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(10 years old) Jasmine sings: It's Been So Long - Duration: 2:51.
little does anyone know that this song was written about philip's death
no one will ever know
I dunno what I was thinking,
Leaving my child behind,
Now I suffer the curse and now I am blind
With all this anger, guilt and sadness, Coming to haunt me forever,
I can't wait for the cliff at the end of the river,
Is this revenge I am seeking,
Or seeking someone to avange me
Stuck in my own paradox I wanna set myself free
Maybe I should chase and find before they'll try to stop it
It won't be long before I'll become a puppet
It's been so long,
Since I last have seen my son lost to this monster
to the man behind the slaughter
Since you've been gone
I've been singing this stupid song so I could ponder
The sanity of your mother
*insert cool music here*
my halloween costume is cool
my costume is going to be..
what? you think i'm saying it?
because i am.
just kidding lol
okay here you go
I wish I lived in the present
With the gift of my past mistakes
But the future keeps luring in like a pack of snakes
Your sweet little eyes, your little smile, Is all I remember
Those fuzzy memories mess with my temper
Justification is killing me
But killing isn't justified
What happened to my son, I'm terrified
It lingers in my mind and the thought keeps on getting bigger,
Į̵̢̨̡̧͎̰̳̤̰͔͕̦̩̠̰͈̼̗̹̯̭̺̝̻̫̪̮͖̱̲̜̝̼̪͙̜͚͚̜̜̣̙̫͉̪̗̗̞̆̍̅͌̄̂̆̔̔̈̆̃̎̍̈́͂͊̔̇̈́́̇͑͊̇́̑̀̓̕͘̚͜͜͠͝͠͝͝ͅͅͅ'̴̢̡̢̨̧͇̦̠̰̗͚͚̙̯̺̼͍̭͔̫̮̻̦̙̳͉͕͚̫̙͓̯̥̤͖͉̣͒̉̎́̆̀̎̏̔̈́̋̓͜͜͠m̷̧̛̛͚̥̳͉̲̙͎̹̜͖̲͕̻͎̗̹̫͉̬̜͚͐̑̋̆̆̋͑̅̏̀̀̊̌̅̎̐̾̈́̆̂͆̑͑̂̆̿̈́͐̂̽͋͆̅͂̊̈̀́͘͘̕͠͝ͅͅ ̵̧̨̡̢̛̛̛̗͇̲̝̘̲̪͙̠̬̬̖͕̞̰̿̇͆̋̽̏͊̓̉͐̍͒̿̒͋̒́̈́͆̍̂͌̈́͌̉͑̎͂̐̂͗̓̌͒̾̄̏̑͛͐͑̌̆͆͘͘͘̕͘͝͝͠ͅs̴̹͈̬̖̼͔̣̙̼̻͇͓̼͇͓͓̹̈́̊̕ơ̷̢̢̫̤̗̙͓̞̫̠̣̞̬͕̞̮̗̪̣̠̪̣̯͍̖̪͎̟̦͔͕̜̲̪̰̦̥͕͖̠̺̪̠̹̟͖͚̜̣͉̤̠̙͍̖̌̓͊̃͌̉̎̄͛̈́̀̄̄̈́́̇̏̔̏͆̓͋̉̿̿͌̋͜͠r̵̝̼͒̓̌́͐̓͌̇̒͒̈́̑̈̄̃͜͠͠r̶̛̛̛̘͕̱̼͆̿͆̉̊͋͒͗̀̍̇̇̀͑̀̂͂̍͊̎͗̿͌̇̂͌͑̀́́͗̓̉͌̈͑͐͐̂̋̑͊̑̏̎̀͌͑̒͗͊͊͆͆͌̈͊̓̕͠͝͝y̴̧̨̡̨͍̱͓̳͎͕̹͍̤̦͔̖̟̬̩͉̹͔̫̯̩͈̪̹̩͕̦̠̠̟̰͇͉͎̰̓̉̄́̌́̌͛̂̆̈̈́͛̊̿̈́̋̃̚͘͝ͅͅ ̸̡̢̧̢̧̧̢̧̢̧̨̛̛̛͓͈̻̮̙̼̜̳͈̦̖̱̦̠̰̻̙̱̝͉̟̹͓̣͚̫̻̱̲̟̙̲̱̻̖͉̘͖̯̭̺̞̳̰̠̖͚̱̹̩̘͈̒͒͊͂̓̍͊̉̂̊̽̐͛͌͌͑͆̈́͑̚͜m̸̨̧̨̨̨̮̰̝̯̟̼̖̻̳̤͍̫̹̦̻̺̪̬̹̩͍̺̳̫̜͉̠̞̜̬͔͉̜̭̼̱͙̼̞͍̗͖͂͌̂͛̾͗͌̇̆̊̔͂̈́̐̂̃̔͋̂͌́̔̑̂̃̚͜͜͠ͅy̴̨̡̻̺͉͇̖͈̝̰̙̣͕̳̣̲̹͓̥̬̺̞̩̙̙͔̱̗̮͙̳̯̮͎̽̌́͜͠ ̴͙̺͕̗͍̠̮̭̺͎̹͇̬͎̻̘̝̝͓̼̼̞̰̻͉͋̐͒̓͋̋͐̓̾͊̀̓̃̋̔̇̓͛̽̌̈̋́͜͝͝ͅs̴̛̗̯̖̝̩̝̮̺͔̹̻͗̀̆̔͐͛́̓͌̏̔͊͌̏͐̑̏̿̀͛͋͊̅̎̅̈́͆̈̌̅̿̋̐́͊̅͊̾́̎̃̋́̇̓͐̍͊͐̎́̔̔̀̕̕̚͝͝ͅw̶̢̧̨̨̢̡̳͓̜̰̲̲̟͉̲̳͙̱̮̠̼͖͎̘̬͔̲̥͖̘͎̮̞̪̬͓̥̤̼͍͚̳̤͉̟̣͚͔̳̟̠̍̉̃̀͒̒̓̈͌̒͗̈́̔̿̄͊͌̌̓̿̈́͆̄̊͌͊̎̆͊̌͌̽͋̍̉͛̂̿̉̀̌́͋̌̒̊̚̚̕̚͜͜͜͝͝͝ͅȩ̶̨̛̗̤̫̭̱̝̘͖͖̣̭͙͔̹̼̙̦̊̏̎̽̋̂͋̏͛̈͗̏͂̿̈́̋͗͆̌͛̿͐̄͘͝ë̴̛͖̩͓̥͖̹͉̣̳͚͚̫̜̯̲̩͓̺̟̗́̏̀͒̔̈́̀̋̍̄̀̉͌̕͘͘ͅͅt̵̢̛̩͖͖̜̠̙͔͈̝͇̒̈́͗̐̋̈̀̆̂̅̅̈́̅̈͒̎̃͆͑̿͛̎̒̍̏̉̂̔͋̄͆̍̈́̏̆͐̿̇̚͘͘͜͜͝͝͠͠ ̴̨̨̛̹̼̹̫͖͖̠͈̠̫̩̞͎̼̤̱̦̩̼̻̪̣̤̞͙̩̰̜̺̹̦̝̤͚͓̻̬̯̳͆̉̄̉̈́̓́͋̌̂̍̐̂̋͑̓̇̈́́̓͒̃͋́͆̏̽͋̀̎͐́̐̆̏̃̑͊͛̒̆̓̿̌͐̔̄̓̚̕̚͘̕͜͜͜͜͝͝͝͝ͅͅb̷̮̥̖̞̥̦̫͙͓̝͈̭̠͇̗͇̯́̊̈͆́̌̈̄̀̃͗̔̄͊͊͌̑̐̌̆͋̀̀̑̚̚͝͝͝ạ̵̡̧̛̛̛͚͚̦̠̥͙̙̟̹̣̱͇̮͕̭͔̟̣̲̯̘̳̳̼̱̯̠̳̫̞̖̳͎̰̯̥͖̩͚̩̮͍̮̞͓̣̦̝̍̓͛̀̈́̀̃̀̀̿̇͆̅̌̈́̇̈́̓͊́͛̽͒̉͐͛̓́̅̿̋̽̀̓͑̉̃͂̏͛͋͋̏̎̚͘͘̚͠͝͠͠͝͠͝ͅb̵̗̞̥̩̙͍̱̣̩̠̬̣̱͚͍͍͓̗̺̰͔͍̫̞̜̩̐̂͑̑̉̓̍̂̾̾̎̈́͑͌̔̄̒̌́y̸̡̰̗͖̩̲̹̤͈̫̫̟̖͈̜̗͍͉̞̝̬̞̪̗̳͔̜̗̹͓̹̖͇͍͓̩̽̐̊͂̈́̓̃͆̌ͅ,̷̡̨̢̢̨̡̛̘̠̦̠̫̙͈̟̱͖̫͓̘͇̼̭̥̖̻̤̦̜͚̺̱͇̗̲̳̻̘͚͈̦̱̞̹͔͚̜̘̟̰͇̩̜͕͙̬͎͍̥̣͇̺̦̑̽͛̎̈́͛̈́͂̓̈͒̅͌͂̀͗̈́̀̊̐̽͐̈́̂̎̇͐̓̄͛̿͂̀̄͐̋͑͒̈́́̓͌̇̕̕͝͠ͅͅ ̵̨̢̡̛̳̳̙̝̝̣̱͖̗̖̥̥̼̮̜̱̲̹̦̣̫̬̣̮̝͕̫͚̫̗̙̜̖̳͇͈̘̻̝̪̀͑͋̐̑͌̿̈́̂͊̄̽̾̉̋͂́̎́͐̏͗̌̑̿̌̀͜͝͝ͅI̴̢̛͈͚̩̭͙͉̲͉̼̦̺̪͖̹͉̥͖̪̥̮̰̙͔͔̟͂̋̇̌̈̀͒͑̀̊͋̈́̈́̒̈̂̂́̏̄̏̈́̆̏̉̈͒̏̈́̓̅͛͂̊̓̍͋̉̎͗̚̕͘̕͘͠͝͝͝ ̶̛͚̠̺̭̘̎̈́̆͆͋̀̓͆̐ŵ̷̨̺̟̼͕̟̼̲̟͇̬͎͖̜̲̭̰̞̯̹̻̤̻͕̻̤̈̃͋̍̉̓͒̀́̈́̋̓͆̈́̍̍͊̎͐̈́́̈́̓̓̌̆̊̐͌̀͘̕̚͘͜͝į̷̨̡͈̰̻̦̟̰̱̭̮͎̬̳̘̌̊̀̾͋̐͋̒̓͛̓̀̄͘͜͝s̵̨̧̧̡̢̧̢̭̯̩̫̦̰͙̗̩̠̯̜̤͍͓͕̯͕͓̱̜͙͎͕̙̖̝͉̼̗͕̠̟̭̱̤͕̪̭̘̟̿̈́̄͋̓̓̚̚͜͝ͅͅh̸̛̲̳͉̪̲͙̝̯̦͎͒̏̓̅̃̃͌̎́̃̅͆̐͘͠ ̸̨̡̨̡̡̧͕̪̤͇͙͖̱̞͙̲̙̠̹͔̦͙̼̟̰̳̪͍̖͕̥͖̩̭̣͕̠̗̹̰̭̻͍̖̰̘̘͕̮̯̮̤̻̫͍̣̫̮̋̐̇̄̄̂͑̑̽̇̀͋̆͛̃̎̒̉̈́̌͘͠͠ͅĮ̸̨̢̢̛̛͖͎̖̭͕͉̠̜͉̭̲͈̟̝̫̪̠̝̤̒̀̓̆̈́̋̓̔̏̎̉̈́̓̎͋̾͒̒̓̎̈́͗̀̐́̆̒͋̽͂̌̚̕͘͝͝'̵̢̨̧̢̛͓̼̩̜̹̤̻͎͚͎̳̳̪̯͓͔͙͚͙̞̱͖̘̺̩̙̤̬̻͕̣̣̖͔̜̭̩̼̥̯̫͎̦̲̯͈̭͋̏̌̑̀͌͌̿̓́̇͊̄̎́̄̏̓̓̍̄̂̓̓̈͐̐̽̽͗͂̉̐̓̾̄̇̎̃́̿̉̆̊́̊̌͛̕̕͘̚͘̚̚͜͜͜͝͝͝ͅͅv̴̢̡̧̡̯͚̤͓̳̰̤̱̖̪͈͔͍͓̩̦̹̦̖͖̹͙̣͎͈͉̝̟̼̰͓̻͈͉̘̱̟͈̰̭̦̣̲̜̐̽̍͊̈́̿̐͒̎̊̓̆̓͗͑̾͗̎͋̌͌͐͒̊̓̀̎̒͂͐͐̈́͒̂̊̆͗̾̈̐̓̎̀͂̌͘̚͘̕͠͝ẽ̷̡̡̢̧̨̧̧̨̢̬̪̼̟̭͕͈̜͇̹̱̺̳̲͕̟̮̩̰͈͖̟͚̲͔̙̼̜̻̳̻̯̙̥͖͙̳͕̣͙̳̤̫̥̜̘̪͚̦̰̳͎͕̓̆͂͐͗͑̅͑̂͌̅̓͌̓̅̈́͝͠ͅ ̷̢̨̧̛̛͉̺͇̫̣͍̠̯̣͓̬͇͉͇̦̬͍̘̮̻͉̠̻͚̮̜̝̫͓͚̏̄͑̅̿̔̑͒̂͐̽̌́̓͊́͋̔̌́͊̈́͊̄̍͊͋̂̐͛̓̋͂̀̀̕̚̚̕͜͠͝͝ͅḅ̶̨͚͍̗̥̖̩̭̰̪̣͖̗̥̯͖̞̓̇̈́ͅé̷̡̧̛͈͇̟̱̗̜̮̗̪̖̬͈̠̪͙̖͚̳̖̱̻͎̰͖̞͈͔̥̟̜͔̦͖̪̜̪͉̻̤̝͚̞͍̟̊̍̓̀̊̏͗͆͊́̽̀͒͂̌̓͌̔͆̎̅̀̏̔͐̆̏̒͐̏̓̽̏̃̑̈͋͐̆͘͘͜͠͝͠ȩ̶̨͚̲̟͈͎̬̹̹̼͓̩͔̦̼̬̜̥̻͇̓̏̿̓́̚̕͝͝͝n̶̢̧̲̳̻̬͓̟̋̔͗͑́͑̿̍̈́͗̈́̔͌̄̐̊̎͐̐̀̐̽̇̈̈̆̈̀̅̊̒̄̂͛̓́͘̚̕̕͠͝ ̸̡̡̰̠̣͇̳͉̯̼̝̫̳̜̲̰̞̦̦̻̺̬̲̫͎̹̏̂̿̿͛̔͑̀̂͊̈́̂̈́̓̽̉̇͂͌̐̈̽̃̀̽͘̕͝͝ͅͅt̶̞͇̓͛͆͐́̏̾̇̃̇̌͆̅͒̏̋̇͆͗͑̿̋̇̄̕̚̚͘͝ḣ̵̨̡̡̡͚̖̜̮̹͓͉̟͔̩̳̦̰͔͓̺̖̰̟͚͚̌̊̍̇́̎̈́̈̄̕ȩ̸̡̡̢̧̧̢̪̪̮̟͚̮̥̭̠̬̻͖̞̘͎͔̳͍͚̜͈͓̰̭͓͚͙̓̂̇̏̇͐́́͋̏̀́͆̈́̓͒̕̚͜͜͜͠r̸̢̲͓̮̰͈̠̞͖̼̖̣̪̥̰̄̂̋̍͛̇̚͘͝ͅͅe̷̡̧̛̛̻͔̫̫̪̤̦̙̫̝͍͎̙̲͚̫͍̠̮̘͓̠̺̖̭͍͗̊͊̎́̈̊͌̋̓̈̿̂̆͑͆͑̉̑̓̈́̂̈̊̃̓́͐̉̈̒̇͗̿̒́͒͑͗̃̎͛̄̐̀͘̚̕̕̚͝͝͝͝ͅͅͅͅ.̸̘̥́͌̊̃̿͆̃̓͂̄̾̀̿̔̋͒̓͋̎͌̏̂̇͌̿̅̈͐̑̊̌̈̚͘͠͝͝͝
It's been so long, Since I last have seen my son
Lost to this monster
To the man behind the slaughter
Since you've been gone
I've been singing this stupid song
So I could ponder
The sanity of your mother
*insert edgy glitch effect*
Happy Halloween!
