Thứ Tư, 24 tháng 5, 2017

Waching daily May 24 2017

What's up guys so

today my girlfriend's mom forgot some stuff for her pie business

farmers market so

I have to go dop it off so they're there now

So I'm here now. I brought the stuff

He's so sweet! Thank you so much!

He saves the day almost every week

thank you

It's hot today...?

like hot windy

so it gets cold then hot

It's nice

then cold then hot

Did you get enough coffee?

did you drink enough coffee?

I drank only one cup

Is that not enough?

no I need at least two

I don't k now why but I feel very good today

I need more

You slept more. You know, I went to sleep at 3 o'clock last night

why?

I couldn't sleep

I knocked out

someone asked yesterday if I was a night person or a day person

I'm definitely a night person

I didn't sleep until 3

and then I woke up at 8

and I felt good

good start to the day

smells like there's a lot of sugar over there

yeah, there's sweet stuff every where

so there's a coffee cart over there that sells

coffee and lemonade

fresh squeezed...squeezed? sqeezed?

sign how you would do it

fresh

squeeze

squeeze

like squeezed. Use both hands

use both your hands

oh! fresh squeezed lemonade

over there. They're really nice

and they're my mom's friends

and over here they sell

meat in some sort of bread

oh no no no. They're the tamale guys

thank you

you want some?

can we turn on the ac or something?

or something something something

It's hot

R: What are you doing?

Ryan loves his car so much. I was sitting like this

and he was like "Babe! Don't sit like that because of the leather!"

really

okay! I'm sorry! Wow!

I can't even sit the way I want in this car

(Ryan laughing)

You're funny

What are we doing now?

I don't know

I feel like I should come back and help her pack up

What do you think?

no?!

R: OK

Whaaaat?

You need your coffee, or something. You need more coffee

R: Yes! just one cup is not enough!

did you?.. Are you hungry?

Are you hungry?

Are you hangry?

R: a little

a little bit. Do you want to go eat?

R: need coffee. I need coffee

I was thinking we could go eat then come back

R:okay

Do you want to do that?

yeah

Hey we're back

we...

What did we do?

What did we tell them we did?

yeah

We hungout with my friends

she acutally came with me.

so we went to go eat with my friends

It was nice hanging out. Now we're home chilling before I go to work

it was fun

and I'm gonna study the rest of the day

We're gonna take a nap really fast then gonna go

do our own thing

bye you guys

byyee

SIGN DUO

OUT!

For more infomation >> HOW TO SIGN SQUEEZE? - Duration: 5:16.

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Corporations Replace BPA with More DNA Damaging Bisphenols - Duration: 8:01.

Corporations Replace BPA with More DNA-Damaging Bisphenols

Just when you thought it was safe to buy �BPA-free� products, manufacturers flood the marketplace

with an alphabet soup of toxic bisphenols.

Consumer beware.

New research published in the journal Chemosphere confirms that the hormone-disrupting chemical

known as bisphenol A (BPA) is not the only bisphenol with DNA-damaging effects.

In fact, the new cell study found that��bisphenol AP, bisphenol M, or bisphenol P exerted genotoxic

potentials that are greater than that of BPA.�

As consumer and regulatory pressure pushes manufacturers to eliminate BPA in favor of

ostensibly safer alternatives, some are simply substituting less well known bisphenols into

their products and disingenuously labeling them �BPA-free.� Others are finding truly

safer alternatives to bisphenols, but there is too little oversight to know for sure.

The US Food Supply Already Widely Contaminated With Bisphenols

This latest finding brings back to the forefront a concerning discovery made earlier this year

that a wide range of bisphenols are already contaminating the US food supply.

The study published in the Journal of Agricultural and Food Chemistry analyzed the concentrations

of hormone-disrupting chemicals known as bisphenols in foodstuff from the United States and their

implications for human exposure, revealing widespread contamination.[i]

The researchers set out to determine the occurrence of bisphenols, other than BPA, in foodstuffs,

due to the fact that information on the topic is scarce.

Their methodology was as follows:

[S]everal bisphenol analogues, including BPA, BPF, and BPS, were analyzed in foodstuffs

(N = 267) collected from Albany, New York, USA, using high-performance liquid chromatography-tandem

mass spectrometry (HPLC-MS/MS).

Foodstuffs were divided into nine categories of beverages, dairy products, fat and oils,

fish and seafood, cereals, meat and meat products, fruits, vegetables, and �others.�

The study revealed bisphenol contamination of the US food supply is endemic:

Bisphenols were found in the majority (75%) of the food samples, and the total concentrations

of bisphenols (SBPs: sum of eight bisphenols) were in the range of below the limit of quantification

to 1130 ng/g fresh weight, with an overall mean value of 4.38 ng/g.

The highest overall mean concentration of SBPs was found in the �others� category,

which included condiments [emphasis added] Within the category of vegetables, a sample

of mustard (dressing) and ginger contained the highest concentrations of 1130 ng/g for

bisphenol F (BPF) and 237 ng/g for bisphenol P(BPP).

This dovetails with two other disturbing findings from last year: 1) human and synthetic hormones

now widely contaminate fresh produce.

2) synthetic hormone activity now eclipses that of natural hormones within exposed populations.

The Journal of Agricultural and Food Chemistry study also found that canned foods contained

higher concentrations of individual and total bisphenols in comparison to foods sold in

glass, paper, or plastic containers, likely due to the epoxy-resin can liners, which unless

explicitly labeled to be �bisphenol free� contain bisphenol

Even with the latest finding on the genotoxicity of bisphenols other than BPA, there still

has been little to no adequate toxicological and safety research performed on these relatively

novel xenobiotic chemicals, despite the fact that millions of consumers are already being

exposed to them.

