I'm going to talk today about the student-centred classroom. This probably seems very obvious. All classes are student-centred, obviously, but this is about my personal mission to reduce my teacher talking time because it was having a negative effect on my class and on my students. So basically what was happening was I teach full-time. I'm doing 30 hours a week and I'm a very energetic person. I drink a lot of coffee and it comes across in the class. I talk, talk, talk, talk, talk and I'm always moving and I was getting exhausted and I was using my voice and not only the effect on myself, but my classes felt chaotic and they felt scattered and disorganized and that's not what I wanted, obviously. And it was having negative effects as I'm going to go into in more detail, like direct negative effects on the students, which I thought, OK, this has to stop. I need to fix this. So in order to fix it, I first needed to think about why it was happening. So here, this is kind of the royal we. I'm not suggesting we all talk too much, but we isn't me. And I got to thinking that one thing that we do, I, one thing that I do, is I always want everyone to be engaged in the activity. I want to make sure everyone is OK and everyone is having a good time and are you enjoying the class? Are you talking to your partner? Ah, it's really irritating, actually. Even I think it's irritating. And as well as that, I don't have, well, I did before this, I didn't have much confidence in my own ability to give clear instructions. So I would find myself constantly, OK, so page four. Are you on page four? No, not page five, page four. Four. No, four. And then it would just all descend into utter chaos. But once again, that was not the fault of the students. It was my fault. I was over talking. It wasn't necessary. And thirdly, fear of silence. This isn't some psychological thing. I just, in the classroom, I, possibly from my own experience, I feel a silent classroom is a boring classroom. The students aren't having fun. And I have to keep it dynamic. You know, the favorite words of all the students, the classes are dynamic. I don't know where they got that from, but it kind of feeds in. You don't want them to be bored. You want them to have fun. So because of that, oh my God. Boy, boy, boy. But that's actually something relevant. I would narrate as well. Whatever I was doing, I would tell the students what I was doing. So I'm at the CD player. I'm looking for a CD. Where is the CD? I can't find the CD. And totally unnecessary as well. But this just all contributed to the manic vibe that was going on in my classes. You can probably feel it now, can't you? But the problem with this, and I'm calling this the teacher-centred class, because it was more about me than them, which I know, I'm pretty great, but I don't know. It should be about them. And it was manifesting in extremely low levels of concentration by the students. And this was actually, this relates into what Gavin was saying before. They didn't need to think, because I was telling them everything. They didn't have to, you know, take a minute to read the instructions, because I would tell them the instructions, and they knew that. So they would wait for me to check that they were okay. If they paused in their conversation, they knew that I would come. I'd swoop on them and ask them why. I'd instruct them again and again, and I would try to get them motivated. So they had very little to do themselves, because I was kind of trying to do it for them. And as a result of this, they didn't really trust themselves, and they didn't really trust each other, because they knew if they asked me, I'd give them the answer. Because, you know, like Gavin was saying, the teacher is the dictionary. The teacher knows everything.  They were just asking me, which, you know, that's fine. But it's not great for creating their own autonomy, which is ultimately what we want to facilitate. So I'm only trusting my answers. And the communication was unnatural, and this is something that comes up a lot. When you get them into their pairs or their groups to do their conversation, and it's more like an interview, and they're just running through the topics. And quite often I think that's because we tell them in advance, you have three minutes to talk about this. Can you imagine being told you only have three minutes to talk about something? It automatically puts pressure on you. How can you? You can't have a natural conversation. So that was the result. They wanted to get the activity finished because of this constant sense of pressure. So my goal from my personal project was to reduce their dependence on me and to increase their kind of independence and create a supportive learning environment where the students felt like they could ask each other questions and they wouldn't be mocked or they wouldn't be made fun of or made feel bad because that's a horrible atmosphere if you feel like you can't ask somebody. And to build confidence in themselves because I find a lot of students, when they're checking their answers they say, I don't know, I don't know. We'll check with the teacher, I don't know. Because they don't want to say, well actually I do know because I studied this. There's a feeling of insecurity that I wanted to try to reduce if possible. So I set myself a method and the first part was the most difficult, especially for me because I'm chatty. I am talkative. So I had to cut my pre-class chat down to basically nothing because I felt like if I came into the class and was chatting like I normally do and then that's not really going to work. It had to have a lead in. So my plan was that I'd say hello to the students but I wouldn't engage them in chat about their weekend or anything like that. I'll talk about the problems that arose with this a bit later but it's not 100% smooth and no pairs. This is a little controversial. I personally find that if you have a pair, sometimes you can have one person in the pair who is just not feeling it that day. They just don't want to talk or they're talking too much or they're distracted or they're bored or they don't like their partner and this can be not only awkward for the conversation it means the other person isn't having their conversation, they're being limited too. So instead of pairs, I only put students in groups of three. Four if absolutely necessary but minimum is three because if there is a situation like that, that person can sit back, they can listen, they can be distracted if they need to and the other students