So welcome folks. My name is Andy Rush. I work at the University of North Florida. And this is a presentation that I actually did for something called DS106 back in, I think it was 2011. And it was for Jim's class. He was teaching one of the sections of it. And so I came in and I barfed up everything that I knew about video at the time. And I'm going to do it again ten years later. The first thing I want to do though is because I'm always experimenting. And so what I want to do is capture you folks in a 360 environment. So I'm going to stand over here so it's going to take my picture at the same time that it takes all of your pictures. Now if you don't, and this isn't all seriousness, if you don't want to have your face in this image because I would like to publish it on a website, nothing fancy, just AndyRush.net which gets millions of visitors per year. I'm just going to do a quick picture.  Five, four, three, two, one. One. Excellent. Thank you for that. I was going to tell people to kind of strike their favorite pose if they wanted to. But I forgot. So anyway, we'll save that for posterity. So fast, cheap, and under control has to do with a film that Gardner Campbell showed the DTLT crew way back when. It's an interesting film. If you're familiar with Errol Morris, he likes to kind of talk to people and see what characters, and the characteristics of people he can bring out. So that's kind of the basis of this. What I want to do is make sure that we're under control. So instead of being out of control. So here's me and a little bit of the stuff that I do on my website. And some of these are kind of old, gold video projects that we did. And then another basis for this site, again, is this idea of being able to control a video production. And what I want to do ultimately is show you just a resource where you can get all this information about codecs, about lots of different pieces. So I'll talk about that and go through these slides and show you what I'm talking about. One of the things that we talked about quite a bit, and again, I was watching videos of Jim talking about Kirby Ferguson. And I think Jim basically said, the only thing I don't like about this is like he sounds like he's on PBS. And he's trying to do a fundraiser for his videos. And I thought it was hilarious, especially in the timeframe of like 10, 11 years ago. But you can watch everything as a remix. What it is is basically it's all those pieces that you put together in a production. And it's just like thinking about all the things like sampling video and how that stuff either gets copyrighted or borrowed or steeled. So it's an interesting video. But some of the concepts that I talked about way back when were these ideas of codecs, if you know what a codec is. And if you don't know what a codec is, I can kind of explain it for you. But also this idea of resolution and compression. So all those things kind of make up a video. And the reason that you see the image in the background, those are like containers from a container ship. So you think about containers. Containers contain the codecs. So you'll have an audio codec and a video codec. And then you also have things like metadata where you've got subtitles or data about the video, that kind of thing. What I've done in each one of these slides is just kind of present what I think is the best existing video on YouTube. So this may change. I might find something even better. But explaining digital video here is a good one. There's one at the very top that says what is digital video, what video is. He talks about what a frame appears 30 times a second and that's what makes up a film. Sometimes it's 24 frames, sometimes it's 60 and all that kind of stuff. But then these other videos are about video compression and what codecs are. And codec is a shorthand for compressor, decompressor or encoder. Four by three aspect ratio, you know, the CRT TVs, those are still hanging on. But we were going to this thing called widescreen TV with these big cathode ray tubes. And it works a lot like VLC does. Back in the day, MPEG StreamClip, anyone? MPEG StreamClip? A few of you. The successor I would say is this thing called lossless cut. And if I have time, I'll do a little demo of it. But if not, you'll really appreciate how it works. And when everybody's talking about DaVinci Resolve, right? That's kind of going to be the free, it's free, but it's a professional video editor. Back then we were talking about CDs and iTunes. Now we're in the modern technology of vinyl and cassette tapes in 2023. Yeah. Wirecast Pro was the program that I used to broadcast live the DS106 class that I was in Jim's class with. And the link to the video of that, if you want to see that nonsense and how bad I was back then, you can watch that video to the bottom of the resource page that I'll show you. OBS in 2013. OBS in 2023. Photoshop, still kind of in existence, but nobody likes paying the subscription fees except universities. Everybody's got it at the universities, now they're paying for that. I like a program called Affinity Pro. Affinity Pro is the program that I use when I'm working with my 360 photos. Because you can go in and you can edit out the tripod. So when you take a picture here, it's also taking a picture of the stuff on the floor and the tripod. So you don't want the tripod in your picture. So you airbrush it out with something like Affinity Pro because it works with what's called Equirectangular. We'll talk about that a little bit more in a second. Pixelmator Pro is another great program, a much less expensive program than Photoshop. Paying it once, you pay a monthly fee for Photoshop. Pixelmator Pro is about the same price and you own it for life. MacDVD Ripper Pro in the day, MakeMKV is the DVD Ripper or Blu-ray Ripper of the day. And what it uses is a container called an MKV or Matroska and that has the right codecs to use to play the video. Plexback in the day, I found something called Infuse which is a little less kind of fluffy in workflow. So video workflow, one of the things that we always talk about is the process of making video. Planning, shooting, editing, encoding, hosting or publishing is a better word. So I've got a video on Story Border which is a nice little free program, this kind of Hollywood Story Border. A little bit of like the rules of framing. And again, I won't say these are the best videos. This guy's a little bit maybe too happy for me, but he does a good job of explaining kind of the techniques and that kind of thing. When it comes to video editors, there are the professional ones, let's say. So the Adobe Premiere Pros, the Final Cut Pros, DaVinci, there's DaVinci Resolve which is free. There's DaVinci about editing files in QuickTime. So what I do sometimes when I'm filming faculty is even taking QuickTime and chopping off the beginning and end and just saving out that file and it's ready to go. But the lossless cut program that I love so much that replaced MPREG StreamClip is one of those things where you can actually go in and take out chunks and then it will put things together. And it does it in a way that's what we call lossless. It's the idea that you don't have to re-encode and wait-fight files and wait-fight files all separated on one SD card because of the 18-minute limit of the codec within the camcorder. So this program will join those very quickly into one file and then you can put that on a timeline and go from there. So lossless cuts a real cool program that I've discovered. And then something on DaVinci Resolve about kind of what it is and how great it is, all that kind of stuff. I still haven't switched yet from Final Cut. Just if you've got your... I'm good. So you're all set. Live streaming solutions. We've got one over here called YOLOBOX. Right now all these sessions are being streamed by YOLOBOX and basically what it is is a video switcher with a screen built in. So you literally touch the buttons to switch from program to preview or to from shot to shot. And you can bring in things like video screens. You can bring in other audio microphones, that kind of thing. That sort of thing is just becoming more one month. So some of these live streaming solutions are hardware based and this is just back in April we did our inauguration for our president and that's our setup in the background. We use ATEM switches from Blackmagic and a lot of the Blackmagic equipment. We've got the new studio live streaming program. On the Windows side there's something called VMIX. It's not a free program. I think both of them are monthly based subscriptions kind of thing. But if you're doing this with any kind of monetization or whatever you can kind of recoup the costs. The long version of this presentation. So green screens. One of the things that I'm constantly thinking about is like how long are we going to be using green screens in the near future? Because they work really well. If you light them well you can get an excellent key. But we've got Zoom and other programs that are doing these virtual backgrounds. And to my eye they look terrible just because there's all kinds of fringing and they're not necessarily designed for video production quality stuff. But I think we'll get there. I think the object detection and that kind of stuff will get so good that it's like you can put it in a crazy busy background and still be able to pick out the foreground and the background of the person and key them out if you will. On the left hand side this is an example of a program called Runway ML. And the ML is machine language. And it's able to do exactly that. It's basically able to take this busy background and click on this and take it out just like a green screen would. So that's where we're headed with this technology and it's only going to get better as we've seen with Alan Levine and how good his video matched up with his face and all that kind of stuff. We also at University of North Florida are working with something called Frame.io which is an idea that you basically you're filming and you're connected to the network and as soon as you press the stop button on your recording it starts to upload what's called a proxy. Not the big honk and video file that you've recorded but a proxy of that that goes under the cloud and then you start communicating with faculty or whoever else you're collaborating with and you're able to say, hey can you cut this at 5 minutes and 35 seconds in a marker is placed and can you put a title here at 7 minutes and such and such place. And then what you've got is people look through the glass and speak to their students and then we flip it around with another separate box. So I just kind of want to touch a little bit about the future and AI learning or AI video editing and just it's something that's coming of how it's going to kind of manifest itself. I just I think there's both great and scary consequences from some of these technologies. The other thing that I want to do is and hopefully this is something that will be helpful for folks and something that people can use as a reference but also by all means if you want to add to it something that you use. So basically the list is let me just make sure yet. So the list is just a list of equipment that I've used in the past 10 years or so of things that I know work, things that do different things. So there's lots of different types of cameras including standard camcorders or cameras or what we call PTZ cameras or pan