It was only last year that it became apparent that global manufacturers of consumer goods

that formerly used BPA were switching to the equally toxic (and environmentally more persistent)

bisphenol BPS. [see: Consumer Alert: BPA-Free Goods Still Contain Toxin Bisphenol.]

BPS is increasingly being used to displace BPA in global paper currency and thermal printer

paper, and is now found in human urine samples at levels as high as BPA.

The new study discovered that the second most prevalent bisphenol analogue found in foodstuffs

was BPF, which accounted for 17% of the total BP concentrations versus 42% for BPA.

The study concluded that on the basis of measured concentrations and daily ingestion rates of

foods, the daily dietary intake of bisphenols (calculated from the mean concentration) were

estimated to be 243,142,177,63.6, and 58.6 ng/kg bw/day for

toddlers, infants, children, teenagers, and adults, respectively.

In order to understand how high these levels are, one must compare the disturbing effects

of so-called �low-dose� exposure levels in animals.

Two animal studies published in 2005 found that doses as low as 25 ng/kg bw/day resulted

in �permanent changes to genital tract,� [ii] and �changes in breast tissue that

predispose cells to hormones and carcinogens�[iii] Based on the study findings, toddlers are

being exposed to almost 10 times that amount (243 ng/kg bw/day) through their food alone.

This does not even account for many other sources in their environment, including sippy

cups, canned foods and formula, etc.

For additional research, including natural strategies to reduce the toxicity of bisphenols

and encouraging their detoxification, read the article: Manufacturers Replace BPA with

Still Highly Toxic BPS

For more infomation >> Corporations Replace BPA with More DNA Damaging Bisphenols - Duration: 8:01.

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Tongue Drum - Duration: 14:18.

Hi everybody! I'm Mike McCrory

and this is Wood U Make It.

A friend of ours from Chicago sent me an email a couple

of months ago and inside the email was

a photo of a wooden musical instrument.

I had no idea what it was and when I asked

her she didn't know what it was called either.

So, with a little bit of internet research,

I discovered that it's called a tongue drum

or sometimes it's called an African slit drum.

So, what I want to do is make a couple of these.

The reason I want to make more than one is I want to

experiment a little bit with different tone woods

to see how they react.

So, the first one I'm going to make

with bird's-eye maple for the sound box

and some padauk for the tongues or the top portion.

For the second tongue drum I'm going to use

Spanish cedar for the sound box and for

the tongues -- for the top portion -- I'm

going to use cocobolo.

So it'll be interesting to compare the two different

tongue drums. I know I've got more than

one variable changing at the same time

so it won't be easy to compare and to

know what is causing the change, but at

least it will provide me with some

guidance and I can use that as I go

about making additional ones, which I

hope to be able to do.

So.... let's get started!

[theme music playing]

I've milled this bird's-eye maple.

It's not a clear bird's-eye maple; it has this

brown color through it which looks

really cool for a box. I've milled it down

to 1/2" thick and it's about 4 1/2" wide

and I think that'll be perfect. I didn't want to make

it too thick because I think the thinner the material,

the more it will vibrate and resonate

which will be good for the sound box.

I set up the box joint jig.

It was a little bit tight on my first test

cut so I loosened it up a little bit and

now it's tight enough but loose enough

that I can still move it around and

adjust it as I'm assembling the box.

Before cutting the box joints, I'm laying

out the pieces to make sure that I have

proper grain alignment and that all the

pieces are oriented properly. After I do

that I will mark the top edge of each

piece. That's important because I

need to make sure that I have everything

oriented properly in the box joint jig.

Here I'm setting up the Incra iBox jig

and I'm just sliding a piece of wood

across the top so that it catches on the tooth.

That gives me the proper blade height.

I have the mark for the top edge pointing

toward the center of the jig.

Every piece that you use

is always having that same orientation.

Now, to position the adjoining piece, I'm

flipping the current piece over with the

top mark facing toward the center again

and I butt the two top marks up together

and that gives me the starting point

for the adjoining piece.

Then I'll run this through multiple times moving

it over each time to cut the next slot.

Before I start putting the boxes together,

I need to glue up the cocobolo

to have that ready for the top.

Cocobolo is kind of an oily material --

an oily wood -- and it presents difficulties

when trying to glue it up with regular wood glue.

So, what I'm going to do in

this case is first I'm going to wipe it

down with acetone to remove any of the

oily substance and then I'm going to use

a polyurethane glue instead of a regular

wood glue. That will help to have a

stronger bond without having to worry

about the wood glue being absorbed into

the pores of the wood. Polyurethane glue

is activated by moisture so it's

important to put a little bit of water

on the edge before before gluing.

Now I'm just wiping up the excess.

Back at the box I'm applying glue to the box

joint. It's a pretty tight fit so I'm

going to tap the boards in place.

Then I'll check to make sure that it's

square and then clamp it and let it sit overnight.

After the glue is dried, I'll just clean

up the excess on the belt sander.

Now I'm preparing the cedar box and for this box

I'm going to use just a simple miter joint.

After applying all the glue

I'll tape the pieces together. That makes

it really easy to assemble. I'll use a

band clamp just to apply sufficient

pressure and again I'm checking it to

make sure that it's square.

Now I'm cutting the bottom for the cedar box.

This is another piece of Spanish cedar.

I'm cutting a bevel and then I'm

using my dado blade to cut a rabbet so

that I can just insert it. Now I'm

cutting a rabbet around all four sides of the top.

For the top for the cocobolo top I'm just

scraping it with a card scraper to

remove the excess glue and then I'll run

it through the drum sander.

Then back at the table saw I cut a rabbet in the

top around all four sides and it fits very nicely.

