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อึ้ง น้องเรย์บอกเองเลยว่ามารายการนี้ตื่นเต้นมากไม่เหมือนเวลาไปออกวาไรตี้อื่นๆเพราะเห็นซานะซอนเบนิมตั้งแต่ในรายการ sixteen มาก่อน แล้ว sixteen มีตั้งแต่ 2015 ก่อนทไวซ์เดบิวต์น้องเรย์อายุ 11 อะ ยังไม่มาเป็นเด็กฝึกด้วยซ้ำ เห็นพี่เค้ามาตั้งแต่เด็กจนวันนี้ได้มานั่งในรายการด้วยกันแล้ว

18,672 просмотров • 1 год назад •via X (Twitter)

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ppxphu

39,327 просмотров • 1 месяц назад

Thirty-nine years later it remains one of the most painful NCAA Tournament losses for Generation X Alabama Men’s Basketball fans. On March 19, 1987, a dream season for the Crimson Tide came crashing down as Providence stunned No. 2-seeded Alabama, 103-82, in the Sweet Sixteen. For those who lived through it, the disappointment of that night in Louisville still cuts deep, a reminder of how close Alabama came to something even greater. With veteran leadership from Terry Coner, Jim Farmer and Mark Gottfried, combined with the elite talent of Derrick McKey and the physical presence of Michael Ansley, Alabama swept the SEC regular-season and tournament championships and entered March Madness at 26-4 with championship expectations. The Tide handled business early, defeating North Carolina A&T before dominating New Orleans, coached by former Alabama assistant Benny Dees, to reach a third consecutive Sweet Sixteen. Everything appeared aligned for the Crimson Tide to break through to perhaps the program’s first Final Four appearance. But Providence had other plans. Coached by Rick Pitino and led by guards Billy Donovan and Delray Brooks, the Friars caught fire at the perfect moment. Utilizing the new three-point line, Providence buried 14 shots from deep—five each from Donovan and Brooks—and turned the game into a barrage Alabama couldn’t withstand. Alabama trailed just 49-41 at halftime, but the second half slipped away as the Friars’ hot shooting never cooled. Donovan finished with 26 points and Brooks added 23. Farmer led the Tide with 24, while Ansley and Gottfried each scored 14, Coner had 12 and McKey added 11, but it wasn’t enough to stop the surge. Providence rode the momentum to the Final Four, but for Alabama fans, the legacy of that night is something different—a painful reminder of a March run cut too short and the beginning of a lifelong dislike of any Pitino-coached team.

Tide Hoops History

11,353 просмотров • 4 месяцев назад

U-Net by hand ✍️ ~ 17 steps walkthrough below I consider U-Net as a key milestone in deep learning, the first image-to-image model that really worked! It came out of medical imaging, an unusual place, not from NeurIPS or CVPR or ACL. Now it is the backbone of diffusion models, which you see in almost all modern image generation models. I drew the network as a C so the matrix multiplication flows naturally down. Tilt your head to the right and it is a U again. 🤣 Goal: push a 3 x 16 image down to a 2 x 4 bottleneck and back out again, filling in every cell yourself. = 1. Given = An image of three channels, R, G and B, sixteen pixels wide, and every kernel the network will use. = 2. Convolution 1 = Let us slide the first kernel over the image. Each output is one multiply-and-add over a 2 x 3 window, and the result is the green feature map. = 3. Find the maxima = We circle the largest value in each 1 x 2 window. Circling first is worth the extra step: it is the pooling decision, made before anything is written down. = 4. Max pool 1 = Let us copy those maxima down. Sixteen columns become eight, and half the detail is gone for good. = 5. Convolution 2 = We convolve again with the second kernel, deeper into the contracting path. The feature map is blue now. = 6. Find the maxima again = Same move as step 3, on the blue map. = 7. Max pool 2 = Eight columns become four. = 8. The bottleneck = Let us convolve once more. This is the bottom of the U, a 2 x 4 block that is everything the network kept. = 9. Spread it out = We start back up. The transposed convolution writes each bottleneck value into a wider grid, leaving gaps between them. = 10. Transposed convolution 1 = Let us fill those gaps by convolving over the spread-out grid. Four columns become eight. = 11. The first skip = We copy the encoder's matching row straight across. This is the skip connection, and it is the whole reason a U-Net can recover detail that pooling threw away. = 12. Convolution with the skip = Let us convolve the upsampled features together with the copied ones. = 13. Spread it out again = Same as step 9, one level up. = 14. Transposed convolution 2 = Eight columns become sixteen, back to the width we started at. = 15. The second skip = The encoder's first feature map comes across, the one made before any pooling happened. = 16. Convolution and ReLU = We convolve, then cross out every negative and set it to zero. = 17. Output convolution = Let us apply the last kernel. Out comes R', G' and B', an image the same size as the one we started with. The outputs: R' = [3, 0, 7, 0, 7, 0, 17, 0, 3, 0, 9, 0, 2, 0, 6, 0] G' = [1, 20, 1, 10, 1, 12, 1, 19, 2, 5, 1, 11, 1, 3, 1, 7] B' = [4, 20, 8, 10, 8, 12, 18, 19, 5, 5, 10, 11, 3, 3, 7, 7] Congrats! You just calculated a U-Net by hand. 💾 Save this post!