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Blake Shelton On 'The Voice' And His New Album, 'Texoma Shore' | TODAY - Duration: 2:17.
For more infomation >> Blake Shelton On 'The Voice' And His New Album, 'Texoma Shore' | TODAY - Duration: 2:17. -------------------------------------------
PLAYMOBIL® THE SPECTRE (Alan Walker Song) - Halloween Special Film (Stop Motion HD) | Kili Film® - Duration: 2:53.
♫ Hello, hello ♫
♫ Can you hear me ♫
♫ As I scream your name ♫
♫ Hello, hello ♫
♫ Do you need me ♫
♫ Before I fade away ♫
♫ Is this a place that I call home ♫
♫ To find what I've become ♫
♫ Walk along the path unknown ♫
♫ We live, we love, we lie ♫
So dear local community!
As you know, if you pay a high contribution to the church, their sins are forgiven!
Always this shutter!
Happy Halloween!
Thumbs up for this effort! ;)
Subscribe to miss no video!
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My thoughts on this LGBT Community - Duration: 5:53.
For more infomation >> My thoughts on this LGBT Community - Duration: 5:53. -------------------------------------------
Mom doesn't love you - Duration: 0:09.
For more infomation >> Mom doesn't love you - Duration: 0:09. -------------------------------------------
Game UX Summit '17 | Bryce Johnson Xbox | What Accessibility Features Are Best for Your Game? - Duration: 39:32.
(applause)
- Good morning everybody.
As I've said I'm Bryce Johnson,
and I am a designer on the Xbox design team,
and I'm also design lead on the Gaming For Everyone team,
which is a team that we have at Xbox
devoted to diversity and inclusion.
I've spent the last few years devoted to
intentionally including gamers with disabilities
into the products that we make.
And today I'm gonna go over--
I'm gonna fly over some principles
of Microsoft inclusive design,
and then I'm gonna dive into some specifics
about how to make certain games better accessible.
But first I'm gonna start with a story,
and I'm gonna have to read this one,
it's a little bit long.
Many of us are enamored with the ides of Todd Rose
from his book The End of Average.
This is one of the stories from the book.
In the 1940s, the US Air Force had a major problem.
It's pilots could not keep control of their planes.
At it's worst point,
17 pilots crashed in a single day.
The military blamed the men citing pilot error
as the most common reason in the crash reports
which seemed reasonable since
the planes themselves seldom malfunctioned.
The pilots didn't understand it either though.
The only thing they knew for sure,
it wasn't their piloting skills
that was the cause of the problem.
If it wasn't a human or mechanical error, what was it?
The first cockpit was designed by engineers,
and they measured the physical dimensions
of hundreds of male pilots.
And they used this data to standardize
the dimension of the cockpit,
the size and shape of the seat,
the distance to the pedals and the stick,
and the height of the windshield and
even the shape of the flight helmets
were all built to conform to
the average dimensions of a pilot.
So the military hired a scientist
to measure 4,000 pilots.
And he calculated the average physical dimensions
believed to be the most relevant to design,
including height, chest, sleeve length,
and then these formed the dimension of the average pilot.
And then next that scientist compared
all of the pilots to this average.
And the consensus among the Air Force researches
was that most of these pilots
would fall within this average range.
And they were stunned when they tabulated
how many fit into this average range.
Zero.
No pilots fit within this average range.
There is no such thing as an average pilot.
If you've designed a cockpit for the average pilot,
you've literally designed this to fit no one.
So we take a lot of inspiration from that story.
And across Microsoft we're embracing inclusive design
to fulfill our mission of empowering every person
in every organization on the planet to achieve more.
And that's a tall order, and we take it very seriously.
Every person, we take that extremely seriously.
So we approach inclusive design at Microsoft
starting from these three principles.
Recognize exclusion.
Exclusion happens when we solve problems
using our own biases.
As Microsoft designers,
we seek out those exclusions and use them
as opportunities to create new ideas and inclusive designs.
Learn from diversity.
Human beings are the real experts in adapting to diversity.
Inclusive design puts people at the start
from the very beginning and those
fresh diverse perspectives are the key to true insight.
Solve for one, extent to many.
Everyone has abilities and limits to those abilities.
Designing for people with permanent disabilities
actually results in designs
that will benefit people universally.
Constraints are a beautiful thing.
So all of these principles are in place
to remind us of an old axiom,
you are not the user.
But when I talk with other designers across Microsoft,
it's fairly tricky because I think
a lot of us in this room are the user.
And I know all my coworkers,
like we all work on the Xbox like all week long,
and then we go home and we play it all night long.
So I can't really go to my coworkers
and tell them that you're not the user.
My coworkers and my colleagues are our whales.
They are our customers.
But we need to recognize our own biases
to understand that we're not the only customer.
So one of the tools that we use in
solve for one extend to many is the persona spectrum.
So I said before you know we intentionally design
for someone with a permanent condition,
like one arm,
and then we see benefit with people
who might have a temporary condition like an arm injury.
And then we think about situational benefits.
Like holding a baby.
Or if you're Miyamoto, eating a hamburger.
So when we take this into account we see a lot more reach,
and this is why it's important for us to solve
for those permanent conditions.
Because it's like a reverse funnel, right?
It goes out.
So when we discuss making things accessible,
a lot of the times you'll hear us
talk about like removing barriers.
And friction can be a barrier.
Friction slows things down and makes us work harder,
and UI design friction is the opposite of effortless,
it is the opposite of intuitive.
And when we work on the Xbox One OS
we're very focused on removing friction.
I have this little Minecraft guy here.
Think of him as a mime, he's like in a glass box,
for barrier. (laughs)
But friction can also be good.
Here are some photos by Phil Toledano,
and you may have come across these as I did,
in Jane McGonigal's TED Talk gaming can make a better world.
And as she says in her talk,
if you're not a gamer you might miss
some of the nuance in these photos.
You probably see a sense of urgency,
a little bit of fear, but intense concentration,
and a deep deep focus on
tackling a really difficult problem.
These are the faces of people who against all odds
are on a verge of an epic win.
Challenge is why we play games.
Games are the combination of assonance and dissonance,
conflict and resolution.
They are cycles of tension and release.
Great games don't remove friction,
they have the best possible friction
in just the right places.
