not gonna act like I know what I'm talking about cause I don't.

The majority of the list will most likely go along the lines of, ''good song, me like

hoho'' so if you're looking for something incredibly in-depth and detailed, you won't

find it here.

And this video will contain spoilers since I will be talking about the moments where

I appreciated the usage of the music so beware if you haven't finished the game.

Okay, let's go.

10. Weight of the World

Yes, I am putting the credits song on the list and yes it is at number ten.

Weight of the World did a fantastic job of setting the tone for Automata and I love that

they took the time to create the different versions.

The reason I'm putting it at number 10 however is because I have other songs that I personally

just like more.

Weight of the World gets the job done and sets the stage very well but it's not the

soundtrack's most outstanding song, in my eyes.

It feels like it could've been used in any other JRPG and it would've done just as well,

which is good in it's own sense but it also means that it's not the most unique.

In comparison to songs like This Silence is Mine, I personally find that Weight of the

World falls a little bit flat.

That being said, I still do really like how it sets the tone for the game.

9. Fortress of Lies

This is one of those songs that hits you upside the head once you're done with the game and

you go back to listen to the soundtrack.

This beautiful theme plays whenever you're in the Bunker and sets a very somber tone.

The most amazing part of it however is how much more sad the song gets once you're finished with

the game.

It's a song that evolves past the moments where it's used once you learn it's title

and hear it again after completing the story.

Going back to it once you're done with it all just reminds you of the everlasting spiral

of hopelessness that your characters are stuck in, which, you know, is always a good time.

8. Song of the Ancients - Atonement

This is one of those tracks where it's hard to explain to someone who did not play the

original Nier why it means so much.

Back before the game was even released, I remember hearing this track when I was playing

the demo.

Which made face light up like the big old baby I am.

So then hearing it in-game with the actual vocals added in really filled my poor Nier

loving heart with tremendous joy.

And also crippling depression.

The reason I'm not putting it higher up is because it is a song from the previous

game and Automata does have tracks that fits its own game more than Song of the Ancients,

but I'm biased and I could not stop myself from putting this one on the list.

7. A Beautiful Song.

This song is incredible and I already know for a fact that people are going to get on

my ass for not putting it in the top three.

I do love this song and I really love the beginning of the song which has Simone's voice

mixing into the song - which is a great throwback to the summoning scenes from Drakengard 3.

The reason I'm not putting it higher up is because it doesn't do much for me in evoking

any other emotion besides ''wow, this sure feels like an epic battle.''

You know?

Again, just like with Weight of the World, you could put it in another game and it would

do just as well.

6. End of the Unknown

This is a song that I really love because of how good it is.

It's with songs like this End of the Unknown that you can really see Okabe's range.

Because it's so different from the rest of the soundtrack and doesn't sound like it would

be from a Nier game.

But that isn't something bad.

I remember being caught wildly off guard when I heard this song in-game but I was equally

as hyped up as I was confused.

If the song wouldn't have been good I would surely have had more of a problem with it.

But it really shows just how talented Okabe is as a composer to make something so different

still fit into the game.

5. Dependent Weakling.

Ending A broke me horribly the first time I played it and a large part of why it did

was because of this song.

For being the boss theme for the final boss of the game's first two routes, it's such

a sad song.

It's not a rage inducing battle theme that pumps you up and gets you ready to kill any

enemy.

It's a somber song that reflects Eve's desperation and struggle after Adam is killed.

I'm not sure how it does it, but it perfectly captures the feeling of, ''you were the ones

who killed the only family that this man ever had and now you have to finish the job and

take him out too.''

Killing Adam was a rage-filled fight whilst killing Eve felt more like a mercy kill, which

this song does a wonderful job of portraying.

4. Bipolar Nightmare.

This is hands down one of the most dramatic songs I've ever heard in any game.

It's just one of those songs where you know that once it kicks in, playtime's over.

No more messing around.

It's do or die time.

Automata has a lot of tracks with very percussion but Bipolar Nightmare takes the cake for me

when it comes to battle themes because of how mighty it feels.