Now I'm making some mallets for the tongue drums.

I'm simply using a super ball and

drilling a hole that I can insert a piece of dowel into.

Then with a bit of epoxy I can make sure that the

dowel is securely fastened.

Now I'm just going to draw a layout of where I

want to position the tongues. I'm using a

white pencil to make it easy to see the

marks so that when I come along with my

jigsaw it will be pretty easy to see the marks.

It's pretty much just hand drawn

using a circle template and a

ruler and a little bit freehand.

I was really just making this up as I went along.

I think if I was going to do this again,

I would probably calculate the sizes of the tongues

that I wanted to have

to approximate the pitch that I wanted

wanted to arrive at.

Now I'm drilling a 5/16 inch hole so that I can get my

jigsaw blade inserted.

Now it's just a matter of carefully cutting along the

lines. It's not that difficult to do; you

just need to be careful so that you stay relatively close.

Now I'm gluing in the top. It actually would have been

easier to cut the tongues if the top had

already been glued in so that it didn't

move around as much, but it was too risky

for me because I thought if I made a

mistake there would be no turning back.

So, I wanted to cut them first and then glue it in.

Now with the cedar box,

because I have just a simple miter joint,

I'm going to cut splines -- two splines in each corner --

to add a little bit of strength

and also to add a bit of a design element.

Since the top of this box is made from cocobolo,

I don't have any extra left,

but I can use walnut splines

to get a color that's pretty close to the cocobolo.

Then I'll glue in the splines

and the top of this box as well.

I'll clamp it up and let it sit overnight.

The next morning I can cut off

the excess parts of the splines with the

flush cut saw

and then I can pretty quickly clean those up on the drum sander.

The way you tune the tongues is

by removing wood from the underside.

If you want to raise the pitch you remove

wood from the tip that's near the center

and if you want to lower the pitch then

you remove from the other end.

I've downloaded a free app that can be

used for tuning. For this first tongue I

want to lower the pitch. I'm not really

sure how much to remove so I'm

proceeding pretty cautiously. I'm using a

5/8" Forstner bit and removing just a

little bit so that I can test it and see

how much it varies good pitch.

It did vary it a little bit but not quite enough,

so I had to go back and do it again.

Then I moved on to the next tongue.

This is a fairly tedious process. It took

me a couple of hours to tune the box.

I tuned this one to an A-minor pentatonic scale.

Now I'm just giving it a little bit of a test run.

It doesn't sound very good yet and that's

because I don't have the bottom glued in.

It's surprising actually how much of a

difference it makes to have the bottom

glued in rather than just sitting

loosely in there. But at least I can hear

how the notes sound relative to one another.

Everything is glued up and

I'll let it sit overnight.

Now I'm applying a coat -- just a single coat --

of dewaxed shellac to seal all the pores of the wood.

Then I'll lightly sand it with some

320-grit sandpaper -- just very lightly to

remove any rough spots. It's really

worth it to spend the time to do this. It

doesn't take that long. It's not that

much effort but it really pays off.

Next I'm applying a coat of spray lacquer.

This is a spray lacquer with a satin finish.

It only takes about 30 minutes to dry each coat,

so I'm applying five coats to the boxes.

The boxes are done

and I think it turned out pretty nice!

I'll just point out a few things.

One is, I drilled holes -- two holes in one end

of each of the boxes so that I can store

the mallets easily. I think this one is

particularly nice because of the maple

and the grain in the maple.

With some careful planning, I managed to

get a continuous grain all the way

around the entire box. It's not usually that

hard to get three corners continuous but to get

all four corners continuous is kind of nice.

So, let's listen to the differences

in the sounds between the two boxes.

Apart from different tuning on the

cocobolo box it has a different sound

characteristic. I can't really describe it

because I'm not very technical with sound terminology.

But it definitely sounds different.

I can't say that I prefer one over the other,

but they are different.

One thing I will say about the cocobolo

is it was very difficult to tune.

I was only able to change the pitch

by about a half tone, like from an

A-flat to a G or something like that,

whereas with the padauk I was able to

change a D all the way up to a G so like 3

tones or something like that. So, much

easier to tune the padauk and I think

what I would do the next time I make one

of these -- in both cases -- is I would pay

more attention to the lengths and the

widths of the tongues and try to plan

those so that they're already sized to

give me the notes that I want. Of course

it won't be perfect and then I can do

some fine-tuning rather than trying to

have to change a note all the way from a

C to an F or, you know, a big change like that.

Well, I'm very happy with these so

let's let the kids give it a try.

So I got to ask... would YOU make it?

Would YOU make it?

[theme music playing]

For more infomation >> Tongue Drum - Duration: 14:18.

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P&R Ep.1: QUÉ ESTUDIÉ? - EL RETOQUE ARRUINA LA FOTO??... - Duration: 11:20.

For more infomation >> P&R Ep.1: QUÉ ESTUDIÉ? - EL RETOQUE ARRUINA LA FOTO??... - Duration: 11:20.

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10 Musicians Who Hide Their Identities! (Revealed) - Duration: 11:34.

- Okay, let's start the video.

Born in Adelaide, Australia on December 18th, 1975,

Sia Kate Isobelle Furler,

better known by her stage name, which is simply Sia,

is a pop and acid jazz singer and songwriter.

Singing professionally since 1993,

Sia has released a number of hits,

hitting number one in August of 2016

with her song, "Cheap Thrills".

However, it may be her efforts to disguise herself

that make this Grammy nominated performer so interesting.

Sia hides her face either with a wig or prop,

or simply by facing away from crowds and cameras

in an effort to not be recognizable anymore.

The singer has claimed that she hates fame

and even released an article called

My Anti-Fame Manifesto via Billboard Magazine.