So I ask people to strive for challenge and inclusion.
I want barriers to be ergonomic.
I want them to adapt,
and I'm asking for the friction that fits.
Here's another sign we have on campus.
And this is sort of the last bit
when we think about inclusive design,
is that when we think about inclusive design at Microsoft,
we're not trying to design for all of us.
We aspire to design for each of us.
And that's a subtle difference,
but the difference is is that
digital experiences don't need to be fixed.
They don't.
They can be fluid and they can be mold and bend
and be custom fit to every user.
So I'm not suggesting that games
need to be always universally accessible,
except maybe Minecraft,
I will totally suggest it to Minecraft
that they need to be universally accessible.
I hope that we can create a variety of experiences
that like suit a lot of people's tastes and every ability.
So I probably told you just enough about
Microsoft inclusive design that you may be intrigued,
and possibly confused.
But if you want to find out more,
I encourage you to check out the website or come talk to me,
but now I'm gonna drill into some things that are specific.
People always ask me,
"What should I do to make my game accessible?"
And I give them the most cliched designer answer ever,
"It depends."
So who in here by show of hands or whatever,
who likes tangible guidance, anyone?
Some people like tangible guidance, wow.
But not a lot of people like tangible guidance.
Who hates being told what to design, or how to design?
Yeah, okay.
Did any of you like do both?
Because that's like my whole entire world,
is like people want tangible guidance,
but they hate me telling them what to do.
Which is fine, I get it, I totally understand that.
So this advice I'm going to give is my two cents,
but I stand by it.
But I also encourage everybody to go look at
Includification by Able Gamers
and the Game Accessibility Guidelines.
These are great resources and
they have a lot of information in there.
So we're going to go through these five genres and
look at some impactful ways to make them more accessible.
So gonna start off slow, gonna start off easy.
This what Toronto was like when
I was a kid and I lived here.
We had fall, you guys don't have fall anymore. (laughs)
In more ways than ever, games and software are converging.
I mostly work on software.
Games inherit the expectations that people have
of what an accessible software experience is
as they get more like software.
And there are many best practices for software accessibility
and it's important to follow them.
Things like structured headings, landmarks,
contrast ratios for text, well-formed lists,
and proper grouping of elements.
You probably don't need to reinvent the wheel here,
but it doesn't mean that you should
sterilize your interfaces either.
I mean gamers with disabilities like personality too.
So blind people use--
Hi Steve. (laughs)
Blind people use a technology called screen readers.
It's an assistive technology, and it reads the screen.
So what I'm gonna show you here is a mock up
of how Solitaire could be optimized for screen reader users.
Oops, gonna go back.
- [Screen Reader] Tableau column one, six of clubs.
One of one, right arrow.
Tableau column two, four of spades, one of two.
Right arrow.
Tableau column three, queen of spades, one of three.
- Notice how I'm using the keyboard and not the mouse?
- [Screen Reader] Right arrow.
Tableau column four, seven of spades, one of four.
Right arrow, tableau column five,
ace of spades, one of five.
Space, ace of spades selected.
Up arrow, empty, foundation two of four.
Left arrow, empty, foundation one of four.
Enter, ace of spaces, foundation one of four.
Left arrow, deck.
Space, four of diamonds in the waste pile.
Enter, jack of diamonds in the waste pile.
Right arrow, waste pile, jack of diamonds.
Space, jack of diamonds selected, down arrow, right arrow.
Tableau column three, queen of spades.
One of three, enter.
Tableau column three, jack of diamonds, one of four.
- So when you're blind,
you have to use landmarks and you have to--
There's no wayfinding, right?
Like you have to basically tell people
what the structure of things are
so they can get a mental model of what the interface is.
And they use their memory a lot
to basically remember where things are.
I think that this video is an okay start.
This is what I show the Solitaire team.
But there's definitely a lot of
opportunities to go above and beyond.
I think that if we use distinctive sound design
that enhances the oral experience for everyone,
we could really make some benefits here.
One of the things that I think about
is that when a card flips over,
could the sound denote how many cards are left in the pile
to give you that sort of sonic affordance
of what you have left in the pile because you can't see it?
So now I'm gonna show you another video,
which was savagely-edit for time.
And this is me playing Solitaire
using Windows Speech Recognition.
You shouldn't assume that people who play card games
are going to use either touch or a mouse.
In the previous video I used keyboard to play Solitaire.
So it's important to not make that kind of assumption.
And even though I'm gonna use Windows Speech Recognition,
I'll be using my voice to basically simulate a pointer,
but that's how that kind of works.
Mouse grid.
Five.
Mark.
Five.
Six.
Click.
Mouse grid.
Five three mark.
Four two click.
It's savagely edited because it takes so long
for the card to go across the screen.
Mouse grid.
One click.
Mouse grid.
One six double click.
Mouse grid.
One click.
Mouse grid, one six double click.
So there's a couple accelerators that I showed there.
The double click accelerator.
So I double click and basically
puts the card in the right spot.
It's really important to add those in.
You know I know that like this
metaphor of dragging cards around
is something that I think we all kind of enjoy and like,
but it can sometimes be really overly taxing.
So I would encourage people to put in those
like accelerators that give people a chance
to like basically do the right thing more quickly.
So this is a mock up of Solitaire in the large print theme,
but I've modified it in a sense.
And what I've done is I've taken a lot of inspiration
from card decks for the elderly.
So the surface that the cards are on
has been darkened from the norm
so that the cards can pop out more.
And then the colors that are used for suit
further distinguish the suit.
And you'll often here guidance accessibility guidance
to not use color as a differentiator,
but the thing is is you shouldn't
use color as the only differentiator.
You can use color. (laughs)
Just make sure it's not the only differentiator.
In this case it actually helps people.
And the highlight focus, is it still pulsing there?
Is a little bit stronger than it is normally,
so I would encourage people to think about
things like movement as a way to
increase the perceivability of a UI.
So card games.
Alex said the other night, card games are UI.
That's totally true.
There are many best practices for software accessibility.
You should follow them.
Support screen readers,
and the blind need to be able to play without a mouse on PC.
Make sure that you have shortcuts
and accelerators for card movements.
Sometimes click and drag is not
possible or is overly taxing.
And use multiple visual treatments,
color, shape, weight, movement,
clearly and distinctly to make
your elements more perceivable.
So now we're gonna move into fighting games.
This is my friend Sightless Combat.
And he is a pretty amazing Killer Instinct player.
He is also totally blind.
He can play because the sound designers of Killer Instinct
wanted a clean mix where character had distinctive,
unique sounds that convey giving,
receiving and blocking damage.
There are also sounds in the game
that are optional for the HUD elements,
so that he understands the UI.
So he's showing Melody here,
he's trying to teach Melody here how to hear the sounds.
I've known him for years, I still can't hear the sounds.
I even know the sound designer, I don't get it. (laughs)
So he's playing against someone in this video,
he is totally blind.
Yeah, he's amazing.
So Zach Quarles, he's the sound designer for Killer Instinct
goes into a huge amount of detail on the
oral design of Killer Instinct,
and you can find out more in this
Gamasutra article that he recently published.
The one miss that Zach points out that's
for all the great sound design that's in Killer Instinct,
the game menus are not voiced out,
and that is a huge barrier.
When Sightless plays Killer Instinct,
he memorizes the menus.
Like he basically has someone sit there and
tell him what the menus are and he memorizes them,
and then he counts clicks.
So he knows the menus of Killer Instinct
down to the very bottom,
like just knows them off by heart.
So this is Wheels.
Wheels is a gamer with mobility disabilities
who has qualified for two Killer Instinct World Cups.