can still have their activity and still do their conversation. So I find that this works much more successfully in my classes than pairs do. And this is my favorite one. I have multiple teachers in the class. This is not just me being totally lazy and outsourcing my work. In each group I nominate one teacher who is in charge of the conversation and they're in charge of the activity and they know that they have to make sure that the conversation is moving through the questions that everyone is staying on topic and it's actually turned into a fun little kind of class joke where I nominate the teacher and the others would say oh Adriana's been teacher three times, why can't I be teacher? Because they enjoy it and it gives them a little boost in their confidence which is really nice. And written instructions, obviously if I'm trying to reduce my talking I need to increase my writing. And I have awful handwriting. So this hasn't been great for the students. They're trying to decipher my hieroglyphics on the board. But it also has benefits in students obviously need to be able to read detailed instructions when they're doing exams or when they're doing any sort of individual activity because they won't always have someone to explain it to them. So I encourage the students, we're going to take one minute or maybe sometimes I do Cambridge style 45 seconds to read your instructions. And then after that I only do one ICQ. This is instruction check in question because my instruction checks were just ridiculous. So I only allow myself to ask one check per activity. And the idea is that the students have read the instructions. They've underlined the key phrases. They're comfortable with it, they have time to process. I check. Okay, so do we know what we're doing? We're going to go into the activity. Okay, that's my only check. Yeah, this one isn't as bad as it sounds. But you position yourself in the middle of the class if your class is a horseshoe shape, you can sit on your chair in the middle. And I found that if I was writing, you know, like instead of interrupting the group work, as Allison was saying, you don't swoop in on error correction immediately. You correct later if possible. So this actually refers back to something James talked about in Limerick as well. So if I'm hearing any errors, I'm writing them down. Maybe I'm making examples of, you know, good language, interesting language, good use of the target language. And I find that if I look busy, the students are less likely to ask me a question. And so they will redirect their question to their partner. And that is something that I think is incredibly helpful to know that, okay, well, I don't want to interrupt Jane. I'll just ask you. And if the other partners don't know, then it comes to me. And if I can, let's say you know your class very well, I can say, okay, I know for a fact I explained that to this other student yesterday. I'll direct it to them. Or it will take it to the group. So it doesn't have to be the teacher all the time. There are other sources of information, which is something I wanted to really foster with the students that they do have resources out there. And what in this personal experiment that I had, the results were for the most part very positive. When I left the students in their small groups with their teacher, you know, doing the activity themselves, the extended length of the activity was notable in one situation speaking, which was, it's from New English File Intermediate and it's about wishes and dreams. And I had planned that it would take about 15 minutes, you know, a good 15 minutes. That was me being optimistic. But when I used this method, they were talking for 45 minutes with absolutely no intervention from me, no first language. It was all in English and it was meaningful. It was a real natural conversation, which I thought was absolutely lovely, which is the next thing as well. Because they're not under pressure in this atmosphere, it is more realistic. So they're talking as if they would, you know, in an authentic situation. And that was probably the most gratifying part for me. And as well, I'm, as I said before, I'm quite irritating and like, come on, let's all be happy all the time. Yeah. And so when I reduced that, oddly enough, ironically, when I let the students build their own motivation through the acknowledgement that, yes, I do know this information and I can explain to my partner, and I do understand, and we can have these good conversations, their optimism increased and there was less of the, oh, I don't know, I'm not sure, and more of the, okay, well, I think it's like this. So there was a definite shift in the balance of that, that the students themselves seemed more confident and they seemed happier. But there are always negatives, unfortunately. And the problems I encountered were, yeah. The first day I did this, my class actually said, teacher, are you angry with us? And I didn't really want to go into my methodology. And I said, oh no, I don't normally talk like that. So that actually took a few days for that to kind of dissipate in them to realize, she's still mental like she always is, but it's just a bit more toned down. So that was something I had to prepare myself for. If you're usually very mad, they will get a shock because they're used to that. And as well, a slightly more serious one is, it is not the traditional teacher-student dynamic, and a lot of students have no faith whatsoever in their ability of their peers to tell them what they need to know. So certain students, especially students who are older or ones who have come from a kind of grammar translation approach, they found this very difficult at the beginning because they were always saying, but I need to check. It's like, no, you don't need to check. We can check at the very, if you're really not sure, then we can check together, that's fine. But it is about just bringing it to a stage where the students know outside the class they have the resources, they can keep practicing and they can keep improving themselves. So on the whole, it was a pretty successful experiment and I haven't been able to maintain it every day. I can't tone down the madness all the time, but I do try to incorporate it a couple of times a week and it gives the students a nice break. But the little groups, the three people and the teacher in every group, I have continued that every day by bringing themselves into the groups and they're nominating the teachers, which is really nice. So that's that and thank you.


