Tuesday, December 27, 2016

Youtube daily report w Dec 27 2016

At CES, LG will show off its own take on the levitating speaker: the PJ9.

The announcement article isn't very clear on some details, but it lets us know that

the PJ9 will have a battery that lasts 10 hours after which the speaker will drop down

to charge wirelessly.

It's also IPX7 rated for outdoor use, and supports MultiPoint technology to connect

to two Bluetooth devices simultaneously.

The PJ9 creates its stunning visual effect using powerful electromagnets housed inside

the Levitation Station to give the speaker its unique trait of being untouched by any

surface or wires when playing.

At the core is a 360�degree omnidirectional speaker with turbine blade-inspired design

and deep bass courtesy of the subwoofer embedded inside the Levitation Station.

The PJ9 also features Dual Passive Radiator technology to reproduce flush mid-range tones

and crisp highs.

When its 10-hour battery begins to run low, the smart portable speaker automatically descends

to the Levitation Station and begins to charge wirelessly with no intervention from the listener

and no interruption in the music.

The PJ9 is IPX7 compliant in order to withstand any adverse weather condition when being used

outdoors.

For added convenience and versatility, Multipoint technology enables the speaker to connect

to two Bluetooth devices simultaneously.

For more infomation >> LG PJ9 levitating Bluetooth speaker announced coming to CES 2017 - Duration: 1:31.

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S.Pellegrino® Water

For more infomation >> S.Pellegrino® Water

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Quaker® Oats Smoothie

For more infomation >> Quaker® Oats Smoothie

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Volkswagen Golf 1.4 TSI ACT R LINE AUTOMAAT - Duration: 1:45.

For more infomation >> Volkswagen Golf 1.4 TSI ACT R LINE AUTOMAAT - Duration: 1:45.

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Volvo V40 1.6 D2 R-DESIGN / PLUSLINE 14% BIJTELLING - Duration: 1:23.

For more infomation >> Volvo V40 1.6 D2 R-DESIGN / PLUSLINE 14% BIJTELLING - Duration: 1:23.

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Love Lele Pons?

For more infomation >> Love Lele Pons?

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Adult Swim YouTube

For more infomation >> Adult Swim YouTube

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Почему быть в группе ОТСТОЙ (STEVIE T RUS) - Duration: 4:23.

For more infomation >> Почему быть в группе ОТСТОЙ (STEVIE T RUS) - Duration: 4:23.

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Fiat Grande Punto 1.4-16V SPORT T-JET Airco ECC Cruise control Licht - Duration: 1:52.

For more infomation >> Fiat Grande Punto 1.4-16V SPORT T-JET Airco ECC Cruise control Licht - Duration: 1:52.

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Multifandom || Hunger [TYS #2] - Duration: 2:18.

For more infomation >> Multifandom || Hunger [TYS #2] - Duration: 2:18.

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A YEAR IN THE LIFE - Oliver James - Duration: 8:49.

HELLO and welcome to the video

I've worked on this movie for a year now

skip to find your favourite parts if you want

my favourite bit is when I'm on holiday

(sidemen event)

For more infomation >> A YEAR IN THE LIFE - Oliver James - Duration: 8:49.

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Can You Make Alcohol in Space? - Duration: 3:42.

The people who work on the International Space Station probably have one of the coolest jobs

out there.

I mean, the view from their office window is the entire planet.

Some of them even get to do spacewalks.

But working on Earth does have at least one perk that astronauts don't:

After a long day, most people can come home to a nice cold brew.

But for decades, NASA has had a strict no-alcohol policy for all its astronauts.

That hasn't stopped us from doing research on how to make the stuff in space, though.

Orbit -- with its constant temperature, weightlessness, and higher radiation -- is a very different

environment from anything you'd find on Earth.

And all those factors affect the alcohol-making process.

The alcohol in your beer, wine, and spirits comes from a tiny fungus called Saccharomyces

cerevisiae.

Which you might also know as yeast.

Through fermentation, yeast ingests plant sugars, converts them to energy, and releases

carbon dioxide and ethanol — aka the kind of alcohol you can drink.

What the yeast eats determines what kind of drink you end up with.

If you ferment grains, you produce beer; if you ferment grapes, you get wine.

Back in the Space Shuttle era, NASA sent up an experiment designed to brew a tiny batch

of space beer.

Instead of using the kettles and vats normally used for beer production, this space brew

was fermented in a syringe-like device with a very descriptive name, called a Fluid Processing

Apparatus.

Meanwhile, researchers made beer on Earth using the exact same process.

Once the mission ended, they compared the beers and found that the beer brewed in space

contained fewer living yeast cells.

Now that was unexpected because the space yeast actually had better access to food.

Since nothing settles to the bottom in microgravity, the yeast and the grain should've been more

evenly mixed.

But the cells that were still alive also produced higher levels of a protein linked to stress

so spaceflight might be as rough on the tiny organisms as it is on us.

Which could help explain why so few cells survived the trip.

The Shuttle's short trips made sense for brewing beer, but aging whiskey takes much

longer.

So in 2011, another group of researchers sent a small batch of fresh scotch whiskey to the

International Space Station on a two and a half year trip.

Like with the beer experiment, they kept a sample here on Earth as well.

Usually, whiskey is stored in oak barrels during the ageing process and gets its flavors

from the wood.

But a barrel would be too big to send up and store on the ISS, so both batches were sealed

into small vials with some oak shavings.

Once the space scotch got back to Earth, both samples were compared chemically and by trained

taste testers.

Normally, whiskey gets some of its flavor from the chemicals in wood leaching out, so

researchers expected the more efficient mixing of oak and alcohol in orbit to create more

intense woody flavors.

Instead, microgravity seemed to slow the breakdown process, and they ended up with a whiskey

that was very different from the control sample.

The samples that were aged on Earth had a woody aroma, with hints of things like cedar,

and vanilla, and burnt oranges.

On the other hand, space scotch's intense aroma was described as having, quote, "hints

of antiseptic smoke, rubber and smoked fish, along with a curious, perfumed note, like

violet or cassis, and powerful woody tones, leading to a meaty aroma."

Which … does not sound super appetizing.

So maybe Earth orbit isn't the best place to make alcohol until we figure out a better

way to do it.

Thanks for watching this episode of SciShow Space, and thanks especially to our patrons

on Patreon who help make this show possible.

If you want to help us keep making episodes like this, you can go to patreon.com/scishow

to learn more.

And don't forget to go to youtube.com/scishowspace and subscribe!

For more infomation >> Can You Make Alcohol in Space? - Duration: 3:42.

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How to Never Run Out of Things to Say [Street Seduction Workshop E04] - Duration: 10:03.

For more infomation >> How to Never Run Out of Things to Say [Street Seduction Workshop E04] - Duration: 10:03.

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Video 1: Client Name - Duration: 0:31.

I came to the school for an open house

session and immediately fell in love

with the staff you feel very welcome in

the classroom and to know that you're

being taught by some of the best in the

medical field that's also very but when

I believe that's the Allen school apart

from other schools is our family

environment we're here to help all of

our students to make sure they lead a

successfully career that day that

confirmed my enrollment i was told

welcome to the Allen family. The Allen

school is the place to be

For more infomation >> Video 1: Client Name - Duration: 0:31.

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AMSTERDAM FOR YOU - PART 2 (PORTUGUESE AND DUTCH SUBTITLES. - Duration: 7:42.

For more infomation >> AMSTERDAM FOR YOU - PART 2 (PORTUGUESE AND DUTCH SUBTITLES. - Duration: 7:42.

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Wanna see me? | #KatastroFee - Duration: 2:56.

Wait...

I don't want to break it. I break everything I touch...

You try to close it!

oh... okay thanks.

We could just sit here and do some shit while filming.

Hello, She is Stanny.

Heyo, I am Stanny and...

umm...

Heyo, I'm Stanny and thats the first KatastroFee video.

So. Now I have to explain...

go

what is Katastorfee?

I even don't know. It's... umm My life

So I'm the KatastroFee, Hi I'm Stanny

I can't do this

Ohhh stop it

Last night you said that we could do everything and...

- Yes, you could do everything

I? yeah.

not me!

Bc my Ass breaks not yours... (long story)

Should I try a bottle flip, maybe you feel better then?

I got a letter

You're so stupid

whaaat?

Yes, exactly....

*reads some words from my script*

Don't read my script now.

I cant even say that

This isnt love

(hell no)

Why perforator?

Heyo is a mix of Hello and Hey... I didnt know what I should say...

so

Then I said Heyo...

(when stanny is thinking about life xD)

Horror (like a 100 times xD)

A Pokemon, huh?

Horror (again like a 100 times)

Use your Horror-attack

Thats normal

That will take 2 minutes now...

You just didnt read it.

don't understand...

Some tea, my dear?

of course, my (theres no english word for it rip)

pricey...

and now?

we stare in the camera...

and do nothing

poor people who have to watch this...

Yes, I am also sorry for that

I can't see anything

Mayo (her name lol) ... I cant see...