He has a bright competitive
fighting game career ahead of him.
And I asked him what features he wanted in Killer Instinct,
and what he told me is that
in-game controller remapping is good,
but he wishes that he could treat the right stick
as a dpad and then map buttons to it.
That's really frickin' cool.
Like what is button mashing when there's no buttons?
Like how do you thumb stick mash, you know?
And it's such a really interesting idea
that I think goes beyond what he needs
that could make this game so much
different and better for everybody.
And this isn't the first time I've heard this idea,
but it's really nice to have it
reinforced by multiple people.
So for fighting games,
I'm gonna ask you to follow Zach's advice.
And consider narrating your menus.
We have published an API at Xbox
about how you can use the speech synthesis API
to voice out your menus of your game.
We still need to be better about the documentation of that,
but we're working on it.
And in your game,
offer a plethora of controller remapping options.
You can't offer too many. (laughs)
Okay next up, shooters, Gears of War.
There is going to be blood. (laughs)
(guns firing)
(chainsaw revving)
- [Woman] Yes, that was satisfying!
So Sightless plays more than Killer Instinct.
He also played through the Gears of War 4 campaign,
and he did this through co-op,
and he found people to help him
go through this campaign using Looking for Group.
Played through the whole campaign,
and he needed someone to help him
get through the parts that weren't available to him.
And this is what he had to say about it.
"One advantage to co-op is the
"simple sharing of the experience.
"When I beat the Gears 4 campaign,
"the first thing that happened
"was myself and my partner congratulated each other
"and discussed the plot details that I could not pick up
"due to the lack of explanation or
"in-game feedback to indicate what was happening."
So co-op is this super powerful enabler.
And I think we're just really starting to realize
what we can do in co-op experiences
to bring people into gaming that might not
have thought gaming was for them.
We're just kind of early in this.
Your game franchises exist and extend beyond the game.
Another thing that we found with Gears,
another mistake that I guess we made,
was that the website was inaccessible,
and it's a pretty big deal.
When you're telling people to go to
this website to collect loot and
trade cards and do stuff like that,
the community has little patience
for your website being inaccessible, right?
I mean web accessibility is a pretty mature field.
There's lots of information on it,
and when we unintentionally exclude
people with disabilities from our website,
it just leaves a sour taste in a lot of our mouths.
So cover based shooters.
I'm not gonna steal anyone's thunder.
But the first thing that you should do
if you're making a cover based shooter
is study the work that Alex Amelia
and Josh did with Uncharted 4.
It's wonderful.
Next you should explore extending co-op options.
Coplay can enable people who might not
be able to play your title on their own.
And then make sure your websites are accessible, period,
but especially if they extend your game.
I love RTS games,
but honestly I had a really hard time coming up with
priorities for making them accessible.
So I asked some people in the community,
and I got a pretty decent list.
A lot of good stuff in there.
I got advice about managing cognitive load,
perceivability and readability of the HUD elements.
Play speed and skills levels, lots of good ideas.
So what I will say for real-time strategy is
adjustable speeds is a huge deal.
You should absolutely do it in single player,
and I think there's a ton of opportunity
for us to do it in multiplayer.
And I know that that would require some
extra sort of special love when it comes to match making,
but on the platform side at Xbox,
this is what we intended things like
clubs and Looking for Group to be about.
When we built those features,
we wanted people to be able to like say,
I'm looking for someone who can play like this.
And just like Sightless used LFG
to like find people to play Gears with him,
we're hoping that people will do that more.
So use clear simple controls.
Imagine someone playing your RTS with just a mouse.
Include a wide range of difficulty modes.
And make those extend beyond what you think is reasonable.
I'm sure that you have a good idea
of what easy normal hard is.
Go further.
Happy Forza 7 launch!
All my examples are from Forza 6.
(audience laughs)
In this video I have a split view,
and I'm showing two different types of weather,
and I'm doing this to show you the readability of the text
and how it can be tied to the environment that it's in.
As this video progresses,
I'm gonna start to stack vision limitations on top of it,
and so you can see what happens.
So at first I'm gonna start with reduced contrast.
Probably might not have even noticed that.
All of us will lose the ability
to perceive contrast as we get older.
It happens to everyone.
So you can kind of see how one side
is a little bit easier to read that the other.
Just rain versus sun.
So now I've made it a little blurry,
I've decreased the visual acuity, not by a lot.
I mean honestly if I was sitting up top
and wasn't wearing my glasses,
this is what it would look like to me.
I'm not wearing my glasses now, but,
if I wasn't wearing my glasses.
So you can see that it's really
very difficult to read a lot of
these elements on the screen now.
So now I've added some cataracts.
Cataracts is really interesting.
We all talk about how important it is
to make our games accessible for people who are colorblind.
And it is, please do.
There are twice as many Americans that have cataracts
as there are who are colorblind.
Cataracts is again, it's part of getting old.
And it happens.
So I would encourage you to think about
how you can make your text elements
of your UI more perceivable.
So yesterday Scott said that great graphics
are the price of entry to triple A gaming.
So here's an unaltered screenshot from Forza 6.
I know it's kind of unfair that I'm gonna use it still,
but I am, so.
What I've done is I've taken this screenshot
and I've made some adjustments based off
the feedback of a Forza fan who has low vision.
Low vision for those who don't know
is a visual acuity worse than 20-80
that cannot be corrected by glasses.
There are more than six people--
For every blind person in the world,
there are six people who are low vision.
So my friend asked me to tone down
the visual elements that could be distracting
while keeping emphasis on the ones
that he needs to play the game,
things like the lines in the road
and the guide and the other cars.
It's not that he doesn't want the other graphics,
he just needs like a better proportion
of what he can see and what he needs to play the game.
So I also thickened the type and all the HUDs,
and I put extra flags behind them
to give them more of a solid background.
The other aspect that my friend
really wanted to be high contrast,
and it might be a little hard to see here,
but the little map here has been made very high contrast.
There is no transparency to it at all, it is opaque,
and it is something that he can use
to find out where the other cars are.
So ideally all of these things should be user preference,
and it's a way that you know,
'cause not everyone is gonna want every one of these things.
But again I think it's really important to remember that
it's not that people with low vision
don't want beautiful graphics,
they just need a little bit extra
to make sure that they can see the game
and perceive it in the way that they can play it.
So I found that people with mobility limitations
really love driving games.
And this is me actually playing Forza 6 with my feet.
I've got a custom controller here.
That Rockband pedal is like accelerate,
it's just full on or off, it's not analog at all,
it's just on or off, 'cause it's a Rockband pedal.
And I'm steering with my knees.
There's two buttons that I'm steering with my knees.
When we put together driving games,
it's really important that we kind of
enable this kind of casual-ish play, right?
There's a lot of people that just want to play driving games
and if we have to sort of complex
controller dexterity gymnastics to progress in a game,
we're gonna be excluding a lot of people from playing this.
So, driving games.
People want awesome graphical fidelity
with options for tuning perceivability,
primarily the HUD, track and driving guides.
Allow for simple driving controls and controller remapping.
Don't force someone to get good
to progress or they'll get gone.
Ideally offer a variety of driving assist
and sensitivity options as well.
So I'm gonna wrap up here,
and what I want to basically tell people is
above all else it's very important to include
the community in your game design.
There's a saying in the disability community
that's nothing about us without us,
so I really urge you all to like go out,
engage the community,
and find out what they need from your game,
and I promise you that it'll make
innovative games that work better for everybody.
And that's it, that's me, thanks.
(applause)
All the resources are there.
You can find me on Twitter, on Xbox Live.
- Good morning. - Hey!
- [Man] Thank you very much, that was very interesting.
