How To Make Pasta Al Dente - Lionfield (OFFICIAL VIDEO) lyricsTake your pasta and put it in a boiling pot It doesn't matter which shape you got Long or short, I really don't care But if you pick spaghetti, don't you dare to break them in We will call the police soon Check your clock and stir every now and then Don't pour the olive oil in the water because it's a scam And when it's almost ready, take your food, a spoon Taste a piece or two Please don't let it overcook Pasta must be al dente As long as you remember to take it out the water on time Water on time Once I heard that some people from all over the world Throw their spaghetti on the wall and if they stick they think it's ready God forgives them but I don't Anyway, if you check the box you find the cooking time While it's so damn wrong The secret is to taste it over and over until it's almost ready Otherwise, you're going to make it awful It must be al dente As long as you remember to take it out the water on time It must be al dente As long as you remember to take it out the water on time ApprovedPostsLionfieldSqa17ll3 months ago1 Likes
How Lionfield Teaches You To Make Perfect Pasta Al Dente (Without Throwing It at the Wall)Who Are Lionfield and What Is This Pasta Song? Lionfield, the Italian duo of Matteo Salvatori and Emiliano Santoro, are known online as comedic "pasta protectors" who defend Italian food traditions. In their official video "How To Make Pasta Al Dente" , they turn a how‑to guide into a full song, mixing serious cooking advice with playful warnings about what not to do. The lyrics walk through the steps of cooking pasta al dente while poking fun at common mistakes, especially those made outside Italy. Beneath the comedy, though, they give a straightforward, practical method you can actually follow. Choosing and Adding the Pasta Lionfield start with the basics: getting the pasta into a properly boiling pot. Key ideas from the song: Shape doesn’t matter for doneness "It doesn't matter which shape you got / Long or short, I really don't care" Any dry pasta shape can be cooked al dente as long as you watch the time and texture. But don’t break spaghetti "But if you pick spaghetti, don't you dare to break them in / We will call the police soon." This is a classic Italian pet peeve: breaking long pasta like spaghetti before cooking. Lionfield exaggerate with the "police" joke, but it underlines an authentic cultural preference—keep long pasta long. Use a boiling pot of water "Take your pasta and put it in a boiling pot" The water should already be at a full boil before you add the pasta, so it starts cooking evenly and doesn’t turn gummy. What Not to Do: Olive Oil and Wall Tests The video calls out two common myths in a pretty direct way. Don’t add olive oil to the water "Don't pour the olive oil in the water because it's a scam." The idea that oil in the water keeps pasta from sticking is widely repeated but misleading. Lionfield label it a "scam" in the lyrics. The actual sticking problem is better handled by: using enough water keeping the water at a strong boil stirring the pasta in the first minutes Don’t throw pasta at the wall "Once I heard that some people from all over the world throw their spet on the wall and if they stick they think it's ready. God forgives them but I don't." The "throwing spaghetti at the wall" test is another myth. In the song, they treat it almost like a culinary sin. Sticking to a wall doesn’t reliably indicate al dente; it mostly means the surface is starchy. Their alternative: read the box, then rely on tasting, not tricks. Timing, Tasting, and the Box Instructions A big focus of the song is that al dente is about timing and tasting . Check the clock, but don’t worship it "Check your clock and ste every now and then" "If you check the box you find the cooking time while it's soft and wrong." The package gives an approximate cooking time. Lionfield point out it’ll get soft if you follow it blindly. Their message: use it as a guideline, not a guarantee. Taste as you go "And when it's almost ready, take your food a spoon / Taste a piece or two / Please don't let it overcook." "The secret is to taste it over and over until it's almost ready." Their main rule: keep tasting. Pull out a piece, bite it, judge the texture yourself rather than trusting a wall or just the printed time. Stop before it goes too far "Otherwise, you're going to make it over." "Over" here is shorthand for overcooked: soft, mushy pasta that Italians generally want to avoid. What “Al Dente” Means in Practice The chorus repeats the core target: "Pasta must be al dente / As long as you remember to take it out the water on time." From the lyrics, the practical definition is: Slight bite, not crunchy and not mushy It should be cooked through but still have firmness when you bite it. No wall tests, no tricks You judge al dente by tasting , not sticking it to a wall or watching for gimmicks. While the transcript doesn’t mention it explicitly, Lionfield’s broader pasta content often highlights that al dente preserves texture and avoids the soggy, overcooked results they frequently react to in their comedy shorts. Simple Step‑By‑Step: Lionfield’s Al Dente Method Summarizing the method described in the song: Boil water in a large pot. Wait until it’s fully boiling. Add the pasta. Any shape is fine. If it’s spaghetti, keep it whole—don’t break it. Do not add olive oil to the water. They call this a scam and skip it entirely. Check the suggested time on the box. Use it as a starting point for when to begin tasting. Taste repeatedly near the end. Use a spoon or fork to take out a piece. Bite and check the texture. Repeat "over and over until it's almost ready." Remove from water on time. As soon as it reaches that firm, not‑mushy bite, drain it. Leaving it in the water is what ruins al dente. Throughout the song, Lionfield return to the same condition: "take it out the water on time." That, for them, is the whole secret. Summary: Comedy with Real Pasta Rules In "How To Make Pasta Al Dente" , Lionfield fold real Italian cooking advice into a humorous music video. The main points tied to the lyrics are: Use a boiling pot of water and any pasta shape you like. Don’t break spaghetti if you care about Italian sensibilities. Skip olive oil in the water—it won’t save your pasta. Ignore wall‑throwing tests; they’re not a real measure of doneness. Read the box for guidance, then rely on repeated tasting. Drain the pasta as soon as it reaches a firm, al dente bite. Behind the jokes about calling the police and divine forgiveness, Lionfield present a straightforward, taste‑focused method: watch the clock, trust your palate, and rescue the pasta from the water at just the right moment.PostsLionfieldSqa17ll3 months ago0 Likes