Hello everybody, today we will be talking on temporal bone CT. Temporal bone consists of five osteos parts namely the peatress, quamus, mastoid, tympanic and stoiline. The auditory apparatus consists of external ear, middle ear, inner ear. In middle ear we will be looking at hypotempanum, mesotempanum, epitempanum, all the six walls of the middle ear, the ossicles. In the inner ear we will be looking at the oscious labyrinth. Critical structures in relation to the temporal bone are the nerves and the vascular structures. The structures situated within or in close relation to the temporal bone are at risk of injury in cases of temporal bone trauma. Let's start with the axial anatomy. I have stack of images to learn the anatomy. We are going from down up and this is a magnified or retargeted, magnified view of the right ear. As you go from down up, you are seeing the part of the mandible that is a remus, the styloid process and the mastoid tip. You are going up, this is the styloid process, the head of the mandible, mastoid bone, you are the mastoid air cells are not pneumatized. As you go up, you will see the external auditory canal, the membranous part and the bony wall of the external auditory canal. Immediately here to the tympanic membrane you are seeing part of the hypotempanum, here you are seeing the internal carotid artery, the internal jugular bulb, all the jugular bulb, the TM joint and do not forget to see these two holes that is a foremen ovale, foremen spinosum, hypotempanum, internal carotid artery, this is a jugular bulb which is not high riding and is not dehesin. Anteriorly you will see the eustachian tube, eustachian tube here. The first structure to meet in the inner ear is going to be your basal tone of the cochlea. Now one more structure that you should look at is this canal which is the cochlear aqueduct. Remember it is in the lower cuts in the same orientation as that of the internal auditory canal but it is much lower down. Again this is nothing but the internal carotid artery going up, basal tone of the cochlea, basal turn, this is the round window. Now you are looking at the mesotempanic part of the middle ear. You will start seeing the ossicles. Now anteriorly you already saw the eustachian tube. Our structure here is the tensitempanic. You will see two parallel lines, the handle of the malleus, the long process of the incus. Now after the basal turn in the higher cut you will start seeing more of cochlea, the apical turn, part of the middle turn and posteriorly you will start seeing the semicircular canal. Now posteriorly here sits the sigmoid sinus. So this is the bony part of the sigmoid plate. You go a little higher, you will see two dots now. Malleus, lengthy form process of incus and this is the step piece. So naturally this area becomes the area of the oval window. Now posterior wall of the middle ear, you will see this alphabet W. This is the facial nerve recess, this is the pyramidal eminence and this is the sinus tympani. Now inner ear structures, cochlea. So this is seen as a stack of coins, apical turn and the middle turn. This is part of the vestibule. This area, the bone ear is important. This is the area of fistula antifinistrum. In cases where the patient has definitely a hearing loss, conductive or mixed type and the CT looks normal, look at this area fistula antifinistrum. This area is part of the vestibular aqueduct. This is part of the posterior sinus canal. So higher you will see the vestibule, you will see part of the oval window, part of the internal artery canal and we are in the lower sections of the internal artery canal. So this is the cochlear nerve aperture. Remember seventh nerve is higher, seven up, cochlear nerve is down. So this is the opening of the entry of the cochlear nerves or cochlear nerve aperture. This is the vestibular nerve opening going to the vestibule. Part of the vestibule is seen still in the epitome panem but we are not at the ice cream cone appearance. This is the malleus incus. Always remember malleus is anterior, incus is posterior. This is the epitome panem. The vestibular aqueduct is better seen. This is just a part of lateral sinusoid canal. This is the posterior sinusoid canal. Now this is the epitome panem with the ice cream cone appearance of the occipal head of the malleus. Short process of the incus and part of the body of the incus. So this is incus, the cone is the incus and the ice cream ball is the malleus. This forms a figure of eight epitome panem, a diatis toadantrum and mastoidantrum. Sometimes you will see this thick bony septum called the coinus septum. Now inner ear structures that you can see is internal artery canal, part of the cochlea, posterior knee is the vestibule, lateral sinusoid canal, posterior sinusoid canal part. It's a vestibular aqueduct and this is the horizontal portion of the facial nerve which goes under the lateral semiscellular canal which you will appreciate on the coronal. Now higher cuts, this is the good part of the internal acoustic canal. The medial most part is called as porous acousticus. Now laterally in the internal artery canal you will see this hair in bend appearance. This is the labyrinthine portion of the facial nerve. This is the genu of the facial nerve and this is the