Wanna see me?

yes, yes I want to

When there is nothing in your brain but your idol:

Stanny: deletes kostory Stanny: uses....

Mik?

I thought about him but I didnt wanted to say this and thats why I stoped bc...

actually I wanted to say Amourshipping....

Stanny: Edits with Kostory Stanny: deletes Kostory Stanny: uses Amourshipping

Stanny: Edits with Amourshipping Stanny: deletes Amourshipping Stanny: uses BillDip Sony Vegas: seriously?

Stanny (14) can't decide her fandom

Stanny (15) still don't know her age

Yeah, red and black are...

Party time

trchooo

For more infomation >> Wanna see me? | #KatastroFee - Duration: 2:56.

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How To Make Rolo Pretzel Bites [How Do You Do] - Duration: 1:18.

Rolo Pretzel Bites [How Do You Do]

Unwrap 1 package of Rolos

Lay out mini pretzels onto baking sheet

Put Rolos onto pretzels

Take them to the oven

350 degrees Fahrenheit for 2-4 minutes

Press pecans gently on top

Cool 5 minutes

Please Subscribe : )

We're going to put them in the oven

and it's going to make the chocolate melt a little bit

but not too much

When we take them out of the oven

we have to be really FAST!

because when it's still melted

we're going to put the pecan on top of the melted chocolate

and then the pecans will stick to the chocolate

OK? But we have to be SPEEDY!

For more infomation >> How To Make Rolo Pretzel Bites [How Do You Do] - Duration: 1:18.

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God's WORD Brings You Victory with Kenneth & Gloria Copeland (Air Date 12-30-16) - Duration: 26:15.

KENNETH: We need to be asking God for more demonstrations of

the Spirit. GLORIA: Yeah. KENNETH: See, things

don't happen in the earth until men ask God for it,

because He has turned this earth over to men.

(Singing) I know my God has made the way for

me. I know my God has made the way for me.

KENNETH: Hello, everybody. We're Kenneth and Gloria Copeland.

Let's have a word of prayer, we'll get right into today's

Bible lesson. Father, we praise You, and we thank You. GLORIA:

Thank You, Father. KENNETH: We worship You. We open our hearts,

and we open our minds. We fully expect the greater One that

lives within us, the Spirit of the living God-- GLORIA: Praise

God. KENNETH: --our teacher, our comforter, our helper, our

intercessor, our guide-- GLORIA: Thank You. KENNETH: --our

counselor, our strengthener, our standby--we fully expect Him to

equip Gloria and me today-- GLORIA: Yes. KENNETH: --with

every ministry gift necessary to teach this Word today with

accuracy and make it plain and clear, and to move throughout

this entire radio and television audience-- GLORIA: Yes. KENNETH:

--on their ears, that all together we will hear and

receive revelation from heaven. GLORIA: Praise God. KENNETH: We

thank You, and we praise You. GLORIA: Praise God. KENNETH: In

Jesus' name. GLORIA: In Jesus' name. KENNETH: Amen. GLORIA:

Amen. KENNETH: Hallelujah. GLORIA: Hallelujah. KENNETH:

Gloria, you look wonderful today. GLORIA: Thank you,

darlin'. KENNETH: Amen. GLORIA: You look good yourself. KENNETH:

I appreciate that. (Both Laugh) Glory to God. I want--let me

tell you something. I've got something to tell you.

Yesterday, Gloria and I were enjoying our time off yesterday,

and it just came to me like a revelation. I've never thought

of this before, how wonderful it is to get up every morning of

the world and not have a gripey wife. GLORIA: (Laughs) Oh,

that's good. KENNETH: Never. "Oh, Brother Copeland--" Don't

"Oh, Brother Copeland" me. I mean, me and this girl have been

together now for 54 1/2 years. GLORIA: That's right. KENNETH:

I'm going to tell you what. Now, I didn't say that for me.

There's been a lot of times I got up griping. She never has.

GLORIA: Praise God. KENNETH: Not that I--if she ever did, I don't

remember it. I mean, she might, you know, have been a little off

somewhere. She never griped at me, never, ever. GLORIA: I love

you. KENNETH: And it was her life--like--her life of love

that--that got the gripe out of me. And for the last many, many,

many, many years, we get up in the morning, we're not gripey at

one another, and how wonderful it is. "Well, I sure wish I

could have--" Well, quit griping yourself and give the Lord an

opportunity to let love work. Amen. GLORIA: It's wonderful--

KENNETH: Isn't it good? GLORIA: --living in peace and harmony.

KENNETH: Amen. Ho-ho, hallelujah. GLORIA: I'm blessed

you figured that out and told me, and now I know. Hallelujah.

KENNETH: Amen. Boy, it's just wonderful. And now, let's open

our Bibles today to I Corinthians 2. The Lord began to

deal with all of us, Pastor and Terri and--Pastor George and

Terri, pastors at EMIC, and with me. And I'm--I've got back and

listened to tapes of Brother Hagin's that were preached back

in the '80s and in through there. And God was dealing with

him over the same thing right there then. And so I want to

share some things with you. Now, let's go to II Corinthians, and

we'll read the 4th and the 5th verses. "And my speech--" This

is the apostle Paul. Now listen. "My speech and my preaching was

not with enticing words of man's wisdom, but in demonstration of

the Spirit--" Talking about the Holy Spirit. "--and of power,"

anointing power, "That your faith should not stand in the

wisdom of men, but in the power of God," that--that your and my

faith should not stand in the wisdom of men, but our faith

should stand--or our faith should be in the power of God.

We should have faith for. We should have faith in. We should

fully expect manifestations all the time-- GLORIA: Yes. KENNETH:

--of the power of God. Hallelujah. Now, I want to go

over now to II Timothy 3. And notice this. "This I know

also--" this is also the apostle Paul, of course. And it--writing

his letter to Timothy at--who at the time is a young pastor.

"This I know also, that in the last days--" Well, we are in the

last of the last days. And this is--this--this time right here,

we're seeing this manifested in our presence more than any

generation before. These have always been here because the

devil's still here, and people still yield to it. But we're

seeing things now that, particularly in the United

States, that we've just never seen before in this country.

GLORIA: Praise God. Mm. KENNETH: I know also that in the last

days, perilous times shall come. GLORIA: Perilous. KENNETH: "For

men shall be lovers of their own selves, covetous, boasters,

proud, blasphemers, disobedient to parents, unthankful, unholy,

without natural affection, truth--truce breakers, false

accusers, incontinent, fierce, despisers of those that are

good, traitors, heady-minded, lovers of pleasures more than

lovers of God; having a form of godliness, but denying the power

thereof." Can you see that? Now, here's what struck me. Oh, my, I

mean, it--Gloria, it hit me almost like somebody had hit me

with a fist. Of course, I didn't feel it physically, but--

GLORIA: Yeah. KENNETH: But it--ooh, it's the-- GLORIA: Felt

it, yeah. KENNETH: Yeah. I'm reading this. Now notice,

"traitors, heady, highminded, lovers of pleasures more than

lovers of God; having a form of godliness." He was not talking

about the world. GLORIA: Hmm-mm. KENNETH: He was talking about

this--this horrible demonic stuff being manifested in

churches. I'm going to let that soak in on you a little bit.

Boy, I mean, that's the way that hit me. "God, really?" Well,

you've always had this with demons, I mean, see, we don't

wrestle with flesh and blood. People--people yield to the

devil. They cooperate with him, this is what you're going to

get. But, hey, churches? Oh, Lord. Well, yeah. We've seen

this for years, having a form of godliness, go through all of the

religious rituals and everything. But when it comes to

anything that has power, well, you know, deny that, deny the

power of it. "Well, that's all passed away," or "God doesn't do

that anymore." Or some fool said, "God's dead," you know,

and other ignoramus things like that. But now, what causes that?

Being religiously brainwashed instead of actually getting into

the New Testament and studying it by the Holy Spirit and

realizing it's God's Word. Well, this is not--now, the denying

the power thereof has been around a long time. But now

we're beginning to see these other things manifest, like

"without natural affection." That's homosexuality. GLORIA:

Yeah, yeah. KENNETH: And so forth. You begin to see it

manifest in the church. GLORIA: "Incontinent" is unrestrained.

KENNETH: Yeah, unrestrained. And you--you begin to see it in

churches and church people and so forth and so on. Well, we're

there. So now, "denying the power." The power. Let's talk

about the power. Let's go back over here now. I want to

read--let's go back over there where we were a moment ago in I

Corinthians 2. Let's read that again and refresh our minds to

that. I turned two pages at once. Here we go. Verse 4, "My

speech and my preaching was not with enticing words of man's

wisdom, but in demonstration of the Spirit and power." Now, I

wisdom, but in demonstration of the Spirit and power." Now, I

want to notice here, your faith should not stand in the wisdom

of men, but it should stand--your faith should be in

the power of God. Now, Jesus said-- GLORIA: I see what

they're saying. He's saying, not--you--don't put your

alliance, your confidence, your faith in the wisdom of men.