tilt zoom cameras like these guys. This is just a list of hardware and software that I've used in the past that I just find are really useful. So this is a separate web page that I'll show you in just a second but this will give you an idea of kind of what's here and what's available and you can ask me about well why did you recommend this and didn't recommend the Sony camera but I'll tell you. I'm happy to answer any kind of question like that. But that's the end of the slide portion of this presentation and this is all done in Elementor by the way so if you're familiar with Elementor this is just on top of WordPress and it's basically like a slideshow mode where it shows a screen at a time. So again it was me experimenting it's not that exciting to you but I was glad that it did ultimately work. So let me just show you the list. So again just all the links there's webcams and microphones light them as well. Here to record John Barker he's another kind of ATEM streaming guy he's written some software to do titling and that kind of thing. Matthew Vendiput is like a time lapse expert so there's kind of just a range of different guide but they also do like other types of cameras and that sort of thing. So let me just switch back to this is the thing that I just showed you in the slideshow. It's all of the stuff about all of the things and this is why I didn't show you this during the presentation but you can go to the very end and see the original Fast, Cheap and Under Controls slideshow video and be entertained. Any time you've done general strategies for when you're thinking through this process I don't know if I should say this but I'm going to say it anyway. Well I'll put it this way there's only one studio that I'm not proud of and I'll just leave it there. What I did in the very beginning when I started getting into this in DTLT and I found my niche of video is I set up a green screen studio over at CGPS the other campus and I don't even know if that's another campus anymore. Is it? Sort of kind of? I mean there's a building. At least it's still standing. So I built a couple of studios over there and by studio I mean something very similar to the one downstairs with a green carpet or a green fabric on stands with lights and I did that a couple of times the first time I used the fabric and the second time I painted the wall and I said oh the wall really works well and so for the most part I've had green walls that I've dealt with in these studios but I built those with my idea that I was under control with I was step by step by step and so at UNF I inherited a green wall room that I used as a studio and learned from that and then I built the next one because we needed to have kind of like a Allah one button studio type thing and I learned that one button is not enough you need to have more than one button to control all that stuff and actually allow faculty to do their own presentations and then took it again lat it was a tiered classroom with tiered seating and then two monitors up front and then a big whiteboard in the center so then they put three PTZ PTZ cameras in the room and they filmed those recordings and it's like wow that's exciting and so I said you know let's get this out of one trick pony realm let's get it into something that's got stations if you will so you've got a green screen station that you can film at and you can do virtual stuff with virtual backgrounds and then you step to the right or your left and you see the light board behind a black background and they're writing on it with different colors and they're filming that and we can include any of those into the production or you know we could do all of it live and go from the light board to the green screen and back again and then we've got if you turn to your right your left you'll see what I call the podcast set so we can either do just a standard audio podcast but we've also got cameras that can be trained on that space so you can have either a single camera or multiple cameras or three PTZ cameras to get every angle you could possibly want so we can also do video podcasts as well and then we clear that table out and we put two ferns down and we have a TV show set with a bookshelf in the background so it's the idea obviously is not just recording classroom lectures and we can set up the classroom for classroom lectures if we want to but the idea is that we just we throw everything possible and we're still figuring out what's possible by adding these different pieces I've got a telestrator that I'm building so they can you know highlight over live video and have that recorded we've got higher quality green screen stuff that sort of thing so it's a flexibility is kind of the name of the game I'm curious like so I imagine what most video people are doing is sitting on zoom calls right and up and like sometimes I see like some people and I'm like well damn like Parker sounded amazing but he had that big microphone and so did Alan they sounded great and then sometimes you'll see people and you're like clearly they're using some fancy camera what would you recommend for somebody who's like my start to video is going to be right in front of my computer to be better than just opening up a really crappy webcam to do something well that's part of my point too is that there's a there's the idea of like the beginner video set and the intermediate video set and the advanced video set so but there's some really high quality stuff that you can do with a beginner set like a beginner webcam insta360 the company that makes these 360 cameras also makes a webcam that's really good and actually as a PTZ webcam so you can set it on your on your computer on your desktop or whatever and it also has like a tie into a whiteboard system so like you tell it where the whiteboard is and it's able to move through that and then I think it even records like it's reads the words and records it and saves it stuff like that to give you a transcript I think I might be mixing technologies but it's it's I mean that idea certainly is possible right so let's imagine it and think that it does it and then there's other ones that that are very similar that that are just really high quality and and the old the the classic webcam is like the Logitech C920 if you google that you'll find it everywhere and you'll find it still popular and it's been in use for like 15 years so that's the kind of thing and then as far as microphones go these things are great the road goes the road wireless goes because they can easily just set in the cold shoe of the camera and be the wireless transmitter and you run the audio cable into the camera and record your your video like that but we saw we've also talked about these either boom poles where you can put the wireless end on the end of the boom pole and then you know the other end the receiver on the next to the camera and use it as a boot wireless boom pole kind of thing or they've got the little hand held road microphone clippy thing it looks like a like a hand held mic with a little foam top but underneath it is the road go microphone so it's cool stuff like that that they're able to kind of you know get these technologies to do and I'm just you know it's a great time to be alive in the video production world because of all the technologies there's there's so many things that I didn't mention that I didn't get to in terms of you know technologies we've switched from HDI HDMI based video production to SDI based and it's basically like a cable almost like the cable that you had in your in your cable system back when cable was a thing and then we've also go into these technologies like NDI which is a network interface where you've got a video feed going out to all the places over a local LAN and you can get video feeds from that so video feeds from a computer where it's doing a screen capture and video feeds from other types of cameras and then you can monitor all that stuff and bring all that stuff into a production just like it was an HDMI or an SDI cable so that's it we're at the end thank you very much oh yeah I think we can do okay so if you if you want to stay for questions or you want to see me afterwards by all means what I do want to make sure that you know is that the digital media cookbook so digitalmediacookbook.com is where you can find the list and you can find the information on the fast cheap and under control website this is a project digitalmediacookbook.com this is a project that I started right before I taught or I was in Jim's class where it was just here's how you do lots of things and it's kind of a recipe that you follow like you get all the ingredients i.e. the camera, the microphones, the lights and then here are the steps that you take to do the thing and it's not up to date in any way except for a few things that I've posted over the last few years but I hope to kind of revive its place in at least a reference place or a resource that folks can use so you might need to tell people about the naked mole rat because he's kind of scared of that who's not scared? it's when you have millions of them where the naked mole rat lives he doesn't need any hair and he doesn't need any eyesight so again this is the fast cheap and out of control video or movie that Errol Morris did but there's a review from Roger Ebert at the time and Roger Ebert it's kind of passed away in 2013 of all years but he talks about this and I do want to show you a quote at the end of this because it's really funny but it's basically about all these kind of crazy people scientists and other people that are doing these unique skills but a lot of the stuff that they do is out of their control they have no idea when it's going to rain with the topiary gardener and things like that so it's just a fascinating video to kind of talk to these people and what they do on a daily basis and how it's like they have no idea what it's going to do today one of the last questions Ebert talks to Morris about is what next film he's doing and he says I'm preparing a film he said about an electric chair repair man and it's just like oh that should be that should be a happy story but an interesting interview and the other thing that I do want to mention is that Errol Morris for this video invented this thing called the enterotron it's the same British it doesn't make a frame it's entirely based on that yeah absolutely yeah it's I think Jim will agree with me and the other, I don't know who else was in the room I think Martha and Jerry were there watching this film back in the day and it had a big impact on me obviously because I went out and made a website about it thanks everybody appreciate it


A van transporting oxygen gas canisters exploded in a Milan street on May 11, injuring one person and setting nearby cars and motorbikes ablaze, local officials said. The city's mayor, Giuseppe Salla, ruled out foul play and confirmed that no one had died in the incident. Salla said the driver of the van had told the fire brigade that the blaze had started in his engine. He quickly grabbed the oxygen cylinders he was carrying. He tried to limit the damage, but then there was an explosion, the mayor said. He added that the driver had sustained only light injuries. Firefighters quickly extinguished the blaze, which had sent clouds of thick black smoke into the sky. Eyewitnesses said the fire appeared to have spread to a nearby building, which was evacuated. A local school was also evacuated.