Specifically, she tries to avoid people

critiquing her looks before her art,

though I have to say, if you're going

to wear hair that big to cover your face,

how you look is definitely going to be talked about.

I don't have that problem.

My face is out there.

Whether it's in a commercial, on a TV show,

or at one of their awesome live productions,

when you see the Blue Man Group,

you just know that you're about to see

something interesting, funny, and unique.

The threesome of Chris Wink, Phil Stanton, and Matt Goldman

formed the group in Manhattan, New York in 1988

to say farewell to the 1980s and usher in a new decade

with random stunts and performances between then and 1991.

They only wore blue masks back then,

but today, the Blue Man Group paint

their entire heads a royal shade of blue.

And there's actually way more than three of them now, too,

as the group formed a theatrical company

and now have Blue Men all over the world.

Due to this, every member is told

to don the now famous blue paint,

as well as to never speak when in costume.

This way, no matter which group you're seeing,

you get the same experience

as if you would've seen the originals.

Before forming the hip hop duo the Insane Clown Posse,

friends Joseph "Violent J" Bruce

and Joseph "Shaggy 2 Dope" Utsler

were part of a gang Bruce created

called the Inner City Posse

in Delray, Detroit, Michigan in the late 1980s.

After serving some time in jail,

Bruce and the group moved on from gang life

to become professional wrestlers,

and then ultimately musicians.

Channeling their emotion-filled and negative

life experiences into horror-fueled lyrics,

the group changed their name while still keeping

the gang's initials to prove it wasn't defunct

and Insane Clown Posse was born.

After half their members left the group,

only Violent J and Shaggy 2 Dope were left.

The pair still perform today,

with their faces painted to look like evil clowns.

This is due to the dark carnival purgatory theme

that ICP emulates,

as the pair claim that they're being judged

for their previous actions onstage, which is limbo.

If you don't like clowns, you're welcome for that part.

(carnival music)

Founded in September of 1995,

the heavy metal band Slipknot has gone through

a great number of changes over the years,

including the replacing of nearly every member.

Of course, the identity of those members

aren't as important as most other metal bands,

seeing as everyone in the group wears similar outfits

while sporting some pretty intense

and often terrifying masks.

The costumes are all part of the band's goal of creating

engaging and chaotic live experiences for their many fans.

Like a handful of other masked groups,

Slipknot hides their identities not because they're shy,

but because they want their music

and amazing theatrical performances

to speak for themselves without celebrity playing a role,

in addition to the fact that being anonymous

makes it easier for them to perform.

They are truly taking on a role onstage,

so it's easier to leave their problems offstage,

well, offstage.

And I'll tell you, I saw these guys live.

Oh man, it's a good show.

Highly recommend it.

Little terrifying, though.

Born on January 5th, 1981 in Niagara Falls, Ontario,

Joel Thomas Zimmerman, better known by the music industry

and his fans as Deadmau5, seems to have no problem

with people seeing his face and knowing his real name,

unless he's onstage, that is.

The EDM and progressive house music producer

chooses to wear a giant cartoonish mouse head

while performing.

It's been reported that Zimmerman has quite a number

of these different heads in all different shapes and colors,

with many of them lighting up

or even flashing brightly to the beat of his music.

Now, he hates being labeled as a DJ,

so he wears the headpiece to show that he's different.

And you might already know this,

but the name Deadmau5 comes from a very predictable place.

One day, Zimmerman found a dead mouse inside of his computer

and thus named his alter ego after it,

dropping the formal spelling to shorten it

so that it would fit as a chatroom username.

Just another way he stands out.

Lots of bands like to hide their identities

with cool costumes, makeup, or even flashy bangs

that are conveniently long,

but others, like the Gorillaz,

don't show any part of themselves at all.

When this group from Essex, England

came on the music scene back in 1998,

people quickly realized that they were a virtual band

with four cartoon characters standing in

for producers Damon Albarn and Jamie Hewlett.

The characters Murdoc Niccals, Noodle, Russel Hobbs, and 2-D

are credited as the actual band behind the music,

a move which Hewlett and Albarn

say was a jab at MTV's content,

which they realized didn't have much substance.

To keep with the guise that the music

being released by the Gorillaz

is actually performed by the animated characters,

expensive holographic technology

and screens are used onstage,

with rappers and supporting artists pretending

that they're performing next to life sized cartoons.

So wait a minute, does this mean like, you know,

Jessica Rabbit could be like, a real thing one day?

Ooh, yes, Matt is happy.

On May 13th, 1969, Brian Carroll was born,

and if you believe his crazy backstory,

was confined to a chicken coop

where he was raised by poultry.

Of course, being chickens, they would scratch up poor Brian,

eventually removing most of his face.

But it didn't seem to bother him,

because he kept to himself watching drive in movies

through a gap in the coop's fence

and playing guitar to provide a soundtrack.

Seems like a totally reasonable reason to hide your face.

Later in life, Brian adopted the name Buckethead

mostly due to the fact that he always wore

a face-concealing blank mask and a bucket on his head.

The bucket itself is a KFC container,

which he wears with respect for what his feathered family

and friends go through on their way to people's plates.

With the wide range of styles he takes on,

Buckethead has played with dozens of band over 63 albums,

and all while wearing, you guessed it, the KFC bucket.

Is it the same bucket or does he replace it,

'cause that ish be nasty.

When the American metal band Gwar was created back in 1984,

their purpose was to make the band

that they were opening for, Death Piggy,

look better by having a more barbaric feel

to their performance while wearing grotesque costumes

and shooting fake blood and other oozes into the crowd.

Yeah, see, the thing is though,

the members of Gwar were the members of Death Piggy.