KENNETH: Yeah. But in the power of God. GLORIA: Put it in the

power of God, yeah. KENNETH: And we should be believing God. And

we should be believing God for demonstrations of power. Isn't

that what He said? Demonstrations of the Spirit and

power. That would be the power gifts of the Spirit. And he went

ahead and talked about it in the 12th chapter here. Of course, it

is. That's where he's going with that. GLORIA: Mm-hmm. KENNETH:

Now, I--I--ha-ha. We've not been doing what the Scripture

Now, I--I--ha-ha. We've not been doing what the Scripture

encourages us--well, no, it's more than encourage. GLORIA:

Admonishes. KENNETH: Admonishes. That's a good word. Thank you,

Gloria. Admonishes us to do. We need to be asking God for more

demonstrations of the Spirit. GLORIA: Yeah. KENNETH: See,

things don't happen in the earth until--till men ask God for it

because He--He has turned this over to men. And He doesn't just

come bullying His way in among His people. And a lot of times,

more than--more than I personally believe--I don't give

you my personal opinion very much because I give you what the

Word says. But I do have the Holy Ghost. And I really--I am

really, really impressed that God's ready all the time to do

these things. Nobody's asking Him for it. GLORIA: Mm. That's

an interesting thought. KENNETH: And particularly when people are

going along, I mean, the Lord just really jerked me up over

this some time ago. He said, "You're not--you're not seeking

Me for this." Oh, Lord. See, we're--we expect it all the time

because that's what we do and that's who we are. We expect it.

GLORIA: And we want it. KENNETH: But I wasn't spending any time

interceding. Nothing happens until intercession goes forth,

is the whole key to this thing. Somebody's got to get before

God, and then He moves in the earth. Let's go over here to the

12th chapter. And I want you to notice--let's just begin reading

now at the 1st verse there. "Now concerning spiritual gifts,

brethren, I would not have you ignorant. You know that you were

Gentiles, carried away under these dumb idols, even as you

were led." "Dumb idols," that means those idols couldn't

speak. GLORIA: That's right. KENNETH: They're made out of

wood and whatever then. They couldn't say a thing. "--even as

you were led. Wherefore I give you to understand, that no man

speaking by the Spirit of God calls Jesus accursed: that no

man can say Jesus is Lord, but by the Holy Ghost. Now there are

diversities of gift, but the same Spirit. There are

differences of administrations, but the same Lord. There are

diversities of operation, but it is the same God which worketh

all in all." Now listen to this. "Manifestation--" or you could

say "demonstration," couldn't you? GLORIA: Mm-hmm. KENNETH: "A

manifestation of the Spirit--" The Holy Spirit would be a

demonstration. "--of the Spirit is given to every man to profit

withal." These gifts don't belong to individuals. They

belong to the Body of Christ. GLORIA: Mm-hmm. KENNETH: Now,

someone said, "Brother Copeland, do you have the--you have

the--the--will you have the gift of the word of knowledge?" The

word of knowledge functions in me and through me more than

these other gifts do. But that's about to change. GLORIA: Good.

KENNETH: Because this is my fault that the others weren't

producing. And I'm going to get to that. GLORIA: Oh, good.

KENNETH: But no, I don't have it. I mean, if I had it, I'd use

it all the time. But I'm available and--wait a minute,

and I'll show you what he's saying here. "But the

manifestation of the Spirit is given to every man to profit

withal. For to one is given by the Spirit the word of wisdom;

to another the word of knowledge by the same Spirit; to another

faith--" Now, that--the Greek text is better translated there

as "special faith." This is not saving faith. This is--this is a

manifestation of God's faith added to yours. And it--whoa,

it's--it's one of the power gifts-- GLORIA: Yeah. KENNETH:

--that we're going to be talking about. Okay. GLORIA: Where are

you? KENNETH: Ha-ha-ha, yeah. Verse 9. "To another special

faith by the same Spirit; to another gifts," plural," of

healings." It is plural. GLORIA: Mm-hmm. KENNETH: Should have

been--should have been translated plural. "To another

prophecy; to another discerning of spirits; to another different

kinds of tongues; to another interpretation of tongues: all

these worketh that one and the selfsame Spirit, dividing to

every man severally as he will." Now, He--He's moving as He

wills. Well, you don't just sit and wait till He wills, because

He can be willing to do something, but if you haven't

asked, you haven't exercised any faith, then--then He's very

limited to how much of that He can do. And now, I want to show

you this. Let--those--let's look at those power gifts again.

Verse 9, "To another special faith by the same Spirit; to

another gifts of healings by the same Spirit; to another the

working of miracles." Those are the power gifts. Now, you have

other things going on in those other gifts. You have things

that--gifts that reveal things and so forth. For right now, we

won't get over into that because we're dealing with these power

demonstrations of the Holy Spirit. Now, you go and you

study all the rest of this chapter. Now come down here to

the 31st verse. "Covet earnestly." I thought we weren't

supposed to covet. No. It didn't say, "Don't covet." It said,

"Don't covet stuff that belongs to somebody else." GLORIA:

That's right. KENNETH: This belongs to you. If you're born

again, these things belong to you. See, you don't have to be

in the five-fold ministry for these things to manifest. You

can just be like Jesus said in this 16th chapter of the book of

Mark, last chapter. He said, "These signs will follow them

that believe." It didn't say nothing about the ministry. And

one of the things that you did, "They shall lay hands on the

sick, and they shall recover." That's for every believer. As a

witness, we ought to be out there talking about these things

and asking God to manifest himself in me. GLORIA: Praise

God. KENNETH: Now, these gifts, according--if you are called in

the fivefold ministry; apostle, prophet, evangelist, pastor,

teacher, there are certain of these gifts that are ministry

equipment like in the office of the prophet. Well, you expect

the prophet to prophesy. GLORIA: Yeah. KENNETH: And--but

revelation gifts especially. But also in the prophet's ministry

are manifestations of the power gifts. And that--that's where

we're--that's our target right now. Okay. "Covet earnestly

these gifts." Desire them, desire spiritual gifts. Praise

the Lord. Now, let's go over here to the 14th chapter.

"Follow after love and desire spiritual gifts, but rather that

you may prophesy." Now, I wanted to read that for you. Desire

these gifts. Ask God for them. We haven't been doing that, not

nearly like we should have. And like I said, the Lord--the Lord

pulled me up over this. He said, "Now, you're not--you're

not--you said it like this. You said, "We're not making enough

over miracles." GLORIA: That's right. KENNETH: We're not making

enough out of that. We ought to be talking about miracles. We

ought to be asking God for miracles. We ought to be moving

in that direction all the time. Now, let's go over here to the

book of Acts, and let's look here in the 4th chapter of the

book of Acts. And they had--they had called up the--the apostles

and so forth, and, you know, for preaching in the name of Jesus

and, you know, they put them in jail and all that. Now, come

over here to the 29th verse. I want you to notice this prayer.

"For--And now, Lord, behold their threatenings: and grant

unto thy servants, that with all boldness they may speak the

word--" Now, they're asking for this. "--by stretching forth

your hand to heal; that signs and wonders--" See there,

they're asking for the miracle of the power of gifts. Now, they

could--they didn't know that that's what those were. They

couldn't go to I Corinthians 12. It hadn't been written yet.

"--that signs and wonders may be done by the name of your holy

child Jesus. And when they prayed, the place was shaken

where they were assembled--" It's time for some house-shaking

stuff going on. GLORIA: It is. I agree. Yes, amen. KENNETH:

Praise God. GLORIA: Amen. KENNETH: Amen. GLORIA: Praise

God. KENNETH: Isn't this wonderful? GLORIA: Yes. KENNETH:

Now, in these--I was praying. I want you to listen to me now

because we need to close this right here. But now listen to

me. Back some time ago, right before Southwest Believer's

Convention, I was just out on my deck just praying in the Spirit,

getting ready, just preparing myself. And I heard this come

out of my mouth in this order, and I wondered about it at the

time. I said, "Father, I give myself to gifts of healings,

working of miracles, and special faith." Praise God. And I

thought, "Well, wonder why I didn't start at the top with the

Word of wisdom." And I asked the Lord, and He said, "Well,

that--you know, that's what I want to manifest." I look back

on that now, and I could see that's what I was doing. I was

asking Him. I was giving myself to that. And here, lately, He

said, "I want you to start asking Me for those. You ask Me

for manifestation. You ask Me for manifestations of the glory.

You ask Me for manifestations of Myself in your midst, and you

pray these prayers like we're praying here, and you expect Me

to do the unexpected. And the more you expect it, the more

I'll do it. And the more you talk it, the bigger it'll get."

And we're out of time, and-- GLORIA: Praise God. KENNETH:

--Gloria and I'll be back in just a moment. GLORIA: That's

good. KENNETH: Ha-ha-ha! Hallelujah. GLORIA: Praise God.