Tom Yeh

17,366 просмотров • 7 дней назад

Fifty years later… and it still hurts. On this date 50 years ago — March 18, 1976 — the Alabama Men’s Basketball program suffered one of its most painful NCAA Tournament losses, as the three-time SEC champions fell to the undefeated Indiana Hoosiers, 74-69, in Baton Rouge. For Alabama fans who remember, the heartbreak hasn’t faded with time. In an era before modern seeding, the 32-team NCAA Tournament was organized geographically, and it handed the Crimson Tide a brutal draw — landing in the Midwest Regional alongside the No. 1-ranked, undefeated Hoosiers. What should have been a later-round clash between heavyweights came far too early in a Sweet Sixteen showdown. Alabama didn’t back down and went basket-for-basket with one of the greatest teams in college basketball history, trading shots and momentum deep into the second half. With 5:11 remaining, Indiana clung to a 67-65 lead in what had become a classic. Then came the moment that still gets talked about five decades later. On a fast break, Alabama center Leon Douglas took a pass, lowered his shoulder and collided with Indiana’s Kent Benson. From nearly half court, referee Booker Turner whistled Douglas for a charge — a call that changed everything. Instead of a potential tying basket or momentum swing, possession flipped and Alabama never fully recovered. Indiana held on for the 5-point win, the closest game of its legendary postseason run. The Hoosiers won every other NCAA Tournament game by double digits, including an 86-68 victory over Michigan in the national championship, finishing a perfect 32-0 — the last undefeated champion in men’s college basketball history. T.R. Dunn led Alabama with 16 points, while Anthony Murray added 15, Douglas finished with 12 and Keith McCord chipped in 11. The Crimson Tide ended the season 23-5 overall and 15-3 in SEC play — a campaign that deserved a deeper March run. Two years later, the NCAA introduced seeding, a change that likely would have kept teams like Alabama and Indiana from meeting so early. But history doesn’t change — and neither does the feeling. Fifty years later… Tide fans still see that charge.