LionfieldLionfield is an Italian content creator and music duo formed by childhood friends Matteo Salvatori and Emiliano Santoro. Based on their shared passion for Italian culture, cuisine, and music, they produce humorous and educational videos that highlight traditional Italian food practices, often reacting to unconventional or incorrect ways of cooking classic dishes. The duo gained prominence on platforms like YouTube and TikTok, where they mix musical performances with comedy sketches centered around pasta, pizza, and other staples of Italian cuisine. Their content frequently focuses on "protecting" Italian food traditions, using exaggerated reactions and catchphrases to entertain while reinforcing authentic cooking methods. In addition to short-form reactions, Lionfield creates original music and themed videos, such as their song and video about making pasta al dente. They often incorporate practical cooking tips—like properly timing pasta and avoiding common myths—into their lyrics and scripts, making their content both engaging and informative. Italian duo: Matteo Salvatori and Emiliano Santoro Known for: comedic reactions to food "torture" and Italian cooking fails Platforms: YouTube, TikTok, and other social media Focus: Italian cuisine, music, and cultural commentaryCreatorsFoodMusicComedySqa17ll3 months agoSubscribe
Rick Astley - Never Gonna Give You Up (lyrics)We're no strangers to love You know the rules and so do I A full commitment's what I'm thinking of You wouldn't get this from any other guy I just wanna tell you how I'm feeling Gotta make you understand Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you We've known each other for so long Your heart's been aching but you're too shy to say it Inside we both know what's been going We know the game and we're gonna play it And if you ask me how I'm feeling Don't tell me you're too blind to see Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you (Ooh, give you up) (Ooh, give you up) Never gonna give, never gonna give (Give you up) Never gonna give, never gonna give (Give you up) We've known each other for so long Your heart's been aching but you're too shy to say it Inside we both know what's been going We know the game and we're gonna play it I just wanna tell you how I'm feeling Gotta make you understand Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt youPostsRick AstleySqa17ll3 months ago0 Likes
Why Rick Astley’s “Never Gonna Give You Up” Still Hits Decades LaterA 4K Look at an ’80s Pop Landmark Rick Astley’s official 4K remaster of “Never Gonna Give You Up” returns one of the most recognizable pop videos of the late 1980s to high-definition life. First released in 1987, the song became Astley’s signature hit and a defining track of mainstream dance‑pop. This remastered upload on Rick Astley’s official channel presents the original music video with upgraded visual clarity while preserving its late‑’80s styling, choreography, and performance. The Song at the Center of It All According to sources like the Never Gonna Give You Up entry on Wikipedia, the track is a pop song released on 27 July 1987 , performed by English singer Rick Astley. It quickly became his most famous work and remains closely tied to his name. Musically and lyrically, as heard in the video: It’s built around a bright, synth‑driven dance‑pop arrangement. Astley sings in a notably deep, rich voice that contrasts with his youthful appearance. The tempo and production reflect late‑1980s mainstream pop, with a steady beat aimed squarely at the dance floor. The video itself showcases Astley lip‑syncing and dancing through a variety of simple urban and interior locations, emphasizing performance and personality rather than narrative. Lyrics: A Pledge of Unshakable Commitment The transcript of the video centers on a speaker making a series of promises to someone they’ve known “for so long.” The key ideas are repeated throughout: Unconditional loyalty “Never gonna give you up / Never gonna let you down” “Never gonna run around and desert you” Emotional care “Never gonna make you cry” “Never gonna say goodbye” “Never gonna tell a lie and hurt you” Mutual but unspoken feelings “We’ve known each other for so long / Your heart’s been aching but you’re too shy to say it” “Inside we both know what’s been going on / We know the game and we’re gonna play it” From the lyrics alone, the song reads as a vow of consistency and emotional reliability. Astley’s narrator insists he is fully committed (“A full commitment’s what I’m thinking of”) and different from “any other guy.” Rick Astley and His Defining Hit Biographical sources such as Wikipedia and standard music biographies describe Rick Astley as an English singer and composer, born 6 February 1966 in Warrington, Cheshire, England. As a teenager, he played drums in bands including Give Way and FBI before moving into professional recording. “Never Gonna Give You Up” became his breakout global hit and is widely cited as his signature song . It is often used as a climactic or closing number in his live concerts, reflecting how closely the track is associated with his public persona. From Pop Hit to Internet Phenomenon In the late 2000s, Astley and this specific music video experienced a major revival. Online sources note that he became an internet phenomenon in 2007 with the rise of “Rickrolling” —a meme in which unsuspecting users are tricked into opening a link that unexpectedly plays the “Never Gonna Give You Up” video. Key points about this later chapter: The original 1987 video is the core of the Rickrolling gag. This meme introduced the song to a new generation well beyond its original chart run. Commentary on Astley’s career often credits the meme with helping revitalize his profile in popular culture. The 4K remaster on his official channel fits naturally into this trajectory: it packages the familiar video in a higher‑quality format that suits both nostalgic fans and newer viewers who encountered the song through internet culture. Why the Video Endures Several elements help explain why this particular song and video continue to resonate: Instantly recognizable hook – The chorus is concise, repetitive, and rhythmically catchy. Clear emotional message – The lyrics offer straightforward assurances of devotion and reliability. Visual simplicity – The video’s uncomplicated staging and choreography