horizontal or tympanic segment of the facial nerve. We are still in the epitome panem. Now only a part of ice cream cone is seen of the ossicles. Again figure of eight is very well seen. Mastoidantrum, coinus septum, a diatis toadantrum epitome panem and in the inner ear you will see the vestibule, lateral semiscellular canal part, posterior semiscellular canal. This is again part of the lateral, the posterior as you go higher you will see that this is the part of the superior semiscellular canal. So this is the petrus bone that you finished on axial section. So this forms a triangle like structure. Now from here we will see the still images and just recapitulate our anatomy. Going from down up again for an oval, for a spinosome. This blue arrow shows the jugular spine. You should look at it when you are suspecting glomus juculari tumor. This is your jugular bulb. This is showing the sigmoid plate. These are the mastoid air cells. These are the mastoid trabacule. This is a TM joint. A section above it shows you the internal carotid artery. This is the part of the middle ear anteriorly will be your eustachian tube. This gray structure here is a tensor tympanide. This is the external artery canal. Jugular bulb. Interestingly in this case there is a focal dehiscence that is absence of bony wall of the jugular bulb. So this patient can present with tinnitus as this is directly seen in the middle ear in the region of the hypotropanide. Now you have the inner ear structures, the basal turn of the cochlea. The red arrow shows the round window niche, vestibular aqueduct, cochlear aqueduct, eustachian tube with the tensor tympanide area. This structure, magnified image shows you the stack of the coin that is cochlea, vestibular aqueduct. This is the region of the mesotmpanum because you can see most of the ossicles here, part of the malleus, lentiform process of incurs, head of the stapes. Here you are seeing the W. Blue arrow shows the sinus tympanide. This bony spike is the pyramidal evidence gives attachment to the stepedius tendon and laterally this is the facial nerve recess. Section ahead above shows you the internal artery canal, vestibule, horizontal portion of the facial nerve. The figure of eight is better seen here with the epitmpanum consisting of the ossicle head of the malleus, part of the body and short process of incurs, a diatostoid anterum, mastoid anterum, coenuse septum, vestibule, lateral semisimucanal, posterior semisimucanal, internal artery canal, middle turn of the cochlea. Section above this is the better appreciation of internal artery canal with the facial nerve, the hairpin, labyrinthine portion, genu, tympanic portion. This is the crystal falsiform is better appreciated on coronal. This is part of the ice cream, remaining part of the ice cream cone. So you are above this section. So epitmpanum, adiatostoid anterum and part of the mastoid anterum. These are the limbs of the superior semisimucanal. Now let's go on to the coronal stack of epiges going from front to back. You will see the TM joint. This is the internal carotid artery. These are the mastoid air cells with a trabacule and this is the external artery canal, the superior wall, the inferior wall. This is the scutum attachment for the tympanic membrane. This is the head of the malleus. This is the anterior process attached to the tympanic membrane. This air column is the trusac space. The inner ear structures that you are going to see is the cochlea, apical turn, middle turn. This is the entire middle ear epitmpanum, mesotempanum, hypotempanum. As you go one section posteriorly, you will see the apical turn, middle turn and you should look at this structure. This is the facial nerve. Now this is the ossicle. If you trace that ossicle, this is the part of the malleus and this is the incus. So you have to identify the malleus, the incus and this is you've just finished the cochlea, the chucklea that I call and you're going to start with the basal turn but at this level you have to look laterally and superiorly. You will see this makes eye appearance. This is the facial nerve. This is the labyrinthine segment and this is the tympanic again labyrinthine portion and the tympanic portion. This is the scutum, rusac space, hypotempanum, epitempanum. Roof of the middle ear is the tegment tympani, roof of the mastoid air cells is tegment mastoidium. This is the styloid process. You are at the jugular bulb here. Now this ossicle is the incus. This is part of the stepis. Now this is the basal turn of the cochlea, promontory. This is the area of the oval window. This is the facial nerve. This is part of the internal acoustic canal with Christa falsiformis. So this is the internal auditric canal. This is the medial part is here. This is a porous acousticus internal auditric canal with the Christa falsiformis dividing to superior part and inferior part. So here will be your cochlear nerve. This will be the seven up that is seventh nerve. This part of the inner ear is important forming a mermaid tail is the basal turn of the cochlea. This is the promontory. This area is the vestibule, the chest and the abdomen of the mermaid and the central is the oval window. The hands in the ballerina pose are the semi-silver canals, superior semi-silver canal, lateral semi-silver canal and this area here is the facial nerve. You are still at the tegment tympani going posteriorly lateral semi-silver canal part of the oval window and if you observe this structure this is the round window. You go posteriorly. You will start still seeing the semi-silver canal and this is a posterior semi-silver canal and this structure which you see immediately this is the hypoglycemic canal. This is the mastoid tip and these are the mastoid air cells. So again you are still seeing the posterior semi-silver canal. Let's see the still images. Tegment tympani, scutum, the air column is the rousac space, head of the malleus in the epitome panum. So this is the entire middle ear. You are not really appreciating the hypotempanum much here.   