Hey guys, it's Nate, AKA The Foot Account, and welcome back to the channel. It's a Sunday in FIFA. It's been a quiet weekend, sweating footchamps. We did get some content yesterday on Saturday, but I want to talk about what everybody's going to be focused on this week, because it looks like it could be coming soon. Based off of the dates and what this next Friday is March 19th, that is actually the anniversary of the day when FIFA Ultimate Team was released back 12 years ago, 12 years ago, 2009, is when FIFA Ultimate Team was released. So we are getting ever closer to Foot Birthday, and this Friday would be a perfect time for EA to drop Foot Birthday. So we're going to start talking about that today, because with that promo comes a lot of stuff, and of course, since we don't even have it confirmed or whatever, this is all speculation and stuff, but I think there's going to be some cool cards that come, because EA rarely mess up Foot Birthday. Foot Birthday is always a sick promo, and that's why I want to talk about it, and maybe even help you guys prepare for it a little bit as well. But yesterday on Saturday, we had this content. We had a Lamar and a Rutiger showdown for the Champions League game that is taking place this Wednesday on the 17th. These SBCs are both priced around 200, 210,000 coins. Rutiger's card looks decent, but then you look at the in-game stats and you realize, hey, this isn't that good. 84 sprint speed, but 69 acceleration, 67 agility, 59 balance. So even with a stat boost, this card, I don't even know if it's worth 200,000 coins. If you compare them to Gold Van Dyke, you might as well just go buy a Gold Van Dyke. But the Lamar card looks a bit more interesting. Again, if they draw, it's a plus one boost, which I don't think they can draw. I'm not sure what the aggregate score is, but if the game itself is a draw, plus one boost for each of these players, plus two boost for an outright win for Atlético Madrid or for Chelsea. So that is kind of going on right now. We have a couple of what-if upgrades that are confirmed for this week as well. Sancho and Dortmund got their, they got two goals this weekend. So when that puts Sancho over the six goal threshold for him to get upgraded, and he's actually dropped down a decent amount. There's a lot of stuff going on with the what-if card today.  As we were watching this, it's kind of crazy to me. These guys have really dropped so much post game. I'm actually a little bit interested in this to see how low this goes for a potential rebound. Because I think people are kind of just selling this because they know the upgrade is kind of guaranteed and it's coming. And this supply on Sancho is looking really, really thin. So I'm going to definitely be keeping a watch on this card because I do think that as the hype builds into Wednesday for that upgrade, he could rise back up in price a little bit. And then also in Golo Kante and Chelsea, this card dropped off a lot and he's back up 100K from where he was. We knew this panic selling was going to get too low and bounce back, but Chelsea have only one game left to play for the potential upgrade for this card to Kante. They had to score three goals and that next game for them is not until April 3rd or something like that. There's like a couple of breaks coming up. So the next Chelsea League game is April 3rd or something like that. So this Kante card won't even have potential to get upgraded until then and they have to score three goals in that game to get this card over that three or the six goal threshold. So this card dropped off from about 2.4 million coins down to about 1.75. Now it's back up to about 1.9. So we'll see if this rebounds back up even higher, but this seems to be kind of where it might've bounced back up after the panic selling on that Kante card, which is very interesting. You had Benzema as well. Benzema scored two goals today for Real Madrid. This guy went to 370,000 coins after he scored the second goal for them. I think it was like in the 90th minute. Right now, Fuppin has him at 315, but that is not correct. He's 330. This might rise a little bit into the team of the week hype, but Benzema already has three informs. So I don't know if a two goal performance is good enough to get him a fourth inform. So I'm not sure if that's gonna be upgraded on Wednesday, but we will see. As for the rest of the market, a lot of stuff got really high on Friday night, especially icon moments. Some of these cards, I bought a Mane today to try to flip. I'm hoping that he gets rare again tonight on Saturday night. We'll see if that works out well for us. I got that in the low 1.8s, but a lot of stuff is fluctuating around. A lot of these cards, you're starting to see open bid listings. You're starting to see prices drop a little bit because people are selling their cards after the weekend. They're getting their games in, they're selling their cards and they're getting their coins. And of course, with this talk of foot birthday coming around, 5.18 for Pogba. If I saw 500, I'd buy that. But with the talk of foot birthday coming, that's got a lot of people getting interested in, do I need to sell the cards that I just bought for my team? We know the market just kind of recovered from a crazy, crazy couple of days last week with foot player days with the icon player pick SBC. But it could be, we could be in for a little bit more selling because I think people are gonna sell cards ahead of foot birthday. And that's why I wanted to make this video to talk about why that might happen and also to maybe help you guys prepare a little bit beforehand. If we do see a lot of price drops start to happen this week because I think you're gonna see people start to sell stuff. I really do think you will because foot birthday is never a miss of a promo. It's always a hit, right? And the big thing with foot birthday that everybody gets hyped about is the skill moves and the week foot upgrades. Five star skill move upgrades, five star week foot upgrades. I showed you guys the team from last year. You remember this team from last year. They don't miss, right? Foot birthday does not miss. And Boppe, Hazard, Griezmann, Rashford, position changes through here. Right wing, St. Maximon. Of course, this card was crazy, right? Five star skills, five star week foot upgrades for a lot of these cards. And the players that are in these teams are big name players, right? Sasoko, right? We looked through this team number one. Two week promo from last year too. So we had Pogba, Lacazette, DeMaria, Bale, Waka Yoko, Van Dyke, Theo Hernandez. So a lot of big names get into foot birthday and a lot of big boosts happen. Now, I think this is the way the EA will go about it again. Hopefully they do the five star skill move boost and the five star skill move and five star week foot boost because that's what people look forward to the most alongside of position changes. And since this Friday is the 19th, that is legit the day that FIFA Ultimate Team was first released and announced March 19th, 2009, 12 years ago. So it seems like we'll probably see some loading screens this week. We're gonna be talking about it throughout the week. And if your stuff is up, if you bought a team or if you bought some cards, especially some of these gold items, right? Like we're talking about Mbappe who I think is like 680,000 coins up from where he was when he was down to like lower 600K range with all the panic on last week. If you have some of these cards in your team, I would recommend getting them out early because as we get closer and closer to foot birthday, I'm not saying this Friday is going to be foot birthday, but if you can rock with an untradable team for a couple of days, that might be a decent shout. Also, League One Player of the Month is coming this week too. We'll talk about that a little bit later in the market outlook video. But all I'm saying is that when you're watching the week and the sell off this weekend or if you're seeing prices still being kind of high on some stuff that is out of packs. You know, some of these what if cards, a lot of people bought these. You know, if you bought some what ifs, you know, obviously we're seeing what happens post game. We're trial since down to 1.05. He was 1.2 earlier today. Dalvin scored a couple goals. He's even down a little bit from where he was. We talked about the Sancho and the Conte. If you bought some cards that have went up a lot since they dropped a lot earlier last week, it might be a decent time to cash those out. It might be decent. If you bought 11, he's 430, man. Levin Doss, he was 300,000 coins on Tuesday. Now he's 430. The young was 210. He's now 310. So I think at the moment, now is not a terrible time to take the coins on stuff that you might have in your team that is bounced back, right? This Mastoni card was like 170. He's back up a little bit. Some of these in forms, Raheem Sterling, 427. Veran, 730. He was like 650 at one point. Some of these, even team of the year cards, I would expect to drop. If full birthday drops a huge batch of brand new hype cards in the game. So I'm not telling you to sell. I guess I'm just saying look at your card. And if it's an investment, I would probably take the cash on an investment. But if you have a card in your team that you're gonna use for the rest of the year and you don't mind a little bit of a, a little bit of a drop in price on that card and you don't plan on selling it, that by all means just hold on to it. But I just see potential with throughout the week this week especially if loading screens come and even as the weekend kind of tails off, word is getting around that this Friday, March 19th is the actual date of FIFA Ultimate Team's birthday, quote unquote. So full birthday, it seems to be just set in the stars that it would be this Friday. So I know I'm making this video early and of course we don't know what's guaranteed yet. But all I'm saying is the stars are aligning and it looks like this could be happening and that this could be possible. So that's why I'm talking about this today. Now let's talk about other areas of the market, right? Icon moments. That is one area where I would probably start to see some of these cards that have rebounded up from where they were earlier in the week. These cards are probably gonna start to dip again and because people know that brand new items are gonna come to the game. Icon moments have been the types of cards people have been trying out recently. But with new cards coming to the game, people's focus are gonna shift to those. And these cards are obviously still in packs. Their prices on these cards always continually drop for most of the year because they just keep getting packed. There's more cards that come out. People have less coins till team of the season. It's just all about the supply keeps on coming for these cards. So a lot of these guys have really gone up in price this weekend since the Tuesday lightning round since they were very supplied and there's a lot of panic. You've seen a lot of these guys bounce back up. This McAlele is like 1.8 mil, 1.9. He was 1.6 and even a couple in the 1.5s earlier this week. So he's up a decent amount.  He's back up at 1.7. So some of these cards, El Matador is like 1.25. This guy was a million coins flat on Friday, right? Just a couple of days ago. So if I'm you and I have one of these in my team, I'm saying, okay, I might want to look to take the coins on some of these cards that maybe I played the weekend league with. They were good for me and my team. But these icon moments would be cards that I would expect to drop off a decent amount. Now let's talk about SPC fodder for a second too because SPC fodder as a whole is kind of back to normal. EA have regulated that market back to almost normal. Now it's still up a little bit from where it was. 86s are at 29K. They were at 25, 84 rated cards are at 9,000 coins. They were at about seven and a half. The 83s and 84s have gone up the most percentage wise because of that party bag SPC that came out earlier. But you still have 91 rated players at 94,000 coins. 90 rated players are at 82K. So some of this stuff is up a little bit. They could drop more. We could see something like today on a Sunday where EA maybe tries to suck more coins out the game, putting out an icon upgrade SPC before foot birthday comes so they can again try to entice people to spend some FIFA points on this game. So if you are somebody who has invested in SPC fodder, you could take this chance like, hey, maybe I'm gonna hold on to that a little bit. See what happens this week with content. See if EA drops another icon moments, maybe not a player pick, but like a prime icon pack. See if EA dropped something like that into the game. That is something that I could see happening this week as well for EA maybe trying to, and this is who care might be a deal. Maybe it's not, maybe it is, nah, it's not. Anyways, it was, he was selling it like 115, but that's just weak and they sell off happening right there. So again, if you have fodder, maybe hold on to that a little bit. I'm not really sure what's gonna make fodder drop this week unless we get like no content. We're getting a league one player the month, maybe another icon SPC coming out of course as well as people gear up for another promo. So if you have fodder that you bought and you haven't sold yet, I would consider just holding onto it because I would think that the likelihood of that going up is pretty high, pretty high. I think that likelihood of that is going up or could happen with SPCs that could come out this week. Again, with player the month, we don't have an icon upgrade, SPCR right now that could push things up as well. And of course, EA keep dropping these random flashbacks for players that were just added to the code. Now we got a Cavani and who do we have earlier before? Joe Hart that was added to the game. So you know other guys like Goodsah or Balotelli or Quaresma or other cards that could be getting flashback SPCs pretty soon. Now I wanna talk about one thing that I just saw on Twitter a little bit ago and a lot of you guys are asking about winter upgrades still. I'm just gonna speak about this for a little bit because this is, this was going around on Twitter, right? And if you're seeing Klosterman right now on like the top of the, you know, up here in the most popular players on foot bin, this is why. So there's been some tweets about Lucas Klosterman getting a plus three sprint speed update, putting him at a 91 and that as for his base card in the head to head mode, right? So this does not really mean to me that we're getting winter refresh or winter upgrades. I know a lot of you guys want to know, is that gonna happen? But this to me is just saying that EA put a live squad update out in the head to head mode. I don't know if EA is gonna include winter refresh as a part of foot birthday. I don't know if we're doing any upgrades at all this year. A lot of you guys still want those, right? And obviously it's not really winter anymore. So that kind of stuff we're not sure about. But I wanted to kind of mention that because I know some of you guys are gonna be like, yo man, did you see these comments on Twitter? Like, yes, I see them unless we start seeing more. If we start seeing more comments like that, if we start seeing more people say, hey, these upgrades are happening and noticing stuff like that, then that's when I would start to say, all right, maybe we have something here. Maybe there's something going on. But as of right now, if it's just Klosterman, then I'm not too sure about it. I'm gonna keep looking at some of these what if cards though. Ray Charleston is down. Sancho is down 1.149. I'm gonna be keeping an eye on these cards because this is getting pretty cheap, especially for the ones that are guaranteed to get this upgrade like Sancho. I mean, he was literally 1.2 million coins almost all day today. And he's kind of dropping right now post game. I think people are just maybe taking their coins and just selling this card post game. It really does not make sense to me why this card is down so much. So maybe I'll try to win this one here on bid for a low price if I can. But that's kind of the video for today, boys. I wanted to make an early video just kind of talking about why this week could be a big week with the content that is coming, but also looking ahead to Friday. And once people figure out the Friday is coming, then they're gonna start to sell stuff because I think for birthday is a promo, a lot of people are pumped for big SBCs, big packs. Imagine upgrade packs and player picks during full birthday if we get a team like we had last year, everybody's gonna go bananas for it. So that's why I made this video for today, not trying to cause panic, right? Let's get that clear. Just kind of assessing the situation and trying to get that information to you. So if you liked this video, hit a thumbs up on it, comment down below if you have any questions and subscribe if you're new. It's been Nathan Foot Accountant. Catch you later, peace.