Tide Hoops History

13,765 просмотров • 4 месяцев назад

Russia just dropped the ultimate reality bomb and straight from Putin’s desk while Trump lands in Beijing and Europe keeps yapping from the sidelines. Today the RS-28 Sarmat – NATO’s “Satan II” (always projection with NATO naming) blasted out of Plesetsk, followed its suborbital South Pole path, and hit the Kamchatka target dead-on after 5,500 kilometers in thirty minutes. Sixteen independently targetable warheads. Global reach. The system designed to laugh at any missile shield on Earth. Putin didn’t mince words as he laid out the specs himself: “This is the most powerful missile system in the world… equal in power to the existing Voivoda… the total yield of the delivered warhead is more than four times greater than any existing most powerful Western equivalent.” Suborbital trajectory for 35,000+ km range. Accuracy doubled. And best of all it laughs at every existing and prospective missile defense system. He confirmed it on the spot: the first combat-ready regiment goes on duty by the end of this year. This is the same missile that had teething problems but today? Flawless. The turnaround is pure engineering under pressure, and the message is crystal clear. The timing is surgical. The exact same time Iran’s parliament and atomic chief declared uranium enrichment non negotiable as Iran's conditions harden from where they were pre Feb 28th. The exact same window as Trump touches down in Beijing for his two day summit with Xi to discuss trade, Taiwan, critical minerals, and the Iran mess that already delayed the trip once. One day after the Ukraine ceasefire (May 9-11) expired. The test was academic at this point but more importantly it was an ice cold signal dropped onto every negotiating table on the planet. And the loudest message? It’s aimed squarely at the European chihuahuas. While Berlin, Paris, Brussels, and the rest of the NATO cheerleaders keep pumping boomerang sanctions, rewriting history, and pretending their paper tiger alliance can dictate terms to Moscow, Russia just put the world’s most powerful ICBM on the fast track to operational status. The same Europe that lectures about “rules-based order” while hiding behind American security guarantees that have never felt more hollow (and thankfully so) just watched Russia demonstrate the systems that actually rewrite the map in half an hour. The adults in the room are talking real power. The chihuahuas can keep barking. Their sanctions don’t reach low Earth orbit but they do hurt Europeans. Their virtue-signaling doesn’t stop hypersonic fire. Their endless NATO summits don’t change the physics of strategic deterrence. Natural consequences don’t negotiate with ridiculous loud mouth slogans. They answer with engineering reality and cold steel. Russia is reminding everyone who still builds the weapons that matter.

THE ISLANDER

61,775 просмотров • 2 месяцев назад

Six weeks after September 11, 2001, twelve American soldiers were quietly loaded onto a helicopter in Uzbekistan and flown over the Hindu Kush mountains in the dead of night. No tanks. No armored vehicles. No air support waiting on the ground. Just twelve Green Berets, over a hundred pounds of gear each, and a mission that their own commanders privately doubted any of them would survive. They landed in a remote Afghan village called Dehi, in the pitch black, surrounded by a country they barely had maps for. And then someone handed them horses. Not metaphorically. Actual horses — Afghan stallions, tough as nails and famously difficult to control. Wooden saddles covered in carpet scraps. Stirrups so short their knees rode up around their ears. Captain Mark Nutsch, who'd grown up on a cattle ranch in Kansas and competed in collegiate rodeos, became trail boss on the spot. For the other ten men on his team — Operational Detachment Alpha 595 of the 5th Special Forces Group — the learning curve was immediate and unforgiving. The first words one of his sergeants learned in Dari were: "How do you make him stop?" They had linked up with General Abdul Rashid Dostum, a Northern Alliance warlord who controlled thousands of fighters and knew this territory like the back of his hand. The deal was simple: the Americans would call in precision airstrikes from horseback. Dostum's cavalry would do the charging. Together, they would take Mazar-i-Sharif — a Taliban stronghold of 250,000 people — and crack open northern Afghanistan. Military planners had estimated it would take two years. Task Force Dagger gave ODA 595 three weeks. For 23 days of nearly continuous combat, the Horse Soldiers lived like men from a different century. They ate what the Afghans ate. They slept on the ground in freezing mountain passes. They rode trails so narrow and sheer that one wrong step meant a thousand-foot drop. Staff Sergeant Will Summers started the mission at 185 pounds. He left Afghanistan five weeks later weighing 143. The Taliban had tanks. Soviet-era armor, antiaircraft guns, fortified positions dug into the mountains. Against this, twelve Americans on horseback radioed coordinates to aircraft circling invisibly above, and watched the positions erupt. On November 9, 2001, they rode into the kind of moment that people are not supposed to experience in the modern world. Nutsch and his team joined hundreds of Dostum's horsemen in a thundering cavalry charge across an open plain — directly into entrenched Taliban lines. Under fire. At a gallop. Calling in close air support between strides. It was the first cavalry charge of the 21st century. It was also the last. The next day, Mazar-i-Sharif fell. The Taliban's northern stronghold collapsed. Within weeks, the regime itself began to unravel — a domino effect that started with twelve men and borrowed horses in the mountains. All twelve of them came home. Zero American fatalities. Against a fortified enemy that outnumbered and outgunned them at every turn. Today, across from Ground Zero in New York City, there is a bronze statue — sixteen feet tall — of a Special Forces soldier on horseback, rifle across his lap, looking west. It honors ODA 595 and the teams who rode with them. Most Americans walk past it every day without knowing the story. Now you do.