KENNETH: Amen! GLORIA: That's awesome. KENNETH: They'll

manifest around you right now! Praise God. They're manifesting

right now. Some of you are taking it. Someone was healed of

a broken knee right then, a broken kneecap on the right

side. Yeah. Yeah, yeah. GLORIA: Glory to God. KENNETH: I

don't--well, yeah. GLORIA: Yes, yes, yes, yes. KENNETH: Praise

God. Hallelujah! Thank You, Lord! Take it! GLORIA: Thank

You, God. KENNETH: Take it! Take it! "That's mine. Glory to God.

Those gifts belong to me--" GLORIA: Yes. KENNETH: "--as much

as they do anybody." GLORIA: That's right. KENNETH: Ha-ha-ha.

Thank You, Jesus. Ha-ha. Thank You, Lord. Praise God. Mm.

GLORIA: Thank You, Lord. KENNETH: Oh, thank You, Jesus.

Thank You, Jesus. Tumors are being removed. Tumors are

disappearing right now, malignant tumors. Some of them

are not malignant. Growths are being--someone has warts all

over your body. You start saying it now, "Warts, you get off of

me. You're--you're a trespasser. Get off my body in the name of

Jesus." GLORIA: Amen. KENNETH: Thank You for it, Father.

GLORIA: Praise God. KENNETH: Whoa. GLORIA: Thank You.

KENNETH: Blessed be the Lord. Mm. GLORIA: Thank You, Jesus.

Glory to God. Listen to this Scripture: "And great power gave

he the apostles witness of the resurrection of the Lord Jesus."

KENNETH: That's what it's all about. GLORIA: "Great power and

great grace was upon them all." KENNETH: That's it right there.

And we're out of time. We'll be back in a minute.

For more infomation >> God's WORD Brings You Victory with Kenneth & Gloria Copeland (Air Date 12-30-16) - Duration: 26:15.

-------------------------------------------

How Kubrick Made 2001: A Space Odyssey - Part 6: Jupiter and Beyond the Infinite [A] - Duration: 22:25.

Kubrick: "You can say a lot of things about what it should be you know what should be.

You know, it should be an interesting story, offer possibilities for cinematic beauty in

terms of photography and editing and, it's in the end, truthful and honest in dealing

with the thematic material.

Historical films offer possibilities of doing the sort of things that movies do better than

anything else: re-creating atmosphere (just as futuristic films do).

Description is the most boring thing in a novel whereas in a movie, what you put on

the screen is a great effort to the makers of the film.

I suppose that, you know, I would always be attracted to something which offered interesting

visual possibilities."

In an interview, Bryan Loftus talks about the day the studio backers came to visit.

They were concerned because, despite Stanley Kubrick helming the project, it had been two

years and tons of money had been spent and they hadn't yet seen a foot of film.

Loftus said, "Stanley had put together this reel of some of the scenes that equaled about

fifteen minutes.

It was all spectacular stuff.

I was just walking by the preview theater one day and Stanley saw me and he said, 'Brian! Brian!

C'mon on here, and take a look at this.'

He dragged me in and it was just him and I.

The thing that impressed me the most was the music he had put to it.

I said, "My God Stanley, what is that music?"

He said, 'It's Mahler's Third.'

I've never seen that footage again with that particular music to this day, but when the

backers saw it, they said, 'How much more do you need'" It was powerful stuff" (Loftus Interview).

Publicist Ivor Powell sat in while Kubrick showed some footage to the backers.

He recounts how captivating it all was.

They even took the press on a tour of the sets.

He said, "There was a day when the press came and I remember all of them standing on

the pod bay set and [First Assistant Director] Derek Cracknell was standing in the back with

a microphone saying, "Okay...Open pod bay door number one please Hal..."

Then the door would open up.

It was amazing because it really felt like you were on a ship.

Stanley really spared no expense on the film, and it was the same on all of his films as

you could imagine.

If something was required to be stainless steel on any of those 2001 sets, then it was,

and it wasn't spray painted silver or anything like that to save a few pounds (£s)" (Powell Interview).

The final sequence of the film begins with a tilt down from the pinpoints of starlight

in a vast darkness to Jupiter and it's moons.

A floating monolith becomes visible from light reflecting off of its surface.

The destination of the Discovery One spacecraft was originally Jupiter, but in "early September

1965" Kubrick decided to change the destination to Saturn.

This passage is from a biography called Sir Arthur C. Clarke: Odyssey of a Visionary,

"Kubrick's desire for the change was based on aesthetics—the beauty of Saturn's rings

and the many spectacular special effects that could be created as the spaceship flew among them.

He asked technical adviser Fred Ordway to research the ringed planet.

'I prepared the memo,' says Ordway.

'Kubrick was delighted, and Clarke backed the change with great enthusiasm.

Arthur then brilliantly wrote Jupiter out and Saturn in.

Everybody got excited about the change except the special effects people, who went ape.'

Eventually this major change proved to be too much for the special effects group, which

was already under tremendous pressure…

[Kubrick] made the final decision.

New Saturn effects would have presented 'insurmountable problems'—technical as well as too much

additional time and money—for a production already over budget.

For the film, therefore, Jupiter remained the destination planet for spaceship [Discovery].

But Clarke retained Saturn as the destination planet in the novel, and this became one of

the major plot differences between the book and the movie" (Odyssey of a Visionary).

In order to create Jupiter, Douglas Trumbull used "a semicircular band that could rotate

on a special rig."

Trumbull says, "'Onto that band, two projectors projected a revolving transparency of some

artwork I had painted; and the result was a spherical scan, rather than a linear scan,

because the band just rotated on its own axis rather than moving through space.

So Jupiter was just shot as a still photograph.

I used an 8x19 camera—at f/124—and it took about two hours to make one image.

Once we had that, we could composite it with moons and stars and such on the animation stand'" (Cinefex 113).

Douglas Trumbull: "Anyway, you start seeing the painting is now scanned onto this hemispherical

surface and it results in Jupiter as one continuous exposure.

If you look at this very very closely you'll see these anomalous scan lines here, which

are, in fact, slight changes in exposure from some variation in the generator or whatever,

but once I airbrushed this and modified it for the animation camera I could make it into

a pretty successful Jupiter."

Pretty much everything in these shots is animated except for the monolith itself, which was

a 6-foot-long miniature, which "was lit and shot on a stage with a motor revolving

it like a barbecue spit" (Cinefex 112).

"The black block was filmed against black—positioned to fit a particular location on the screen—and

added into the space shot.

The moons in that shot were generated with a slide projector and a small sphere about

a foot in diameter.

Some colored patterns and textures were loaded into the slide projector, then projected across

that sphere, which was photographed with a 35mm still camera" (Cinefex 112).

Colin Cantwell, who worked on special photographic effects, said, "We could shoot moons full-phase,

or half- or crescent, just by changing the position of the slide projector.

And sizes could be varied simply by setting the camera closer or farther away from the sphere.

In the end, we had this nice set of 35mm slides with little moon images on them that ranged

from about a quarter of an inch for a large moon down to an extremely

small image for a small one.

For the big alignment shot, we literally just cut little round holds in black paper and

then rephotographed the slides bottom-lit'" (Cinefex 112).

The big wide shots of space and the tiny Discovery One introduce us to the scope of the final

sequence, but also instills in us a sense of isolation after everyone on the ship except

Dave have been killed—including HAL.

There is no sense of normality by way of human relationships or the comforts of the ship—there

is only Dave and the unknown.

I've always wondered why Dave leaves the ship behind.

Perhaps he had seen the monolith floating in space and went out to retrieve it.

Keir Dullea: "Why am I in the pod?

You know, you could- perhaps the decision was that that HAL, before he was put away

by me, had somehow affected the running of the ship."

Originally, Dave was going to find a huge monolith-shaped slot in one of Jupiter's

moons that he would fly the EVA pod into.

Apparently in Clarke's original treatment of the story, Frank does not get killed by

HAL and the two men discover the gigantic slot in one of Jupiter's moons.

They send probes down into it and one of the men accidentally gets sucked into the slot

and the other chases after him (Cinefex 110).

Trumbull stated that the slotted moon effect "just never looked convincing" and Kubrick

was unsure about the effect.

So, they dropped the idea and, instead, replaced it with a new introduction of the Stargate sequence.

This time, Dave would see the monolith floating in space and fly the EVA pod over to it.

He would extend the pod's arms to touch it, but instead of a surface, there would

be nothing and Dave would slip into it (Cinefex 110).

They actually filmed this effect by taking a shot of the full-sized pod traveling one

way and then they moved the camera and had the pod traveling the other way.

Then they combined the two shots, but it "never looked right" (Cinefex 110).

Trumbull said, "Stanley could never fully visualize whether he would like a shot or

not unless he saw it on the screen… so we would take still photographs of Jupiter and

several moons and some stars, put them in some kind of configuration, and just shoot

thirty feet of film so Stanley could look at it in the theater" (Cinefex 110).

Colin Cantwell came up with the alignment of Jupiter and the moons while working on

different configurations on the animation stand.

Trumbull notes, "It looked terrific—everybody liked it enormously.

It was like a major religious alignment of moons.

Then someone suggested that we put the monolith up in there, so we did.