OK, thank you very much. So for today, the new feature will be, I will not only consider static manifolds, but I will deform the manifolds or more precisely, I'm going to deform the metric. So the situation will be the following. I take a fixed manifold, but instead of taking a given metric, I look at the family of metrics. And I will be some interval in R plus, usually from 0 to capital T or something like that. And what will this family GT be? So these are Riemannian metrics. And they evolve following some kind of geometric flow, for instance. So this is usually a C1 family of Riemannian metrics. The evolution is completely deterministic. And as I already can see here, the most eminent example is the so-called Ricci flow, which has been introduced by Richard Hamilton. And what is the idea behind that? Well, the idea is, of course, on any manifold, you can choose a Riemannian metric. But there is no canonical way how to do this. And so you may ask what is a good metric for a given manifold, which should reflect the topology of the manifold in a proper way. And the idea is, well, let the manifold decide itself what is a good metric. So first, put any metric on M, and then try to make this metric to look better, to improve the metric, to make the manifold more round, and so on. And the idea is the following. You deform the metric by this so-called Ricci flow equation. Yes, so there are a lot of things to explain. On the left-hand side, well, you have the metric, the derivative with respect to time. So this is a two-tensor. On the right-hand side, I have minus 2 Ricci with respect to the metric Gt. This is also a two-tensor. And the initial condition is my given metric I start with. Now you may ask, why this equation, why 2 here, why minus, and so on. And I'm coming to this immediately. The idea behind this equation is, in some sense, Ricci flow should be seen as a heat equation, but on the space of Riemannian metrics. So what does that mean? I'm not going to make this completely precise, but just to show you an indication for that. On a Riemannian metric, locally you can consider harmonic coordinates. So in a local chart, which is harmonic, you develop Ricci, so the ij component of Ricci in this chart. And you will see you get an expansion, which starts minus 1 half, Laplacian, but the Laplacian applied to the ij component of the metric plus lower order terms, so terms involving only first derivatives and so on. If you go with this information to the Ricci flow equation, you see on the right-hand side, well, we have here 2. This goes away by the 1 half, and we have minus, and here we have minus, so we get plus over here, plus Laplacian of gij, plus some lower order terms. So one should not think the right-hand side as kind of Laplacian on the Riemannian metrics in the sense that the Riemannian metric is a section of the bilinear forms and so on. Because if you work with Levy-Givita, then the Laplacian would be 0. But it gives you some indication how this equation should work. And the idea is the following. Well, you have this initial metric, which may be quite complicated. And then heat flow means you try to smoothen it out.  And what would you do is you could try to heat up the Himalaya. Then the ice will melt down here, and the landscape will be more smooth. If you wait long enough, maybe global warming is doing the job for you. But the idea is then if you let this equation run, you will get a nice metric. And maybe as t goes to infinity, if this equation can be solved, you may see some very canonical metric on the space. Of course, there is some price to pay. This is a highly nonlinear evolution. And usually you will have singularities in finite times. So if you think about the ice melting down, it can happen that at some point, part of the mountain is just collapsing here. And so the difficulty is to understand such singularities, how they build up, how they can be characterized, and in particular how to get control on such things. Well, to give you a first idea, if you follow this equation, then of course, Ricci evolves, because Gt evolves. And you may look at the scalar curvature, which you just get by tracing Ricci. And you look what equation the scalar curvature is following. Then you see a typical reaction diffusion equation. So on the right-hand side, you have two parts. Here is Laplacian of R. R is the scalar curvature. So if you ignore the second term, this would be a standard heat equation. So if you are on a compact manifold and you would not have the second term, the evolution for the scalar curvature would just be that scalar curvature is equally distributed out over the manifold. So the flow would uniformly distribute the curvature. The second term here has an opposite effect. It tries to concentrate curvature. And so you have here competing things. One is smoothening out and one is concentrating. And you have to look which of the two tendencies will beat us to understand this equation. OK. Well, I should say this is one example for such a family of metrics. Of course, we could look at other ones, the canonical way of deforming metrics is given by mean curvature flow. So you embed your manifold as some sub-manifold into Rn. And then you look at mean curvature flow and you pull back the induced metric from Rn to your manifold. And you get the family of metrics. And that's what we call an evolving manifold. And of course, there are many other things, but mainly I will stick to the case of Ricci flow. There are actually two kinds of Ricci flow equation. The one I introduced was with the minus here. This, as we have seen, gives us heat equation because if you look here, the minus goes away. The other one is with a plus sign, which is a backward heat equation. And both are equally important to understand. And both equations give you a deformation of the metric. Well, now, if you remember what we did yesterday in this crash course, I tried to explain what is flow to a second-order differential operator. And in particular, we constructed flow to the Laplace-Beltrami operator. And the defining equation was this here. I wrote it here in differential notation. And for a Brownian motion on a static manifold, we said, well, it should be the stochastic flow to the given Laplace-Beltrami operator. Here we have lots of Laplacians because for each t, we have another one. And so it's natural at time t, which Laplacian should we take while the one we have at time t. So this is the Laplace-Beltrami with respect to the metric gt. And so this is some natural thing to consider and such a flow corresponding to this evolving family of Laplacians. I will call a gt Brownian motion on M. Well, to give you a rough idea how to think about this object, this is my notation. I start at time s at the point small x. And this is the position where I'm at time t. This is no longer homogeneous because the operator depends explicitly on t. I cannot just shift time. I really get or should look or say as I start at 0 and run up to time t, but this is not the same as starting at s and run up to time s plus t. Well, of course, this is still an elliptic diffusion. So I will have a nice transition kernels. And they have a density t. So I look at the probability starting at x at time small s of the position at time t, x t, to be in some given set. This is a measure which has a density. But I have to decide density with respect to which reference measure. Well, because usually the reference measure you take is the Lebesgue measure induced by the metric. But now we have lots of metrics here. So at time t, here I'm at time t and looking at the position at time t. So it's natural to take as reference measure the measure I have at time t. So the one corresponding to the metric gt. And well, then we get a nice kernel here. And we can look at the corresponding evolution or the corresponding heat equation. You see what you get looks quite familiar, what you expect. So the time derivative of this kernel equals the Laplacian, but now depending on time. But you have a new term here, which is given as derivative of the metric trace of that. And so if you take the special case that gt is given by the Ricci flow, g dot would be plus minus Ricci. So trace of Ricci is scalar curvature. And so you get the following evolution. For the forward Ricci flow, the heat equation is, well, as you would expect here, I just let the Laplacian depend on t. But I get a new term here, which is scalar curvature multiplied by pt. And I have plus or minus depending on whether I'm looking at the forward Ricci flow or the backward Ricci flow. So this is already an equation, which is no longer so easy to handle. But I'm coming back to this. So what one could do now is, well, natural question is, it's been over decades, a lot of works are done to understand heat equation on Riemannian manifold, how it depends on geometry, and so on. So a natural question would be, now, look at the heat equation. But under, for instance, under the Ricci flow. So you let the metric evolve according to Ricci flow, forward Ricci flow, and study the heat equation and the situation. Well, this is a typical forward heat equation. There is a lot of interest also in the so-called conjugate heat equation. I take, as well, forward Ricci flow here. But now I look at time derivative of u plus the Laplacian. So if I put it on the other side, I would have minus. This is a backward heat equation. And well, so the question would be, what can we say about such system? But I want to explain first why this is interesting. And actually, this is one of the crucial steps in Perlman's work to understand, for instance, this conjugate heat equation. Well, let me give you a very brief introduction to the basic setting of this theory. If you want to study Ricci flow, and I remember having heard lots of talks already quite some time ago. And what the people always said, why is Ricci flow so difficult? Because it's not a gradient flow. And this you could hear for quite a long time. And it's true, but it's not completely true. And the new idea really came from Perlman in this direction. What he did is look at the following functional. This is not a functional just so we have a given manifold. And we look at all the Riemannian matrix on this manifold. And I define a functional which assigns some value to a metric, but not just to a metric, metric times functions. So my functional is defined on the space of metrics of M and functions on M and gives me a value in R. And what or how is this functional defined? Well, you look here at gradient F norm squared. So be aware, what does it mean? The gradient depends on the metric. You take the metric you have here. Norm squared also depends on the metric. So the metric is then you add here scalar curvature with respect to the metric G multiplied by e to the minus F and integrate it over the manifold. In this theory, usually M is compact. Then you definitely have no trouble with defining this functional. And one should say, if you look at this work, usually there is always the assumption that M is compact because you want to use freely integration by parts. And as soon as you go away from having compact, you run in a lot of troubles. And what I'm going to do is later on, I will show you that my computations are no longer in terms of integration by parts. I will do everything by Eto's formula. And there, I don't really need that the manifold is compact. All I need is that certain local martingales at the end are true martingales because I want to take expectation. And I do not want the expectation to depend on time t. Well, you may say, OK, nice. So we can define this functional. But the point is now, well, what is the gradient flow to this functional F? Or in more naive terms, you may ask, how to deform the metric and how to deform this function F to get the most of increase or degrees of your function F? Well, this is quite a general problem. So one first assumption is you have here the volume measure but weighted by E to the minus F. And you should insist that this product here gives you a static measure. So the volume depends on t if you deform the metric. And F will also deform. But this measure should be a static measure. And then you realize the following. Well, you should deform the metric following this equation, which looks quite similar to what we had before, except that here is now a Hessian of F. But people having some background in probability theory, you know, this is Ricci plus Hessian of F. This is the Bakri Emery Ricci tensor or the Toulousean Ricci curvature. So that should not disturb us too much. F should follow not the heat equation but the backward heat equation. And here is still this scalar curvature. And so the upshot or what I want to tell is I'm not explaining now in which sense this is exactly the gradient flow. But take the reversed point of view. Suppose that G and F evolve according these two equations here.  