This is the tegment tympani. Here the most important area as I told you before the mermaid medially is the internal artery canal, crystal falsiformis, this is the basal turn, romontri, oval window, vestibule, superior semisemical canal, lateral semisemical canal, facial nerve, this entire thing is the middle ear, epitempanum, mesotempanum, hypotempanum, exonotri canal, scutum. This is the lentiform process of the incus. The right here just to show you vestibule, here is the vestibule red arrow points towards the basal turn, a lateral semisemical canal, superior is not very well seen, internal artery canal, scutum.  So this is the oval window, round window, superior semisemical canal, lateral semisemical canal, facial nerve and as you go posteriorly you will see this area, this is the vertical portion of the facial nerve and it comes out of the stylo mastoid for a man. For ENT surgeons the medial wall of the middle ear is very important and actually what you see from down up is the area of the promontory because this is the basal turn, this is the area of the oval window and you also want to see the lateral semisemical canal but it is better seen on the coronal, promontory with the basal turn of the cochlea, oval window, lateral semisemical canal and the facial nerve. I want to stress upon a point here sometimes there is a bony bump here above the superior semisemical canal, it is nothing but the arcuate eminence. A slide or two on ossicles, head of the malleus, so this is the malleus, this is the anterior process, this is the handle, this is the incus, body, short process, long process and lentiform process. So this head sits here and we actually cut, you will see the ice cream cone, head of the malleus, body, part of the body and short process. This is head of the stepes, the crure and the foot plate or the base which sits at the oval window. So these are the two parallel line, handle of the malleus and part of the incus, a section above will show you malleus, lentiform process of the incus and this is the stepes. So this naturally is the area of the oval window. Again to show you this is the area of fistula antifenestrum. In the higher cuts where you are in the epitmpanum you will see this ice cream cone, head of the malleus, short process of the incus is this and part of the body, so part of the body short process. Ossicular chain on coronal anatomy, this is the malleus, this is the incus, this is the area of the stepes and the base or the foot plate of the stepes and in this patient I purposely kept this abnormal area, abnormal slide where there is ossification of the area of the oval window. So there is no oval window proper like you saw it on the other section but I wanted to show you the stepes very well. So the base is absolutely adherent and there is bony plate there in the region of the oval window. So this concludes our anatomy of the temporal bone. Thank you.


Kwa kwa kwa kwa kwa kwa kwa kwa Two na iso kwanza kuka na mtoto kido go Kazi tunarudia Mi, ni kwa industry moja ambayo Hainanga cut off time Na, unezakwa actor anytime So, sai ni lilea kwanza Na sai ni ni narudi Uli kumepo tena unarudi Uli kwa relevant still ama maybe wambu ita qitatia mkaki dogo Well, tena ni kwa mbiya industry Kuna kitungoja Nandi kwa mana tatu kohapa Content niki Na kuna story mingis zana za kwambiwa Once an actor, always an actor Ha, ima nishi ati Nime kata 5 years Bora unarudi na kuna content Consumers wako Niku ri, sai nginiata tunanid Tunasonga kido go, ntikwa sabati call Tunajiri invent Tukirudi, tunarudi, tunapata kuna ile change Mefa nika tuna endelia Uli waba do pia, nimi kwa kwa industry Ya take break for almost 20 years Me maze siata labda mnguam na uiuna Yame choka Sosa niki rudi wne za trust Ni na kuja na big things Nio iyo Okay, ni gada kujua because today we are here for a special A course, of course Firm industry in Kenya pia Yumefika on another level because we've seen products in Netflix So, I don't know now Asas Kenyans, what are we missing out? Is that information? Is that resource? Is that opportunity? Well, all those things are there We're going to say that time and chance Happens to us all Ni were bila utapata Ujibu iyo calling Iyo opportunity ikikam You run away with it Diyo kwa mana Sivi li kwa 20 years ago To meset pace flani Kuna new people wana come in kwa industry So the most important thing Ni ati Tumepata Platforms ime change Sasa tumetoka analog Mimi na ima Na taku believe the most important thing Tunezafanya, ni ku change na the times