Tell me that you need me now 'Cause in my dreams you're still around
You've been gone for quite some time It finally feels like you're not mine
Will you remember me?
'Cause I'll remember you Yeah, you
You went out and found somebody new And that still hurts
It's taken everything inside my bones To say these words
Even if it's not with me I just want you to be happy
I just want you to be happy
I was torn and I was numb I needed you but you needed anyone
I was bad but now I'm well I had to lose you to find myself
Will you remember me?
'Cause I'll remember you Yeah, you
You went out and found somebody new And that still hurts
It's taken everything inside my bones To say these words
Even if it's not with me I just want you to be happy
Nine months since I last saw you And three months since we last spoke
Say, "happy birthday," to you Then I let you go
Tell me that you need me now 'Cause in my dreams you're still around
For more infomation >> FRND - Be Happy - Duration: 3:22.-------------------------------------------
Rogue One vs. The Force Awakens — The Fault in Our Star Wars - Duration: 13:43.
Hi, I'm Michael.
This is Lessons from the Screenplay.
Over the last year, many people have asked me to analyze a movie with flaws.
One that doesn't quite hit the mark.
While there are certainly some easy targets, I thought it would be more valuable
to apply some constructive criticism to my favorite franchise of all time.
I love the Star Wars films.
They are the reason that from age two I knew I wanted to make movies.
And twenty-nine years later, the same holds true...
as The Force Awakens and Rogue One accounted for eight of my trips to the movie theater
in the last year and a half.
But while I think the newest entries show promise, they also have problems.
So today I want to examine some of these problems.
To analyze the importance of showing instead of telling.
To look at the difference between an active protagonist and a passive one.
And highlight the importance of a strong character arc and meaningful consequences.
Let's take a look at Rogue One and The Force Awakens.
A common piece of advice in screenwriting is "show, don't tell."
By comparing how Rogue One and The Force Awakens introduce their protagonists...
we can see why showing is more powerful than telling.
Let's start with Jyn.
In Rogue One, Jyn's character is first introduced when she's a little girl.
We see young Jyn witness her mother's murder as her father is forced to return to work
for the Empire.
We experience this event with her, so we have an understanding of who she was as a girl.
But we never get to see who she is.
When she wakes from this dream-memory, fifteen years have passed.
She's an adult now, a prisoner of the Empire.
But we don't know why.
We don't see the crimes she committed or any of the context surrounding them.
Instead we're told a list of her criminal charges.
Even as the list of her crimes is being read, she has no reaction.
We don't know if she's remorseful or has no regrets.
We don't even get the simple line from the teaser...
"This is a rebellion, isn't it?"
"I rebel."
...which at least hinted at a personality that enjoys resisting authority.
"Yes, sir."
And while hearing an emotional backstory can make us feel sympathy for a character...
"The last time I saw you, you gave me a knife and a loaded blaster and told me to wait in
a bunker till daylight."
...it doesn't make us empathize with them.
Compare this with how The Force Awakens dedicates six minutes—which is a lot of screen time—
to showing us Rey's life.
We watch her scavenging for parts in the hot sun, which she exchanges for small amounts
of food.
"What you brought me today is worth...one quarter portion."
As she cleans the parts, we see her gaze at an old woman performing the same job...
suggesting that Rey worries she'll end up the same way.
We see that she lives by herself,
and as she marks off another day it's clear she has been here a long time.
And finally we see her watch a shuttle leave the planet and head toward the stars...
as she puts on a pilot's helmet.
Rey dreams of flying away.
Being shown this sequence allows us to experience this with her...
which lets us understand her life much better than just being told about it.
But the power behind "show don't tell" isn't simply about visuals.
In his book "Screenplay," Syd Field writes:
"Action is character; a person is what he does, not what he says...
Because we're telling a story in pictures, we must show how the character acts and reacts...
to the incidents and events that he/she confronts and overcomes (or doesn't overcome)
during the story line."
By spending time with Rey, we get to see her make choices, which is critical to creating
an active protagonist.
Throughout the first half of The Force Awakens, Rey takes action and faces dilemmas that reveal
her true nature.
When she hears BB-8 being captured by a scavenger, she goes out of her way to free him.
"He has no respect for anyone."
Later, Unkar Plutt offers her sixty portions in exchange for BB-8.
Despite being tempted, she makes a difficult choice.
"Actually.
The droid's not for sale."
And when she learns that BB-8 is carrying a map to Luke Skywalker,
she chooses to leave her home behind and make sure BB-8 is delivered to the Resistance.
"He's going to get you home."
"We both will."
We understand Rey's values because she is an active protagonist for much of
The Force Awakens.
Jyn, on the other hand, is a passive protagonist.
In "Screenplay," Syd Field again writes...
"If you're writing your script and sense your characters are not as sharp or defined as
you think they should be...
the first thing you must determine is whether they're an active force in the screenplay—
whether they cause things to happen, or whether things happen to them."
For the majority of Rogue One, Jyn doesn't cause things to happen, things happen to Jyn.
She is rescued from the Imperial labor camp by the rebels...
taken to their headquarters on Yavin IV, and presented with a non-choice choice.
She can either do what they ask or go back to prison.
"We're up against the clock here, girl.
So if there's nothing to talk about we'll just put you back where we found you."
And what they're asking her to do is passive as well.
"What we need is someone who gets us through the door without being killed."
The rebels simply need her to be with them when they meet with Saw Gerrera, which is
not a very compelling task.
And the process of finding Saw is passive as well.
They wander around Jedha, only to get caught in a firefight...
caught by imperials, and then finally caught by Saw's rebels.
Her character's passivity prevents her from making meaningful choices
that reveal her true nature.
But this is not to imply that Rey is a perfect protagonist either.
In most stories the main character has some flaw or weakness that is preventing them from
being their best self.
Author K.M. Weiland describes this as,
"The lie your character believes."
In her book "Creating Character Arcs," Weiland writes...
"In order for your character to evolve in a positive way, he has to start out with something
lacking in his life,
some reason that makes the change necessary...
He is harboring some deeply held misconception about either himself, the world,
or probably both."
The lie that Rey believes is established early on in The Force Awakens.
Rey naively believes the family that abandoned her on Jakku will return someday.
And her character arc is to accept the truth and overcome this weakness that is holding
her back.
But the problem is that this weakness doesn't really hold her back.
Most of the time it simply takes the form of her telling people
she has to get back to Jakku.
"But I have to get home."
"Where, Jakku?"
"I've already been away too long."
The only meaningful consequence of Rey believing this lie comes after she has the force vision
and encounters Maz Kenata.
"You already know the truth."
"Whomever you're waiting for on Jakku..."
"They're never coming back."
Rey refuses this new path and runs away,
which eventually leads her to be captured by Kylo Ren.
But soon after, her force powers grow and she's able to escape and ultimately overpower Kylo Ren.
The lie that Rey believes has very few consequences.
So overcoming it is not as powerful as could have been.
But consequences are not just helpful for defining character arcs.
The entire momentum of a film relies heavily on meaningful consequences.
I find that when I watch Rogue One, the second half is much more engaging
than the first half.
In the second half, the characters have a clear objective and the actions they take
move the plot forward.
But the first half of Rogue One is unnecessarily complicated
and filled with sequences that have little-to-no meaningful consequences for the plot.
For instance, Saw doesn't trust the Imperial pilot who carries the message from Jyn's father.
He subjects the pilot to a creature that causes its victims to lose their minds as it determines
their true intentions.
"Bor Gullet will know the truth."
But afterward, Saw Gerrera still doesn't believe the pilot...
"It's a trap, isn't it?"
"What?"
"The pilot!"
...who regains his mind the next time we see him.
"I brought the message, I'm the pilot."
This scene doesn't move the plot forward because it doesn't change anything.
There are no consequences.
The following trip to Eadu is similarly inconsequential.
Jyn has already seen the message revealing the Death Star's weakness.
She and we know the next step is to convince the Rebellion go to steal the plans.
But instead, they travel to Eadu, beginning a thirty-two minute sequence...
that has no lasting consequences and provides them with no new information.
It does function to let Jyn briefly reunite with her father.
But while the death of Jyn's father should be a significant moment for her and the story,
it ultimately doesn't change the trajectory of either.
Once Jyn has learned that Cassian had orders to assassinate her father...
"You lied to me."
...she's even angrier at him and the Rebellion than before.