So well, calculate the F functional and look at its time derivative. Then you calculate things. And you see this term here on the right-hand side. And what is the interesting thing? The interesting thing is here you have something norm squared e to the minus F. So this is positive. So along the flow or if we deform G and F using these two equations, our F functional will be monotone. And this, if you are familiar with the theory of geometric flows, this is always some very powerful result. If you find a functional which behaves monotone along the flow, then you are always in a good position to get information out of this. And so here the Perelman F functional behaves monotone along the flow. And well, there is this annoying point. This is not just exactly Ricci flow, what we would like to have because there is this Hessian. But there is a well-known trick how to get rid of this, which is the following. Take the time-dependent vector field, which is the gradient of F. So this is a vector field. And it generates a flow, phi t. And now you pull back the metric using this flow. And at the same time, you pull back the function using this flow. Then you get two new families, G star of t and F star of t. And if you look then at the evolution of these pulled-back quantities, you see the metric now evolves exactly following Ricci flow equation. Here we still have a back what heat equation. We get one new term, but for the moment we should not worry about it. And of course, it's trivial to check that under simultaneous pull-back of metric and functions, the F functional does not change. So this does not affect the value of the F functional. In particular, we have the same monotonicity as we had before. So up to now, we have the following information. If G evolves under Ricci flow and F under this bit strange backward heat equation, then the F functional is monotonic. And even more, you see, well, this is an integral over Ricci plus hashen of F norm squared. And we see that monotonicity is even strict unless this term here Ricci plus hashen of F is 0. And what does it mean? Ricci plus hashen of F being 0, this means we are on a steady Ricci soliton, which is a generalization of Einstein manifolds. If F would be 0, then you know Ricci being 0 gives you an Einstein manifold. And more generally, Ricci plus hashen of some function being 0. These things are called Ricci solitons. And we see our monotonicity is really strict unless our flow gets trapped by such Ricci soliton. And so one of the major steps was then to understand Ricci solitons. What can we say about such things? Well, finally, to relate it a bit more to a probability, instead of F, I will pass to u, which is e to the minus F. And then the g is still Ricci following Ricci flow. And u is a standard backward heat equation. And on the right-hand side, I have just multiplication with scalar curvature. So this will be, you see, this is exactly the equation I said at the beginning, study heat equation under Conjugate, or study the evolution of Conjugate heat equation. And so we have now, in terms of u, the functional F writes like that. And the derivative is monotonic, and strict monotonicity is strict unless this here is 0. Well, there's always some thing people talk about entropy in this relation. So where is the entropy here coming up? Actually, it's not directly written out in Perlman's work, but it's a quite easy calculation and a nice observation. So to the following, you have this u, which is a solution of the backward heat equation, which is a positive solution of the backward heat equation. Take this as a density for a measure, for a measure mu t. And look at the entropy of this measure. So what does that mean? Well, you look at the Boltzmann-Schellen entropy of this measure. So you can just define it. Well, I take here not minus, but plus. So while I get too many minus signs. So take u log u and integrate it with respect to the volume measure. Here, here, here we are. This is u, each one u. e to the minus the corresponding volume. e to the minus f volume measure at time t. That should be a static measure. But here I'm not. So that means that, well, so here, OK, I'm sorry, this here actually stays constant along the flow, which is a consequence of my hypothesis. And basically, this is the same as to say that this follows a backward heat equation. So if you have this equation, this will be trivial. e to the minus f volume t. Now, this should be a static measure. So just think about it. The total mass of this measure should, yeah, for instance, yeah, yeah, yeah. No, no, no, no, no, no, no. OK, thanks. So look now at the entropy of this measure here. And of course, what I said, if you would not have u log u, if you just take u there, it would not depend on t. So this depends on t. And try to understand the behavior of t. And you see some very amazing fact. If you take the derivative of this entropy, what you find is exactly Perlman's f function. So in other words, we can start with this solution to the backward heat equation under reach flow. Look at its entropy. Take the first derivative of the entropy, get the Perlman's f function. And the derivative of f, which is now the second derivative of the entropy, is monotone. So you have some convexity of the entropy function, right? OK, so this already introduces the third item of my title, which is related to entropy. Basically, all my entropies I will look at are somehow or correspond to measures, where I have some reference measure, and the density, which is given as a positive solution of some heat equation. OK, I still have 10 minutes, I think. OK, now coming back to stochastic analysis to what we did yesterday, I showed you how to define Brownian motion. Now you will say everything just depends on t. So you have metric depending on t. So do things as we did yesterday, but let all things depend on t. And maybe if you're happy, you get the right GT Brownian motion. There is one major difficulty, because if you remember yesterday, we not just constructed Brownian motion, we constructed as well parallel transport along Brownian motion. And if we would just do things as we did yesterday, letting the quantities depend on t, we would lose that the parallel transport gives you isometrics. This would no longer be true, because the metric changes, and there is some derivative of the metric, which must come in. So let me briefly explain the new idea. Instead of the tangent bundle of m, we consider the tangent bundle not over m, but over spacetime. So m times this interval in r. So sections of this bundle are now just time-dependent vector fields. And to do the same thing as yesterday, where we had on a Riemannian manifold the Levy-Givita connection, we have to give this bundle a connection. Of course, if we just look at things in the space variable, if x, so sections of the bundle, are time-dependent vector fields, then the covariant derivative of y in the direction of x will take the usual covariant derivative you have at time t. But there is one new thing. We also have now on m the time direction. And we have to explain what is the covariant derivative of a time-dependent vector field in the time direction. And there is only one reasonable way to do this, which is given by the formula here. You take the usual derivative, and here you have one term where the derivative of the metric comes in. And it turns out this connection is compatible with the metric. I think I saw this definition in a paper by Hamilton a long time ago. And you can check. This is basically the only way to get a connection on the tension bundle over spacetime, which is metric. Yeah? OK. So now this connection allows to define parallel transport, but along curves in spacetime. So here you have curve in spacetime, also has an explicit time component. And I will look here at typically at curves x, t, where rho t is some monotone transformation of t. And I'm only interested at least here in two cases where rho t is t, so where I just have as additional component t here, or where time runs backward from some capital T. I look at capital T minus t. Then I do exactly the same as yesterday. I go to the frame bundle. Now the fiber of my frame bundle are now isometries. But between rn and the tension space at point x with respect to the metric gt, this gives me again this decomposition in horizontal and vertical. And the summary is more or less here. We have a notion of horizontal lift. We can lift tensioned vectors downstairs, so on my spacetime, up to tensioned vectors on the frame bundle. A typical tension vector downstairs well is something which is a tangent vector plus a time derivative. This is the additional ingredient. And we can horizontally lift it up to some, we just lift up this tension vector. And we have the horizontal lift of time derivative. If you work this out, what is the capital DT, you will see there is a derivative of the metric in it. But for the moment, we don't have to worry about it. In terms of the horizontal vector feeds, we have again this horizontal aplassion on the frames. And one last notation take, so DT was the horizontal lift of the time derivative down on the spacetime manifold. And I look at this vector field, DT, but multiplied by rho dot of t. In our case, rho dot is just 1 or minus 1. And now, as yesterday, I solved this equation here on the frame bundle. But I introduced a new term, which is constituted by this additional vector field on the frame bundle, which is the horizontal lift of time derivative. So this gives me a process on u. I start with something on Rn, on flat space, for instance, with Brownian motion. And I solve this equation. I get a process u. I project it down here. But the projection is over spacetime. So I get a process on the manifold and my original rho t. So either t or capital T minus t. And the summary is the following. If we start with Brownian or Wiener process on Rn, we do this procedure. We get Brownian motion on m. But it's evolving while you have to be careful. At the beginning, I said gt Brownian motion. But what gt is depends on the rho t. So the metric you experience at time t will be the metric g rho t. So it can be gt or also g capital T minus t, if the time is running backwards. And in the same way as yesterday, we have parallel transport. But the nice thing is now, by construction, these parallel transports are isometries. And of course, if you would do the calculation a bit down to Earth, you would have to elaborate this term here. And then you would see you need an additional term which involves derivative of the metric and so on to achieve that parallel transport finally are isometries. OK, so I have now two cases, x dt or x t capital T minus t. If that is Brownian motion, this gives me Brownian motion on my spacetime. OK, let me just use the last minus two minutes to give you a first example. So look at the heat equation. But the Laplacian should follow some flow, where the general deformation of the metric. Then you work out these two formulas.  This is basically Pochner's formula. Then you see here, here is Hessian norm squared plus this term here, which is twice Ricci plus time derivative of t. So if you know that dG over dt is greater equal than minus 2 Ricci, which means that we have a super solution to the Ricci flow, this here is non-negative. So you have on the right-hand side a positive drift. From that, it's quite easy to check that a combination of grad u norm squared over u and u log u, if time runs backward, gives you a sub-martingale. So a sub-martingale is a martingale plus something monotonically increasing. And if under some integrability conditions, or if it's a true sub-martingales or boundedness or something like that, we can take expectations and compare the expectation at time 0 to the expectation at time capital T. At time capital T, you see I have written here capital T minus T. So at the right endpoint, this term goes away. And the left endpoint, if small t is 0, I have here x0, which is just a small x t. So I end up with this formula. And if I work it out, what this formula means, I get a so-called gradient entropy estimate. I can estimate grad u over u norm squared by the entropy here. And you already, this is just a translation of this thing here. And you see already if this is entropy where this u is normalized, u x t is just a constant. It does not affect the expectation. If you put the 1 over t on the other side, you see that the entropy is greater equal than t times this equation. It already gives you a gross rate for the entropy. So the entropy has to grow at a certain rate. You can play around a bit with this equation. You can introduce some delta. Or if you like, you can look at the maximum of u, or a supremum on m and the time interval. So then it's less or equal. You take here the maximums. It's mt over utx log. Then only this thing here depends on random, but the expectation is 1. So you immediately recover from the simple sub-Martingale argument Hamilton's gradient estimate for grad u over u in terms of the maximum of u. OK, thank you very much. I think it's time for lunch.