Mr PitBull Stories

456,308 просмотров • 3 месяцев назад

Mozart's Piano Sonata No. 11 in A Major, K.331: A Dance Between Light, Shadow and Perfect Balance To appreciate the singular character of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K.331, it is helpful to imagine the entire work as a court dancer moving gracefully across a vast stage. Yet this is no dance defined solely by elegance and refinement. Within every movement lies a delicate equilibrium: between the stability of Classical convention and moments that quietly defy expectation; between the luminous clarity of the major mode and the fleeting shadows of the minor; between the courtly poise of the opening movements and the vibrant vitality of the finale. The sonata derives its lasting power from the way Mozart constructs a unified musical architecture, in which every movement, every variation, and every subtle gesture is bound together by principles of remarkable structural coherence. A Sonata That Begins Where No One Expects From its opening bars, Mozart leads K.331 along a path quite unlike that of most Classical sonatas. A conventional piano sonata almost invariably opens with a brisk movement in Sonata-Allegro form, comprising three principal sections: Exposition, Development and Recapitulation. By the latter half of the eighteenth century, this had become the defining model of the genre. K.331, however, begins with an Andante grazioso cast as a Theme and Variations. This is not merely a change of tempo or expressive character. It alters the very foundations upon which the work is built. Among Mozart's piano sonatas, K.331 occupies a unique place in that none of its movements employs the traditional Sonata-Allegro form. Rather than allowing the music to unfold through the dramatic opposition of contrasting themes, Mozart adopts an entirely different approach. He presents a single theme and proceeds to explore, with extraordinary imagination, the many expressive possibilities concealed within it. If we continue our image of the sonata as a courtly dance, Mozart does not allow his dancer to stride confidently onto the stage with the energetic gestures characteristic of an Allegro. Instead, the performance begins with a dance of quiet elegance, measured poise and perfect control. From this single dance, Mozart gradually fashions an astonishing variety of shapes, colours and rhythmic characters throughout the journey that follows. This bold decision establishes the artistic world in which the entire sonata unfolds. The Bridge of Eighteen Steps: Mozart Expands the Balance of Classical Form A Classical musical theme generally strives for clear symmetry. Listeners become accustomed to phrases built from balanced units, most commonly an opening eight bars followed by another eight, together forming the familiar sixteen-bar structure that typifies Classical proportion. Yet from the very first phrases of Piano Sonata No. 11 in A major, K.331, Mozart introduces a subtle departure from convention. The theme of the opening movement (Andante grazioso) does not conclude after the expected sixteen bars. Instead, it extends to eighteen. Technically speaking, the first eight bars establish a satisfying sense of completeness. They seem to arrive naturally at a point of repose. Yet Mozart refuses to close the phrase there. He extends it by a further ten bars, allowing the musical line to continue unfolding before finally returning to equilibrium. Those final two bars are far from superfluous. They create an exquisitely subtle sense of suspension, rather like a court dancer who has completed the principal gesture of a dance, yet lingers for one final graceful movement before coming to rest. If we imagine this theme as a bridge, it is not the familiar sixteen-step bridge of Classical convention. It possesses eighteen steps. The opening eight provide stability and familiarity. Those that follow broaden the landscape, allowing the listener to experience a movement that remains graceful yet never entirely predictable. Even more remarkable is the fact that Mozart employs this design not merely once. All six subsequent variations preserve the original eighteen-bar framework. Although tempo, rhythm and ornamentation continually evolve, the underlying architecture remains intact. The union of rigorous structure with endless variety demonstrates Mozart's remarkable ability to expand Classical form without disturbing its essential balance. He does not reject established rules. He simply reveals how flexible they can become. A Journey Between Light and Shadow: The Dancer Moves Between A Major and A Minor If the eighteen-bar structure provides the inner architecture of the first movement, the continual dialogue between A major and A minor shapes the changing landscape through which the dancer moves during the course of the sonata. In Mozart's musical language, major and minor keys are never merely contrasting harmonic colours. They resemble two different qualities of light illuminating the same stage. A major is a