I'm Lucas, I work at Ubisoft Toronto.
I'm curious about how you show the
different options and modes in the game,
and if you have any philosophies or tips
for how to present it not just to players,
but also to designers and programmers.
Like do we talk about making a low vision mode,
or do we talk about making a high contrast mode?
Or do we talk about having a slider for like,
increased clarity or something like that?
- Yeah I mean that's a really good question,
and I mean sadly the answer is yes to all of it.
You know a lot of engineers and designers
don't want to be told exactly what to do,
so I put together these examples to
give people ideas and sort of
help them sort of understand where it is.
The one thing I want to say about simulations though,
I want to be really clear about simulations,
and it's something that's really
important to us in our practice.
We have a bunch of vision simulation goggles,
and we have like dexterity simulation devices,
all kinds of equipment out there
to simulate various impairment conditions.
We don't roleplay disability.
That is awful.
We use simulators to give people ideas,
we don't use them to validate decisions.
So yeah I mean the stuff that I made,
it's really just hacked together in
like Photoshop and stuff like that.
It's really not a big deal.
But it does give people a sense of
how people can experience their game.
But again it's not substitute for
actually going and talking to someone
and having someone sit there and tell you what it is.
With simulators I often like, I often tell people,
engineers that I work with,
they tend to really be into this--
I have to really drill hard on this notion of
like that it's not for validation,
because they're like oh if I put
these goggles on and it works fine for me,
I'm good to go.
And I'm like, no that's not it at all.
And I try to tell them this story where like,
where I say like I could put on
one of those pregnancy simulators you know,
and kind of like understand what
it's like sort of to have a big belly.
But that has nothing to do with being pregnant.
It's such a small sort of slice of what the experience is.
And that's the same thing with our simulators.
Does that answer your question?
- [Lucas] Yeah, in part.
I guess I'm curious whether you've found that
players for whom these features are designed
and for whom they're not designed
respond better if in the UI for example
it says low vision mode or if it says high contrast mode,
or if it's just a slider.
Or you know how you present it in such a way
that it's not necessarily,
this is explicitly accessibility or--
- Yeah, the community and we are kind of in this spot
where we don't necessarily know the right answer.
So I'll ask the community all the time.
I think about accessibility settings
as personalization settings.
I personally don't think there's any difference.
But the community likes to have--
There are certain aspects of people in the community
that like to have their own section.
They say, "I want an accessibility section,
"and I want those things in there to be familiar to me."
Which is completely understandable.
Like high contrast mode is something that
a lot of people with low vision
are gonna understand intrinsically what that is.
So it's a tough balance.
Again I mean I think we're all still working through this,
and it depends on who you talk to.
But we do kind of constantly kind of work on that balance.
- [Lucas] Thank you.
- [Man] Actually quite a few here.
Thanks for the talk.
I had a quick question about
your recommendations for competitive online games.
Because some of the accessibility options
that one could think of could also be seen as
an advantage to those who may not have a disability
or vision or hearing impairment or whatever.
How would you recommend dealing with that?
- Yeah, it's funny, I get this question a lot,
and I have a terrible answer because I'm super biased.
I don't care about cheating, you know?
If you're asking me personally,
if I'm going to enable someone to play this game
or enable a small group of people to cheat--
So this is totally my personal answer,
this is not an Xbox answer. (laughs)
Because this is me fighting like this notion of--
I mean I'm always going to want to include people,
and I've personally found,
and while I know that cheating is a big problem,
it's a hard problem to really quantify.
And I think we have a lot of cultural and sort of
inbed ideas about what cheating is.
And those things are hard for us
as an industry to get around.
Okay so not an answer that I think you wanted,
but I do know that like when FIFA put out two button mode,
the community basically everywhere decided,
the US of Disabled Gamers were like, this is amazing.
And then like they couldn't play
online with two button mode.
And if you ever watch the YouTube videos of like
really hardcore FIFA players playing in two button mode,
they hate it, it's not an advantage to them.
(laughs) It's a disadvantage.
Like they need that fidelity.
So yeah, I know that's not a good answer,
but it is sort of where I'm standing
in this place of like I'm for inclusion. (laughs)
- [Man] Right, thank you.
- [Woman] Good morning.
So my question is looking at gaming
moving forward to different platforms like AR and VR,
have you found that any of the tips
that you've shared today carry over to those new platforms?
And what does it look like to build
processes and tools to design for inclusivity
in these new gaming experiences?
- Yeah I mean I purposefully left out AR VR stuff
'cause I knew there were other talks on it.
And it's very tricky, obviously very new,
we're all learning a bunch of things.
I can tell you that there's some named Brian Van Buren
who he does a lot of great work on VR accessibility,
he's done a lot of really interesting stuff.
And it's just stuff like you know
when people expected you to be
so tall to be go reach an item,
and if you're sitting in a wheelchair,
you can't reach that item like, you're stuck, right?
So again I think there are things that we're learning.
Contrast is gonna be still important.
There are certain vision things.
We had a bunch of interns this summer.
They all had low vision, they were all young women,
they were just basically their first year of university.
And they came and talked to us
and they put on the VR goggles and it was
amazing how they played together
to kind of get around the limitations of VR.
What they did was one of them would wear the goggles,
and then the others would like go to
the monitor which was being displayed,
and they'd put their face like right up against it.
And so like one of them would act as the navigator
for the person wearing the goggles.
And so again that's why I'm so into this idea of coplay
as a way to like basically make these games better,
because I see people like using
these things all the time to get around it.
I mean things that we do in UI
to make things accessible for people with like low vision,
like zooming interfaces and high contrast?
It's very possible that doing those
things in AR or VR could make people sick.
So you know it's very tricky, we're still learning.
- [Woman] Thank you.
- [Man] Hello.
So regarding first encounters of games,
especially on first experiences,
you haven't yet gotten to the options
where you can pick these accessibility options.
Now how would you approach that challenge?
Because a lot of times a lot of the cool information,
a lot of new information is presented there.
But if a lot of that is not available to players
who can't you know perceive it properly,
or perceive it the way the designer intended,
that's a challenge.
I think you answered some of it earlier by saying
sometimes it's about putting the options
in places that are familiar to people,
but I wonder how you deal with that?
- So are you talking about the beginning of a game?
- [Man] Yeah first encounters,
specifically on very first experiences,
before you even get to the options
where you can make these accessibility choices.
- I mean I have to tell you like on the OS,
we put those options at the very first place we can.
And I mean if you talk with the deaf community,
they want closed captions turned on in cutscenes by default.
Like all these assistive technologies
aren't necessarily going to harm
the experience for other people,
so turning some of them on like
by default is not a horrible idea.
But again I think like that's up to everyone
in how to work out what their intention is with the game
and what they're trying to convey.
But I mean I personally,
I think you should put the options up front.
- [Man] Thank you.
Thanks, I think that's everybody.
Thank you. (applause)
-------------------------------------------
How Old is Master Roshi - Duration: 3:49.
Master Roshi has been alive since before Dragon Ball even started.
He looks like he is in his 70s or 80s but in fact he's much older than that.
He so old that he even trained grandpa Gohan (who is the man that took care of Goku on
earth just in case you didn't know) and the Ox King who is Chi-Chi's father.
It seems like he's been alive forever, but how old is Master Roshi?
That's what we're gonna talk about today.
Hey how's it going my name is Raf and welcome to Dragon Ball code.
Today we are going to talk about how old is really Master Roshi.
Because even though time passes he always looks the same.
So let's start doing the math.
Master Roshi was born in Age 430 which is a long time ago in the Dragon Ball universe.
Time passed and he starts training in martial arts.
More years keep passing and in age 658 grandpa Gohan was born.