CASSIAN: "I had every chance to pull the trigger, but did I?"
JYN: "You might as well have."
"Those were rebellion bombs that killed him."
This kind of revelation might give her cause her to abandon Cassian and forsake the rebellion.
But instead, in the following scenes she's giving a stirring speech to the rebels...
"Rebellions are built on hope."
...and teaming up with Cassian.
This strikes me as a rushed, outside-in approach to story design.
I feel this is a symptom of trying to give Jyn a personal connection to the Death Star
plans via her father figures...
without sufficient regard for logical character motivation and evolution.
While the first half of Rogue One has some structural problems,
once our characters take action to pursue a clear objective,
the film regains a sense of momentum.
"May the force be with us."
And here, I think, is where Rogue One really shines.
The premise is original in the Star Wars universe.
A team infiltrates an imperial base and sacrifices their lives for the Rebellion.
Although I feel the emotion of this sacrifice suffers from a lack of investment in the characters,
the ending is executed in a way that feels faithful to the original trilogy,
and hands off the baton to Episode IV in a fun and satisfying way.
A great example of what "A Star Wars Story" can be.
And while The Force Awakens may have bitten off a bit more than it could chew—
introducing new characters, continuing original trilogy storylines,
establishing a new planet killer weapon only to destroy it shortly after—
I feel it does do a fantastic job of making the audience invest in the protagonists.
We understand who they are, and see them work together to overcome obstacles...
and share emotional losses.
Making us eager to see what lays waiting for them in Episode VIII.
Overall, I love what Kathleen Kennedy and Lucasfilm have done with Star Wars so far.
I think they are taking interesting risks,
and I appreciate that they have so prominently featured female protagonists
and a diverse cast of characters.
And it's because I love Star Wars so much that I think it's good to be constructively
critical of the latest films.
We all want these new stories to be as good as possible, which means being honest about
what works and what doesn't.
While neither Rogue One nor The Force Awakens are perfect films,
I do feel they've breathed new life into the franchise and given the future of Star Wars
films a very welcome gift...
"Hope."
Hey guys, Michael here--
STORMTROOPER: There's one, blast them!
[scream]
Hope you enjoyed the video.
As you know, I mention a lot of books in my videos.
Which is why I'm very excited to say that this video has been brought to you by Audible.
Since we're talking about Star Wars, I'm going to recommend the book
"The Hero with a Thousand Faces" by Joseph Campbell.
This is the book that made popular "the hero's journey"...
And was the book that influenced George Lucas when he was writing the original Star Wars.
So it's great if you want to understand the foundation of modern narrative structure,
or if you just want to learn more about the mythological background of Star Wars.
So if you'd like to support the channel, all you have to do is go to audible.com/LFTS,
where you can sign up for a free thirty-day trial and you'll get access to thousands of
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and you can also download one that is yours to keep.
If you want more suggestions, I created a blog post with more Star Wars books as well
as more screenwriting books,
all of which are available on Audible.
The link for that is in the description below.
Thank you to Audible for sponsoring this video.
Be sure to subscribe for more Lessons from the Screenplay,
and thank you for watching!
-------------------------------------------
What's inside an Electronic Music Machine? - Duration: 7:12.
For more infomation >> What's inside an Electronic Music Machine? - Duration: 7:12. -------------------------------------------
Republican-Controlled Congress Has Accomplished Very Little, And That's A Good Thing - Duration: 5:31.
When you consider the fact that the Republican party currently controls the US Supreme Court,
the White House, and both branches of Congress, you have to appreciate the fact that they
have actually managed to do very little real damage to the United States so far.
Now, I know they've only had the majority on that Supreme Court for a couple of weeks.
I know Donald Trump has only been in office for close to 100 days and the Republican control
of House and Senate, they've been in control for slightly longer than that but when you
look at their alleged list of accomplishments they really don't have very much room to gloat.
There aren't too many things on that republican list of things we've done that should make
them proud.
In fact, they've sent 29 bills to Donald Trump to sign.
Some of them bad.
We do have the legislation that allows mentally ill people to go buy handguns.
Obviously some of these things are items that could cause damage to the American public
but most of these 29 bills that have gone to the president are kind of procedural things.
Non-budget material and things of that nature that really have no sway one way or the other
on partisan matters.
When it comes to the really really harmful stuff, the mentally ill people buying guns
is about the worst of the worst we've seen so far.
They couldn't get their disgusting health care plan passed and a lot of this has to
do with Democratic opposition.
We are beginning to see some Democrats, you know most Democrats in the House and Senate
standing up and doing their best to block some of these horrible things republicans
are trying to do.
You can't give them Democrats all the credit in this case because some of the opposition
to these Republican sponsored initiatives are actually coming from within the Republican
party itself.
The freedom caucus helped to derail the American Health Care Act from the Republicans.
They're the ones who put Paul Ryan's job in jeopardy because they didn't think the bill
harmed enough people.
It didn't go far enough to repeal healthcare provisions for people who can't afford it.
That was their beef with it.
I guess what I'm saying is things are bad right now in the United States but occasionally
we do have to look around and say, you know what?
Given the fact that these guys control everything, it's not as bad as it could be.
Again I think most of the credit here doesn't go to the democratic party and it doesn't
go to the freedom caucus fighting the republicans from the inside.
It goes to people who stood up, who've gone out and marched, marched for science, marched
for women, marched for equality, marched for gender rights.
Those people who have been so active during Trump's first 100 days, they're the ones out
there making the real difference.
The ones who have shown up at those republican health care town halls and asked the tough
questions.
The ones who have said, how dare you take my healthcare away while the government still
pays for yours.
How is that fair?
The ones out there not creating a commotion but drawing attention to an issue that everyone
cares about.
Those are the real heroes from Donald Trump's first 100 days.
I hope that as we continue going forward these people are still going to be out there because
if those voices die down it's going to give those democrats in Washington clearance to
start letting the Republicans have their way a little bit more and a little bit more and
a little bit more.
We have democrats like Joe Mansion who are more than willing to side with Republicans
on 99% of the issues but once we get those loud voices coming from their constituents
saying, you'd better not.
They will back off.
If the public pressure dies down then the democratic pressure will die down and then
we could be looking at a situation where these do nothing republicans in Washington are able
to pass their horrible agenda and we cannot allow that to happen.
We can't allow them to continue giving tax breaks to people who don't need more money.
We can't let them privatize social security.
We can't let them take away SNAP benefits and other benefits for needy Americans.
Those are things that people have to have to survive.
The rich don't need tax cuts.
Unemployed people do need food stamps sometimes.
The Republicans have no way of really weighing what the public needs versus what the wealthy
needs.
They will always go on the side of the wealthy.
If the public pressure remains strong we'll at least still have the Democrats out there
saying, you're not going to do that.
Until we come to the 2018 midterms that is the best that we can hope for.
-------------------------------------------
Is English a Tonal Language? - Duration: 9:29.
Many of you have probably heard of the phenomenon of "tonal languages," languages where
you need to say things with just the right tone, otherwise you'll wind up saying something
completely different.
The most famous tonal language is Chinese, but this category also includes plenty of
other languages, especially in southeast asia and Africa.
In these languages controlling the pitch of your voice while your saying something is
just as important as getting the consonants and vowels right.
For instance in Chinese, ma means horse while ma means mother.
Compare that to English, where "horse" "horse" "horse" "horse," all of
these just mean "horse."
So there you go.
If a language uses pitch it's tonal, if it doesn't then it's not.
Super simple.
Until you start to think about it, for even, like, a couple of minutes, at which point
everything breaks.
Because here's the thing: tone might not change the meaning of this particular word,
but we do use tone to communicate meaning.
In fact, I can think of at least three different ways to communicate different things in English
using tone.
Firstly, you can use pitch to emphasize certain words.
"HE didn't steal the money," "he didn't STEAL the money," and "he didn't steal
the MONEY" these three sentences communicate completely different ideas, and the only difference
between them is the tone I said them in.
Secondly, you can use tone to signify questions.
Compare "You stole the book?" to "You stole the book."
The first might not technically be a question, but at the very least it does make it sound
like I'm expecting an answer, whereas the second doesn't.
Lastly, it seems like differences in tone is the main way we figure out which syllable
the stress of a word falls on, and we use stress to distinguish between different words.