Suddenly the whole scene started to come together out of these random elements" (Cinefex 112).

It was while they were pursuing these ideas that they began working on the Slitscan technique.

The Slitscan effect in the film was based on the work of an avant-garde animator named John Whitney.

You have probably seen his work before.

In 1958, Whitney animated the title sequence for Alfred Hitchcock's Vertigo alongside

a graphic designer named Saul Bass (Wiki).

In 1961, Whitney made an experimental short film titled Catalog, which showcased several

animation effects including Slitscan.

In this animation, we can see in the first few frames how the concept works.

Basically, if you are taking a long exposure, you can create lines and shapes with single

points of light.

When these lights rotate, it becomes a circle.

When the lights change, the circle changes.

Douglas Trumbull and Con Pederson had seen a demonstration by Whitney while they worked

at Graphic Films—the company that made To the Moon and Beyond.

Whitney had also worked on To the Moon and Beyond and had experimented with Slitscan

on that film.

On July 23rd, 1965, Pederson wrote Kubrick this letter:

Dear Stanley:

We have more film for you to look at – a couple hundred feet of 35 B&W test made by

a man we often work with, John Whitney.

He calls this particular technique "slit scanning".

Essentially, it is a method of obtaining smooth and continuous motion variations from a single

initial element, in two-or three-dimensional configurations.

Its possibilities are unlimited – particularly when we combine it with other components in animation.

It can be adapted to "hard" images such as those in the test, or "soft" elements

such as mist, light, etc.

We want to plan around the technique in displays such as the hologram contour-analysis (which

reveals the Stargate on Jupiter V).

It may also provide some solutions in the ending.

We have lots of ideas cooking – more on that as soon as I can get a report prepared.

For now, can you please tell us how we can ship you this small roll with best chance

of it getting through all the snags?

Through MGM here maybe?

Good luck, Con Pederson

Kubrick responded:

Please airfreight John Whitney film directly to me through Barnett International Los Angeles

–stop- Advise Barnett to airfreight via TWA and address as follows Translloyd Air

Services LTD for Hawk Films LTD London Regards Stanley Kubrick

Trumbull had said that Kubrick told him vaguely that "he wanted the camera

'to go through something'" (Keil, Whissel 118).

Trumbull used the technique from the Whitney animations, but this time, he put the slit

outside the camera.

He made a rig with an animation camera on a track that would move toward a sheet of

glass "masked in black material apart from a small vertical or horizontal slit" (Keil, Whissel 118).

It would work to the same effect as when you take a long exposure of a highway at night

and all the cars end up looking like streaks of light.

By having the camera track toward the light, the light would look like it was moving toward

the camera as the camera got closer to the slit.

They could also flicker the light to create spaces between the streaks.

Kubrick liked the tests so much that he "authorized the construction of a dedicated Slitscan machine

in an upstairs room of the animation building" (Cinefex 110).

The machine was described as "a six-foot-tall rotatable slit cut into a sheet of metal and

positioned directly in front of a mechanized twelve-foot-long glass panel onto which backlit

artwork was affixed."

"The room was painted totally black," recalled Trumbull.

"We erected our slit with a light source directly behind it.

Then we built a track leading up to the slit and mounted a 65mm camera on it with a shutter

that could stay open on one frame of film.

To modulate the lighting coming through the slit, we used high-contrast negative transparencies

that would slide behind the slit as the camera moved toward it.

Some of them were very tightly controlled patterns that we photographed from books of

optical art—elaborate patterns of circular lines or straight outs ended up in there.

Then we'd lay in different colors with gels.

So, by having this artwork move behind the slit, backlit, we were able to effectively

turn light on and off.

As we did that, we moved the camera along fourteen feet of track toward the slit—a

full fourteen feet for each exposure.

It took about forty-five seconds to a minute per exposure, and each frame was made up of

two exposures" (Cinefex 110).

Douglas Trumbull: "So basically, you could make an exposure from 15 feet to 1 inch in

one minute, so the focus is constantly shifting during that entire exposure time so you have

literally an infinity of focal distances."

With both the slot and mirror effects scrapped, they had to figure out another way to begin

the Stargate sequence.

Trumbull said, "'We had a technique we used all the time… of putting two pieces

of film on separate projectors and projecting them onto the screen at once.

That way we could see a spaceship with a star background, or any other combination of elements.

We tried this using the slitscan material coming out of nowhere—right out of the stars—

and it looked terrific.

I had filmed one slitscan shot in particular that was different from all the others in

that it started from total black" (Cinefex 112).

Trumbull also had a small accelerator motor so that the

speed of the lights would constantly increase (Cinefex 112).

Trumbull goes on to say that, "the Camera was a big, heavy device that traveled along

this track pretty fast… until it got about two inches from this giant twelve-foot pane

of glass and had to stop dead.

It had a special electric brake and clutch and method for reversing all the motors, and

it ran automatically.

There was always a certain amount of wear during a shot, though; and after a while,

the brake would start to slip, and the whole thing would slide a little bit closer to the

glass each time.

So if someone wasn't there to make the necessary adjustments, sooner or later it would go crashing

through the glass.

But it was basically automatic; and oftentimes that camera would run for thirty-six hours,

continuously, to shoot one take.

All together, we spent at least six months working the slitscan footage" (Cinefex 111).

I had a chance to visit the Stanley Kubrick exhibit when it was in San Francisco and they

had a booklet that featured Trumbull's detailed description of the Slit Scan Camera Mechanism.

I've put a link to it in the description if you would like to read it.

Keir Dullea: "The set was not shaking.

I did this with my body.

I tensed my body up and the cameras that close, you tense your whole head up and eventually

you can make yourself shake and that's what I'm doing there… and he played an excerpt—if

anyone wants to go out and get it and listen to it, you'll see how beautifully it fit that sequence.

He played one of the movements from the Antarctica Suite by Vaughan Williams."

The still shots of Dave's face frozen in time were likely necessary to bridge the different

sections of the Slitscan footage.

We can see how it is able to change from a vertical split to a horizontal split and it

is only Dave's face that is jarring and not necessarily the transition.

And it's the same with the shots of Dave's eye.

Eyes on Cinema found a rare trailer for 2001 that includes some test footage of the Stargate

sequence that doesn't appear in the film.

And I've put the link in the description if you'd like to check it out.

One interesting shot shows patterned shapes hovering over a cosmic sea.

Douglas Trumbull: "The diamond shapes floating in this weird kind of almost liquidy landscape,

were taking 35-millimeter prints of the Stargate sequence and projecting them onto little triangle

shaped facets of these diamond shape tetrahedrons.

So each of those little- each facet of the tetrahedron is actually a movie being projected

onto a white plastic tetrahedron.

So it would be one pass, camera gets one back, the projector gets moved to the other side,

another exposure, on and on and on over multiple tetrahedrons and it just took hours and hours

and days of photography to transpose those movies onto all those facets."

As for the surface below the shapes, Trumbull explains, "The thing I did was to make a

drum, about six feet long and one foot in diameter, and cover it with crinkled aluminized mylar.

Then I placed a little piece of black paper at an angle in front of the slit so the camera

[would] only see the reflection from the slit on the lumpy surface of the drum.

So now, instead of a flat plane of light, I had one that was randomly modulated;

and by shooting the drum horizontally, I created something that looked like a rolling sea of

light, changing color and shape as it came toward the camera" (Cinefex 113).

The Slitscan effect has been used many times since including the titles for Superman and

for the wormhole in Star Trek: The Motion Picture (Keil, Whissel 118).

There are many shots in the Stargate sequence that weren't solely the product of the Slitscan

rig like in these shots.

These abstract shots were the first that Kubrick shot.

They were done so early that Kubrick shot them in a small darkroom in New York City

before the production left for England.

In order to make these massive cosmic events, he dripped small amounts of lacquer and paints

on water.

They were shot with a macro lens and none of these were larger than a pack of cigarettes (Making Stargate Sequence).

John Alcott says that they used "a big black tin, about the size of a table, filled with

black ink and banana oil" (Cinefex 113).

"We had so much light coming in onto it," says Alcott, "and the intensity was so great

that we had to shoot it quickly because the radiant heat would boil the ink.

We would take a matchstick or a toothpick and dip it into this white paint and let it

drop into the center of the tin.

It was like dropping paint into thinners—as you dropped it into the black ink, it would

shoot off into different areas.

We photographed this at high speed, at 96 frames per second, in reverse, so that instead

of its dispersing away from camera, it would look as if it were coming toward the camera.

It was simple, but very effective because you could put a white spot and then little

red on top of the white and get a buildup of different colors'" (Cinefex 113).

Christiane Kubrick: " I remember these large trays with black water, smelly, and Stanley

leaning over them and dribbling inks and oily things and lacquers onto the surface and they

exploded the most beautiful way and he loved these shapes.

They were very organic, in fact, they followed the same physical law as, presumably, the

cosmos does and so he was very excited."

What follows are several sweeping landscape shots over an alien planet.