So by this time he was already 228 years old and Grandpa Gohan was just a baby.
Just a little few more years pass and he competes in age 710 in the world martial arts tournament
number 13.
By now he's like 280 years old and he wins the tournament.
Then 26 more years pass and Goku is finally born but he's not even on earth yet.
So Dragon Ball as we know it hasn't even started and he's already 306.
Time keeps passing and Dragon Ball finally starts in the age 749 and Master Roshi meets
Goku.
From here all the events from Dragon Ball occur and we fast forward to age 761 which
is when Dragonball Z starts.
In age 762 Vegeta and Nappa arrive on earth.
Time keeps moving then Goku goes to Namek, they fight Frieza and in age 764 future trunks
arrives.
At this point Master Roshi is 334 years old… that's crazy.
Then androids arrive in 767 and the whole saga with the androids and Cell happens.
The fighters take a break for a few years and finally in age 774 Majin Buu appears and
he is defeated.
By now he is 344 years old.
And it doesn't stop there I know it's a lot of numbers and but we're getting there.
Then Beerus come to earth looking for a ssj god just 4 years after that.
And in age 779 Frieza is resurrected, the tournament between universe 6 and 7 takes
place, the whole arc with Zamasu and Goku Black happens and the Tournament of Power
also takes place.
Which is where they were at the moment in the anime when I made this video.
Then by the end of Dragon Ball Z in age 784 Master Roshi is 354 Years old.
And you can leave it here if you don't consider GT canon.
But if you do or are curious about how old he was at the end of GT, keep watching.
In the original Japanese anime Dragon Ball GT takes place in five years after the end
of dragon ball Z.
That is age 789.
And just one year later Goku defeats Omega Shenron and he goes to say good bye to Master
Roshi and Krillin.
This is the last time we see master Roshi and then we fast forward 100 years and we
see Goku Junior and Vegeta Junior fighting in the tournament.
Pan is an old lady by now, so everyone else that we knew has passed away, but even though
that they don't show master Roshi again I think that during this he was still alive
and well.
So if I'm correct by the end of Dragonball GT Master Roshi would've been 460 years old.
And there you have it feel free to correct me if I made a mistake and if you like this
video please like and if you like Dragon Ball content make sure to subscribe and hit the
bell icon so you can get notifications whenever I post a new video.
Thanks for watching and I'll see you later.
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How to Use the U-verse TV Total Home DVR | AT&T U-verse - Duration: 2:51.
You're in control with Total Home DVR from AT&T.
With Total Home DVR,
you can record up to four shows at once on a single DVR
and play back your shows from any room in your home.
Pause or record a show in one room,
and pick it up in another and much more.
New AT&T Fiber customers get six high-definition streams
with the 1TB PACE DVR.
To pause or rewind live TV from any receiver,
simply press "PAUSE" or "REWIND".
You can pause live TV for up to 60 minutes.
Press "PLAY", to restart your program.
You even have the ability to record a full show
if you've been tuned to the channel
and press "RECORD" at anytime within a 60-minute window.
To begin recording a program you're watching
from any receiver,
just press "RECORD" on your U-verse TV remote control.
The red RECORD light on your receiver remains lit
until recording stops at the end of the program.
Press "STOP" at anytime to end the recording.
Want to schedule a program recroding or series recording
from your U-verse TV program guide?
Press "GUIDE", then scroll up or down to the program
you want to record.
You can use the Page Up and Page Down buttons
to jump a full page
or "FAST-FORWARD" to jump ahead 24 hours.
Press the RECORD button once to record a single show,
press it twice to record the whole series,
or press "RECORD" a third time to cancel the recording.
One red dot will appear to indicate a show set to record,
and three red dots appear to indicate a series
that's scheduled to record.
To edit your series settings, including series priority,
press "Recordings" or "Recorded TV", depending on your remote.
Scroll to "Series",
select the show you'd like to edit, and press OK.
Select "Change settings" to update the type
or add time to the beginning or end of the recording.
You can also search for a program or series
to record from any receiver.
Start by pressing "MENU" on your remote.
Scroll down to "Search" and press "OK".
You can press "Filters" to narrow your search
and even search by typing the title of the show.
When a show appears that you want to record,
press "Info" to choose
whether you want to record a single episode
or the entire series.
To watch a recorded program,
select "Recordings" or "Recorded TV"
to view a list of your recorded programming.
Highlight a show and press "OK" to view
the Program Info Screen, or press "PLAY" to watch.
You can watch a recorded program from any receiver,
not just the receiver where you started the recording.
And remember, you can always schedule your DVR recordings
from anywhere using the U-verse app.
Get more control of your TV with the U-verse Total Home DVR.
For more information on Total Home DVR,
go to att.com/uversetvsupport
and enter the keywords "DVR" or "U-verse app".
[♪AT&T jingle♪]
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Is A Million Dollars Enough To Retire? How Much Money Do I Need To Retire - Duration: 3:43.
Can you retire on a million dollars? I mean, how much money really is that?
How far can that go? I'm Kris Krohn and today on Limitless TV, we're gonna explore
that question and find out what kind of retirement you're really gonna need to
live the life that you want.
A million dollars, a million dollars. Oh my gosh, I'm rolling in the money, rolling
in the money! A million dollars is not what it used to be, right? It's like, oh my
gosh, I want to win the lottery if I had a million dollars, what could I do?
Just pause and think about it for a moment, call your financial planner up if you
have one and say, I got a million dollars, what are my options?
and you know what he's gonna say, hmm we should put that in an annuity, get it to
produce three or four percent a year. Okay what's three percent of a million
dollars? It's 30 grand. What is that? Like less than three thousand dollars a month?
That's like 2,500 a month. Can you retire on 2,500 a month? No you can't retire on
2,500 a month, you're a millionaire, what are you doing with $2,500 a month?
You know what you do instead? Now you take that $2,500 a month and you have to pull
off some of the principal, pull five grand out every month, five grand out
every month because now I got 75 hundred I'm feeling pretty good except a few
years later, guess what you've done. You've been eroding your wealth as if
you can plan your d-day, death day. So there's got to be a different
alternative and that's what we're here to talk about and let me kick it off
with this idea first. A million dollars is not what it used to be but a million
dollars sitting in real estate even just paid off,
I could buy six paid off homes producing $1,200 a month each, I'd be sitting over
$7,000 a month an income, it's 85,000 dollars a year, it's not quite six
figures but guess what? I'm crushing it compared to the financial markets.
Now that's just the basic concept, you want to know what you could really do with a
million dollars in real estate? That's what I'm gonna show you next.
So if a million dollars could buy you a bunch of paid off free and clear properties, guess
what a million could also do. It could buy you 20 to 25 leveraged properties
and those leveraged properties will probably have a cash flow, very similar
to the paid off homes but here's the difference,
if I buy 25 homes with twenty or forty thousand dollars of equity each,
then guess what those homes will do when I sell that next batch. It will have taken
my first million and I'll turn it into two million dollars, you'll have
doubled your investment. How sexy is that? That's what leverage in real estate does,
it's time to pay things off and be free and clear when you have enough money to
produce the residual income that you want and that's really what the math
comes down to. Million dollars is not enough to retire on in the financial
markets. A million dollars in real estate can get you pretty close to a six-figure
income on paid off free and clear property and a million dollars is
certainly enough to catapult into your next million super-easy through
leveraged real estate. Bottom line is, when you can scroll it all up and bundle
it and wrap it into paid off property with enough residual income that meets
your liking for today and what your lifestyle needs will be a decade or two
from now, that's when you're ready to retire and that's how you do it.