They were literally opening for themselves,

but in super weird costumes.

But soon, the band of concealed musicians

that called themselves the scum of the universe

surpassed their real life alter egos in popularity,

so Death Piggy, well, died, and Gwar became the headliner.

The universe works in mysterious ways.

Every member of the crazy metal band stays in character,

claiming that each come from a different planet

or background but were banished to earth

for crimes that they committed across the universe.

Yeah, let's not take these guys to our leaders.

They're weird.

The four original members of Kiss,

Gene Simmons, Paul Stanley, Peter Criss, and Ace Frehley

were influenced by bands like Alice Cooper

and the New York Dolls and decided to make

their own shows more theatrical and spectacular,

hoping to add more art to the music.

So, the group donned identity-concealing face makeup

and over the top costumes while leading the trend

of having large epic set pieces onstage.

Unlike some other musicians who hid themselves

because they were shy, Kiss hid their identities

as part of the overall rock experience.

A seemingly comic book based group of characters,

Simmons' Demon is a symbol of his dark humor and cynicism.

Criss' Catman is a representation of the nine lives

he must have had for surviving his upbringing.

Frehley's Spaceman is a manifestation

of his love of science fiction,

and Stanley's Starchild symbolizes

the wonder of being a starry-eyed lover.

Okay, that's all fine,

but how do you explain Gene Simmons' tongue?

He's a lizard man, it's disturbing.

In 1993, shortly after having a bad review by Dave Jennings

in the British music newspaper, Melody Maker,

calling their music a daft punky trash,

Guy-Manuel de Homem-Christo and Thomas Bangalter

left their band Darlin' and began experimenting

with a more electronic sound.

Amused with the review, the pair named

their new duo group Daft Punk.

These two guys have hit number one on all kinds of charts,

with hits like "Around the World", "Stronger",

and "Get Lucky", just to name a few.

The thing is, it takes some hardcore Googling

to actually see their faces,

as every time these two perform,

they do so in large android looking helmets,

which completely hide their identities.

Dubbed "the robots", Bangalter and de Homem-Christo

claim to hide their identities

due to wanting to avoid the star system,

allowing their fans to focus on their music,

not their celebrity.

Huh, I guess they're human after all.

Thanks for watching this, guys.

Just a reminder that my brand new limited edition tee shirt

is only available for two weeks up until June 5th,

and once they're gone, they're gone forever,

so make sure you get yours now before they sell out

by clicking the little I on your screen now

or the link under this video.

And don't forget, I'll have brand new video

for you tomorrow at three Eastern Standard Time.

Have a great day. I'll see you then.

For more infomation >> 10 Musicians Who Hide Their Identities! (Revealed) - Duration: 11:34.

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Farming Simulator 17 FUEL DECALS TANKER TRAILERS CUSTOM ROAD TRAIN PACK - Duration: 6:03.

HI GUYS !!!! Welcome to Farming Simulator 17 Mods Channel This is an extra video for CUSTOM ROAD TRAIN TANKER TRAILERS in this video I will show the decals appearing at every design option.

The design option are 6 Generic Shell Caltex BP Mobil Groovy

ok let's fill the trailers with fuel to see The decals

Man tgs Mod Hof diesel storage Check description

Ok Let's start the loading

As you see the side of the Tipper Say Silage I load some gain below the video to see That the decal changes

If you enjoy watching my videos... Give thumb up SUBSCRIBE FOR MORE And for any question ( or just for say HI!!) LET comment I will be happy to answer you...... bb

For more infomation >> Farming Simulator 17 FUEL DECALS TANKER TRAILERS CUSTOM ROAD TRAIN PACK - Duration: 6:03.

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WoW Legion PvP Gameplay Patch 7.2 - The state of Affliction Warlock in PvP - Duration: 10:13.

WoW Legion PvP Gameplay Patch 7.2 - The state of Affliction Warlock in PvP

For more infomation >> WoW Legion PvP Gameplay Patch 7.2 - The state of Affliction Warlock in PvP - Duration: 10:13.

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MOVIMENTI - Duration: 5:25.

For more infomation >> MOVIMENTI - Duration: 5:25.

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Pat Um Bolo | Canções Infantis | Rimas Infantis Para Crianças | Canção De Ninar Para Bebês - Duration: 1:05:17.

Pat a Cake, Pat a Cake, Bakers Man

Bake me a cake as fast as you can

Mix it and prick it

and mark it with B

And there will be plenty for baby and me

Pat a Cake, Pat a Cake, Bakers Man

Bake me a cake as fast as you can

Roll it up, Roll it up,

throw it in a pan,

Pat a Cake, Pat a Cake, Bakers Man

Pat a Cake, Pat a Cake, Bakers Man

Bake me a cake as fast as you can

Mix it and prick it

and mark it with B

And there will be plenty for baby and me

Pat a Cake, Pat a Cake, Bakers Man

Bake me a cake as fast as you can

Roll it up, Roll it up,

throw it in a pan,

Pat a Cake, Pat a Cake, Bakers Man

For more infomation >> Pat Um Bolo | Canções Infantis | Rimas Infantis Para Crianças | Canção De Ninar Para Bebês - Duration: 1:05:17.

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Polpette di pane - Duration: 3:26.

For more infomation >> Polpette di pane - Duration: 3:26.

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📢 Не пропусти новый урок: Как сделать печать по оттиску. - Duration: 5:41.

For more infomation >> 📢 Не пропусти новый урок: Как сделать печать по оттиску. - Duration: 5:41.

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Ready Player One Review - Duration: 10:49.

Hey guys its Lilfer55 here and I'm here with the review of the book

Ready Player One and this glare is annoying me!