Most of this footage was shot in Scotland in late October 1966.

If you recall, I spoke earlier about the YCM process for Technicolor.

There would be a strip of film in yellow, a strip in cyan, a strip in magenta, and a

base strip in black and white.

When put together, you get a normal looking color image.

2001 was shot on a single strip of 65mm color negative film, but you could still apply the

YCM process to it.

While making the prints, they were able to separate the film into strips of yellow, cyan,

and magenta, but instead of putting them back together normally, they messed with the f/stop

of each strip (Birkin Interview).

In an interview with the TV Store Online, Andrew Birkin explains:

"What Bryan [Loftus] discovered was that if you put the strips together using different

f/stops it produced this weird effect with the colors.

You didn't get the same wash pending the density of what was photographed.

So reds could turn blue, and greens could turn purple.

Bryan showed me what he had discovered and I suggested that he should take it to Stanley.

Bryan was very shy and reserved.

I said, "Okay, well, would you mind, then, if I took this to Stanley?"

He said, "Well, what exactly would you suggest to him?"

I said, "I don't know, but I'm just thinking about how this might be able to stand-in for

the landscapes that [Special Photographic Effects Supervisor] Con Pederson had been

painting but were months away from realization."

Stanley said, "Well, what are you suggesting?"

I said, "How about mounting a camera on a plane or helicopter and then let Bryan do his magic."

He said,"Hmm...that could be interesting.

Okay, go and do it."

I said, "Who? Me?" (Birkin Interview).

Special effects supervisor Wally Gentleman had been discussing the alien landscapes as

early as when the production was still in New York City.

Gentleman had worked with Technicolor cameras a lot and knew that botching one of the strips

would produce bizarre colors.

It appears at this point, that Gentleman had already brought up the concept of messing

with the Technicolor process with Kubrick (Cinefex 113).

Birkin continues: "So we did some tests to make sure that the idea would work.

The best we could do was to make the camera a part of the aircraft, by bolting it to the floor.

I went to work with surveying maps.

I just looked at places in Scotland that I'd always wanted to go.

I began to plot out various runs against the times of day when there would be too much shadow.

I had twenty pages of notes which I ran by Stanley.

He sent me to Scotland with a Camera Operator" (Birkin Interview).

Birkin goes on to say that when he was in Scotland, the camera operator became so nervous

about the conditions that he decided not to go through with it and left Birkin in charge

of the camera operating.

Birkin was quite inexperienced, but had worked as a loader on a commercial.

For a lot of these shots, it was only Birkin and the pilot in the helicopter.

They shot [quote] "miles and miles of film"—about 600 feet for every foot used (Birkin Interview).

Kubrick liked the shots so much that he sent another crew out to shoot landscape shots

of Monument Valley, which you might recognize from any number of Westerns.

These shots were done by second unit director Bob Gaffney and they had to fly dangerously

low to capture them.

Back in the studio, Bryan Loftus was hard at work converting the landscape shots into

bizarre alien colors.

Loftus said: "You had three color strips, and you took those and made three high contrast

versions off of the negative, and then three low contrast versions.

Effectively you would be creating twelve different strips of film for every shot in the Stargate

off of the positive and negative film.

So by effectively combining those the wrong way you would end up getting lots and lots

of different colors on the film.

You couldn't predict the color combination and how it would come out.

We just had to keep going and going through all of the combinations.

Stanley finally said, "Well, I think I've seen everything that we can do.

Can we get other combinations?"

So, I came up with the idea of random combinations" (Loftus Interview).

He rigged up three spinning wheels that would give them a random setting to use for the

aperture, color filters, and so on.

Kubrick's goal was to come up with color combinations that no one had seen before.

One major part of the Stargate sequence that didn't make the final cut was a section

called the "City of Lights."

Trumbull explains,

"I made a series of panels with hundreds of light bulbs all over them in patterns—hexagonal

patterns, rectangular patterns, circular patterns—in varying diameters.

For example, there would be a rectangle inside a rectangle inside a rectangle, and each could

be turned on and off independently.

Then I rigged up a thing that allowed me to turn the camera up on its side; so now, instead

of moving in and out toward a piece of light, it was moving relatively up and down.

With this configuration, I could shoot the pieces of artwork – these panels of light

that I could switch on and off during the exposure – and what I would get would be

volumetric scanned exposures of building-like shapes.

I made a bunch of cam-operated sequencers that would change the diameter of the shapes

as they scanned vertically in space so the shapes would taper off as they got taller,

like the Empire State Building" (Cinefex 113).

Thanks for watching!

The next and final part is already written and partially recorded, so it shouldn't

take me too long to complete.

If you enjoy the videos I make, please help me make more by donating to my Patreon.

For a dollar, you'll get early access to videos and for five dollars, you'll get

all of my unedited notes and transcripts and all of the photos and PDFs I use to make my videos.

And if you're new here, please hit that subscribe button now because there are plenty

more videos on the way for cinephiles like you!

Thanks again for watching!

For more infomation >> How Kubrick Made 2001: A Space Odyssey - Part 6: Jupiter and Beyond the Infinite [A] - Duration: 22:25.

-------------------------------------------

The Journey of a Cake Slayer | Man About Cake with Joshua John Russell - Duration: 1:44.

My sister sent me a picture of a cake I

made for her probably 12 years ago, of

the scooby-doo mystery machine and it

was a hot HOT mess

I just giggled at it and then I said

where did you find this picture? And she said,

you made that! And I'm like, OH GOD.

It was one of those moments where I was

like okay I'm doing better

alright I don't know if it was a

genuine breakthrough but I did a

competition show on Food Network and the

first time I ever was on the show, I won.

So that was kind of an ego boost like oh

my god okay i can play with these people

that I've idolized for years it wasn't

like it was just a one moment - it was just

a period where I'm like okay I'm

one of them now

so there was a time a few years ago where I seriously

consider quitting altogether. It was just a

rough patch with work and with some things

that had filmed. I literally quit my job

and I drove to the farmer's market and I

was like you know what I'm gonna make a

great dinner we're gonna celebrate me

being done with this and I get a phone

call and it was Craftsy! And they're

like I don't know if you know we are but

we only have one cake decorating class

and we want you to come out and do a

class and then that's all that started

so Craftsy is the reason why I didn't

quit

so thank you guys! I'm still here!

Starting out, the best piece of advice I

could have gotten from anyone is that this is

going to take a really long time and I

started out and thought, "I'm a cake

designer!" ...No, you're not. It's gonna

take a lot of practice a lot of work a

lot of nights sleeping on sacks of flour

(and crying a lot)

just practice just pay your dues one day

you'll be good at what you do

For more infomation >> The Journey of a Cake Slayer | Man About Cake with Joshua John Russell - Duration: 1:44.

-------------------------------------------

Electrified Official Trailer (Subtitulado) | Monster High™ - Duration: 1:43.

For more infomation >> Electrified Official Trailer (Subtitulado) | Monster High™ - Duration: 1:43.

-------------------------------------------

The Amazing Things God Does with Kenneth & Gloria Copeland (Air Date 12-29-16) - Duration: 24:16.

HEATHER PARRY: We can grow in our faith and understand how

much God loves us, and can know the victory that He wants us to

know, and come to know Jesus in a personal way, to know

how deeply He loves us and that we have hope in Him.

(Singing) I know my God has made the way for me.

I know my God has made the way for me.

KENNETH: Hello, everybody. We're Kenneth and Gloria

Copeland. This is the Believer's Voice of Victory

broadcast as all of you know. And all this week, we're talking

about and listening to testimonies from our partners.

GLORIA: Praise God. KENNETH: Amen. GLORIA: Oh, that's

exciting. KENNETH: It has been so exciting. I mean, it's just

been one victory right after another. GLORIA: The Word works!

KENNETH: Amen. And that's what makes this so important, because

as we already talked about, meditation and testimonies

expand your--your vision, your-- GLORIA: Yes, that's right.

KENNETH: What you vision, what you see in your mind, is

extremely important because that's where hope is developed

out of the Word of--real Bible hope. GLORIA: Yes. KENNETH: When

you hear people say, "Well, I sure hope so," no, that's

wishing. But real Bible hope says, "Yeah, this is going to

come to pass." How do you do that? Well, it comes from the

Word building an inner image on the inside of you, and you begin

to get that over to your mind, and then faith comes as part of

that, brings it to pass. Well, when you hear other people give

their stories, it expands. GLORIA: Oh, yeah. KENNETH: It is

so vitally important. Praise God. So, we're going to get

right into this. You--you're going to enjoy this. Watch this.

DWIGHT SIMAN: I'm Dwight Siman. I'm from Regina, Saskatchewan. I

became Christian in May 1985. I was out actually at a business

rally, and it was a Sunday morning service that was held

during our business rally. And from that point on, I started--I

heard about KCM. I don't know if I--how I even--whether I saw it

on TV or whether I saw something, but I really liked

Kenneth's message. It was a very direct, hard-hitting message. I

loved that. And I feel like--I've never met Kenneth

Copeland myself, but I feel like I know the man, and Gloria and

his kids, because I've listened to all their--at one point in

time, their cassette tapes, and then they moved on to CDs and

now it's downloads. But I listen to them constantly. And I just

feel like I've heard every story he's ever told. The friends you

have, the books you read, the material you listen to, the

programs you watch, you're a product of that. And we have

control over that. And association is the biggest one.