make it easy to remember and parody. Contrast of sound and image – Astley’s unexpectedly deep vocal, paired with his youthful look, remains striking. In 4K, these qualities are sharper but unchanged: the charm comes from the performance and the song’s structure, not from elaborate visual effects. Summary Rick Astley’s “Never Gonna Give You Up (Official Video) (4K Remaster)” presents a high‑definition restoration of the 1987 video behind his best‑known song. The track’s lyrics, as heard in the transcript, are a straightforward promise of unwavering commitment: never giving up, letting down, deserting, or hurting the person he addresses. Biographical and historical context show that this song became Astley’s signature work, later gaining a second life as the centerpiece of the Rickrolling meme that brought it to new audiences. The 4K remaster doesn’t change the core of what made it iconic—its memorable chorus, emotional clarity, and distinctive vocal delivery—but it preserves them for current and future viewers in a cleaner, more contemporary format.PostsRick AstleySqa17ll3 months ago0 Likes
Rick AstleyRick Astley is an English singer, songwriter, and musician best known for his 1987 hit single "Never Gonna Give You Up." Born on 6 February 1966 in Warrington, Cheshire, England, he first gained attention in the late 1980s with a series of chart-topping pop singles characterized by his deep, soulful voice. "Never Gonna Give You Up" became his signature song, reaching number one in multiple countries and remaining closely associated with his public image. The track later found renewed cultural prominence in the mid-2000s through the "Rickrolling" internet meme, which unexpectedly linked users to the song’s music video and introduced Astley's work to a new generation. Beyond this signature hit, Astley has continued to record and perform, releasing albums and touring internationally. His catalog spans upbeat dance-pop, soulful ballads, and more mature pop material, reflecting a career that has evolved well beyond his initial late-1980s breakthrough.CreatorsMusicArtComedySqa17ll3 months agoSubscribe
Admin Abuse, Poppy Playtime y el regreso del “simio mayor”: así fue el directo de Abraham FloresEl regreso del “simio mayor” y nueva etapa desde Monterrey En este directo, Abraham Flores arranca saludando a sus “simiecitos y simiecitas” y marca el tono del stream: charla cercana, bromas internas y mucha interacción con el chat. Puntos clave del inicio: Explica que llevaba una semana sin prender directo porque estaba ocupado grabando un video con MrBeast y mudándose a Monterrey. Aclara en tono de broma que no puede decir si ganó o no el millón de dólares del video de MrBeast y que, en caso de ganarlo, sería “para la comunidad”. Comenta que ha estado haciendo muchos directos exclusivos en Twitch debido a contratos, pero que sigue muy presente en YouTube. Repite varias veces que las donaciones y suscripciones “no son necesarias”, agradeciendo aun así los apoyos de la audiencia. También da un pequeño resumen de su carga de trabajo actual: Sube video diario en tres canales a la vez: Canal de Free Fire. Canal de Fortnite. Canal principal, donde ahora principalmente sube Roblox. Por eso decidió volver a fotos de perfil antiguas, más ligadas a sus “orígenes” y a la época de Free Fire. Incluso cuenta un caso curioso: subió un gameplay de Free Fire a un canal “random” que tenía olvidado, sin anunciarlo, y ese video llegó a cientos de miles de vistas y ganó decenas de miles de suscriptores, pero los comentarios aparecían bugueados y no se mostraban correctamente. Cambios de imagen, comunidad dividida y el lore del “muñeco” Abraham aprovecha el arranque para hablar del “aura” que tiene su comunidad y su imagen: Dice que le hacen edits de frases tontas, momentos de “roba un brainrot” y hasta de la foto de perfil, y a eso él le llama “aura”. Explica que volvió a unas fotos de perfil antiguas porque encajan mejor con la etapa actual de subir contenido diario en varios canales. También toca un tema que le sorprende: siente que hay dos comunidades diferenciadas: La gente que ve los videos editados de YouTube. La gente que solo ve los directos. Para comprobarlo, pregunta si saben el nombre de un muñeco que se parece al Dinodance. Muchos en el chat se confunden y lo llaman así, pero otra parte de la audiencia sí acierta el nombre correcto, lo que a Abraham le emociona porque demuestra que hay fans atentos al lore de todos sus canales. MrBeast, Rubius, Ibai y compañía: el viaje que le “cambió la vida” Una parte importante del directo es el relato de su viaje para grabar con MrBeast y convivir con creadores que admira. Abraham comenta que: Viajó con Betillo, muestra fotos del aeropuerto y de los días de rodaje. Conoció en persona a: El Rubius. Ibai. Grefg (a quien ya conocía, pero ahora convivieron en cámara). Quackity. Streamers estadounidenses, incluyendo a Steak, con quien siente ya una relación más de amistad. Sobre Rubius, se pone especialmente emocional: Confiesa que Rubius fue una figura casi paternal para él, más presente que su propio padre en muchos momentos de su vida, al acompañarlo con videos en comidas y en su proceso de aprender sobre creación de contenido. Le da pena pensar que quizá Rubius lo vio solo como “un fan más” al que quiso mucho en el momento, pero sin saber el nivel de impacto que tuvo en él. Muestra un clip de baja calidad donde graba a sus dos mayores inspiraciones en un autobús, y lo compara con “haber visto a Leonardo Da Vinci pintar la Mona Lisa”. Para él, esa escena es la definición de “felicidad”. Sobre otros creadores: De Quackity, bromea con que en las fotos nunca sonríe, mientras en stream está siempre enérgico. Le lanza un mensaje juguetón: “¿Qué necesitas para ser feliz? Yo lo consigo y te lo doy”. De Steak, dice que ya se sienten como amigos, aunque lo vio muy cansado en el evento. Explica que todos los creadores, americanos e hispanohablantes, fueron muy amables, accesibles para fotos y grabaciones, y en general “increíbles personas”. Incluso comenta que, si alguno le hubiera caído mal, lo habría aceptado como “equilibrio” de lo que vivió, pero no pasó. Define el viaje como “de los mejores días de su vida” y agradece explícitamente a MrBeast. Admin Abuse, Roba un Brainrot y la obsesión con las fusiones El eje del directo es que Abraham está esperando un evento de Admin Abuse con Sami, relacionado con Roba un Brainrot (el juego de Roblox que tanto aparece en sus clips virales). Aspectos que se ven en la transmisión: Falta alrededor de dos horas para que empiece el Admin Abuse