*Song begins*: See this book in my hand, yeah I've read the whole series,

I hope you understand, if I get a little teary.

Cause I've made new friends and our journeys at an end *End of song*

If you have heard of this book, which I highly doubt, this book is Ready Player

One by Ernest Cline this book was highly highly recommended by like literally

everyone I talked to I know booktube blew up at one point about it i think right

when it came out like the couple months following it's still being raved as such

a good book and I believe there's a movie coming out soon enough on it i

hope so at least let's all hope

yeah so this book in summary on it this book is about... set in the year 2044

BAM I knew that guy's I double-checked right now and I knew it boom

Umm and it's about where virtual reality was made and it's actually good for once

you know and basically the world is so messed up at that point that no one

wants to live in it anymore and they are obsessed with this virtual reality that

everyone is of a kind eventually kind of stopped seizing to live in the real

world unless they need to eat or use the restroom or things like that but like

everything's online nowadays you can shop and have it delivered to your door

you can you can pvp you can do chat rooms you school even school got so bad

on earth that it was created in this oasis which is the name for the virtual

reality this book is kind of a shocker as you read it you follows character

named Wade or his character's name is Prezival?

I don't know how to pronounce his name but that is his character's name which is what he's

mainly called the book as this is the book on that Oasis type thing

essentially the Oasis Creator has died his name is James Holiday and he has died

and in dying he set up this huge treasure hunt

he had no close friends or any family so he couldn't leave his will and he's like

over a billionaire like it's crazy how much money he has he created this this

oasis which everyone's on nowadays and like its ranking bucks you get money fam

and he has decided that after a series of quests or finding keys and doors you

will find the Easter egg in the game which is like a little secret thing that

only certain people find in regular games you'll find the Easter egg in the

game and whoever does well basically take his character over or have the

abilities his character had as well as earning all his fortune and in this

world that is a crazy thing to have an amount of money because no one has any

money

really it's on the front cover you have the stacks which is literally just

trailers stacked on each other because they didn't have enough room and stuff

like that and it's very very hazardous and so people just want to get out of

the stacks when they're there they're less when they're poor

they live in the stacks they live worse off and they just want to get out of the

stacks and live somewhere else now these groups called Gunter's are made which

are people who are searching specifically for the eggs and James

holiday left behind this huge diary and they study it and they try to find it

but no one's done anything for five years until all the sudden someone's

name pops up onto the scoreboard

wow this book was just phenomenal the character Wade, Wade had major flaws and

you could see him as he goes throughout the book overcome some flaws he hasn't

character he has a lot of character development from going to not wanting

to be completely secluded but most of the times included in the beginning to

maybe i can actually make friends at the end as well as what he goes from the

beginning to the end of his journey there has changed him so much he's

become smarter and everything in all the above and he's learned to kind of

trust in himself and have confidence in himself because it began in the

beginning it sounds like as he couldn't find the first key he everyone lost

confidence in themselves because they're thinking maybe I can't find it on he has

confidence in his ability to remember what James holiday has but his thing is

that i felt like that's what I gained from this and so I see goes on he gains

confidence in his character and himself and he even starts talking to people you

know I feel like the setting was accurately described the beginning of

the book was

really slow for me but it went into the history and I understand you need that

in order to continue on with the book so i finally I push through it and rewarded

you know as the book goes on it got fast-paced and slow down at one little

part again and then it got really fast-paced until I could not put it down

in the end I feel like a Wade has not been my favorite character he's not my

favorite character out of many books um Artemis as well she's an ok character I

feel my favorite character in this book has gotta be

mmm Ach

eh it's just Ach i love him hes I don't know if that's how you pronounce his name

but that's how I'm going to pronounce it so Ach was just beautiful and amazing

and i love i don't i feel like i love his character because like he he has

friends he supports his friends and he's loving of his friends and he finds the

first key and he repaid his debt even though technically it wasn't a debt

because you know what I mean I just feel like he's really trustworthy that was my

favorite character i think my favorite part in this book has got to be think

when Wade snuck in and was an indentured servant and that was my

favorite part was like oh he can get caught any second the risk was you

know was it worth taking you know what his what he was doing or what he

was doing there or if he was just crazy he's gone off the deep end and he's just gonna you

know die there but ends up he has he has a reason i feel like the reason why

this book can connect to so many people is because we can see it happening in

the future and Ernest Cline has just connected with so many of the readers as

a lot of these people are gamers themselves and we're all waiting you

know for virtual reality for Sword Art Online is gonna happen at one point and

I'm gonna be saying i call it from the beginning but i would still play Sword Art

Online does and I feel like it just makes sense that this is happening that

it's something we can see happening in the future with the indentured servants

like you basically you go over your credit card and you're slave until you can

pay it off and you

basically cannot even pay it off thats i feel like is real to us and it kind of

opens our eyes on all we should watch out for this a little bit not a lot

maybe a little bit like for me for me I think that was a big point was i can

connect to it because i play games i play video games i watch the stuff i

know a lot of old cartoons & music and I can recognize a lot of things and be

like oh I know that game where I know that game i love classic arcade games so

this was just I don't know it's just a big hit for me in this a lot of people

as well I feel as though the romance in here was not a hundred percent necessary

it I was not interested in that really at all at any point in time not even at the