Permit is a noun, while permit is a verb, and you can actually experimentally show that
the main way we tell the difference is by looking at which syllable has the higher pitch.
Situations like this are rare in English, but there are more, like incline vs incline
or intern vs intern.
If you're anything like me, you might easily look at all this and get the impression that
English is actually a tonal language.
Or at least that this whole thing is a lot more complicated than people generally let
on.
Well, I'm hear to tell you that it's the second one, but people don't usually go
into the details because it gets really confusing and difficult to talk about really quickly.
So, on that note, let's dive in!
Buckle up everyone because we're about to get technical.
Let's start by defining some terms, because I've been using the word "tone" kind
of sloppily this whole video.
On a piano, which key you press determines the pitch of the sound, while how hard you
push it controls the volume.
Pitch is basically the frequency of the sound wave, while volume is the amplitude.
Now, you might notice you can play a note on a piano and then play the same note at
the same volume on a violin, but they'll still sound different.
This is because of timbre, which for are purposes is basically the texture of the sound.
Pause the screen now if you want to get into the physics of it, but for the rest of you
we can just move on.
Now, almost all of the time in language it's the timbre of the sound that's communicating
information, which is why you can take an audio recording and raise the pitch or lower
the pitch or make it louder or quieter and most of the time it'll mean exactly the
same thing as before.
But as we noted earlier with these three things, pitch also sometimes communicates information.
So, if your definition of a tonal language is just "a language that incorporates pitch
somehow," then, yes, English would be a tonal language, along with probably every
language ever.
But usually when linguists say that a language is tonal, they mean that it uses pitch to
communicate lexical information.
All that means is that pitch is used to distinguish one word from another.
"Pink and FLUFFY" might mean something different from "PINK and fluffy?", but
those differences are post-lexical: above the level of the word.
The pitch changes things like which word is more important and whether the phrase as a
whole is a question or not, it doesn't change what words there are or what order they're
in.
Which lets us deal with these two, but there's still a case to be made that English is tonal
because of "accent."
What I mean by accent is that within a word some syllables feel more prominent or important
than others.
In "permit" the accent is on the first syllable, while in "permit" it's on
the second one.
It looks a lot like the main way we tell which syllable has the accent is the fact that the
accented syllable has a higher pitch, so English uses pitch to distinguish between words, so
that must make it tonal.
However, there are two huge differences between what English does and what true tonal languages
do.
The first is that pitch isn't always the main way we tell where the accent is in a
word.
Thing is, in English, when a word is the focus of a whole sentence, we usually give the accented
syllable of that word higher pitch, and when we say "permit" and "permit" all on
their own like that we're kind of saying them as if they're making up a whole sentence
all on their own, so of course they're going to have the focus, so of course we're going
to make the accented syllable higher pitched.
But listen to the way I say them in context when they don't have the sentence's focus:
"I didn't permit that."
"I didn't give him the permit" And if we cut those words out of the surrounding
recording and play them back… "permit" "permit"
Suddenly it doesn't sound like pitch is the main thing we're using to tell them
apart.
In this context you can show that it's actually the relative length of the two syllables,
or which of them you spend more time pronouncing, that's doing most of the work of getting
across which syllable has the accent.
That length difference is there whether or not that word has the focus of the sentence,
which makes it seem like it's actually the main signifier of stress and not pitch.
The second reason English accent doesn't count as tone is that English accent is syntagmatic
rather than paradigmatic.
I told you we were gonna get technical.
Alright, let me try to explain.
If English really had tones then it would be natural to ask "ok, how many tones does
it have?" and the answer would seem to be two, one for when a syllable is accented and
one for when it's unaccented.
But that would imply that a two syllable word could have one of four different tone patterns:
one where the first one's accented, one where the second one's accented, one where
both are and one where neither are.
But that's not allowed: each word needs to have exactly one accented syllable: no
more, no less.
Permit and permit are both valid words, but PER-MIT and permit aren't.
This makes it look like English accent isn't really an innate quality of the syllable,
but rather, which syllable is accented is a property of the word.
If the accented-ness of each syllable varied independently then we could call English accent
paradigmatic, but the fact that they can't and that each word has exactly one accent
means that it's syntagmatic.
With this in mind we can say that a tonal language is a language that makes paradigmatic
lexical distinctions based primarily on pitch and English pretty clearly fails that definition.
In fact, there are cases of languages that are even closer to being tonal but still don't
meet this bar.
Japanese has syntagmatic accent like English, but unlike in English this accent is primarily
distinguished using pitch.
Languages like these are called pitch-accent languages, because, well, they mark accents
with pitch.
So, I hope that clears up why English isn't tonal, but for me at least, all of this kind
of raised more questions than it answered.
Like, if English uses pitch to communicate post-lexical information, like which word
is most important or whether the sentence is a question, then can tonal languages not
do that?
Like, if Chinese is already using pitch so much to distinguish between different words,
it sounds like they wouldn't be able to use pitch to emphasize words or mark questions
like English speakers do.
But that's not actually true.
It works differently than in English, but Chinese uses pitch to communicate both lexical
and post-lexical information.
One way that linguists used to think about this was basically in terms of adding functions.
You start with a function for the overall pitch of the whole sentence, which communicates
post-lexical information, and then you get another function that describes the tone of
each word, and then you just add the two functions together to get the way the pitch will vary
over the course of the sentence.
This is called the overlay model, because you're sort of overlaying different things
that affect the pitch, and it's pretty similar to the way a lot of people subjectively experience
how pitch works in tonal languages.
I think it's also a good way to introduce someone to the idea that in tonal languages
you can use pitch both to distinguish between words and to communicate all the stuff the
rest of it use it for.
Only problem is, it's kinda wrong.
Thing is, if you actually use the overlay model to make predictions about how the pitch
of someone's voice will change over the course of a sentence, and then you go out
and test it, the results aren't great.
It took linguists a long time to figure that out, in large part because it hasn't been
very long since the equipment necessary to measure this kind of thing objectively was
invented.
But once it was invented it wasn't long before there were a lot of tech companies
who wanted to make computers that could communicate with humans with normal spoken language, and
these tech companies suddenly got extremely interested in getting this kind of thing right,
so all of a sudden there was both the means and the pressure to do some actual science
to this area of linguistics, and the main result of that was the Auto-segmental Metrical
Theory.
Whereas the overlay model makes it sound like the speech centers of our brains are generating
two or more functions and then adding them together to produce the pitch we want to make,
the AM theory says that it's much more useful to think of a chunk of speech as containing
a linear string of tonal events.
Each language will have a limited number of possible tone events, rules for how tone events
are actually realized in the pitch of someone's voice and rules for which tone events happen
when depending on what words we're saying, the syntactic structure that they're in
and whatever post-lexical information we want to communicate.
These rules might be very complicated and they're going to be different in different
languages, but this basic model has proven to be very useful for modeling how different
languages deal with pitch differently.
For instance, with Mandarin Chinese some words in a sentence will be more important than
others, and a lot of the time this is marked by an exaggeration of the tone it would have
otherwise.
Low tones get lower and high tones get higher.
This can be described within the AM framework reasonably easily, you can just say that the
string of tone events is different depending on what lexical tones there are and also depending
on which word has the focus, and that when the tone events mark a word as having the
focus it winds up getting realized as an exaggerated form of the normal tone.
I'm not entirely sure how one would explain this with an overlay model.
There's a lot more I could get into.
Each language has its own unique system for combining lexical and post-lexical information
to create variations in pitch and volume and timing, but I hope that now the idea of tonal
languages at least makes a bit more sense to you.
See you soon for more linguistics videos!
-------------------------------------------
Is the Alfa Romeo Giulia Quadrifoglio the Ultimate Italian Saloon Car? - Duration: 16:33.
Let's make Alfa great again!
So guys, the long awaited test drive of the Alfa Romeo Giulia Quadrifoglio is finally here!
I knew it would have been rather exciting driving this car as I already had a first taste of its remarkable platform with the Stelvio!
You know, Alfa Romeo has spent more than a billion euros to develop this brand new platform and you know,
driving first the Stelvio and then the Giulia,
it's a bit like watching your favourite tv series from the second season and then jumping back to the first one!
You know you're gonna spoiler yourself something but at least you know it's gonna be great!
And what I've spoilered myself is that this platform makes the Giulia so agile and incredibly fun to drive!
So, let's switch Alfa Romeo's manettino from Dynamic to Race mode, which is the most aggressive setting that you can find on this car!