There's nothing new under the sun Nothing new Nivi letu na package kile Whatever content you have How are you packaging it? Do you understand your target audience? Kwa sababu, kila mutu akuna opportunity kila mutu akuna resources kila mutu akuna mutu anezam take to the next step Sasa ni wene wene ujitu ume Ni taku believe the most important thing Tilion na machachari na rudia kwenye tv Na kuna funu nupale mtani kwa Maybe when I'm with kwa muna pata Kapasente jama kakitu from that For me it be repeating on tv I don't think it's true na maybe kama me pata saapote Well Bila kusimama mbomingi Iyo ni ukwe li kwa sababu For whatever reason Kuna ila kitu na Unasani na itua contract Kipindi Kipindi niyao Unfortunately, Iyo time haitu kusain contract Ina include royalties Ila kitu na believe na uliza Ni royalties So there's nothing much we can do Ni kukubali iwondio imekua Sasa Iyo ni si Sasa niya Kampuni We can do with it Kuna time ukuna percentage Ni itu Bila na kwa mbia Iyo time me akaku miliopita Nasa iwitu nito fauti Tu kiwatu na pewa contract Kuna zilebitu na faku Liza zilebitu na fahu angaliye Akuna mtu akuna makosa Ni two time iikua imefika Ni iivotu Ikela kitu akamawe legendotua industry Ma legends wengi ukitoka kwenya industry Kiki kwa veterans Atu patile saaputu na pata Government, the Covenition Ki kamawe ukia ngaliya legends Wengi na opati saaputu I don't know what maybe we need to propose government I think I think Ni neza takaku ambia Government Understand producti ako Understand wasani Wasani ni watu Free spirit Kisha understand Wasani uteza kum Sinonangata maju Hollywood watu akuna mama neja Sosa Wasani kazi ya keni ku create Usimuatia faneizi witu zingine Sosa even your Government Ineza Empower Artist Muambier we end up create Tutaku Manage Micromanage Ju Wasani aezi fukiri ya witu zingine Kazi ya kesi ni ku Ni ku watumuizu kifunguapale Ezi anza fukiri ya Ju witu ne daku investo api Nisha ya sayo Unaju wa kukua Kuget into character Vile inatek It takes your everything For me to convince you Data onishi kupale Unona mama bahaha Bakawa leo badu watu Wanani ita mama bahaha Iyo kuangu ni kitu important Ni kuma nisha Nili jitawa Amu onishi ko Unona wiyo character So hakuna space ya kufanya kitu ingine Yon ni mesema Understand product ya kundi Unata kutu sa idea kama Wasani Ni very few people waneza kua Artist Nawa kue business people Calling ya kuhu ni kua Misani wachat fanya yo Kuna watu usawa ee kazi ingine No piya wa fane What do you miss acting with behind Maybe if you do What do you miss about him? Well kwanza unajiwa Ini bond to me growna yo Mi aka 12 To me laya generation muzima Awa ni watu Ni najiwa na na consider kama family Iyo Iyo tu Ni watu tul kuatume Chemistrii li kua ikua first Una imagine una ingiwa Taari ni kimuna vile Uyo ayuko sawa Bila kuhu ni ambiya So I think niyo chemistrii Niyo chemistrii na Niko proud sana kukuani Me laya generation Let's talk about the family Machusari family We've seen some of them become Stars, international stars Kuna wali ambawa piwa mekwana issues Wali asa family kumakwana stories Did you get time to reach out to them To call them, find out if this is true Well You must also understand That Piya mi na go through Normal life Ndiyo tukuna wali tutapatana Tuonge Na if I can Tuna fanya Ushawuri, kuskiza Iote, tukopa moja Bado sisi at the end of the day Ni familia, batunona Kilam tuwako na maisha ake Na maisha ake pia ningu mu Amani raisi Bila wateva circumstance uko So before we reach out To minginewe monella zima piya uko meji Meji sma mission di Weza ku affect change kwa moneza ako But kama bila biblia ina sema Love one another, love your neighbors Love yourself, tuna fanya iyo Sayi maisha me kua jusa na kosa bili mi kuhain Gataku jua maybe We're being a brand, a household name Nojia piya palem tani wiki pita Ispec uishi maisha flani Kuna jwa na ispec to drive Ufanya shopping Udu sinunu kama mamboga Due the great being a star Because people tanish na maybe online Buuling you? First of all, yo niyao Kilam tuwako na maisha ake Kwa Nini normal Mi nim to private sana Mi nim shai Spendi kusinda nikiwa kwa izi Kwa sa abu Mimi kwangu ii acting ni kazi kama ingine Yo yote Ile kitu wau na pitiya Mimi na pitiya the same Sosa awel kini judge Sina yo teimi ako anza kuku please Were Mimi nafanya ile kitu Ni naona mi nikiyo ajiami Nafanya as long as my motive is right for whatever I'm doing How you receive it How you perceive me is up to you Sosa yo ingine Fkiri aivo Tutalost Nia Just kumalizia Talk to your fans Just kumalizia Talk to your fans and maybe mention to ask the last Projects maybe I'm at the future upcoming projects you're doing Okay Mwanzo Mwanzo kwa matatari Mwanzo kwa matatari Mwanzo kwa matatari Mwanzo kwa matatari Nifanya nyumbaten Fanya cinema Stage plays na pendasana stage plays Nakaira зарail quarters Kayakity MK each baston a true story Has� defeating to my fans vem natu kwa shkuru Kwa sabzabhaa bila ordinaryよ ni singekuafirst of all monkeys too accept kwa mbia, na ta kwa mbia sita wa angusha. Tutahendelea kwa sababu hihu called me is faithful na wondi om nitu kwanza nina mpatiya gloriote na na believe me mamboingine zita fwata. So kwa my fans shukran sa namase na wapenda. Thank you so much for your time. All right. Glad to host you. All right. Shukran.