principal, así que rellena ese tiempo hablando con el chat y con Mono Oaxaco, su colaborador frecuente. Revela que durante el evento se activará una nueva máquina o fusión “divina” relacionada con criaturas tipo ángel; la esperan para grabar contenido. Detalla el sistema de fusiones y secretos del juego comentando con Mono: Hablan del dragón Hydra y de los dragones con grandes estadísticas (por ejemplo, de 8–11 billones de daño). Mencionan brainrots raros como el Gesorman , que según Mono es de los que menos copias tienen. Comentan sobre el elefante Strawberry como uno de los pets más exclusivos, y recuerdan que hay jugadores como Draconite que acumulan decenas o cientos de copias de estos cerebros raros. Cuentan que con la nueva máquina de tradeos el juego “revivió”, porque los intercambios se volvieron más estructurados y seguros. Abraham insiste en que a veces se siente más peligroso entrar a partidas públicas llenas de traders hardcore que enfrentarse a los jefes del propio juego. También se nota su preocupación técnica: Está jugando desde una PlayStation 5 mientras hace directo desde la misma PC, y teme que la computadora explote por la carga de trabajo. Ajusta volúmenes, corrige el audio de la capturadora y pide ayuda al chat para silenciar las notificaciones sin dejar de ver los mensajes en pantalla. Siempre conserva el tono humorístico, pero es transparente con los problemas técnicos y con las limitaciones de hardware que tiene en ese momento. Entre 99 Noches, Poppy Playtime y chistes internos con la comunidad Mientras espera el Admin Abuse de Sami, Abraham salta a otros juegos y temas, siempre desde el mismo directo. 99 Noches y el nuevo “gato” En el juego 99 Noches (otro título de supervivencia en Roblox) participa en un evento especial: Entra a un admin abuse del juego, donde se activan cinemáticas, herramientas rotas y ayudas del desarrollador. Ve una secuencia en la que aparece un templo tipo pirámide (lo compara con Chichén Itzá, pronunciándolo mal a propósito, “Chichinita” / “Chichinitzá”) y se anuncia la llegada de una nueva criatura, que él y Mono describen como un gato. El admin les entrega un hacha especial extremadamente poderosa que: Corta árboles gigantes de un golpe. Elimina lobos y otros enemigos con un solo impacto. Abraham se divierte: Pone música con el título “farmear aura” y hace chistes de que ahora sí tiene “aura” cortando madera. Bromea con Mono por forzar clips (“forzar clips es lo tuyo”), aludiendo a cómo ambos aprovechan los momentos exagerados para el contenido corto. Van rescatando niños del mapa (cada uno con nombres como Juanito, Francisca, Pancha o Roberto) mientras gestionan fogatas, cofres y recursos. En paralelo, Abraham mantiene su estilo de conversación con el chat: Pregunta quién cumple años “hoy” y se ríe de que todos responden “yo”. Usa su muletilla constante de “simiecitos, simiecitas” y habla de “fe” y “aura” como bromas recurrentes. Poppy Playtime y problemas de plataforma Sobre Poppy Playtime , Abraham lanza varios comentarios: Planea jugarlo en el mismo día del directo, después del Admin Abuse, si su PC lo aguanta. Expresa molestia porque el nuevo Poppy Playtime no salió en consola: Comenta que compró la PlayStation para poder pasárselo ahí de forma más cómoda. Señala que Poppy Playtime 1 está gratis en PlayStation 5 y en muchas plataformas, pero que a estas alturas le interesa jugar los capítulos nuevos, no el primero. No entra en detalle del gameplay de Poppy en este directo, pero sí deja claro que formará parte del contenido del día, sujeto a las limitaciones técnicas. Relación con el público, límites y profesionalización Más allá de los juegos, Abraham Flores muestra varios rasgos de cómo gestiona su figura pública y su comunidad: Agradece constantemente las suscripciones, bits y “tap tap taps” tanto en YouTube como en TikTok. Repite que el apoyo económico no es obligatorio, usando la broma de que ya “ganó un millón de dólares” con MrBeast, aunque matiza que no puede confirmar nada. Mantiene el personaje de “simio mayor”, pero se toma en serio algunas decisiones: Comenta que vende saludos personalizados desde su propia web y que prefiere eso a lanzar saludos rápidos y sin cariño en medio del caos del chat. Reconoce que la mayoría de su audiencia son niños y, por eso, intenta no sonar explotador cuando habla de dinero o productos. También deja ver su lado más humano: Se muestra abiertamente vulnerable al hablar de su relación emocional con Rubius. Cuenta chistes sobre su padre ausente, pero lo hace desde la comedia autocrítica, mezclando cariño y dolor. Se nota que valora mucho su amistad con creadores cercanos como Betillo, Holman y Mono Oaxaco, a quienes menciona de forma recurrente. Resumen final Este directo de Abraham Flores, en su canal ElAbrahaham , combina varios elementos que definen bien su etapa actual: El regreso del “simio mayor” después de una semana ausente, ahora instalado en Monterrey y produciendo videos diarios en tres canales diferentes. Un relato entusiasmado de su viaje con MrBeast y el encuentro con ídolos como Rubius, Ibai, Grefg y Quackity, al que describe como una de las mejores experiencias de su vida. Mucho contenido alrededor de Admin Abuse y Roba un Brainrot , preparando la llegada de nuevas fusiones divinas y comentando la economía interna del juego con Mono Oaxaco. Un desvío entretenido hacia 99 Noches , donde el admin les da herramientas rotas y presentan una nueva criatura tipo gato en una pirámide estilo Chichén Itzá. La promesa de jugar el nuevo Poppy Playtime , con quejas incluidas porque no se lanzó en consola. Todo ello envuelto en el estilo característico de Abraham: bromas rápidas, autoironía, referencias internas para sus “simiecitos y simiecitas” y una mezcla de profesionalización (contratos, múltiples canales, saludos pagados) con cercanía emocional hacia una comunidad que lo sigue tanto en directos como en videos editados.PostsAbraham FloresSqa17ll3 months ago0 Likes