There's lots of ways to associate with people. You know,

people say, "Well, I can't associate with Kenneth

Copeland." Yes, you can. You can download his CDs, you can bring

his tapes home, and you can associate with him, because the

Word of God that Kenneth is preaching is all on--it's truth.

It's all on truth. And speaking the Word of God and having

faith, every message every preaches on faith, and I love

that. And it's a reminder that I need on a constant basis. I

guess it started when I had a partner in business with me, who

ended up in the prison in Regina. It's a "two year less a

day" facility. He had some drug issues, and--and he didn't

request that I would see him, but I felt the call to go visit

him and speak with him because he was a member of our church as

well. I had to get vetted out because he didn't invite me in.

I had to get vetted out by the RCP and by the prison chaplain.

So after a period of about three weeks, I was allowed in to go

see him, and I visited with him for about an hour. And on the

way out, the chaplain of the prison met me and said, "Who

would you like to see next?" I was a bit shocked, taken aback

because I wasn't prepared for that. But she did say, "You're

here to help, are you not?" And I said, "I guess so." And she

proceeded to ask if I would take over a once-a-month preaching on

a Sunday night chapel service. And that was the start of the

prison ministry. And we built a team around that, through the

rectory of a number of--of elders and other members of the

church who had come in with me to help preach on one Sunday

night every month. After going to the prison, I find out that

the Bibles are in extremely short supply, that they just

didn't have any materials. If the inmates wanted one, it would

take three weeks, a month, six weeks to get a Bible into their

hands. And they had to prove themselves. It wasn't easy to

get a Bible. So I said, "I'm going to start bringing Bibles."

And I traveled quite a bit in the U.S. at that point in time,

and I stopped at all the discount bookstores and bought

everything they had as far as the $1 or $2 or $3 Bibles,

whatever I could get my hands on, and distributed them. And

they were met with great enthusiasm, that we could preach

the Word and give the men something to take back to their

cells, that they could carry on with their study. These people

that are in the prisons are--that come to these chapel

services, this is really--they're ready. They

really want to receive. And they're quite open. You know,

when we're preaching and we're giving them the Word of God and

asking them to accept Jesus, they're very open. After a few

years of that every month, I contacted Kenneth Copeland

Ministries in Langley, B.C., and asked if they had a ministry for

the prison and if they would help out with the Bibles. And

the gentleman at that time said, "Absolutely." And they started

supplying, every month, about 60 Bibles for me to take into the

prison. And they've been supplying them ever since, as

well as other materials, the BVOV magazine, which is very

well received, and the "Faith to Faith" journals. They love that.

That's a great book. And whenever I bring a case of those

in, they disappear in a hurry. Those men that are there,

they're looking for answers. They're at the lowest point in

their life, most of them, and they're ready for change. And

we're seeing a lot of conversions, a lot of people

accepting Jesus for the first time. A couple of them have

attended our church since. So we have some really good stories.

The Copelands have been a huge impact in my walk of faith.

They've provided me with material that I could listen to

on a daily basis, and I do. And that has strengthened

me tremendously in my walk with the Lord.

KENNETH: Now, I want you to listen again to

something that Dwight said. "You are a product of

the friends you have, the books you read, the

materials you listen to." Oh, my. GLORIA: That's a story.

KENNETH: That is absolutely the truth. And here's the thing of

it is: It's your choice. There is nobody forcing any--and it's

not just for somebody that's in prison. No, no, no, no. The

reason they're in prison is because they're a product of the

friends you have, the books you read, and the materials you

listen to. And if you want to come out of there, you're going

to have to change the friends you have, the books you read,

and materials you listen to. Amen. To change anything, you

cannot--this is the definition of "insanity": You cannot

continue to do the same thing, say the same thing, associate

with the same people, read the same books, and expect to get a

different outcome. GLORIA: Different result. KENNETH: Yeah,

because everything--you understand? Everything--Jesus

said, "Everything--the whole kingdom of God is as if--as a

man casts a seed into the ground." Everything you do and

say is a seed. "Do unto others as you'd have them do unto you."

What you do unto others is what others do unto you. GLORIA:

That's right. KENNETH: I mean, that--you can't change that. But

you can change the friends you have, the books you read--

GLORIA: Yeah, that's right. KENNETH: --the materials you

listen to. GLORIA: And thus change the outcome. KENNETH: You

can change the outcome. Now, let--oh, yeah, thank You, Lord.

Thank You for that. Let me go right quick to this. This is in

the 13th chapter of the book of Matthew, where Jesus said--now

listen to what He--what He said here. "For this people's heart

is waxed gross, their ears are dull of hearing, their eyes they

have closed; lest at any time they should see with their eyes,

hear with their ears, understand with their heart, should be

converted, I should heal them." Anytime. Anytime. Now, you go

down to the 19th verse, "When anyone hears the word of the

kingdom--" Now, let's--the Lord showed me this years ago. And

I--I drew it out in my Bible like this, where it said,

"If--at any time--" Say, "Anytime." GLORIA: Anytime.

KENNETH: "--they should see the word of the kingdom with their

eyes, and hear the Word of the kingdom with their ears, and

understand the Word of the kingdom with their heart, and

be--should be converted, I should heal them." GLORIA: Yeah.

KENNETH: What do you mean by "converted"? That means to

change, you're converted from one thing to another. So, what?

You have converted--you've changed what you see. You

changed what you hear, and you--it's converted you. It's

changed the way you see things-- GLORIA: Yes. KENNETH: --the way

you hear things, the way you talk, the way you act. And it

changes everything. But it's the Word of the kingdom that does

it. Now, this is important. "Well, I tried to change,

Brother Copeland, and I couldn't." I know it. You can't.

I can't, either. Nobody can. But the Word of the kingdom can

change you, see. "Well, people just don't change." Oh, yeah,

they do. But, it takes the Word of God to change them. Even

born-again people, they've been changed on the inside. They're

truly born again. They accepted Jesus as Lord and Savior.

They're a different being on the inside, as we talked about

yesterday. But, you can be born again, thoroughly gone--born

again, going to heaven when you--when you depart here. But

if your mind's not renewed-- GLORIA: Yep. KENNETH: --the--and

when you got born again, if--you know, if--your body didn't

change. The Scripture says, in the book of Hebrews, you're

going to have--you're going to have to get in the Word of God

and train this body to think a different way, by the renewing

of your mind. Amen. But when you do that, it starts changing

everything. Starts on the inside out. GLORIA: Praise God.

KENNETH: Isn't that wonderful? But-- GLORIA: Well, you became a

new creature-- KENNETH: Yeah. GLORIA: --when you made Jesus

the Lord of your life. KENNETH: Now it needs to come out.

GLORIA: Mm-hmm. That's right. KENNETH: And the Word of God's

the only thing that'll bring it out. And I--yeah, thank You,

Lord. I'm reminded again, everything is a seed. What

you--you are a product today of what you said yesterday because

the power of life and death, blessing and cursing, is in the

authority of the tongue, the power of the tongue. So in order

to change anything, you're going to have change what you're

saying. You can't do it. You can't tame your tongue. James

said that. You can't do it on your own. But, the Word of God,

the wisdom from above, as James called it, the wisdom from

above, the written Word of God in your heart, coming out your

mouth, will change the way you think. It'll change everything.

GLORIA: Yes, it will. KENNETH: Hallelujah. GLORIA: Praise God.

KENNETH: Praise God. Heather, you better come

in here and tell us about your--tell us your story.

HEATHER PARRY: My name is Heather Parry, I

live in Eastbourne in the UK. I am a local carer

in Cayhone, just up the road. I've been a partner

with Kenneth Copeland since 1995. And I literally believe

they have saved my life through their teaching. I was brought up

to go to church regularly and also to read my Bible, which I

was grateful for. My father's a doctor, and my mother a nurse.

But it was a fairly legalistic religious background, so I

didn't really know and understand the love of God.

Through going to university, I met Christians, born-again

Christians, that really encouraged my faith. I was

introduced to KCM by a pastor, and he encouraged us to go to a

conference in Brighton. It encouraged me to have faith in

God's Word. Rather than just reading the Bible as a religious

exercise, I found that faith was what mattered, finding the

promises of God in my life, whether it's for healing or

knowing the love of God. And it brought hope. I discovered this

lump in my right breast about eight, nine years ago. And I

didn't tell anyone. I kept it secret because I just thought--I

didn't want any fuss. But I was scared. And I just thought it

might go away. I did believe God loved me, but I didn't really

know the way out. And I thought this was--I thought this was

curtains for me. I thought, you know, my life is at an end now.