I quite like also the configuration of this Giulia,
you know at first I was kinda disappointed because I was like " Uh, grey, you serious? "
but then with the time I started to appreciate this colours configuration, I think it looks very sneaky
and even with this colour this car really attracts the attention, I didn't expected that!
Maybe to the eyes of many this is just another Giulia but
to the eyes of the petrolheads, they realize instantly this is not an ordinary Giulia but the Quadrifoglio, which is the top version that money can buy.
It looks much more aggressive and badass, compared to a standard Giulia.
It's a good thing I already warmed up the tires because
switching all the electronics off and driving with the cold tires is a dangerous mix but
once the tires start to warm up a little bit,
the car's behaviour is truly incredible! It's
it's surprisingly easy to control so much power with the electronics off!
This is also given also thanks to the incredible platform which makes the car so balanced and predictable you know,
it's not very nervous, once the rear of the car starts to slide
you start to feel it immediately!
And I think it easy to control and to oversteer.
By driving in this way, I don't know how much the tires are gonna last!
You know, it was a..
A controlled spinout.
CUT, CUT!
Slamming my foot on the brakes!
It's a good thing the Giulia Quadrifoglio has massive and powerful brakes!
But you know what?
If I really need to make a critic to this car, it's about the brakes because
this press car is fitted with the option carbon ceramic brakes.
It's a 7500€ option and I don't think that carbon ceramic brakes are really necessary on a car like this because
this is a daily car and the biggest problem of the carbon ceramic brakes is the fact that they really to take some time to heat up and
when these brakes are cold, they are really dangerous because they don't offer a decent breaking power!
Even the steel ones offer a powerful breaking and I think you need to cool them down earlier but at the end of the day,
I think that the steel ones are the one to go in this car.
The worst side of the carbon ceramic brakes is that
they're actually way too fragile, especially for a track use.
You just need to go out of the track once to risk to break the carbon ceramic disks,
the pebbles are the worst enemy for this kind of disks.
This kind of disks are more fragile than you may think!
I think there's a lot of marketing behind the carbon ceramic brakes and I think that a lot of people just waste their money to have them and to say
to their friends " Oh I've got carbon ceramic brakes, like on supercars! " but I think yeah, they're kinda useless,
so if you're thinking to buy a Giulia Quadrifoglio, I think you should go for the steel ones and save a lot of money!
Talking about expensive options, this car is almost fully equipped, by playing on Alfa Romeo's car configurator
this car costs about 93.000€ and it's equipped with lots of cool things for example the option sport seats,
I think these are really good!
You know, the standard seats are more like a couch but these ones they wrap you around, in the corners you don't move
and they're not uncomfortable as they look!
On a daily driving I find them rather comfy to be honest!
And the coolest thing is that actually the passengers behind will get to enjoy the fully exposed carbon fibre, they look pretty amazing!
3500€ for them, yeah go for them, definitely!
And you know, it you love carbon fibre there's really lots money to spend around here,
even the hood is made of carbon fibre and behind the wheel of the car you can actually a part of the bonnet 's carbon fibre!
I think that overall the designers of Alfa Romeo have done an amazing job from the inside and outside, especially the outside I have to say
because I love the way this car looks!
I have to say, the back of this car - which is my favourite side -
I think it looks quite " Maseratish ",
if you remove the badge in the back, I think that lots of people would confuse this car for a Maserati!
I'm not saying that this is a bad thing actually, I love Maseratis and their design
and you know Alfa Romeo, Maserati, Ferrari, it's all like a big family.
For example there's also a Ferrari side in this car, like the engine!
This is actually the same engine of the Ferrari California T, well here it's smaller,
it's a 2.9L twin turbo V6 engine, 2 cylinders less but still
this car is capable to produce 510hp and 600nm of torque and let me say that well, this is a rather brilliant engine!
Below 3000rpms the engine doesn't deliver that much of power and boost but when the turbos kick in, my goodness!
It redlines at 7000rpms and
if you turn off the electronics this car is so brutal, so fast, so fun!
And the idea of combining this engine with a 6-Speed manual transmission.. This is the recipe of an amazing driving experience, really!
I already tested the option ZF 8-Speed automatic transmission on the Stelvio
and I found it a really nicely done transmission but even if with the clutch pedal this car might be annoying to be driven in the traffic,
I think I would go for this one with the manual transmission.
It's incredible at how a transmission can change so much the driving experience, I find this car a lot more engaging and fun to drive with the stick and a clutch pedal.
And of course with a manual transmission the gear change is not as quick as with the paddles so Alfa Romeo has developed a trick
which makes you able to change the gear while keeping the foot on the throttle.
All you have to do is to smash the foot on the throttle and then while the foot is still on the throttle
you press the clutch pedal and voilà, you change gear!
And this makes the gear change slighty quicker, so you don't have to lift the foot on the throttle!
This car gets, very, very sideways!
I'm not sure how much tire's left but I could do this all day long and controlling the powerslides through the steering wheel well
if I haven't crashed yet through the fence it's because this car is very predictable to drive,
and also the steering wheel really provides a very good feedback, it's so sharp and direct!
And after a few laps with the electronics off I feel very confident to push it to the limit!
That's a lot of smoke!
Pit stops with the Giulia are needed once in a while, if you slide too much the LSD quicky overheats and starts not to work properly,
oh yeah and it's good to take advantage of the situation to check the tire wear also!
When you don't want to drive sideways, you can really feel the tires provide so much traction and grip,
but with a slighty bigger touch on the throttle you're going sideways!
We're on the main straight and from the front camera what you can see is actually the active aerodynamics of the Giulia Quadrifoglio!
Yeah, this car has active aerodynamics!
Above 100kph, the front carbon fibre spoiler gets lower in order to provide more even downforce so the car is even more glued to the road!
Heel-toe!
I'm not a kind of saloon car guy but to be honest, I wouldn't mind having a Giulia Quadrifoglio in my garage!
Dear Alfa Romeo, would you mind making me a big discount for one of these, pleeeease!
You know what I love also about this car?
Ferrari once said that they will never, ever build a saloon car.
Well, this is technically a false statement because they used to make the Ferrari 456 Venice for the Sultan of Brunei,
it's a one-off but still they made it
and one-off aside, I think that the Alfa Giulia Quadrifoglio is actually the closest thing that you can buy from a Ferrari saloon car!
And I say this not just because the engine is taken from Ferrari but also because the technicians of Ferrari have helped Alfa Romeo to develop this car!
So we can say that part of this Alfa Romeo is also Ferrari!
And for a starting price of 79000€, well this sounds like a bargain!
I'm cooling down the car a little bit and I'm thinking, and thinking about the Giulia and Alfa Romeo in general
and I think that this is currently the best italian product if you're looking at a super sport sedan.
You know, there's also Maserati with the Quattroporte GTS but that car is oriented more of a grand tourer style
and this is more oriented on the pure driving experience.
I think that buying a Giulia Quadrifoglio with a 6-speed manual would be an irrational choice
because I think that most of the time you would actually complain to use the stick in the traffic
but I think that after all, that's a choice to be made not with the brain, but with the heart.
I love the fact that Alfa Romeo is putting lots of efforts to build valid and emotional products and the Giulia Quadrifoglio
is a great showcase of italian engineering and dedication.
Thank you Alfa Romeo!
-------------------------------------------
이달의소녀탐정6 #?? (LOOΠΔ TV Prequel6 #??) - Duration: 0:29.
? : I watched that~
? : the blurred version LOOΠΔ TV…
'Here she is~ the blurred girl~!'
? : Yeah, that's me~
?? : I've never even came out on LOOΠΔ TV
? : (Prophecy) Will my face get blurred out again?
?? : In that case, your face would get blurred twice.
?? : My face will get blurred and then your face will get blurred!!
(Anyway, the girls laugh a lot)
?? : Nope! We both have to be on LOOΠΔ TV
?? : WE CAN DO! I think…
? : The blurred girls of the month…
-------------------------------------------
Ivanka Trump and Jared Kushner Hit Streets DC Home - Duration: 2:28.
For more infomation >> Ivanka Trump and Jared Kushner Hit Streets DC Home - Duration: 2:28. -------------------------------------------
Herrensteig - Kronplatz - 1300 Vertical Meters Downhill - Duration: 19:06.
Hello!