end I was just like okay you know but i understand that this is what's happening

and usually every book has at least a little bit of romance and I see what

here i mean i just say I feel like the romance was not a hundred percent

necessary might have added a little bit of spice but i wasn't interested in at

all

I never really followed it the parts where it was there i didn't really care

for it it's just it wasn't for me not for me i feel like the tragedy in this

book of one of the characters dying was needed

very much so as it kind of prepared you to continue to read to see what else is

happening

um the realness of the threat but from the suxors actually kind of it added to

the story a lot obviously I mean it's part of the main storyline but it

propelled the story along and I felt like that was the major point where I

was like oh I need to keep reading this and that was one of the points where I

couldn't put it down and then it got really slow again and then I just went

back to it and I got into it again but just thinking that like after five years

you're still searching for this egg is kind of crazy I mean a lot of people

gave up and like Oh obviously James Holliday is messing with us which is what i

would have thought I would have been like em I don't need this and I would've

been really upset at myself for memorizing all that stuff and then not

even needing it you know i mean unless I really enjoyed it which is what Wade did

but I'm really glad that they never gave up and

continue to go on and that is gonna make such an impact with life I i don't i

like the way the book ended I don't think he needs an epilogue I don't think

it needs another book I think it's good right there

I'm i don't think there's another book coming out and I hope there's not

because i feel like if another book were to come out then it would just stretch

the story too thin and it would stretch the characters to that and I know just

be like nothing I would be really interested in reading more of Ernest

Clines work so what I'm going to go look up after i'm done but anyways that

is my review of ready player one this the book is available on Amazon and many

other places i got this one from my school library which is why I blocked

off the thing up there because it told you a lot of things about me so I hope

you all enjoyed and comment down below what book you would like me to read and

review next time also commet down below if there's something I'm doing wrong in

my reviews or if there's something you would like me to add my reviews I give

this book about a 4.5 out of 5 because I feel like even though it was slow he was

needed but I feel like you could have added like more spice not spice to make it

more interesting in the history

it could have been added just something just a little bit more just missing a

little something so i'm not i love this book I wasn't completely crazy about it

the whole time but so 4.5 out of 5 stars

I thank you guys all for watching, see you later!

For more infomation >> Ready Player One Review - Duration: 10:49.

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Farming Simulator 17 TANKER TRAILERS CUSTOM ROAD TRAIN PACK PART #5 - Duration: 17:36.

HI GUYS !!!! Welcome to Farming Simulator 17 Mods Channel this video is the last video of CUSTOM ROAD TRAIN MOD PACK in this video I will show You The Tanker Trailers included in CUSTOM ROAD TRAIN MOD PACK .

Tanker A Trailer 40.000l Capacity Each Back Attacher 2 Wheel Setup 6 Design Setup 2 Design Color Colorable Body And Rims

Tanker A Trailer 60.000l Capacity Each Back Attacher 2 Wheel Setup 6 Design Setup 2 Design Color Colorable Body And Rims

Those Trailers has also Fill Type Decals With this option printed on the side of the tipper the type of the material You have load. I have made an extra video for fuel decals check description.

Lower the ladders and open fill point N KEY

In this video I'll use only Tanker b Trailers and the 2 Axle dolly which included in this mod Pack

To pull this road train I find an American Truck Western Star 4900 520Hp 100Km/h Max Speed Colorable body And Rims

You can lift the second steering axle X KEY And you can move the attacher with mouse

I think to tranport some Slurry from pigs farm and separate it as you see the decals change below at this video I try to load other liquids to see the differend decal

digestate

This is one type of fuel decal

water

Liquid fertilizer

Very nice details also changer and this small sights at the frame

I think to use this Overloader to take straw from slurry separator but it is not supported...

So I 'll use the traditional silage cutter

I need much time to separate 300.000 so i continue alone

If you enjoy watching my videos... Give thumb up SUBSCRIBE FOR MORE And for any question ( or just for say HI!!) LET comment I will be happy to answer you...... bb

For more infomation >> Farming Simulator 17 TANKER TRAILERS CUSTOM ROAD TRAIN PACK PART #5 - Duration: 17:36.

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Here's My Canada: Beautiful Country - Duration: 0:22.

Canada is a beautiful country. Xi'an is

my hometown. China and Canada

have big different ways to help you, here

there's a blue sky, it can have a variety of

people come from all over the world.

For more infomation >> Here's My Canada: Beautiful Country - Duration: 0:22.

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Intuitive Painting Process Explained: The Miracle of Mistakes - Duration: 11:49.

Welcome to Episode 20 of The Painting

Experience Podcast. On the podcast,

founder Stuart Cubley explores the

potential of the emerging field of

process arts and shares inspiration from

his ongoing workshops and retreats. In

this episode, we see how, when viewed in

the light of process, something we first

thought was a mistake usually turns out

to be anything but. [Stewart:] The miracle of

mistakes? Well, they certainly don't feel

like a miracle when they show up. I think

we all agree on that . . . that when you're

happily painting along and then you take

that extra step and something shows up

that is just totally unacceptable and

irrelevant and out of place and

inappropriate and doesn't belong there,

we really believe it. We really buy into

it and we can go down that road pretty

easily and think, "You know, really that is

a mistake, there's no question. I'm going

to get rid of it or cover it up or start

over or something."

It is just so easy to kind of flow into

that way of thinking and to not

recognize or even consider that there

may be a larger dimension. In my

experience facilitating the painting

process it's become more and more clear to

me that these so-called mistakes are

actually transformational moments. They

are actually opportunities that are

disturbing for sure and disruptive for

sure, but that they have an intelligence

behind them. They don't just come out at

random, they're not something we did just

out of inadvertence. Certainly they were

spontaneous but I think to consider that

they have a deeper root is fairly

interesting. This goes way beyond

painting, of course, this feeling of

having made an error and having done

something

that's inappropriate, said something that's

inappropriate, taken some action that

you really regret. We all know these in

our lives and it's very easy to dig our

teeth into them like a dog with a bone

and pull them apart and process them to

death and work entirely on a mental

level that certainly has emotion

involved with it but that is not really

productive, that keeps us on the level of

this belief in the mistake. In my own

experience facilitating painting over

the years I've sometimes made huge

mistakes. I mean sometimes I have just

put my foot in my mouth so big time that

I can't believe that I said what I said,

and it was sometimes hurtful to another

person and really inappropriate and

insensitive and, of course, this has been

part of my experience. And I've come to

see these in a very interesting light

because first of all when I do it I have

to recognize it, I have to be willing to

acknowledge to the person that it was

really inappropriate and even apologize

for hurting them and to say that, "You

know, I don't really know why that came

out of my mouth. My intention was

certainly not to disrupt you or to

disrupt the process or to hurt you in

any way. I'm sorry if it sounded

judgmental or in some way diminishing."