to the metal voice today on the show. Alan, who do we gots? Dennis Stratton himself, gonna talk about the new Lionheart album. Fantastic, fantastic, thank you. The Grace of a Dragonfly, which was released last week on March 15th on Metalville Records, correct Dennis? That's correct, yeah. Yeah, when it came out over here, we're supposed to on the 22nd February, but everyone that ordered it, they were still waiting for the album to be delivered because there was emails flying everywhere from Amazon, from everywhere saying it's been delayed, you can't get it here. So it's been coming out gradually throughout the last three or four weeks. So it's been a bit of a nightmare for us. So the good news is we're promoting it as it's being released. Time is impeccable. Tell us about the themes. I see a lot of war themes happening on this album, and the big vocals and grandose vocals and a lot of war themes, V is for Victory, and tell us about the themes on the album, if you don't mind. Well, after we did the reality of Miracles, it's, we found during the reality of Miracles with lockdown that we were able to still record and work for Lionheart being stuck at home. So basically, Lee started writing these lyrics. And then when he came out with a couple of songs that Steve was sort of like putting some tunes down to, the lyrics sort of like tended to lean towards World War II. But Lee was, what Steve and Lee were saying was that basically they were, he was writing the lyrics as a thank you to all the men and women that sacrificed their lives in the Second World War.  It wasn't to elaborate war. It wasn't to sort of try and, it's basically it's an anti-war thing. This was all before Ukraine and Gaza and all that. So well before that. So when we looked at some of the songs that the titles and the songs that Lee was coming up with. Yes, so we all started writing in that sort of way that when some, luckily for us, some of the guys and girls that have reviewed the album, some journalists and people like yourselves or whatever, they've actually listened to the, read the lyrics and listened to the lyrics and have been saying that it makes a lot of sense. So basically it was not to elaborate anything to do with the war, but it was a way in saying thank you to all them people that sacrificed their lives. It's like one of the songs I wrote on it were Little Ships.  So that's how it all got rockin' and rollin', it was. And then the songs, Lee just come up with so many fantastic lyrics with the songs. And that's how we ended up put in like a concept how we're together. Didn't start off that way, but after about three or four songs, you went, it's not such a bad thing. So let's do it as a thank you to all them people. So, well, we're very, very proud of it. You know, as you listen to the lyrics and read the lyrics, you can see through the way he's written the words that it is a lot of love that's gone into them lyrics. That was quite nice. Yeah, and I mean, you know, it's a great sounding LP, very well produced. Let's get that out out front. Just to discuss maybe the thought process. I mean, this is pretty, you know, there are some songs that are a celebration like a V for victory, but some of the songs have a darker matter and you're kind of marrying them together with a kind of a positive, sometimes poppy sound. Can you want to just discuss a little bit about the fit between the lyrics and the sound? Well, no, basically we've said this to many people that some people in Japan's dying comparing us to some different bands. And me and Steve were doing the interview with Burnham. It's both of us said at the same time, we'd write for Lionheart. We don't write to try and sound like another band or we don't record them to sound like someone else. We just write it for Lionheart. And because we have, it's a knack of working behind big harmony choruses, big anthem choruses and the harmony guitars. And Lee just adds the icing on the cake by writing all these lyrics. He has a lot of memories, a lot of history where he collects a lot of things from that sort of time. So it means a lot to him. So he was able to sort of relate to them some's a lot more than us. Steve was working in the studio 10, 12, 15 hours a day putting some of the stuff that we were sending to him through like a home just messing about with different calls, different tunes, different ideas for choruses and verses and midlates. So it was quite nice to have Lee. It's like people misinterpret a lot of things, right? On reality miracles. One of the songs, Vine is the Kingdom.  Well, no, because that song is about gangs in New York, different turf wars and border lines and things like that. So that was completely off judgment. The fact that we're writing a song that he's writing a song about the gangs in New York and people are saying it's about a religious sort of thing. So now you have to listen to the songs and read the lyrics to really understand the way Lee has written some as a gesture for these people that served him to the war. It's hard for me to explain the finer details because a lot of the work went on between Lee and Steve because Steve sits in the studio. Me and Rocky, we just sit at home working and putting little tunes together. So Steve then puts all the puzzles, all the pieces to the puzzle together. Jigsaw goes together in the studio. So it's hard for me to really find the fine matters of the songs that I need, intricate little things because I better put Steve or Lee on there could probably tell you a bit more. Dennis, do you get a lot of people going? The sound sounds great, by the way. Big sound, you get a lot of people saying, this is the former guitarist of Iron Maiden. Why is he doing music like this? Like why is it, you know, it's more like Queen than it is Maiden, right? Do you get a lot of resentment? I wouldn't call it, maybe the word resentment is the wrong word, but you get a little surprise. Maybe surprise is a better way to say it. Get a lot of surprise from let's say Iron Maiden fans who follow you and saying, wait a second, this is not like Iron Maiden. Yeah, yeah. Now I get totally, totally understand that. But also what so many fans need to understand, same as people with, you know, some of the old school would know. But the band I was in before Iron Maiden read us down Boulevard on RDB was a twin harmony guitar band that followed Wishbone National all over the world, all over the country. Capability Brown, with all the harmony guitars, all the harmony vocals of RDB, R-O-Band. We had that between me and Dave singing and harmony guitars. So basically when I went into Iron Maiden that Steven Dave used to come to the bridge and I seen canyons out in West Ham where I had a residency. We used to play there twice a week. And Dave and Steve used to come down and watch me play. That's why, when they signed the deal in 79 to EMI, they offered me the job. I didn't go down to an audition. They sent me a telegram and I met them in the ship in Wardlaw Street, well known for the marquee. And basically they said, the other sound house tapes, we want you to let us know what you can do. And I went, great. So they offered me the job straight away. But my impression, my idea was to go home, listen to the sound house tapes and listen to the songs that they had recorded or demoed already, which were very punky, very single guitar rhythm, single guitar solo, very punky as I say, and very raw. And so basically I said to Steve, listen, I've come from a harmony guitar band. I sat down with Dave and I said, Dave, would you be into this? And he went on to any suggestions and Dave was so easy to get on with. Steve loved it. The first lot of songs we laid into, I started putting the harmony guitar parts into some of the riffs, which they liked. Started doing some harmony vocal rapport in the rehearsal studio. And that's how the harmony guitar style got introduced to your own maiden. But remembering that all them songs from metal from others tour in the 79 and 80s, the first two albums where people have to remember that apart from killers, all them songs were written. So all I had to do was get the raw songs with the very punky, raw sound and make them bigger and make the production bigger by adding these harmony guitars and adding the harmony vocal, not to change the sound of the violin, but to make the songs more interesting. And that's what I did with songs like Running Free, Phantom of the Opera, all the harmony little riffs that you hear were just little bits to polish the sound a bit more. So it wasn't to change the sound of the violin, but I've always been a lover of A.O.R. Before with R.D.B., I was listening to Toto, Foreigner, Journey, Kansas, so many different American bands, also White Snake, Wishbone Ash, they were loads of bands that had more harmony guitars and harmony vocals. So basically that's what I loved. And so after Maiden, me and Steve Mann and Rocky Newton and their favorite bands were the same bands that I loved. So it was natural to write the songs in that vein of a lead vocal and a part free part harmony with the big anthem choruses. I'm gonna add something here, Dennis. It's fascinating because when there were nominations for the Rock and Roll Hall of Fame, you were included because I think they understood that you were the sound of Maiden. Like somehow you helped create that sound of Maiden, that dual guitar sound, those harmonies. Yeah, well I'm very proud of that, Jimmy, because they kept that when the other guys went in with Adrian and Yannick, when they carried on with that with the harmony guitars, I was world pleased because it was something that I stood for and something that I introduced to the band. But if you follow my love of that AOR kind of music, you can notice it by when Lionheart had a break around about 87, 88 in 1990, I joined Paramantis. So me, Tina and Chris went to Japan, signed a deal in Japan for 15 years. If you listen to the Paramantis songs and the albums, you'll see the similar sort of bill to the AOR, lead vocalist, good production, but anthem choruses with free part harmony. So it's been part of my life, not just Maiden, but it's been part of my life before Maiden and also after for 40 odd years. And I still love listening to all the big choruses and all the big anthems of the free part harmony, which a lot of bands are coming back to now and using them in the choruses. So I'm happy, I know a lot of people Maiden fares, as you say, would criticize it because it's not heavy metal. I don't know, was White Snake ever heavy metal? Was Band Company heavy metal? Was you ever heavy metal? They're hard rock, and with UFO, some of their songs sounded like, not songs, some of them in the early days. So we hadn't class that as heavy metal, but we do what we love with the vocals and the harmony