Rebuilding the Wrecked Bugatti Chiron Pur Sport: From Broken Mount to First Start-UpReconnecting a Crashed Chiron Pur Sport Matthew Armstrong continues his ambitious attempt to rebuild a wrecked Bugatti Chiron Pur Sport, a project that began after the car’s owner, Alex, crashed it and asked him to take on the repair. The car arrived effectively in two pieces: The front half of the Chiron The rear half containing the W16 engine and gearbox Bugatti has refused to sell Armstrong any replacement parts, expressing safety concerns and insisting that such repairs can’t reliably be done in a normal workshop. Despite that, in a previous episode he separated the rear subframe and drivetrain from the front, and in this video he focuses on re‑engineering a critical broken engine/gearbox mount, reuniting both halves of the car, and attempting a first start. Repairing the Crucial Engine and Gearbox Mount The central technical challenge is a broken cast-aluminium engine and gearbox mounting bracket that also locates three crank position sensors. Armstrong and his team consider two options: CNC‑machining a new mount from a solid aluminium block Pros: one-piece construction, potentially stronger than the factory casting. Cons: extreme precision required; any dimensional error in the crank sensor locations could cause rough running, no start, incorrect boost control, or persistent engine faults. It would also be very expensive. Repairing the original cast mount Pros: retains exact OEM geometry for the crank sensors; significantly cheaper; if the weld is sound, it should be as strong or stronger than original. Cons: uncertainty over whether the casting can actually be welded and restored safely. Armstrong takes the damaged mount to Bob, a machinist and welder. After checking the alloy specification, Bob confirms it’s weldable aluminium, not a problematic high‑magnesium alloy. His process includes: Cleaning and preparing the fractured areas Fixturing the pieces in a milling machine to ensure correct alignment before and after welding Pre‑heating the assembly in an oven so all metal reaches uniform temperature TIG welding using appropriate filler rods (4043 and/or 4047), selected for grip and flow characteristics Bob reports that the welds will be stronger than the original cast material. To further reinforce the component, he fabricates additional ribbed infill sections, first templated in cardboard and then welded onto the casting to add structural stiffness in key areas. Armstrong decides to use this repaired OEM mount rather than a new CNC piece, acknowledging it’s a calculated risk but trusting the original geometry and Bob’s welding. Rebuilding the Drivetrain and Rejoining the Chiron With the mount repaired, Armstrong and his father begin reassembling the Bugatti’s drivetrain: The repaired mount is bolted back to the engine using titanium fasteners, allowing the entire engine to hang from Bob’s weld for a real‑world strength test. The Bugatti‑branded flywheel is installed, located on a specific dowel so the crank sensors can read the correct reference tooth on the ring gear. All bolts are Loctited and torqued evenly to avoid vibration. The gearbox is mated back to the W16. Every electrical connector, solenoid plug, oil line, and breather pipe is carefully routed and reconnected—critical work, as access is extremely limited once the powertrain is back in the chassis. Armstrong points out a notable detail: the starter motor is the same part used on a Volkswagen 1.9 TDI Passat, sharing identical part numbers despite now being tasked with cranking a quad‑turbo W16. Managing Unknown Procedures and Fluids Because Bugatti won’t provide technical data, Armstrong has no official guidance on gearbox oil type, capacity, or fill/bleed procedure. He opts to: Reuse the original gear oil drained earlier Filter it through the media from a cut‑open oil filter placed in a funnel, to remove any debris Refill by measuring against the quantity removed, initially via a breather pipe and then directly into the gearbox’s oil tank He acknowledges this is partly guesswork due to the lack of access to factory documentation. Joining Front and Rear Halves With the drivetrain rebuilt, the team reconnects the front and rear sections of the Chiron. In the factory, Bugatti reportedly uses a dedicated, very expensive alignment rig; Armstrong substitutes that with dollies and careful jacking to align the carbon tub and rear subframe. Key steps include: Repairing a crushed coolant overflow pipe by cutting the damaged aluminium section and replacing it with a rigid rubber fuel hose, secured by clamps. Genuine replacement parts aren’t available from Bugatti. Carefully aligning the mating faces of the carbon monocoque and rear structure to avoid stressing the fasteners. Installing 14 titanium studs and nuts that hold the rear assembly to the carbon tub. To set torque values, Armstrong relies on TV and YouTube footage of a German technician torquing similar Bugatti fasteners to 20 Nm and then 70 Nm, since he has no official torque chart. A Titanium Bolt Snaps – and Why That Matters While torquing the fasteners, Armstrong applies the same torque spec to all of them. Four bolts under the car, however, are smaller, and one of these titanium bolts snaps off in the carbon tub. He explains why these fasteners are so delicate: The titanium bolts are intentionally brittle in shear so that, in a crash, the rear subframe can separate cleanly from the safety cell (the carbon monocoque) rather than transferring excessive loads to the passenger compartment. Using a stronger, more ductile bolt could result in bending instead of controlled breakage. Fortunately, the broken stud can be extracted without splitting the car again. Armstrong then sources a replacement titanium M8 x 1.25 x 50 mm CNC‑machined bolt for around $11 from a supplier, and plans to install it once it arrives. With the critical fasteners installed and torqued more cautiously, the team continues: Reconnecting the propshaft between front differential and rear gearbox Reconnecting long coolant runs and intercooler pipes between front radiators and rear engine Reconnecting fuel lines running from the tank integrated in the carbon tub to the engine Rejoining wiring looms that handle communication between the front and rear modules Armstrong notes that visually the car is now structurally back together, though many panels and ancillary components are still missing. Brakes, Electronics, and Interior Essentials Before attempting a start, Armstrong wants a functioning brake system and correct communication with the gearbox: The brake circuit was opened when the car was split, so they refill with DOT 4 fluid (typical for Volkswagen‑group vehicles) and bleed the system wheel by wheel, beginning at the caliper furthest from the reservoir. Both inner and outer bleed nipples on the large calipers are cycled until air bubbles stop and the pedal becomes firm. Armstrong uses this segment to highlight that, whatever the quality of the repair, the Bugatti’s salvage status will permanently appear on history reports. He references a car history check (via CarVertical) as a tool that will always show this car as