And to really own it personally that I

made a mistake. This is important because

otherwise there's no way to move forward

with a person. If I'm feeling defensive

about it or in some way trying to

justify it, then the barrier is going to

stay up and I know that if I can really

meet that moment of my mistake without

protecting myself against it, that then

at least there's an opportunity to move

forward. Because I know that if we stay

with it and by staying with it I don't

mean processing it and talking about it

and trying to fix it and trying to

justify it, but by staying with it I mean

I know that if we

continue in that environment of

spontaneous action . . . the painting being a

really important tool in this

circumstance because it's a way of

acting without thinking . . . and so if we can

clear it enough emotionally to hang in

together and to trust that the process

will continue and that we really truly

don't understand what happened and how

to resolve it . . . that we can leave it in a

kind of limbo without having to fix it, I

have a trust that something will come

out of that. And it's amazed me over the

years how if it's, say, a longer workshop,

maybe it's a five-day workshop or even a

10-day, that at the end of the experience

the person and I often will stand back

in awe looking at the ramifications of

that experience and realizing that the

fruits that were born from that

disturbance went way beyond what either

of us could have imagined in the moment

and that, on the contrary, it was a rather

necessary interference and force that

came in that was challenging and

difficult but that it actually shook

things up and brought a degree of

understanding and a whole new level of

perception around not only the painting

and the painting process but the

personal perception of oneself as well,

and that there was an intelligence

behind that so-called mistake and

neither of us are really in control of

that. We're both in the painting process,

we're both in this process of moving

into the unknown and having to deal with

what comes up and I don't say this and

any way to justify, because in the moment

it truly feels like, "Boy I really blew it

by saying that." So I've come to have a

very deep respect for these so-called

mistakes and sometimes I call them

"the miracle of mistakes" because I do

believe there's something miraculous

behind these situations that arise that

we are so

convinced in the moment that are not

appropriate, that are not intelligent,

that somehow don't belong. And so

when someone reaches these in the

painting process I get very interested

and I noticed that they occur in two

levels: There's actually the first level which

is the mistake itself, the object, the

thing that appeared, the color or the

form or the shape or the image . . . something

has arisen in the painting that we're

convinced was a mistake and doesn't

belong there and we can get very focused

on that.

But the perhaps deeper level of this

mistake is the feelings that it brings.

This is a very, very rich internal

experience of making a mistake because

it has a physical, visceral quality of

disturbance about it and you can feel it

in your body. You can feel the adrenaline

gets riled up. The first tendency of

course is to throw it off and not to

have that disruptive feeling which would

be tear the painting off the wall or

blame the teacher or cover it up or

change it or fix it . . . something to get rid

of the feeling because we believe that

there's truly been a mistake. And if I

can in those moments, I'll try to bring

another level of perception and perhaps

intrigue somebody, if I can, around

considering the fact that maybe there's

more going on here than meets the eye.

What if we stayed close to the bone

here? What if we, instead of flying off

with the blame and the change that we

want to impose on it, if we didn't fly

off and we stay close to the bone and we

could actually . . . sometimes I call it

staying in the burn . . . being willing to

feel the intensity of that emotion and

sometimes it has a quality of regret

about it, sometimes it has a quality of

shame, sometimes it has a quality of

blame but to stay close to the bone with

it so instead of projecting it out you

let the burn burn, you let the fire rage

and you keep painting.

And you keep painting with a quality

respect. I might at that point suggest

taking a little brush and painting with

care because there's such a

contradiction in those two states, in

which you're raging internally and yet

being respectful externally in your

actions brings about a transformational

moment in which, through those two opposites coming

together, something new is born and I

see this happening again and again and

again. There's something that arises out

this so-called mistake which is of

course a changed perception of your

painting and you actually feel, having

stayed with it and lived through it, that

you're actually really liking what

happens next and that this thing that

you thought was a mistake is actually

rather intriguing and interesting but

more than that, your actual state of

being has changed,

that your internal sense of self has

shifted and for me this is the most

important part of the transformational

moment: the perception of the painting

changes but that's a reflection of an

internal shift. For me, that's the

intelligence that is at root behind the

spontaneous action and the arising of

so-called mistakes . . . that there's a wisdom

in this unconscious life that we don't

appreciate. We don't realize how much of

our lives are actually orchestrated from

a place that has much greater order than

we would normally give it credit and so

we struggle, constantly trying to bring

order and bring acceptability on a

superficial level. When we finally

let go and allow this deeper order to

have its way with us, there's a

tremendously powerful mystery there and a

deep satisfaction that opens many doors.

And to see it beyond the painting

process . . . the painting process is a mirror

in which to ask that question: Is there a

greater intelligence behind

spontaneous action behind acting from a

place other than the mind? [Announcer:] You can learn

more about The Painting Experience and

find a list of upcoming process painting

workshops by visiting our website at www.processarts.com.

If you enjoyed what you heard today please share it

with a friend. The theme music for this

podcast comes from Stephen Jacob. We thank

you for listening and hope you'll join

us again soon.

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