guitars and the great vocal. That's why you need a good lead vocal to get above them free part harmony choruses. But it's a lot easier to write songs for line heart or parameters when you're in that vein of style of music, if it makes any sense. Yeah, we see a lot of bands like Kick-Ax or even Rocky with Grand Slam now, Praying Mantis has a new album out. What's the plan, Lionheart's been around since the late 80s. What's your next step? What's the plan for this album and touring and your future in Lionheart? What's the overall plan? Yeah, that's been the biggest problem for Lionheart ever since we started in 1980, not late 80s, but let's look at the lineup in the band. Everyone in the band has separate projects. The problem that Lionheart had in the early days when we came over to Los Angeles in 1984 with CBS Records, we recorded Hot Tonight in South City Studios, it was been very nice and fantastic experience. But when we come home, we were due to go on to R. E. O. Speedwagon because we had Kevin Bemis producing it from R. E. O. Speedwagon. We were supposed to go on tour with KS, it's got let down everywhere across the board. The tours didn't happen, we were gonna support, the tours never happened, so we came home and we had to start working from scratch again, getting, we got supports on Def Leppard, all in the UK, Def Leppard, we went on support for White Snake, we were doing gigs for ourselves. But then as Lionheart carried on, never ever has it made any kind of income. And so when we got back together to do Second Nature, which I think was around 2016 or 17, it still doesn't create an income, but what we have done is by working on it for ourselves and representing ourselves, as you know, Steve Mann's in Michael Shanker, Rocky does a bit of work with Grantslam, Clive is working with certain people, Lee is flat out with Sweep, I'm working all over Europe and going with Maiden United and all the Iron Maiden conventions that I do, all over Europe, Scandinavia, as far as South Africa, everywhere, New Zealand. So that's where our income comes from. So when it comes to Lionheart, that's always been a big problem because it doesn't create an income. So the problem we have getting to your story, I know it's taken a long while, very sorry. I think it's, you know, where do we earn any money for Lionheart? People download it, they stream it. You know, we're not a money-working band. So we can't afford air flights, we can't afford a tour, where are we gonna hire a truck and tell us a bit, whatever. So what we have to do with Lionheart is work in between the projects that everyone else has. And as I said earlier, the magic of COVID, if there was anything good coming out of COVID, was the reality of miracles because that album would never have been finished while Steve is still on tour with Michael and while I'm all over the place and Lee's on tour with Sweep, you could never get the five of us in the same, what, at home at the same time. Or you could never get Steve, God bless him, in the studio, in Hanover, in Germany.  If he didn't do one thing, he'd done something else and then he'd do something else. And then he was helping produce an album or he was producing an album himself. So to get him in that studio was priceless. And we found by COVID that he couldn't move. He had to stay out. So he would place it.  He was nailed. They nailed it to the studio. So he was all out. Dennis, have you had any, like I see online, have you had any offers, Paul Diano is touring everywhere. Have you had any offers to sort of join him or maybe tour with him? That's the deal. I'm Stephen Juris. Last year, Stephen Juris who's sort of like, basically looking after his affairs, he contacted me about 20 times. I even met him in Milan and the maiden gig for Breach Lines and made a long chapter. But he contacted me last year. And in 2020, I was due to go to Brazil to work with a band there called Club Brothers and do the whole first album and some of the songs from the second album because basically I did a lot of, mostly the work on Killers, but I never got to record it. So all the pre-production was done while we were doing the Kiss Tour and Judas Priest Tour. So that was already in the set, some of them songs from Killers. So yeah, so he contacted me in 2020. I'm due to go to Brazil to do a month tour and it got called off because of COVID. March, April, 2020. So when he contacted me in 23 when COVID had gone and everyone was going back to work, he contacted me. But unfortunately, he asked me, then he's outright, would you play, would you ever join Paul Deano on the stage? And I said, I'm never gonna say never. I said, but at the moment it's just the wrong time. I said, because I'm committed to the tour that I was booked in in 2020, I'm now going in 2023. So I'm going in November and the tour goes from November, December, and I come back to the UK in January. And he said, but I can offer you this, I can offer you that. I said, yes, I understand, but I am not a person that would turn my back on someone, I'm an honest person and I will, I've committed to this tour and these people have worked very hard. So I said, so it's impossible for me to turn my back on them and I will honor their arrangements. So yes, I couldn't do any work with Stephen Harris or Paul. And off I went and we did the tour. It was fantastic. I came back in the beginning of January and now I hear that he's starting the role with the gigs, but in this new year, in 24, I've yet to speak with Stephen Harris about anything in the future. But I did say to him, I'll never say never because, you know, many years have passed now. So don't carry things on silly little arguments and move on. There's more things to worry about in this world than petty arguments. So we move on. We've all grown up. So you're open to the, you're open to it. That's what you're saying. Anything could happen this year or even next year. I've made a tour in over in Brazil this year. So I don't think there'll be many sort of like a bus going over there because they will be touring extensively. But as I say, I haven't heard from him this year whether or not he'll come back with another offer. I don't know. But with Lionheart, we're hoping that if Stephen and Lee can get a break and there's a festival they want us to do in October. And it's over here at the Firefest and we're up for doing the festival. But as always with Lionheart, there's always a spanner chatting the works which is, there's always an obstacle which is now the couple of weeks that we were going to rehearse from the last three or four albums and also some of them from the new album that we've not played live. We've not played anything from reality and miracles or the grace of a dragonfly. We've not played them together yet because we just recorded them. But as usual, there's always a problem and sweet now. And he's got as booked a tour which Lee will be on and it's quite a long tour that takes him right up to just before we're supposed to do this festival. So where Lee is going to find a time to rehearse as I say, it's your family come first. So he needs to live and earn money. That's where his income is. You can't stop him working, but where's he going to find a time to actually rehearse with the band? And there's always a problem like that with Lionheart.   You got a great lyrics, every musicianship. And it's just sad that it might just sit on the shelves with nothing backing it up. Exactly. You know, we did that with, as I said, so we did that with the reality of miracles. It was a great album. We never got the chance to progress anymore. And at that time, Michael was doing an extensive tour. He went up everywhere. So Steve was never at home. So it made it even harder.  You're still doing it for nothing.  I need an income. So it's one of them things that, you know, you do the work where they're going to get some money to come in to live. And it's a shame because you don't get the backing now. I remember doing interviews before the album came out. Bruce Dickinson said, and his own words, if you don't buy a band's albums, don't expect to see them play live. Because if you're going to download it or you're going to stream it for one pound or 50 beats, how do you expect the bands to get from London to Manchester and play live with no money? So it was his words that I repeat it on many an interview. It goes without saying. Where do we find the cash to help us, you know? It's impossible. Let me pick your brain on Bruce, okay? What do you think about his new album, like Magic Project? That's probably more down your lane, right? Yeah, I've not actually heard it, you know? Oh, okay. I was hoping he would come. We were over in, where were we? We were somewhere in Brazil and he was there promoting it.  But he's been very busy. But no, I mean, now it's all calmed down a bit. Back here now, I'm off onto a song we've made in United, but I keep meaning to have a listen to the album. But I've heard, yes, a lot of Maiden fans are saying the same thing. It's not actually that heaven. So being honest with you, give it a listen, you know? What about Blaze, Blaze Bailey? Have you ever jammed with him on stage? No, I've never met Blaze. Why? I saw him on TV. No, I've never met him. Wow. I saw him on TV. He was on a TV program over here. And I've never met him and I've never spoke to him. But I thought, what a light guy. He was charming. He went on his TV show. And I don't know, I can't remember what the TV show was. And I thought, what a lovely man. And yes, I would love to meet him. I would love to get on the stage and play with him. But never had the opportunity. I've never crossed. So yeah, that's another thing probably we should look at. Yeah. I think we need to write that down and take note and then send a message to Blaze. We needed a Stratton Blaze Bailey song, a collaboration of some sort. Yeah. Have you been listening to his music over the years? Have you been listening to Blaze's music? Yeah, we've been listening to the Rock and Roll mode and I think they have some strange rules. I don't know. I don't know much about it. I was very, very honored to be a nominee because it goes a long way being nominated for the Rock and Roll Hall of Fame. And when I found out that the band weren't really interested, yeah, a lot of people contacted me, magazines and interviews and Zoom and radio and everything. What's your feelings? I said, well, at the end of the day, the band had their reasons. I know Bruce made it quite public by saying that whatever they were, the people had run it. He doesn't really like them. And it was quite blatant that Bruce didn't want have anything to do with the Rock and Roll Hall of Fame after what he said. And I said to everyone, listen, I have to honour what the band's feelings are and if they're not interested, I have to go along with that decision.  