Seems like we push us each other [despite beeing already tired]
Now I'm done!
But there are not much less corners [as at the alternative section]
No, but different.
Nice!
How does she reach the brakes?
Unbelievable!
-------------------------------------------
YouTube's Ad Boycott Could Quickly Become Google's Biggest Headache - Duration: 6:57.
YouTube's Ad Boycott Could Quickly Become Google's Biggest Headache.
As many as 250 companies have indefinitely suspended their ad campaigns.
By Michael Liedtke Associated Press.
YouTube's inability to keep big-brand ads off unsavory videos is threatening to transform
a rising star in Google's digital family into a problem child.
It's not yet clear whether a recent ad boycott of YouTube will be short-lived or the start
of a long-term shift away from the video service -- one that could undercut Google's growth
and that of its corporate parent,Alphabet Inc.
Alphabet's first-quarter results, released Thursday, provided few clues.
Major advertisers didn't start pulling their money from YouTube until the three-month period
was nearly over.
The company's earnings rose 29 percent to $5.4 billion while revenue climbed 22 percent
to $24.8 billion.
Shares surged nearly 5 percent, to $933, in Thursday's extended trading.
CLOUD OVER YOUTUBE But the fallout from the YouTube boycott is
likely to be felt through the rest of this year.
Skittish advertisers have curtailed their spending until they are convinced Google can
prevent their brands from appearing next to extremist clips promoting hate and violence.
"There is no entity in the world that is more risk averse than a senior marketing person,"
says Larry Chiagouris, a marketing professor at Pace University in New York.
"They don't want to go with a media choice that presents problems for a brand, and they
don't have to because they have many other choices."
Google CEO Sundar Pichai told analysts during a Thursday review of the first quarter that
the company has had "thousands and thousands" of conversations with advertisers as YouTube
takes steps to protect their brands.
"We are evolving overall to a better place," Pichai said.
At another point, he assured analysts that YouTube is still experiencing "extraordinary"
growth without providing specifics.
Even if YouTube continues to lose advertisers, it won't leave a huge dent in Alphabet's earnings.
That's because marketers are expected to keep feeding the company's golden goose -- Google's
dominant search engine.
Ads appearing alongside the billions of search results Google churns out each day still generate
most of Alphabet's revenue even as it expands into other fields.
But ad spending has been accelerating at a rapid pace on YouTube over the past two years
as brands sought to connect with its audience of more than 1 billion people.
Now it looks like things might taper off.
TAKING THE GLOSS OFF Before the boycott began, YouTube's ad revenue
after subtracting commissions was expected to rise 26 percent this year to $7 billion,
based on estimates from the research firm eMarketer.
Alphabet doesn't disclose YouTube's finances.
Advertisers began to flee YouTube last month, after The Times in London and other media
outlets turned up evidence that their brands were appearing alongside clips promoting terrorism
and racism.
The findings alerted advertisers that YouTube didn't have adequate technology or staffing
to shield brands from some of the appalling material that gets posted on a site that receives
400 hours of video per minute.
"This is an ostrich situation where the ostrich just pulled its head out of the sand," says
Harry Kargman, CEO of Kargo, which helps manage ad campaigns on mobile devices.
FLIGHT OF THE BRANDS At one point, about 250 advertisers were boycotting
YouTube.
(Some also stepped back from a related system that Google operates to place commercials
next to videos on outside websites.)
The list included big-spending marketers such as PepsiCo, Wal-Mart Stores, Starbucks, AT&T,
Verizon, Johnson & Johnson, and Volkswagen.
It's unclear how many, if any, of those have returned to YouTube since Google promised
to hire more human reviewers and upgrade its technology to keep ads away from repugnant
videos.
Both Verizon and AT&T, two companies that are trying to expand their own digital ad
networks to compete with Google, told The Associated Press that they are still boycotting
YouTube.
FX Networks confirmed that it isn't advertising on YouTube either.
Several other boycotting marketers contacted by AP didn't respond.
TEMPORARY HIT OR PERMANENT SCAR?
Even if advertisers return, Kargman predicted they are unlikely to spend as much as they
once did.
"It's going to be a slow burn as brands quietly shift their spending away," he said.
"There are now questions about the quality of video on YouTube in the long term."
Investors, however, apparently aren't too worried so far.
YouTube's financial contributions remain a fairly small part of a company expected to
generate $87 billion in revenue this year, after subtracting ad commissions.
RBC Capital Markets analyst Mark Mahaney estimates the reduced spending on YouTube and Google's
ad network for video on third-party sites could reduce Alphabet's net revenue by $300
million, to $1.5 billion, this year.
Some of that spending could shift to Facebook, Mahaney said, although the social network
is facing its own challenges trying to block live videos of violence that appall viewers
and advertisers alike.
It is safe to say our content is considered advertiser friendly.
As you can see we still have a financial situation and we're still in need of your generous donations.
We extremely greatful for the out pouring of donations we received so far.
Thank you so much.
If you'd like to make a donation click the link below in our description at, the event
is coming soon dot com slash donation.
-------------------------------------------
Pourquoi mon chat lèche mes cheveux - Duration: 6:13.
For more infomation >> Pourquoi mon chat lèche mes cheveux - Duration: 6:13. -------------------------------------------
Mid-Session & Tournament Review - Duration: 5:37.
For more infomation >> Mid-Session & Tournament Review - Duration: 5:37. -------------------------------------------
Geneen Roth: The Concept of Food Addiction Leads To Unnecessary Shame | SuperSoul Sunday | OWN - Duration: 1:30.
OPRAH: ---now, this is interesting. I read that you don't believe that we're
addicted to sugars or carbs? GENEEN: I feel like that whole thing with addiction
has gotten a -- and food has made people feel bad about what they eat, has put
moral judgments on what they eat, has made them feel uptight - OPRAH: Uh-
huh. GENEEN: -- and has led to a lot of unnecessary shame. OPRAH: Don't
you feel that if you eat more sugar -- I know for sure if I start eating sugar, then
that's gonna make me want something savory and salty and it sort of triggers a
thing physiologically. GENEEN: So I'm not saying that physiological reactions
don't happen. But, what I am saying is that where I feel like -- that has become the
thing of, well, if I only stop eating sugar and if I stop eating this and if I stop
doing that, my whole eating problem will clear up. OPRAH: It does not. It does
not. GENEEN: Right. And that's what I'm saying, that what happens is we're
addicted to the thought before we turn to food. You know those stories you were
talking about? OPRAH: Yeah, I get that. GENEEN: We've heard those billions
of times. And we are addicted to telling those stories like dogs with bones.
OPRAH: I get that. GENEEN: That's what we're addicted to.
-------------------------------------------
Pop Latino ★ Luis Fonsi, CNCO, Nacho, Maluma - Reggaeton Mix Mayo 2017 - Duration: 1:02:13.
Don't forget to SUBSCRIBE, like, comment and share the mix if you enjoy it!
-------------------------------------------
ÖZÜR DİLERİM !! KARDEŞİME BÜYÜK SÜRPRİZ - Duration: 10:05.
For more infomation >> ÖZÜR DİLERİM !! KARDEŞİME BÜYÜK SÜRPRİZ - Duration: 10:05. -------------------------------------------
Despacito Parody - Duration: 4:14.
I wish get back in time
To run away of this torture and...
To hanging out and drink beer with my friends
But instead, I decided to date
I can't even talk to my bros
How I miss those happy moments
On Mondays I used to play soccer
On Wednesdays I used to watch soccer
Until you used a "killer move" against me
You used an emotional blackmail and get me moved
my bro told me not to fall in love
The charm would pass and I'd get screwed
I don't know what I'm doing with my life
my bro told me not to fall in love
The charm would pass and I'd get screwed
I don't know what I'm doing with my life
I'm so upset!
I want to drink beer. But I´m Prohibited
My girl doesn't let me. My heart it´s broken
Why am I dating? I'm so regretful
I'm so upset!
I want to drink beer. But I´m Prohibited
My girl doesn't let me. My heart it´s broken
Why am I dating? I'm so regretful
She is hot and cold, yes and no
I can't deal with this crazy girl
She even tears my clothes apart
She is hot and cold, yes and no
I can't deal with this crazy girl
She even tears my clothes apart
I´m going to break up with that girl
Going to drink a smoothie
Get myself hydrated
Get away of this problem
Girl, give me back the time I spend with you
I have my cell phone on my hands waiting for an answer from you
Give me back the phone credits that I spend with you
Give me back the gasoline that I spend to see you
That sandal that I gave to you, I´m still paying for that
I will paid for that in 10 installments
I´m upset, very upset...