How's it going everybody? DatoDoy here. Viewers of the stream might realize that I am no longer a Majin. Yes, I lost it very quickly. I was one to motion magic. Also, I'm playing all the Goku's because base Goku and Vegeta come out in two days, maybe one day when you see this. I think actually they come out the 8th. And I think the balance patch comes out then? I don't know. I read a comment about it. But yeah, very very soon, so. Very excited for that. All the way. Eat a little defense here. Play a little defense. Oh, whiff a reflect. You know what? I feel like playing Goku Black. A little bit of Goku Black. I wish if I would have known he was going to get hit there. Got him. Oh, that was sick. That was some Dragon Ball stuff right there. I got to give it up. Alright, sliding knockdown with some mix up. Dragon Rush. Yep. Dragon Rush, very very good option here. I don't know the Goku Black corner combos. Bad big mistake. Oh, he jumped out. Damn it. I don't know why. I kind of forgot that Goku Black doesn't have a beam symbol. Which one am I? Damn, you see that side switch? That was sick. Oh, don't go anywhere. Oh, don't go anywhere. Don't leave your seats. Oh, how did I miss that up? Random. We got those. Oh, just hitting buttons. Oh, my goodness. Delay of game. Just delay these buttons. Just delay them. That's all you got to do. Alright, Goku did not lose as much health as I was hoping. Oh, don't hit a button. Not against the gods, boy. Level three for the hard knockdown. What should be the mix up? Dragon Rush? I gotta stop doing that. Oh, the 2H of the gods. That was just all Goku Black. Barely touched any of the other Goku's. The 2H of the gods. Alright, let's play a little waiting game. Alright, we are going to roll into the next rematch here. Honestly, it shouldn't take too much to crack that last game plan. Oh, yeah. He told me not to move, so I listened. Oh, hello. Let me get up there. Oh, my medium kick whiffed, but his was right on time. Shout out to Bean in the corner. Going up. Alright. Someone call a leg doctor. Dragon Rush. Can't be too passive here. Goku Black. Alright, I was like, oh no. Not now. Little 10 frame jump. I'll take it. Oh, to the corner. Oh, never mind. We are not going to the corner. Scratch that. Alright, bouncing me around. Ah, gotta delay the... Oh, no. That's not what I wanted. Dragon Rush. Oh, I could have switched him in. I was not thinking about that. Dragon Rush. Oh, no. No, he was clearly hitting buttons that whole time because he didn't want to get Dragon Rush. But after like 8 straight hits, he was like, I'm done, dude. Oh, so cheap. Oh, nice little key charger. I like it. Down tech. I could have squeezed out a bit more damage there. Level 3 for the hard knockdown. What's the mixup going to be? Run up Dragon Rush again? I would never do that. No, dude. I would never do that. Dragon Rush. Down heavy of the gun. A little bit too long of a wind up there.  Hit B. Back down on the ground for some good oaky. We out of there. Oh, beam did not last long enough. I'm not going anywhere, dude. Too high. Goku blue. Finish it off. Oh. Wow, I'm eating a lot of damage here. My team is getting whittled down very quickly. Level 3? No level 3. Dragon Rush. Ah. No Dragon Rush here, boy. Teaming up with someone who looks just like me. Ah. Alright, well, let's see what happens in the next game. Alright, rolling straight into the next game we have Excelliotis. And Meliotis? Another Super Saiyan 3. Wow, we are encountering a lot of them today. So we might be able to get back to Majin. Assuming, of course, I don't get washed using this team I am very unfamiliar with. Haha. Oh, Kid Buu. Wait, Kazunoko's team? Alright, I've got to eat a mix-up now. Oh, I jumped into him. No mix-up there. Not really trying to mix me up. Yeah, there was no real mix-ups there. Geez. Alright, we get it. Oh, and I wasted about two hit. I didn't even know it worked like that. Yeah, switching in was not the right idea there, but I didn't want to switch in. Alright, Super Saiyans all on my screen here. Damn, the walk-up? Alright, looks like we're going to go hunt back in here no problem, which is, you know, good for me. Oh my God! Is it the delay doing that, or am I actually just that bad? No jump back. Well, he survived that. Does Goku have a low 2L? I don't think Goku Black. Oh, weird sound effect. Oh no, I could have capitalized on that. I could have taken that opportunity. But I did not, so we're going to see what happens now. There we go, that's a mix-up. Ah, Quick Tag did not work out in my favor there. I was hoping it clashed. There we go, now we're in. Oh no, no, no. Oh, thank God. That's our turn. The range on that is not good for me. I wish if he was going to get hit, he would just stop jumping. Cover me, dude. Oh, wow, I was way overhead. Man, a dude can not get a hard knockdown with this thing. Oh, I tried to jump. It's just been a very awkward fight so far. I've landed like six different straight hits. It might be time to spark up. Kid Boo in the corner? Not feeling it, dude. I would have had to- Ah! Down tech buttons. Oh, that was clean. Gotty! Nice, down tech buttons in the overhead. Down heavy? I see you. Gotty, alright. Yeah, my turn still. Ooh, and that is a sparking that did not go to good use there. That is good. That is fine with me. Ah, well, that is not fine with me. No level three?  