But when I looked into the rules, there's something to do with being in the band so many years or something. That's why myself, Clive and Paul's name come up. But I felt a bit sad for Blaze because it was two albums he was working on, isn't it, with Maiden?  And I felt a little bit sad for him because he contributed quite a lot into Maiden while Bruce was on his travels. So why wasn't he included? But I think through the rules, it was because he hadn't been in the band this year and he wasn't included. I don't know the real... Five years, he was in the band five years. It's shocking. It's shocking. Five years. Two albums plus, yeah, plus a few songs. I didn't know it was five. But as I say, they're rules.  And if Blaze didn't come in with that category of how many years ago or whatever the rule is, he missed out. And I know Steve, as well, he was a bit sad about it, but if the band decide we're not interested, I have to honor that and say, okay, I grant, you know, I'm agreeing with your wishes and we'll leave it, you know. Well, I'm happy you were included. I'm very happy that, you know, there must have been, that's, you know... Yeah, I've got a little thing normally, you know, I mean, it's not on a wall, and it's not, I'm not being, I'm not being like, but it was a nominee, which used to come in after me, you know. It's like the harmony guitar. It's good to have somebody that I had put in that's still going home. So it's a nice feeling for me, you know. Yeah, yeah, I'm happy you're still working with the maiden thing, people, fans. I guess the longer they just keep getting bigger, right? Our main just keeps, and they get bigger, you get bigger. It's just, it's just incredible. How did that, right? Yeah, and I must admit, I do enjoy it. I go to see Steve quite a lot, not only with music, but with West Ham, and, you know, we talk about football, on the farm and whatever. But the nice thing about it now is when he comes over with British Lions, it's easy to meet up with him easier because it's small venues. And he knows I do a lot of work for charity. And Steve's helped me with some charity stuff. I drove up to Manchester to see him with the British Lions gig, and we took a West Ham guitar up there, a red strat and a West Ham guitar, PRS, and he signed it all. He gave me some of his wristbands for the charity. And, you know, it helps, because if you can use them very famous people when the music business has their signatures, it increases the price of the tickets for the guitar order. The auction goes up a couple of grand because it's got his name on it, as well as mine, and a couple of other signatures. So it does help me in that kind of way. It's great to go and see him at the old tour in London. Last couple of years, I've been all over the same, Vegas, Boston. Yeah, it's been fantastic. So, yeah, a long way to carry on. You know, now that you carry it on with the other tour following up, it'll be fantastic. I got one more question for you. I don't know if Alan has one more.  Go ahead, Alan. Yeah, go ahead. I was going to ask, what song on Killers do you find you should have gotten more credit for that you really gave your, you know, you really helped with your arrangements? Well, a very important question because most of the songs on Killers were already written, all of them, except Killers were already written before the first album. So basically, if you remember going back to 79 and 90, early 1980, when we were doing the metal for Mothers Tour, well, a lot of people don't realise that they own it. It's, if you're headlining a show, which you know, if you're headlining, you need an hour and a half. If you're supporting, 45 minutes. So when we first got the band together with me taking Clive into the studio to introduce him to the lead and him getting the gig, the idea was we were rehearsing both albums because we needed a one and a half hour set from metal for Mothers. So all of them songs were already written and put down as demos. I just added my harmony guitar bits and everything else. And then it was a case of Steve choosing what songs are going on in the first album. And then when we got halfway through the metal for Mothers Tour, doing an hour and a half, they went, right, you're coming off that tour, you're now going on the Judas Priest tour, where you're gonna do a 45 minute slot. So then we reverted back to the first album and maybe Rothschild, one or two songs from the Killers. But there was no chance to, you couldn't change anything on them songs. All I could do was add bits to them to make them. So that was what we were doing. We get the first album done, then we played the same set, 45 minute set, you kiss. Then once we went back to finished off the metal for Mothers Tour, it was an hour and a half. So we brought Killers album back in. But as I say, we worked on Killers, Steve wasn't a lover of that riff that we didn't really like that much, but I think everything was so rushed that everything had to be done yesterday for the record company, whatever. And I didn't like women in uniform, I must admit, I've told a lot of people I've done cover, they had so many good songs on their own, but I think that was down to Zomber music for suggesting women in uniform. As I say, the one I did the most work on was Killers because we were working on that right up until I departed from the band. But as I say, the songs on the Killers album were already being played live when we had to extend the set for an hour and a half. The lyrics for Killers, Paul, I think he was at the Live at the Rainbow, right? Where he had a different set of lyrics. Actually, you weren't there, you weren't there, you were on that one, right? Oh, remember, when we come back from the Kiss Tour, we did Women in Uniform at the Rainbow Theatre and then that was it, I was gone. Okay, that's why, yeah. I'm not sure. We did do a gig at the Rainbow, but we headlined it, but I don't know if Killers was on there, but someone else told me that, someone else pointed it out. The lyrics were changed, they were alternate. Yeah, I think some of Steve may have done a rewrite somewhere in the... Dennis, we have an interview with Ace Freely tomorrow. You were on the Kiss Tour. What were your memories with Ace Freely that you've come? Absolutely fantastic. I know Rod won't mind me saying this, Rod Smallwood, but he didn't really want us mixing with the big guys. We were still young. We just basically just formed as a band. We'd only been together nine months a year. But I'm one of these people that I just go out and meet people. I have a lot of respect for support bands and I have a lot of respect for the main bands if I'm supporting because I never really, I always try and get on with everyone. And I must admit, Ace was very quiet, very quiet. I got on really well with Gene Simmons and Paul Stanley to the point where they took me and Dave Leitz out in Stockholm on the 9th of October, 1980, for my birthday. So they took us to a restaurant and Paul gave me a fire hat with all the signatures of the band on it and Eric was really good. But you never really saw Ace was very quiet. I only used to see him when he used to be walking on to the stage and I've got photos taken with him and I've got a lot of fun. But I have lots of photos taken with Ace and you know, Eric, I saw Ace was on tour of doing some stuff over a few weeks ago and I never got to see him. And I was away as well. But yeah, it's great to see him sort of like back and if he's playing. But he was very, very quiet. Shocking, shocking. You're saying he's very quiet. I thought he'd be a little more louder or, you know, more energetic. No, no, as I say, he was very quiet. And then it seems to I never really spoke to him that much. I really spoke to Paul and Jean more than anything. But yeah, I never really got to really see him that much. I used to see him as I was going on stage and I don't always why even do that. But it was always very quiet. So I've got to meet him again because he probably forgot about me. But, you know, it's nice to have their memories, you know, and also the photographs that I've got. It's brilliant. Well, well, well, as that you wrap up the interview. You wrap up the interview using the last song on the album, Remembrance, Praying for World Peace. Nice little song. Is that was that written before or after the album was completed and after Covid and everything we've seen in the world happening today? The last song. Yeah, Remembrance, Praying for World Peace. Everything on that album was written well before you write in Russia and I think that as Steve wrote on the sleeve notes, that people who said it's a big point of people that start the wars don't have to fight them. They just sit beyond a desk and that is the big worry about everything. So it was just a coincidence that when the Ukraine and Russia was died, that this this album was always nearly nearly finished. Or basically, you know, halfway through. And so it was the songs were already written before any of this happened. So, yeah, you know, it would be nice to be able to think about that. But yeah, that's a great choice. Thank you. I'm glad you like the album. Grace of a butterfly, a butterfly, the grace of a dragonfly. It's out now. Pick it up. Not butterfly, dragonfly. You know, you know why the dragonfly is because we found out that the dragonfly was a nickname of the Spitfire plane that went up and did all the dogfights. So that's why the album cover has the dragonfly. And you can see the spitfire through the transparent of the dragonfly. You can see the spitfire underneath. That's that was your example. It was a pleasure having you on, Dennis. Thank you so much for the. Congrats to you and all the lads. You've done a fantastic job on this album. That's for sure. Well, I'll tell the boys. I'll tell them tomorrow when I speak to them. But thank you so much. And thanks for your patience. But, um, no problem. Pick it up. And the funny thing is that Nathan's out of the office all day a day. So I couldn't do anything. So, but no, thank you both very much.


Virgo, if you are connecting with a Libra in a romantic relationship, Libra is intent on making action and change and moving things forward in this relationship. Although they are a bit standoffish at times, Libra is definitely inclined to move things forward, perhaps travel, and try to come together with you. There is a deep love that this Libra has for you, Virgo. Love and peace as well. This Libra does sense a harmony and balance within your relationship and is beginning to see things from a different light right now. Libra is extremely passionate about you, Virgo. There is a strong physical attraction and chemistry and Libra feels that this is a favorable time for things to change between.