I want my friends back
Drink a beer in our favorite bar
And the next day not even remember what happened
In that bar´s table.
I´m upset, very upset...
I want my friends back
Drink a beer in our favorite bar
And the next day not even remember what happened
In that bar´s table.
I'm so upset!
I want to drink beer. But I´m Prohibited
My girl doesn't let me. My heart it´s broken
Why am I dating? I'm so regretful
I'm so upset!
I want to drink beer. But I´m Prohibited
My girl doesn't let me. My heart it´s broken
Why am I dating? I'm so regretful
She is hot and cold, yes and no
I can't deal with this crazy girl
She even tears my clothes apart
She is hot and cold, yes and no
I can't deal with this crazy girl
She even tears my clothes apart
I'm so upset!
I want to drink beer. But I´m Prohibited
My girl doesn't let me. My heart it´s broken
Why am I dating? I'm so regretful
I´m upset, very upset...
I want my friends back
Drink a beer in our favorite bar
I can't deal with this crazy girl
She even tears my clothes apart
I´m upset, very upset...
I want my friends back
Drink a beer in our favorite bar
I can't deal with this crazy girl
She even tears my clothes apart
I'm so upset!
-------------------------------------------
How does Mavic Pro COLOR PROFILES look in REAL LIFE? - Duration: 3:23.
how good is the footage recorded with
your Mavic without post-processing
This is a question that I've seen a
seen asked frequently. I've made this
video where I run through all the color
profiles currently available. Welcome to
this series of basic tips to record
better and smoother video with your
Mavic. We frequently upload ewheel and
drone related material that will help
you get the best out of your equipment.
If you're new to this channel then
subscribe so you don't miss out on
anything. When you are flying it can be
very difficult to judge the look of the
video. Yes, you can see when you change
color profiles that the colors are
changing on the screen, but you can't
really judge the final result because of
the tiny screen and maybe the impact of
sunlight. DJI keep renaming their
profiles, but with the latest firmware
these are the current profiles available.
Are you already using color profiles? What
profile are using and why? Put a comment
in the comment section below. Now let's
look what the filters look like when
they rendered out in the final video.
The video samples has been recorded in 2.7 k
30 fps and the white balance
set to SUNNY. Style has been
set to +1,0,0 for sharpness
contrast and saturation. The video has
been rendered in 1080p, through
DaVinci Resolve.
The choice of
color profile is highly dependable on
what you're planning to do with the footage
afterward. If you plan to color grade the
footage with tools like Davinci Resolve
you might want to go for a flat profile
like D-Log or D-Cinelike. You can
apply something called LUT or look-up
tables with your color grading
software. that allows easy color grading
of your footage. This is outside the scope
of this video's so this we can cover
another time. Color grading look stunning
but sometimes it can also be very
time-consuming. You might just want to do
some casual flying and use the footage
directly of your Mavic. This is where the
color profile come in handy and you can
produce a certain look and feel to your
footage. What profile is the right for
your needs? That is hard for me to say
This is up to personal style and
preferences, but I hope this video helps
you to see how the color profiles look
when they applied through the final
video
I hope you found this video helpful, if
so press the like button below subscribe
so you don't miss out on anything and
see you on the next one
you
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앵그리 죠가 "라이즌 3"을 플레이하다 PART 2 - Duration: 1:36:52.
For more infomation >> 앵그리 죠가 "라이즌 3"을 플레이하다 PART 2 - Duration: 1:36:52. -------------------------------------------
앵그리 죠가 "어쌔신 크리드 : 유니티"를 플레이하다! - Duration: 1:28:10.
For more infomation >> 앵그리 죠가 "어쌔신 크리드 : 유니티"를 플레이하다! - Duration: 1:28:10. -------------------------------------------
앵그리 죠가 "라이즌 3"을 플레이하다 PART 1 - Duration: 1:30:41.
For more infomation >> 앵그리 죠가 "라이즌 3"을 플레이하다 PART 1 - Duration: 1:30:41. -------------------------------------------
Mississippi Man Sues R. Kelly for Allegedly Being a Homewrecker - Duration: 2:04.
Hey guys for Complex News, I'm Natasha Martinez.
R. Kelly is a textbook romantic crooner but he's also a textbook homewrecker according
to one Mississippi man who is suing the Bump n' Grind singer for breaking up his marriage.
Sheriff deputy Kenneth Bryant knows a lot is wrong with a little bump n grind because
he's claiming the singer had a years-long, ongoing affair with his wife, Asia Childress.
The reports say that Childress made Bryant aware that she had been involved with Kellz
before their marriage but that it was over.
However Bryant is claiming that just months after getting married in 2012 the affair continued.
The first question that comes to mind when hearing this story is, why is this not on
daytime television with an audience, and how is this an actual lawsuit?
Well Mississippi is one of only a few states where spouses can sue someone for breaking
up their marriage, so this could legit go to court.
According to Bryant, Childress was not so subtle about her affair.
The lawsuit stated,
"Each time R. Kelly would have a concert in a nearby state, Childress would disappear
to unite with her lover.
R. Kelly cuckolded Bryant, with blatant disregard for Bryant's and Childress' vows."
She even suggested that she and Bryant move to Atlanta for the ulterior motive of tending
to her adulterous relationship with R. Kelly.
And if this whole story wasn't awkward enough the suit also says that Kelly gave Childress
chlamydia…
R. Kelly has yet to respond to all of this but Byrant is aiming for both compensatory
damages and punitive damages.
Not sure how you can punish a man for breaking up a marriage but the lawsuit states their
desire to "deter him and other similarly situated defendants from engaging in such
adulterous conduct in the future.
In theory you would think having an option to sue the one who's responsible for breaking
up a relationship would be a good thing but in Bryant's case, his wife wasn't cheating
with some joe schmoe.
Not to make light of cheating but unless Bryant can swoon her with a performance of 'I believe
I can fly', I don't think this lawsuit can do much to help his marriage.
That's your news for now, for more of today's trending stories subscribe to Complex on YouTube.
-------------------------------------------
For more infomation >> Mississippi Man Sues R. Kelly for Allegedly Being a Homewrecker - Duration: 2:04.-------------------------------------------
Drevni ratnici - Nindže (Dokumentarni filmovi) - Duration: 24:21.
For more infomation >> Drevni ratnici - Nindže (Dokumentarni filmovi) - Duration: 24:21. -------------------------------------------
For more infomation >> Drevni ratnici - Nindže (Dokumentarni filmovi) - Duration: 24:21.-------------------------------------------
Pourquoi mon chat lèche mes cheveux - Duration: 6:13. For more infomation >> Pourquoi mon chat lèche mes cheveux - Duration: 6:13. -------------------------------------------
For more infomation >> Pourquoi mon chat lèche mes cheveux - Duration: 6:13.-------------------------------------------
FRND - Be Happy - Duration: 3:22.
Tell me that you need me now 'Cause in my dreams you're still around
You've been gone for quite some time It finally feels like you're not mine
Will you remember me?
'Cause I'll remember you Yeah, you
You went out and found somebody new And that still hurts
It's taken everything inside my bones To say these words
Even if it's not with me I just want you to be happy
I just want you to be happy
I was torn and I was numb I needed you but you needed anyone
I was bad but now I'm well I had to lose you to find myself
Will you remember me?
'Cause I'll remember you Yeah, you
You went out and found somebody new And that still hurts
It's taken everything inside my bones To say these words
Even if it's not with me I just want you to be happy
Nine months since I last saw you And three months since we last spoke
Say, "happy birthday," to you Then I let you go
Tell me that you need me now 'Cause in my dreams you're still around
-------------------------------------------
K.A.R.D - RUMOR(Hidden Ver.) Video - Duration: 3:44.
Somebody told me
He saw you a few days ago, Oh no
He said you looked really happy, Babe
I felt drained of my strength I guess I wanted you to be unhappy
Have you forgotten me already? This can't be true
What am I to do, I can't admit it
How can you forget me so easily and be happy?