But somehow through the teaching of the KCM ministry, I just kept

believing God still had a purpose for me. I went down to

my local G.P. She's a lady doctor, and she checked me over,

and she immediately referred me for a biopsy. NARRATOR: Heather

Parry was finally ready to confront this fear as the biopsy

confirmed the diagnosis of breast cancer. Heather underwent

surgery on January 9, 2009, that successfully removed the large

tumor. HEATHER: I was just coming out of the anesthetic,

and I heard--it wasn't an audible voice, but I heard a

voice--I believe it was God's voice--saying, "I want you to

think of 10 things you can thank Me for every day." And I--at

first, I was a bit shocked and kind of--wasn't exactly upset,

but I thought, "Lord, here I am in hospital. I've just had a

mastectomy, and I'm on a drip, in a bit of pain, and You're

asking me to thank You." With God's help, I did thank Him, and

I realize now that was the best advice I could have received

because it got me out of my pity party. I was feeling a bit of

self-pity at the time, and thanking God was what brought me

out. I would call a KCM office because I just needed support

and encouragement and peace. I was feeling very--you know, just

reassurance that everything was going to be all right. I never

realized before how important words were. The Proverbs said,

"Death and life are in the power of the tongue," so I believed,

as I was speaking out God's Word, He was bringing healing to

me. I went through six months of chemotherapy. I lost all my

hair, which was quite dramatic. And then radiotherapy, I went

through six weeks of radiotherapy. So again, that was

quite challenging. But God was with me through it all. When I

went for the checkups, you know, I felt the Lord say, "I don't

want you to go on Tamoxifen or any other medication. I want you

to stand on My Word as medication, because it doesn't

have any bad side effects." I did feel a bit awkward at times

because I wasn't going through the recommended method of

medication. But I felt the Lord was telling me, "Just tell the

surgeon, tell the medical staff what you're doing." And I did.

And after they checked me over, they said, "Well, whatever

you're doing, keep it up, because it seems to be working."

Well, it's seven and a half years ago now since my

diagnosis, and I'm happy to say I'm feeling fine, very well,

very fit, and enjoying life very much. I've come to know KCM as a

great family. I've been to their conferences and always get built

up. There's such a joy and such a sense of victory as the

magazine says, "voice of victory," that their teaching

has brought victory to my life. And I want to bring that to

others, and I'm thankful to them. And through reading the

promises in God's Word, through listening to broadcasts through

KCM and other faith teachings, we can grow in our faith and

understand how much God loves us and can know the victory that He

wants us to know, and come to know Jesus in a personal way, to

know how deeply He loves us and that we

have hope in Him of heaven. Heaven is our destiny,

and we can enjoy the journey on the way.

KENNETH: Now, I want to point out something that Heather

did here. Now, Gloria and I have been doing this a long time.

We've been doing this 50 years. So we've seen a lot, heard a

lot. We've fouled up ourselves and then, you know, "How come I

didn't work this right?" and that kind of thing. And this is

one that is very, very, very important. Don't ever do

anything just because someone else did it. God--His Word is

always the same. But people are different. And there are certain

thing--God knows how you are. God knows how you are. He

knows--he knows what it takes to get--His whole purpose is to get

you healed any way He can get you. "Well, why don't He just do

it?" It doesn't work like that. You and I are involved in this.

And it--He's--He's leading you, He's positioning you in a place

where He knows your faith will work and He can work right with

it and get rid of that thing. Now, she said that the Lord

directed her not to do anymore of the medical part of it. Now,

you could tell from--she said that her mother and dad are--her

dad is a doctor, her mother is a nurse. So in this area, she's

stepping out by herself from the medical community, which she'd

known all of her life. You could see why that that's going to be

the-- GLORIA: Her family's, yeah. KENNETH: --first step to

take. And she'd done that. She'd had surgery, she'd done all

these things. But, see, she's spending time with God all the

time. Now, don't you just go do it just because Heather did it.

Don't you go do something just because I did it. No. You start

out inquiring of the Lord, and you pray in the Spirit, and you

go before the Lord every day, every day, every day. The first

thing she did was get out of her pity party and get over there in

the Word and began to thank God, thank God, thank God, and praise

God. And one step at a time, He led her to this, He led her to

that, He led her here, He led her there. And now she's

totally, absolutely, completely whole and healed. GLORIA: Praise

God. KENNETH: And you can be the same thing. It may--it may come

like that, it may not. But it'll come. If you will stay in the

Word and--see, the Scripture said, in the 8th chapter of

Romans, "They that are led of the Spirit of God are the sons

of God." You don't just do things because you just thought

you ought to do it. No. Proverbs 4:7, "Wisdom is the principal

thing." I had the Lord say to me, years ago, He said, "You're

too quick to pray." I said, "What?" "Yeah. You just start

quoting Scriptures." The--we were behind a million dollars on

our bills, television bills and all that. Well, we don't write

appeal letters, we don't raise offerings and all that. We sow

and give and go to the Word. And I took off with the--according

to the first chapter of the book of James, to receive wisdom and

understanding. So I just pulled aside for several days to pray

and just listen to the Lord. And I said, "Lord, I need a million

dollars." He said, "No, you don't." I said out loud, I said,

"You could have fooled me." No. Now, here was His wisdom. He

said, "You--you're--you've got a spiritual problem in the

ministry." He had--He had told me to do something several years

ago, and I heard it, but I just let it slip and didn't do it.

And He said, "You have a spiritual problem in your

ministry. If I were to give you a million dollars today, that

problem would eat that million up, and you'd still be a million

behind." Well, see, I needed wisdom. I needed understanding.

I was too quick to say, "I need a million dollars," and start

quoting my financial Scriptures and all of that. I needed to

take some time and get before the Lord and find out what He

wants me to do. And He'll tell you. He'll tell you what to do.

Now, He told her--you remember the very first thing He said? I

mean, right at the very beginning of this thing, she'd

just had surgery. She's still in pain. He said, "Think of 10

things you can praise Me for." GLORIA: Hmm. KENNETH: Praise is

the big gun of faith. GLORIA: Yes, amen. KENNETH: That's the

biggest thing there is. Praise is the highest form of prayer.

GLORIA: That's good, isn't it? KENNETH: Yes, it is. GLORIA:

"Think of 10 things that you can praise Me for." KENNETH: See

what was happening? He's leading her. What's He doing? He's

leading her out of this thing. GLORIA: Yeah. KENNETH: He led

her out of that, and she started getting well, started getting

well. Well, the treatments were working. The medical treatments

were working. She--but what was she doing? She's meditating on

the Word of God. She put the Word of God where it needed to

be, and she's listening to God. She's listening. She's

listening. You can't get something from somebody you

won't listen to. She's listening. And that's--after a

considerable amount of time, the Lord said, "Okay, that's enough

of that. You get over on My Word." Now, why would He wait

that long? She had to grow up spiritually and grow her faith

to the point where it would support that. And when it

finally came to that point, she obeyed Him, and there she is

today, completely healed. GLORIA: Praise God. Glory to

God. KENNETH: Glory. Isn't that wonderful? GLORIA: Yeah, it is.

KENNETH: Oh, it's just wonderful. Glory to God.

Gloria and I'll be back in just a moment.

For more infomation >> The Amazing Things God Does with Kenneth & Gloria Copeland (Air Date 12-29-16) - Duration: 24:16.

-------------------------------------------

LG PJ9 levitating Bluetooth speaker announced coming to CES 2017 - Duration: 1:31.

At CES, LG will show off its own take on the levitating speaker: the PJ9.

The announcement article isn't very clear on some details, but it lets us know that

the PJ9 will have a battery that lasts 10 hours after which the speaker will drop down

to charge wirelessly.

It's also IPX7 rated for outdoor use, and supports MultiPoint technology to connect

to two Bluetooth devices simultaneously.

The PJ9 creates its stunning visual effect using powerful electromagnets housed inside

the Levitation Station to give the speaker its unique trait of being untouched by any

surface or wires when playing.

At the core is a 360�degree omnidirectional speaker with turbine blade-inspired design

and deep bass courtesy of the subwoofer embedded inside the Levitation Station.

The PJ9 also features Dual Passive Radiator technology to reproduce flush mid-range tones

and crisp highs.

When its 10-hour battery begins to run low, the smart portable speaker automatically descends

to the Levitation Station and begins to charge wirelessly with no intervention from the listener

and no interruption in the music.

The PJ9 is IPX7 compliant in order to withstand any adverse weather condition when being used

outdoors.

For added convenience and versatility, Multipoint technology enables the speaker to connect

to two Bluetooth devices simultaneously.

For more infomation >> LG PJ9 levitating Bluetooth speaker announced coming to CES 2017 - Duration: 1:31.

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A Healthy and protein rich meal in 15 minutes - Spinach & Eggs - Duration: 1:34.

2 onions & 1/2 garlic

olive oil

after about 3 minutes start preparing spinaches

add 250 grams first and add rest later

Add salt :))

And other spices

Let it cook for about 5 minutes with the lid closed

And then add the eggs

Your meal should be ready after 5 minutes

Yummyyyyy

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