I love helping create millionaires and keep on watching these videos and subscribe
because if you're seriously committed to your financial future, we're definitely
going to drop some nuggets on you, both in the mindset and the real estate
that's gonna help you get there.
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Hair 911, FTW - Duration: 1:22.
- Welcome to "For The Win," a show
to help stop whatever life throws your way,
like when you think you can master an at-home haircut.
Stay calm.
We've all been there.
We get a touch too confident after reading some
DIY hair article, and next thing we know...
Sit down, treat yourself to some ice cream,
and remind yourself that there's
still good left in this world.
Feel better? Good.
Let's do this. First, wash that
bad bang nightmare down the drain.
It happened. It's over.
We move on.
Time to clean, condition, and strengthen.
We need you at max moisture and shine.
Okay, your volume is now incredible.
But even those wizards at Pantene
can't grow bangs in a bottle.
What next?
Well, at least Garnier hairspray
took care of those flyaways.
Next, let's try pinning 'em back with a bobby pin.
It'll help those forehead feathers blend in
with the rest of your shiny, voluminous hair.
And you know, have some scarves and hats on hand
for the days your hair just won't cooperate.
Last option, diversion.
No one will be wondering about your new hairstyle
when you're rocking a flawless bold lip.
Own it. You look great.
Hair grows back, eventually.
And who knows?
You might even start a hot new trend.
And that's how to tackle a hair emergency
for the win.
Tap the link on the right to get the goods at Target.com.
And hit subscribe so you never miss
an episode of "For The Win."
Thanks for watching.
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Finding Inner Peace And Happiness Inner Peace How To Achive Peace Of Mind - Duration: 6:43.
Finding Inner Peace And Happiness Inner Peace How To Achive Peace Of Mind
Finding Inner Peace And Happiness Inner Peace How To Achive Peace Of Mind
Finding Inner Peace And Happiness Inner Peace How To Achive Peace Of Mind
Finding Inner Peace And Happiness Inner Peace How To Achive Peace Of Mind
Finding Inner Peace And Happiness Inner Peace How To Achive Peace Of Mind
-------------------------------------------
Shania Twain On How To Do Her Signature Dance Moves And Her New Album "Now" | Megyn Kelly TODAY - Duration: 10:05.
For more infomation >> Shania Twain On How To Do Her Signature Dance Moves And Her New Album "Now" | Megyn Kelly TODAY - Duration: 10:05. -------------------------------------------
Halloween 'Trick Or Trivia' Quiz For 3 Audience Members | Megyn Kelly TODAY - Duration: 4:56.
For more infomation >> Halloween 'Trick Or Trivia' Quiz For 3 Audience Members | Megyn Kelly TODAY - Duration: 4:56. -------------------------------------------
👟 Salsa Footwork Tutorial ★Beginners★ TAP 1 (Mambo Taps) ★ On1 & On2 (♫) | #MBCfootwork - Duration: 7:19.
We will learn and practice on1, on2, slow and fast.
The move on1 and on2 is the same -
Be sure to practice both.
Let's go, basic on1, slow...
Stay for the master tip.
I hope you enjoyed this video and found it helpful.
and if you did give it a thumbs up, subscribe for more,
and join the notification squad.
You'll have new videos every Tuesday and Saturday.
Also, let me know in the comments below what other kinds of videos you want me to do for you.
I respond to all comments, try me!
and remember: Practice isn't the thing you do once you're good.
It is the thing you do that makes you good.
So make sure to go back and practice again or continue to the next video in the playlist.
Links in the description below, or above.
And to find out more what you have here on this channel, I created a short video for
you explaining everything.
And if you're wondering why I'm doing all this.
For you, for free, ALWAYS for free.
Check out my story...
Master tip of the day:
move your arms opposite to your legs.
-------------------------------------------
Did You Know: Meet Joe Sellers - Duration: 1:07.
Hi my name is Joe Sellers I'm a beef program specialist for Iowa State
University Extension and Outreach that's As a beef specialist I work with adult
producers mostly. I work in about 17 counties and we work on rations, on
grazing management plans, on beef breeding plans, economic decision-making.
We do a lot of different things and I also work with youth in the summer on
carcass shows for youth programs. Well one thing I think we are, in the beef
industry especially, there's not quite as many private service providers so we
really we can fill a void that some people don't have the opportunity to get
service on the rations or on genetic decisions or on grazing management. So we
fill a void that might be not true in some of the other disciplines. Well it's
been a great career to work with producers and work with people one on
one. And we have a lot of good opportunities to have both big meetings
but also individual assistance to people and so really the interaction with
people is the main thing so but whether it's staff or producers or other agency
people or agribusiness it's been a great relationship.
-------------------------------------------
🍓 Strawberry Lollipops Finger Family - Duration: 1:37.
Daddy finger, daddy finger,
where are you?
Here I am, here I am.
How do you do?
Mommy finger, Mommy finger,
where are you?
Here I am, here I am.
How do you do?
Brother finger, Brother finger,
where are you?
Here I am, here I am.
How do you do?
Sister finger, Sister finger,
where are you?
Here I am, here I am.
How do you do?
Baby finger, Baby finger,
where are you?
Here I am, here I am.
How do you do?
Daddy finger, daddy finger, where are you?
Here I am, here I am.
How do you do?
Mommy finger, Mommy finger, where are you?
Here I am, here I am.
How do you do?
Brother finger, Brother finger, where are you?
Here I am, here I am.
How do you do?
Sister finger, Sister finger, where are you?
Here I am, here I am.
How do you do?
Baby finger, Baby finger, where are you?
Here I am, here I am.
How do you do?
-------------------------------------------
Does gravity affect time? - Duration: 0:35.
Does gravity affect time?
Speed is equal to distance over time.
Gravity increases the distance light travels as it curves space.
The speed of light is constant no matter where you are and no matter how fast you're going.
So, if the speed of light is fixed and the distance increases due to gravity then time
has to slow down to make sure the equation still balances.
The more gravity there is the more space is curved and the slower time moves.
-------------------------------------------
DARK SOULS 3: Are You Afraid of the Dark? | LORE in a Minute! | Lords of Cinder | LORE - Duration: 1:43.
The First Flame was a mighty power that transformed a rare few into Lords.
These godlike beings, now harnessing the souls of lords, challenged the everlasting dragons
for dominion over the world.
Together, with the help of a betrayer, the Lords defeated the dragons and ushered in
the Age of Fire, an era ruled by these champions.
Though sadly, the fire cannot burn forever.
With the fire fading, and a dark age nigh, Gwyn, Lord of Sunlight, sacrificed himself
by linking his soul to the First Flame, and with that, he perpetuated the Age of Fire
and became the first Lord of Cinder.
Eons have passed, and the First Flame has been linked countless times by worthy souls,
but the Age of Fire is once again quickly fading.
A bell tolls awakening previous Lords of Cinder
so that they may re-enact the sacrifice of Lord Gwyn.
Alas, only one willingly returns to his throne, the meek Ludleth of Courland.
The Abyss Watchers, an undead legion tainted by the Abyss they swore to contain
are locked in an internal conflict.
Yhorm the Giant withdraws to the profaned capital
overcome with grief and regret for failing to save his people.
Aldrich, Saint of the Deep and devourer of men, anticipates the coming dark with delight.
And Lothric, the prince destined to link the flame would rather see it fade into darkness.
You are the Ashen One, an undead who has failed to link the flame in a previous age.
Your duty is to return the five Lords of Cinder to their thrones and link the fire once more…
but this time without poise.
Praise the soup.
Have fun!
-------------------------------------------
Congratulations, You Win! - Duration: 0:11.
(Violent shaking and loud music is making you have seizures)
YoU wIn
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