Hearing this song play as I climbed the tower, rapidly switching control between 9S and A2

made me get up from my seat and jump on the spot because of the adrenaline rush it gave me.

And whoo-boy! Those vocals.

3. Copied City.

This is another song that I like a lot strictly based on how good I think the song is.

Considering how little the song is used in-game, it's weird that it stuck out to me as much

as it did.

Against all odds, I remember liking it a lot during my first playthrough only for it

to grow on me more and more and become one of my favorite tracks from the entire soundtrack.

The piano was what really made the song memorable for me but once those good, good Nier-esque

vocals kicked in I was completely sold.

Not to mention the fact that Copied City is like, one of the coolest areas in the entire game.

Only a track as mysterious and amazing as this would be fit for an area like that.

2. City Ruins - Rays of Light

This track is one of the first ones we hear in-game, as it plays once you land in the

City Ruins for the first time.

So, ''why is this track so high up on the list?''

You may ask, and my answer is very simple - because I never got tired of it.

It's one of the songs that you will be hearing the most during your playthrough

of the game.

But despite that, I'm still not tired of hearing it.

Not only is it an amazingly beautiful song but the fact that they managed to create such

an amazing piece for such a seemingly basic area is mind-blowing.

Normally, no matter how good you think a piece is at first, you'd get tired of it if you

were forced to listen to it as often as you are with certain themes in games that do appear

often.

But to this day, one whole year later, after having completed Automata from start to finish

countless times, I'm still filled with a sense of wonder whenever I hear Rays of Light.

1. The Tower.

I have kind of a special relationship with this track.

Because I heard it in my first playthrough before entering the Tower for the first time

but I didn't play all that much attention to it.

This was most likely my own fault because I did rush through route C with a different

urgency in comparison to how I played route A and B. But when I walked into the Tower

for the first time and I heard the song play, I had to put my controller down because I

started crying.

At the time, it was because I realized I was getting close to the end but it still felt

so hopeless.

You're not on a heroic journey to save the world.

You're tired and beaten down.

You just want it to be over.

All you want is to rest.

Which is what this track captures perfectly.

Whenever I hear the vocals kick in I still get that familiar stinging feeling in my eyes.

I actually can't even have it on when I write anything because I'll get too distracted.

Hearing it paired with walking into the tower for the first time is not only one of the

most memorable moments of Automata but one of the most memorable moments I've had playing

any game.

It's such an otherworldly song.

Just like the tower itself.

Let me know if you liked this video and if you want me to do one for the rest of the

games in the series as well cause if there's anything game soundtrack I will gush about

endlessly it's Nier and Drakengard music cause hooo-boy.

Anyway, I hope you enjoyed this video, thank you so much for watching.

For more infomation >> My top 10 Automata songs - Duration: 15:12.

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Erica Mena is Convinced Estelita and Stevie J Are Messing because they did not sing together - Duration: 2:36.

Since Estelita and Stevie J Haven't Been Making Music Together, Erica Mena is Convinced The Two Are Messing Around

Seeing as how Stevie is Estelita's manager but has yet to really manage her, Erica Mena wants to know what's actually going on.

In case you missed the season premiere of Love & Hip Hop Atlanta, Mena is back and is trying her darnedest to not step on anybody's toes.

After all, this isn't her first rodeo.

When Erica walks into Estelita's studio session unknowingly uninvited, Estelita is wondering "What the fuck Stevie is up to?" There was a time when Erica "was like a sister" to Estelita, but since they fell out, they haven't spoken with one another.

Learning that Estelita hasn't heard any of the music Stevie has promised her, Erica informs her former friend that she's "been down this road before," forcing her to ask: "Are you guys fucking with each other?" Estelita says "absolutely not," but Stevie is singing a different tune.

Unconvinced, Erica believes they did have a little somethin' somethin' but understands why Estelita wouldn't admit it.

Don't miss an all new Love & Hip Hop Atlanta, next Monday at 8/7c!.