damaged and salvage-titled, something that will devalue it in future even if the rebuild is successful. Inside the car, he re‑installs the transmission ECU under the driver’s seat, placing it close to the gearbox for shorter wiring and weight savings. He then refits: Underlay foam and the ultra‑thin floor carpet The accelerator pedal module, which he notes is a simple plastic part despite controlling a 1,500 hp powertrain With the accelerator now in, he feels more confident about how the car’s electronics will respond during the first start attempt. A One‑Off Exhaust and a Nearly Straight‑Piped W16 One of Alex’s conditions for the rebuild was fitting a new exhaust. Armstrong partnered with Valvetronic, who took the original system, 3D scanned it, and developed a custom, one‑off exhaust in approximately two weeks. The new system features: Custom CNC‑milled flanges to interface with the factory hardware A complex X‑pipe configuration in the center Large‑diameter (around 3.5-inch) bypass sections feeding the outer tailpipes Valve‑controlled flow paths to manage sound and backpressure Armstrong describes the completed exhaust as almost an art piece due to its complexity. Removing Secondary Catalytic Converters To reduce backpressure without triggering electronic faults, Armstrong examines the exhaust layout: Each turbo feeds primary catalytic converters monitored by upstream and downstream oxygen sensors. Removing or modifying these would likely upset the engine management and could put the car into limp mode unless retuned. Further downstream, there are large secondary catalytic converters used mainly for emissions cleanup, with no sensors after them. He chooses to remove these secondary cats, which he describes as very restrictive, to improve flow and effectively move the car closer to being straight‑piped. Because no sensors monitor this section, the ECU should not directly detect their removal. The deleted secondary cats contain precious metals, which Armstrong intends to keep and potentially sell. The freed‑up section is then mated to the new Valvetronic exhaust via clamps before being covered with the factory heat shielding. He acknowledges this process is similar to modifications enthusiasts perform on lesser performance cars but stresses this is his first time doing it on a Bugatti. With the exhaust mocked up and then fully tightened, the rear crash structure, crash sensors, radiators, dual engine ECUs, transmission controller, and fuse boxes are reattached to the rear frame. Extensive wiring is then tidied and reconnected. Armstrong emphasizes that all connections are now committed—if anything is mis‑plugged or forgotten, access will be extremely difficult without disassembling major sections again. First Start: Does the Rebuilt Bugatti Actually Run? The final component needed for a start‑up is the Bugatti’s special lithium‑ion battery, which Armstrong states costs around $40,000. It mounts in a recess under the car, likely chosen for packaging and weight distribution reasons. He installs it by: Bolting the battery pack to the tub using four fasteners Connecting the main negative and positive terminals at each side Confirming that the car powers up electrically with no visible smoke or immediate issues Before starting, Armstrong and the team refill hydraulic fluid for the nose‑lift and suspension system. They leave coolant for later because the front radiators are not yet installed, and they already have concerns that Alex previously drove the car for some time without coolant, potentially damaging water pump seals or turbo seals. The Moment of Truth With brakes bled, engine and gearbox bolted together, wiring connected, fuel lines in place, and the new exhaust fitted, Armstrong sits in the car and turns the key. The result: The engine starts on the first attempt. The new exhaust makes the Chiron audibly louder and slightly deeper in tone, but not dramatically transformed. Armstrong and Alex comment that: The car sounds perhaps 20% deeper and louder than stock. It does not approach the dramatic change seen when straight‑piping naturally aspirated cars like a Lamborghini Aventador SVJ. The four turbochargers and W16 firing order heavily mute and shape the sound, and Bugatti’s design priorities clearly didn’t center on exhaust drama. At one point, fuel is seen leaking and briefly flaring concern; they trace this to a fuel line that has simply popped off and refit it. After correction, they re‑start the engine without issue. Armstrong confirms that the gearbox will engage a drive gear—he gently lets the car move forward to verify that the rebuilt drivetrain and control electronics are at least fundamentally functional. He sums up the mixed outcome: Good news: The car starts, idles, revs, and selects gear. The repaired engine/gearbox mount holds the drivetrain’s weight, and the electronics appear to communicate. Bad news: In his view, Bugattis simply don’t sound very exciting even when nearly straight‑piped; the exhaust tone is louder but not transformed into a supercar “showpiece” sound. He also reiterates that there are still major unknowns: Whether the water pump and related seals survived Alex’s previous coolant‑less driving Whether the cooling system will function correctly once radiators and coolant are reinstalled Whether any long‑term issues will emerge from the improvised gearbox oil refill and the welded mount under load Armstrong closes the video by noting that, in theory, with the bumper and wheels refitted the car could now drive, but he wants to verify it reaches operating temperature correctly and check for cooling‑related damage in the next episode. Summary In this stage of his Bugatti Chiron Pur Sport rebuild, Matthew Armstrong: Chooses to repair, rather than recreate, a critical cast‑aluminium engine and gearbox mount, relying on precise welding and added reinforcement. Rebuilds and reinstalls the W16 engine and gearbox, reconnecting complex wiring, fluid lines, and crank sensors without official factory data. Successfully rejoins the front and rear halves of the carbon‑tub chassis using titanium fasteners, overcoming a snapped bolt and substituting an aftermarket titanium replacement. Bleeds the braking system, reinstalls key electronics and the accelerator pedal, and fits a custom Valvetronic exhaust while deleting the secondary catalytic converters. Installs a costly OEM lithium battery and performs a first start, confirming that the engine runs, the gearbox selects gear, and the new exhaust is louder but not dramatically different in character. The episode documents both the ingenuity and the compromises necessary when rebuilding a hypercar without manufacturer support, leaving the next major question unresolved: whether the cooling system and internal seals have survived enough to allow the Chiron to run at temperature and be driven in anger.PostsMatthew ArmstrongSqa17ll3 months ago0 Likes