You are too harsh, You are spiteful
I didn't know until now I guess I was a fool
Even so, I haven't forgotten you yet
No matter how much I try, I can't erase your smile
This can't be true This is ridiculous
I want to believe that they mistook you for someone else
It's so hard to pretend to be OK
My friends told me told me told me, that you already found someone else
Can you tell me I'm not too late?
Please, Will you give me one more chance?
Where U at my love Where U at my love
You know that I don't want anyone else but you
Who said that, Oh no
Who said they saw me with another woman?
( I heard she was whatever)
I swear on everything this never happened
Everyone seems jealous and they want us to stay apart
Maybe someone saw me with a friend This is nonsense
What am I to do, I can't admit it
How can you forget me so easily and be happy?
You're too harsh, You are spiteful
I didn't know until now I guess I was fooled
I thought I wouldn't mind I thought I completely forgot about you
This can't be true This is ridiculous
I want to believe that they mistook you for someone else
It's so hard to pretend to be OK
My friends told me told me told me, that you already found someone else
Can you tell me I'm not too late?
Please, Will you give me one more chance?
Where U at my love Where U at my love
You know that I don't want anyone else but you
All the rumors I'm hearing from here and there
Are they really true?
(Is it really true? Is it?)
Look me in my eyes right now and tell me
Everything is a lie I've never done any of those things
I've killed myself trying but my heart just can't let go
My phone screen is filled with our old pictures
To leave us in the past is a waste of a real love
It's so hard to pretend to be OK
My friends told me told me told me, that you already found someone else
Can you tell me I'm not too late?
Please, Will you give me one more chance?
Where U at my love Where U at my love
You know that I don't want anyone else but you
-------------------------------------------
Is English a Tonal Language? - Duration: 9:29.Many of you have probably heard of the phenomenon of "tonal languages," languages where
you need to say things with just the right tone, otherwise you'll wind up saying something
completely different.
The most famous tonal language is Chinese, but this category also includes plenty of
other languages, especially in southeast asia and Africa.
In these languages controlling the pitch of your voice while your saying something is
just as important as getting the consonants and vowels right.
For instance in Chinese, ma means horse while ma means mother.
Compare that to English, where "horse" "horse" "horse" "horse," all of
these just mean "horse."
So there you go.
If a language uses pitch it's tonal, if it doesn't then it's not.
Super simple.
Until you start to think about it, for even, like, a couple of minutes, at which point
everything breaks.
Because here's the thing: tone might not change the meaning of this particular word,
but we do use tone to communicate meaning.
In fact, I can think of at least three different ways to communicate different things in English
using tone.
Firstly, you can use pitch to emphasize certain words.
"HE didn't steal the money," "he didn't STEAL the money," and "he didn't steal
the MONEY" these three sentences communicate completely different ideas, and the only difference
between them is the tone I said them in.
Secondly, you can use tone to signify questions.
Compare "You stole the book?" to "You stole the book."
The first might not technically be a question, but at the very least it does make it sound
like I'm expecting an answer, whereas the second doesn't.
Lastly, it seems like differences in tone is the main way we figure out which syllable
the stress of a word falls on, and we use stress to distinguish between different words.
Permit is a noun, while permit is a verb, and you can actually experimentally show that
the main way we tell the difference is by looking at which syllable has the higher pitch.
Situations like this are rare in English, but there are more, like incline vs incline
or intern vs intern.
If you're anything like me, you might easily look at all this and get the impression that
English is actually a tonal language.
Or at least that this whole thing is a lot more complicated than people generally let
on.
Well, I'm hear to tell you that it's the second one, but people don't usually go
into the details because it gets really confusing and difficult to talk about really quickly.
So, on that note, let's dive in!
Buckle up everyone because we're about to get technical.
Let's start by defining some terms, because I've been using the word "tone" kind
of sloppily this whole video.
On a piano, which key you press determines the pitch of the sound, while how hard you
push it controls the volume.
Pitch is basically the frequency of the sound wave, while volume is the amplitude.
Now, you might notice you can play a note on a piano and then play the same note at
the same volume on a violin, but they'll still sound different.
This is because of timbre, which for are purposes is basically the texture of the sound.
Pause the screen now if you want to get into the physics of it, but for the rest of you
we can just move on.
Now, almost all of the time in language it's the timbre of the sound that's communicating
information, which is why you can take an audio recording and raise the pitch or lower
the pitch or make it louder or quieter and most of the time it'll mean exactly the
same thing as before.
But as we noted earlier with these three things, pitch also sometimes communicates information.
So, if your definition of a tonal language is just "a language that incorporates pitch
somehow," then, yes, English would be a tonal language, along with probably every
language ever.
But usually when linguists say that a language is tonal, they mean that it uses pitch to
communicate lexical information.
All that means is that pitch is used to distinguish one word from another.
"Pink and FLUFFY" might mean something different from "PINK and fluffy?", but
those differences are post-lexical: above the level of the word.
The pitch changes things like which word is more important and whether the phrase as a
whole is a question or not, it doesn't change what words there are or what order they're
in.
Which lets us deal with these two, but there's still a case to be made that English is tonal
because of "accent."
What I mean by accent is that within a word some syllables feel more prominent or important
than others.
In "permit" the accent is on the first syllable, while in "permit" it's on
the second one.
It looks a lot like the main way we tell which syllable has the accent is the fact that the
accented syllable has a higher pitch, so English uses pitch to distinguish between words, so
that must make it tonal.
However, there are two huge differences between what English does and what true tonal languages
do.
The first is that pitch isn't always the main way we tell where the accent is in a
word.
Thing is, in English, when a word is the focus of a whole sentence, we usually give the accented
syllable of that word higher pitch, and when we say "permit" and "permit" all on
their own like that we're kind of saying them as if they're making up a whole sentence
all on their own, so of course they're going to have the focus, so of course we're going
to make the accented syllable higher pitched.
But listen to the way I say them in context when they don't have the sentence's focus:
"I didn't permit that."
"I didn't give him the permit" And if we cut those words out of the surrounding
recording and play them back… "permit" "permit"
Suddenly it doesn't sound like pitch is the main thing we're using to tell them
apart.
In this context you can show that it's actually the relative length of the two syllables,
or which of them you spend more time pronouncing, that's doing most of the work of getting
across which syllable has the accent.
That length difference is there whether or not that word has the focus of the sentence,
which makes it seem like it's actually the main signifier of stress and not pitch.
The second reason English accent doesn't count as tone is that English accent is syntagmatic
rather than paradigmatic.
I told you we were gonna get technical.
Alright, let me try to explain.
If English really had tones then it would be natural to ask "ok, how many tones does
it have?" and the answer would seem to be two, one for when a syllable is accented and
one for when it's unaccented.
But that would imply that a two syllable word could have one of four different tone patterns:
one where the first one's accented, one where the second one's accented, one where
both are and one where neither are.
But that's not allowed: each word needs to have exactly one accented syllable: no
more, no less.
Permit and permit are both valid words, but PER-MIT and permit aren't.
This makes it look like English accent isn't really an innate quality of the syllable,
but rather, which syllable is accented is a property of the word.
If the accented-ness of each syllable varied independently then we could call English accent
paradigmatic, but the fact that they can't and that each word has exactly one accent
means that it's syntagmatic.
With this in mind we can say that a tonal language is a language that makes paradigmatic
lexical distinctions based primarily on pitch and English pretty clearly fails that definition.
In fact, there are cases of languages that are even closer to being tonal but still don't
meet this bar.
Japanese has syntagmatic accent like English, but unlike in English this accent is primarily
distinguished using pitch.
Languages like these are called pitch-accent languages, because, well, they mark accents
with pitch.
So, I hope that clears up why English isn't tonal, but for me at least, all of this kind
of raised more questions than it answered.
Like, if English uses pitch to communicate post-lexical information, like which word
is most important or whether the sentence is a question, then can tonal languages not
do that?
Like, if Chinese is already using pitch so much to distinguish between different words,
it sounds like they wouldn't be able to use pitch to emphasize words or mark questions
like English speakers do.
But that's not actually true.
It works differently than in English, but Chinese uses pitch to communicate both lexical
and post-lexical information.
One way that linguists used to think about this was basically in terms of adding functions.
You start with a function for the overall pitch of the whole sentence, which communicates
post-lexical information, and then you get another function that describes the tone of
each word, and then you just add the two functions together to get the way the pitch will vary
over the course of the sentence.
