Visit Fantasy.NFL and select "Start A Free League." Sign in with your NFL username and password. Enter the league name and password team managers will use to join and an optional custom URL of 20 characters or less. Select your draft preferences: format, time per pick, type, date, and draft order.
To start with, you should familiarize yourself with the main map, Summoner's Rift. Summoner's Rift has three different kinds of areas: the Nexus, lanes, and the jungle. The Nexus is the area that you spawn in when the game starts. This is also the area that you're trying to reach on the enemy's side of the map.
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On your other device, sign in to the area of the website or app where you manage your account, then select options to enable two-factor authentication and an authenticator app. A QR code appears to help you set up an authenticator app. On iPhone, use the camera to scan the QR code.
If you have a new phone, open the Google Authenticator app, tap +, and then Scan a QR code. Hold your new phone up to scan the QR code on your old phone's screen. If you don't have the new phone yet or want to save the code for later, you can take a screenshot and print it.
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Common Sense Media cautions parents, "While there's no graphic violence or gore, there are splatters of blood throughout the factory. Also, the horror nature of the game will likely be too scary for younger audiences."
If you have a Gmail address, you already have a Google account, so you won't need to create an account you can simply sign in to Drive using your Gmail information.
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Minions: Original Motion Picture Soundtrack is the soundtrack album to the 2024 film Minions, a spin-off/prequel and the third installment overall in the Despicable Me franchise, directed by Pierre Coffin and Kyle Balda, the latter in his feature directorial debut. The original music is composed by Heitor Pereira who previously worked on Despicable Me (2010) and Despicable Me 2 (2013), where he composed the score with Pharrell Williams. Minions, however is the first film in the franchise, without the involvement of Williams and Pereira taking over the sole credit as the composer.[1] The soundtrack for the film was released, alongside the film, on July 10, 2024, by Back Lot Music.[2][3]
Development [ edit ]
Pereira who watched the Despicable Me films, observed audience reaction to the Minion characters, and felt that "this is now a part of their lives, and I want to do justice to this dedication from the audience", resulting him to score for Minions.[4] The score was fully orchestrated and dramatic to give a feel of "classic action film". As the film was mostly set during the 1960s, Pereira recorded the music using vintage microphones which were used by The Beach Boys and Frank Sinatra, which he felt as "an opportunity to pay homage to the musicians and technicians of that time" and also inspired composers such as Henry Mancini, Lalo Schifrin and John Barry.[5] He had stated on the selection of popular songs from the 1960s, saying "Those songs represent an era but they also have to have a relationship to the moment in the movie where they appear. The directors love music and those were the songs that they felt at the moment represented the storytelling the most, like "You Really Got Me" or "My Generation".[6] He also featured some of the songs in the film are sung by the Minions themselves. He added that "it was fun to write music around it and try to make the orchestral music and band music to somehow be holding hands with the music of the period without sounding like somebody that wrote the music then".[6]
"I'm from Brazil, but the first time I heard The Beatles, I didn't have a clue what they were singing about. But the rhythm and the waves of the sounds that the language created somehow already put me in a certain frame of mind. I find that the same goes with the Minions' language." — Pereira, on the use of Minions language[4]
Pereira compared the music for the Minions to that of the Three Stooges, where the difference is Minions could not speak English. He further said that "Their language is not language, but the cumulative aspect of the repetition of those words is like creating a language in itself [...] In Minions, a lot of things go by and then the narrator has left the movie and now they are out there on their own. Instead of compensating for their lack of language I decided to back off, give them space, and let their phonetic sounds be very clear. That was a lot of fun because we almost made a dictionary of their sounds and let the music follow the same kind of repetition."[6] Pereira took the music from their travel through time and acquired all the personalities through the score.[6]
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