Matthew ArmstrongMat Armstrong is a British YouTuber and automotive content creator known for rebuilding and modifying damaged performance and luxury cars. Based in Leicester, United Kingdom, he previously competed as a professional BMX rider before focusing full-time on his online automotive projects. On his YouTube channel, Armstrong documents in detail the process of purchasing, diagnosing, repairing, and upgrading heavily damaged vehicles, often working with specialist engineers and machine shops. His content emphasizes problem-solving, mechanical learning, and transparency about costs, risks, and setbacks involved in complex rebuilds. Armstrong has attracted particular attention for tackling ambitious projects involving high-end supercars, including attempts to restore vehicles that manufacturers are unwilling to support with parts. Through these builds, he highlights the technical, financial, and regulatory challenges of returning such cars to the road while engaging an audience interested in engineering and car culture. Selected themes on his channel include: Rebuilding written-off and salvaged performance cars Collaborating with machinists, fabricators, and other specialists Exploring the limits of what can be achieved outside a factory workshop Sharing the learning process behind advanced mechanical repairsCreatorsAutomotiveTechDesignBusinessFinanceSqa17ll3 months agoSubscribe
Admin Abuse, Brainrot y Gatos en la Pirámide: El Caótico Directo de Abraham FloresRegreso del “simio mayor” y mudanza a Monterrey Abraham Flores, conocido como ElAbrahaham o el “simio mayor”, abre el directo explicando que llevaba una semana sin prender stream porque estaba ocupado grabando un video con MrBeast y mudándose a Monterrey. Entre disculpas y chistes con sus “simiecitos y simiecitas”, comenta que: Ya está instalado en Monterrey, aún adaptándose al clima y haciendo bromas sobre estar “moquiento”. Estuvo un tiempo streameando casi solo en Twitch por contrato, pero ahora vuelve a YouTube y saluda de nuevo a la comunidad de ambas plataformas. Aclara, medio en broma, que si realmente hubiera ganado un millón de dólares con MrBeast quizá no estaría ahí, pero deja la intriga: “puede que lo haya ganado, puede que no, no les voy a spoilear”. Añade que, de ganar, ese dinero sería “para la comunidad”. El tono es el típico de Abraham: muy rápido, muy cercano al chat, agradeciendo suscripciones y donaciones, pero insistiendo en que “no es necesario” mientras juega con la expectativa del video con MrBeast. Tres canales diarios, nuevas fotos de perfil y el boom de Free Fire Abraham aprovecha para explicar cambios en su ecosistema de contenido. Señala que volvió a sus fotos de perfil antiguas porque está “volviendo a los orígenes” y porque ahora lleva una rutina muy concreta: Sube video diario en tres canales a la vez: Un canal dedicado a Free Fire . Un canal dedicado a Fortnite . Su canal principal, donde sube principalmente Roblox y hace directos. Cuenta que probó subir un gameplay de Free Fire a un canal “random” que tenía guardado. Sin anunciarlo en ningún lado, el video: Alcanzó alrededor de medio millón de vistas. Hizo que el canal ganara aproximadamente 20.000 suscriptores. Tiene miles de likes, pero el sistema no permite comentar, algo que él interpreta como un posible bug de YouTube. Ese experimento refuerza su idea de que su audiencia responde incluso sin promoción directa. Lo narra riéndose de su propia suerte y jugando con la idea de que “YouTube está bugueado” porque no se pueden dejar comentarios en ese video. Del TikTok brainrot a MrBeast: invitados, Rubius e Ibai Una parte central del directo es el relato de su viaje a grabar con MrBeast y convivir con otros creadores gigantes. Sin entrar en spoilers específicos del video de MrBeast, Abraham cuenta sensaciones y anécdotas personales: Dice abiertamente que conoció a Rubius , a quien llama su ídolo absoluto y una especie de figura paterna en lo creativo: Afirma que Rubius ha estado “en más comidas” con él que su propio padre, porque lo acompañó durante años a través de sus videos. Confiesa que se quedó con vergüenza al no decirle todo lo que quería, sintiendo que quizá Rubius solo lo vio como “un fan más”, cuando para Abraham fue alguien que “le cambió la vida”. Menciona que también coincidió y convivió con: Ibai TheGrefg (a quien ya conocía de antes, pero ahora en un contexto más formal y grabado) Quackity , con quien se tomó fotos y a quien describe como alguien que casi nunca sonríe en fotos pese a ser muy enérgico en directo. Marlon , streamer con el que los fans lo comparaban físicamente desde que se cortó el cabello. Presume una foto juntos y bromea con que “Dios debió haberlo hecho así” de guapo. También habla de Steak , con quien dice tener ya una relación más de camaradas, saludándose cansados en el set. Aunque evita spoilers del proyecto de MrBeast, deja claro que para él fueron “de los mejores días de su vida”, que todos los creadores que admiraba resultaron ser personas amables y accesibles, y que incluso le habría “gustado que uno le cayese mal” para que no fuera todo tan perfecto. Roba un Brainrot, admins y secretos con Mono Oaxaco El directo se centra luego en Roblox, especialmente en Roba un Brainrot , donde Abraham entra al juego acompañado de Mono Oaxaco (a quien él llama en broma “Mono me da asco”): Comenta que existe una comunidad dividida entre quienes ven sus videos editados y quienes solo siguen los directos. Lo comprueba preguntando por el nombre de un muñeco que aparece en sus otros canales; muchos sí lo reconocen y otros no. Hablan de la economía interna de Roba un Brainrot: Mono le explica que hay una lista filtrada de cuántos brainrots exclusivos existen. Menciona el Hless Horman como uno de los más raros: habría muy pocos ejemplares, incluso menos que de ciertos elefantes. Comentan que algunos jugadores como Draconite acumulan cantidades enormes de secretos (como decenas de elefantes), lo que altera el valor de ciertos ítems. Abraham se interesa por la nueva máquina de fusión y las probabilidades de obtener brainrots raros usando brainrots de oro, preguntando si poner más mejora el porcentaje. Mono explica que sí se incrementa un poco la probabilidad de obtener versiones