This is called the overlay model, because you're sort of overlaying different things
that affect the pitch, and it's pretty similar to the way a lot of people subjectively experience
how pitch works in tonal languages.
I think it's also a good way to introduce someone to the idea that in tonal languages
you can use pitch both to distinguish between words and to communicate all the stuff the
rest of it use it for.
Only problem is, it's kinda wrong.
Thing is, if you actually use the overlay model to make predictions about how the pitch
of someone's voice will change over the course of a sentence, and then you go out
and test it, the results aren't great.
It took linguists a long time to figure that out, in large part because it hasn't been
very long since the equipment necessary to measure this kind of thing objectively was
invented.
But once it was invented it wasn't long before there were a lot of tech companies
who wanted to make computers that could communicate with humans with normal spoken language, and
these tech companies suddenly got extremely interested in getting this kind of thing right,
so all of a sudden there was both the means and the pressure to do some actual science
to this area of linguistics, and the main result of that was the Auto-segmental Metrical
Theory.
Whereas the overlay model makes it sound like the speech centers of our brains are generating
two or more functions and then adding them together to produce the pitch we want to make,
the AM theory says that it's much more useful to think of a chunk of speech as containing
a linear string of tonal events.
Each language will have a limited number of possible tone events, rules for how tone events
are actually realized in the pitch of someone's voice and rules for which tone events happen
when depending on what words we're saying, the syntactic structure that they're in
and whatever post-lexical information we want to communicate.
These rules might be very complicated and they're going to be different in different
languages, but this basic model has proven to be very useful for modeling how different
languages deal with pitch differently.
For instance, with Mandarin Chinese some words in a sentence will be more important than
others, and a lot of the time this is marked by an exaggeration of the tone it would have
otherwise.
Low tones get lower and high tones get higher.
This can be described within the AM framework reasonably easily, you can just say that the
string of tone events is different depending on what lexical tones there are and also depending
on which word has the focus, and that when the tone events mark a word as having the
focus it winds up getting realized as an exaggerated form of the normal tone.
I'm not entirely sure how one would explain this with an overlay model.
There's a lot more I could get into.
Each language has its own unique system for combining lexical and post-lexical information
to create variations in pitch and volume and timing, but I hope that now the idea of tonal
languages at least makes a bit more sense to you.
See you soon for more linguistics videos!
-------------------------------------------
K.A.R.D - RUMOR(Hidden ver.) reaction! I was with K.A.R.D!!ㅣWooLara - Duration: 7:17.
Hello everybody~
This is, WooLara from Korea
Today I'm going to do a new K.A.R.D reaction video!
Before I start, please be subscribed to my channel because,
I'm going to upload 2 more videos about K.A.R.D that I took
as one of the production crew members of this choreography video!
One will be about the behind scenes of this choreography video
so you can feel like what it is like to be a crew member of Kpop stars
And the other is going to be about the showcase they had in Seoul
There was a Q&A section with fans and K.A.R.D
And I translated it for you
Plus I'm going to upload 3 live stages they performed in the showcase!
So let's start the video
I'm going to use Korean right now because
I can't really express myself in English
I can only say "Aww that's good! That's....really.... goooood"
So I'm going to use Korean right now. Please turn on the CC button for me!
So let's start!
haha LG. LG again?
I heard that they are doing something with LG(like, filming the MV with it)
Oh right. I'm going to use Korean!
oh don't you love the vivid color? That day when we were filming, the weather was perfect
I was on the left side(of this scene) I was filming the video
And also K.A.R.D members said that J.Seph is actually a rapper
But this time (in Rumor) he also took a part in as a vocal too. They wanted to highlight it
And I saw BM in real and he's actually super tall
In the video that I'm going to upload, there was a cute scene happened because of him being tall
You shouldn't miss it really
Ah she's got the angel's voice!
The girl who's dancing in the front is the dance teacher of K.A.R.D and she has invented this Rumor dance
Invented..? She 'made' it
How cool is this scene?
When we were filming this scene, K.A.R.D cared the back dancers not to fall down
~not sure about the lyrics dang~
Omg my favorite part. Just so cool gosh
(And I can't dance)
* FEELS *
I personally love Jiwoo so much(BE MA friend 지우!!)
Last time, one of the KARD company staffs said I look like JiWoo a bit
Do I look similar to her? hehe *_*
Love her!!
Isn't she so pretty? (I slightly look creepy though T-T Regret saying this)
When I liked idols stars, I was always into guys but this time I'm so much into girl members
I was here~(I'm standing facing them)
마쬬마쬬(following the lyrics)
Gosh
I don't know the girl's name but she reminded me of CL because she's super powerful and I loved her energy
Look at the formation~!
The video spot is also cool
* FEELS AGAIN*
This dance~
Second proof that suck at dance
How can they dance so well?
I feel like they danced almost 50 times to shoot this video?
They kept on dancing dancing dancing..!
The reason there's written as I SEOUL U is because we filmed this in some spots in Seoul
That day as a production crew, we were scared because we heard it was going to rain that day
But luckily it didn't rain!
Even the weather was perfect
All those vivid colors like red, yellow, blue~
It wasn't because of just editing. The place was beautiful with all colors
A beautiful place that's worth visiting
And the weather helped us~
But sun was a bit strong so members and dancers had some troubles to dance well
I was a kpop fan until when I was a high school student
But K.A.R.D is the first kpop singer that I fall in love since then
I even saw K.A.R.D twice until now
Wait twice?
It's twice right?
Yes I saw them twice. First was this filming, and the second was the showcase
I'll upload a video for the showcase and the behind scenes later!
Anyway when I looked them, I thought each members are so attractive
If we see a normal kpop girl group
If the group has the lovely concept, all members are just lovely
If the group is the sexy girl-group, members are all just sexy
But K.A.R.D members has their own charming point
Not like, one member is a sexy concept, another is a cute concept, the other's this or that.
All 4 members could be anything
I personally wanted to talk to them like, "Hello... I'm your fan...!!!"
But~ I couldn't...
I do respect people who can talk to celebrities on the streets to ask selfies or autographs
I can't do that
When I saw them, they were here and my face just goes like this
But inside I'm like "OMG!!!! What to do!!!"
Eventually I couldn't talk to them
I couldn't ask them to take pictures with me of course
Anyway if you liked my reaction video~ Please click LIKE!
I will definitely upload two videos!
I will also let you know what nicknames each members liked! (Call them with these when you meet them)
When I'm done with the translating, I'll upload right away
So please be subscribed and look forward to it~
See you next week~ BYE~!
Getting ready to watch the video
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[VOSTFR] A.C.E - Chant de Noël : "Jingle bells" par Wow - Duration: 1:45.
For more infomation >> [VOSTFR] A.C.E - Chant de Noël : "Jingle bells" par Wow - Duration: 1:45. -------------------------------------------
Zen Zen Zense Cover 【Nino】- 前前前世 【 ニノ】 - Duration: 4:44.
Have you finally opened your eyes? But why is it you still won't meet my gaze?
"You're late," you say angrily...
But even so, I got here as fast as I could
My heart got here before my body could even make it.
Just the sight of your hair, your eyes... makes my chest hurt
Breathing in this same moment with you, I don't want to let it go.
To that voice I've known since so long ago,
What should I say as my first words?
I've been searching for you since your past-past-past life
Setting my sights on that awkward smile, I made it to where I am now.
Even if you were to lose everything and be scattered to the winds,
I'll never lose my way again - I'll just start searching again from step 1
Or maybe I should start the whole universe again from zero?
Where should I start relaying... the parts of this story that happened while you were asleep?
I've come to tell you a tale that spans many thousand a light year, but the second your form is reflected in these eyes...
I wanna joke and play around with a version of you you've never met
I want to try loving you all the way down to your eternal pain
We met at the far extremes of so many galaxies;
How should I grasp your hand to keep it from falling apart?
I've been searching for you since your past-past-past life
Setting my sights on that annoying voice and those tears, I made it to where I am now.
Once we're both here, on the night before our revolution, who could possibly stop us?
I'll never lose my way again - I'll hoist this flag from within your heart;
You stole from me my ability to ever give up!
I've been searching for you since your past-past-past life
Setting my sights on that awkward smile, I made it to where I am now.
Even if you were to lose everything and be scattered to the winds,
I'll never lose my way again - I'll just start searching again from step 1,
Humming this song for as many light years as it may take!
Thanks for watching! <3
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