I don't hate it because it's a very important part of his mix-up, but... Jeez. Oh, right behind the back instantly. Nice. I feel like I should probably let Goku Black come out here. Oh, that was very- No, it didn't work. The back dash into that did not work. Oh, level three. Level three, that's bad for my health. That's not helping anybody. If you're going to get hit by that, can you send me an advanced warning, dude? Yeah, we go. There we go. Oh, please hit. Please hit. I'm sorry, I'm sorry, I'm sorry. Oh! That was- That's bad for the heart, dude. What's the mix-up? Shoulda dragon rushed? I shoulda dragon rushed. Okay. Now we got to play it safe and sound. One Wolfang fist mix-up on me. I am dead. Okay, very, very off- Very, very- I don't know what to call it. Very risky choice on his part, I'll say. Very, very risky. All right, we need a clean house here. So we need a- We just need to not do what we did last time.  You gotta give me something here. Ah, a random dive kick. Shouldn't have even been a medium one. You would've thought I'd backdash or reflect or anything on that. Damn it, it was- Ah, I shoulda- Gar-teched very- Oh no, the down heavy didn't go off and I wasn't even on the ground. Probably shoulda just kept locking. Ah, we down. There we go, we free. Free my people. Let them go. Why do I keep doing that so close to the ground? We are in there! Oh, just enough. There we go, finally, finally. Overhead. Come on, that didn't work, dude. That didn't work either, my down heavy didn't come out. Yeah! Damn, how you like the deserts, my boy? We moving in. Oh! Oh no! Yeah, no vanish. Dragon rush. Feeling it. Just jab them. I don't think that was a legal boom mix-up, let's say. And I did it again. That's a very hard- That is a very hard- Dragon rush. We in there. One more mix-up to seal the deal. And we got mix-ups to seal the deal. Keeping a bar just to use it defensively. What's the oaky? Dragon rush. Oh god. Okay, he just- Oh, nice dragon rush. I was more interested in what he was doing offensively. I was like, what's he doing here? Surprised he hasn't popped sparking yet. Ooh, that's gonna cost him. Bye, I would've popped sparking. That's gonna cost him big time. Sealed for eternity. There we go, starting off very, very strong here. Let's use Goku Black Beam just to help out on the- Oaky, let's go, no reflecting! You cannot reflect what you cannot see. Goku Beam just to help out- Oh! Oh! Oh! Oh! Oh! Oh! No really. Gotta say, I do disagree with this choice here.  All right, well, at this point, it's not even worth. Let's just get max damage. Yeah, I'll ever hurt a max damage. Let's go. Oh, we don't keep the same side of the corner. This was not worth. I was waiting for you. All right, I'll go this way. Hey, man, if this corner is more appropriate, damn. Switching sides? Player two side broken? He was like, yeah, I'm switching sides, bro. Had to call a judge over and everything. Wow. Overhead. Bad choice, bad choice, bad choice. Poor choice.  Still can't get over it. Level one, not going to kill. That's not how you do things around here. Just going up. This should be enough for the kill. Goku's jumping up. I probably should have called in another bar just to get the safe switch. But I didn't. I'll live with it. How will I live with it? By doing the oldest trick in the book. Damn, put my fingers to my forehead, but the instant transmission didn't come out. Nice extant. Non-optimal, the overhead. Dragon rush. That's how you do it. That's the dragon rush of the gods right there. When pressure seems too obvious, you got to use dragon rush. Too high? No. Oh, we connect. We connect. Oh, this is your captain speaking. This is stage five turbulence. Level three, what's the oaky? What's the update on the oaky? Let's get it. I can't move. I couldn't move. Oh my god, I hit that button. Sick me. Oh, oh, oh. Oh, the lag. That was all lag. I just, oh no. Now I just want to end the game like that. Oh, he just super dashed me down. I appreciate it. No, no. I definitely appreciate it. He's using some pure beam. OK, well, that's going to be the end of it. I don't think we hit Majin by any extent to the imagination. But we got it. That is such a bad way to get ranked down. I feel you, dude. It just happened to me off screen. I feel you, dude. Hopefully you enjoyed this. Let me know your favorite moment of this video down below in the comments. I'll be down there as always. I'm Dr. Duia. I'll see you in the next one.