doradas. Bromean con el sistema de tradeo, los riesgos de estafa y casos como: Un niño que le cambió a Mono un dragón muy fuerte (mutado a 8–11 billones de fuerza) por un elefante más exclusivo. Abraham reflexiona que, aunque económicamente no parezca “justo”, muchos niños valoran el apego sentimental al ítem por encima de su rareza matemática. Entre chistes, Abraham lanza un mensaje irónico a Sami , desarrollador de Roba un Brainrot, mezclando español e inglés para pedir que se una al servidor y participe en el admin abuse, asegurando que podrían hacer algo grande “para un video con dos millones de personas”. También se queja juguetonamente de que a veces teme que el juego muera, pero cada actualización (sobre todo la máquina de tradeos) lo revive y reactiva el interés de su comunidad. Admin Abuse y nuevo contenido en 99 Noches La otra gran mitad del directo gira en torno al admin abuse de 99 Noches , un juego de supervivencia en Roblox donde Abraham tiene un rol muy activo: Entra al evento de admin abuse , donde los desarrolladores les otorgan herramientas especiales y contenidos temporales: Globos, pastelitos, decoraciones de “fiesta de actualización”. Objetos poderosos como un hacha de administrador devastadora. Barriles, globos gigantes y efectos que vuelven absurda la escala normal del juego. Descubren una nueva cinemática y contenido tematizado con una especie de templo tipo Chichén Itzá (Abraham lo pronuncia en broma “chichinita”). Aparece un texto que habla de “juego salvaje” y de cortar árboles para alimentar una hoguera. Se insinúa la presencia de una nueva criatura , que Abraham y Mono describen como un gato/jaguar. Abraham propone convertir eso en un video formal para YouTube: Pide al editor que, en la versión editada, inserte la cinemática “que acaban de ver”. Bromea con que Mono se adelanta y suelta spoilers sobre la criatura. En la práctica, juegan una partida usando las ventajas del admin abuse: Tienen un hacha de admin capaz de: Tumbar árboles gigantes de un golpe. Matar lobos y osos también de un solo hachazo. Abraham insiste en el concepto de “aura” : Pone música con playlists llamadas “Farmear Aura” o similares. Sincroniza golpes de hacha con la música para crear momentos “cinematográficos” que el chat celebra. Rescatan niños NPC, a quienes van bautizando: Uno se llama “Don Juan” aunque es claramente un niño, lo que Mono encuentra absurdo. Otra se llama Pancha/Francisca. Otro lo nombran Roberto, momento que coincide con un efecto de sonido, y Abraham juega con que está “maldito”. Todo esto mientras mantienen su dinámica de humor: Abraham regaña a Mono por forzar clips, por abrir cofres antes de rescatar niños y por hacer chistes demasiado obvios; Mono acepta el papel de “compañero caótico” y el chat alimenta la escena con comentarios. Configuraciones técnicas, PlayStation y TikTok En medio de la partida, Abraham va resolviendo problemas técnicos en directo, lo que da una mirada a su flujo de trabajo como streamer: Juega a veces desde PlayStation 5 usando capturadora, lo que le impide entrar directamente a servidores privados, así que: Usa una cuenta secundaria en el teléfono para entrar a los servidores privados y luego unirse desde la consola. Ajusta en vivo el sistema de notificaciones de PS5 para seguir viendo mensajes pero silenciando sus sonidos. Comenta problemas de rendimiento: Dice que está streameando y jugando en la misma PC y teme que “explote”. Baja y sube configuración gráfica en Roblox para evitar lag. Desde TikTok le aparece un mensaje de advertencia de sobrecarga de ordenador, que lee en voz alta y transforma en broma. Además, muestra cómo gestiona la moderación y la relación con el chat: Explica que ya casi no manda saludos gratuitos improvisados porque prefiere vender saludos personalizados a través de su página, donde puede grabarlos con más calma y “con cariño”. Aclara que muchos de sus espectadores son niños y que no le gusta darles saludos “sin ganas” en medio del caos del directo, aunque de vez en cuando concede alguno breve. El estilo de Abraham Flores: comunidad, nostalgia y autoironía A lo largo del directo se reconoce fácilmente el estilo de Abraham Flores, que lo ha convertido en una figura destacada del streaming en español: Lenguaje y personajes : se refiere a sí mismo como “simio mayor” y a su audiencia como “simiecitos y simiecitas”, repitiendo muletillas y juegos de palabras que la comunidad ya reconoce. Cercanía constante : lee mensajes de voz que le mandan desde PlayStation, reacciona a edits, a imágenes random que la gente le envía (como ardillas/capibaras y perros), y se ríe de los chistes internos. Autoparodia : Se compara desfavorablemente con creadores que considera más guapos, como Marlon. Bromea con que su papá estuvo menos presente que Rubius en su vida digital. Se ríe de su propio “internet peruano” cuando hay lag. Ritmo alto, pero controlado : aunque habla de tres canales diarios y múltiples colaboraciones, también se defiende frente a quienes le reclaman que “no prende tanto directo”, recordando que produce contenido a diario en varias plataformas. Su mudanza a Monterrey, el peso emocional de conocer a Rubius y participar en un proyecto de MrBeast, la gestión de comunidades enormes en Roblox y TikTok, y su relación con colegas como Mono Oaxaco se entrelazan en un solo directo donde Abraham mantiene la energía, la nostalgia gamer y la autoironía como ejes de su narrativa. Resumen final En este directo, Abraham Flores combina anuncio personal y fanservice: regresa tras una semana ocupado entre mudanza a Monterrey y un viaje clave para grabar con MrBeast y conocer a Rubius, Ibai, Grefg y Quackity. Explica su nuevo ritmo de tres videos diarios en diferentes canales (Free Fire, Fortnite y Roblox), presume el éxito inesperado de un video de Free Fire y reflexiona sobre el peso emocional que tienen sus ídolos en su vida. En Roblox, se sumerge primero en Roba un Brainrot junto a Mono Oaxaco, comentando la economía interna del juego, la rareza de brainrots como Hless Horman y las nuevas mecánicas de fusión y tradeo. Luego pasa al admin abuse de 99 Noches, donde descubre un contenido especial con cinemática, templo tipo Chichén Itzá y una criatura felina, todo envuelto en herramientas de administrador como hachas que matan de un golpe. Entre arreglos técnicos, chistes con el chat, nombres absurdos para NPCs y referencias a su “aura”, Abraham muestra el estilo que lo caracteriza: humor rápido, mucha interacción con la comunidad y una mezcla constante de nostalgia gamer y autoironía.PostsAbraham FloresSqa17ll3 months ago0 Likes