world of brightness, balance and elegance, where every movement of the dancer appears clear, poised and effortlessly graceful. A minor, by contrast, softens the light. Its outlines become deeper and more contemplative, allowing the audience to perceive hidden emotional dimensions within the very same figure. What makes K.331 so remarkable is that Mozart never creates two entirely separate worlds. Instead, he allows the dancer to pass continuously from one illumination into another, so that identical movements acquire entirely different emotional meanings. The first movement opens in the radiant world of A major. The Andante grazioso theme resembles the moment when the dancer first appears beneath the clear light of a courtly stage. Every gesture possesses order, elegance and perfect composure. Yet as the subsequent variations venture into the darker colours of A minor, the very same dance acquires an unexpected depth. The dancer remains unchanged. Each movement still grows from the original theme. Only the light has altered, revealing emotional shades that previously remained unseen. This dialogue between brightness and shadow continues into the second movement, the Menuetto. Here Mozart restores the dancer to the familiar elegance of A major, preserving the balance and refinement that characterise the dance. Yet the Trio, moving into D major, opens an entirely new space, as though the stage itself briefly expands into another landscape before the dancer quietly returns to the original centre. By the time we reach the third movement, Rondo alla Turca, the contrast between A minor and A major has become far more dramatic. The dancer no longer possesses the gentle grace of the opening movement. The finale begins in A minor, creating a world of heightened energy, where every step becomes firmer, more decisive and charged with vitality. Its insistent rhythms, powerful bass writing and weighty chords transform the dance into something altogether different—bolder, more vigorous, yet always governed by an underlying architectural order. Only after this remarkable journey does the sonata finally return to A major. This is more than a simple harmonic resolution. It resembles the moment when the dancer, having passed through many contrasting states of movement, returns to the centre of the stage transformed. The performer retains the same essential balance, yet now possesses greater richness, maturity and emotional depth. Mozart never employs A major and A minor as opposing forces locked in conflict. Instead, he allows them to complement one another, just as light and shadow together reveal the true form of a dancer upon the stage. It is this continual process of transformation that makes K.331 far more than a sonata of memorable melodies. It becomes a musical journey in which beauty arises from the perfect balance between seemingly opposing states. When Time Appears to Stand Still: Variation V (Adagio) and the Song Within the Dance After the continual transformations of the earlier variations, Mozart leads the listener into an entirely different world with Variation V (Adagio). The first striking change lies in the metre. Leaving behind the gentle 6/8 of the original theme, Mozart adopts 2/4, immediately creating the impression that musical time has slowed and become more intensely focused. At this moment, the dancer no longer traverses the stage with broad, clearly defined steps. Every gesture becomes smaller, more intimate and more refined, as though the dance has merged imperceptibly with song itself. The right hand unfolds exquisitely ornamented melodic lines whose graceful embellishments resemble a singer delicately shaping every phrase. Meanwhile, the left hand becomes markedly more restrained, providing a spacious harmonic foundation that allows the upper voice to breathe with remarkable freedom. This contrast gives the impression that time itself has slowed. The notes no longer exist simply to propel movement forward. They become expressions of the music's inner life. Most importantly, Mozart never employs ornamentation merely to display the virtuosity of the performer. Instead, he uses it to expand the expressive possibilities of the piano itself, enabling the instrument to approach the warmth, flexibility and emotional subtlety of the human voice. After this moment of profound stillness, Variation VI (Allegro) arrives like a sudden release of restrained energy. The contrast reveals one of Mozart's greatest gifts as a composer. He does not merely create differences between fast and slow. He shapes our perception of musical time itself, allowing us to experience not simply changes of tempo, but changes within the very character of each passing moment. Rondo alla Turca: When the Court Dancer Gives Way to a Dance of Vigorous Stamping After the stillness and refinement of Variation V, Mozart leads the entire sonata into an altogether different world in its concluding movement: Rondo alla Turca (Allegretto). If the opening movement resembles an elegant court dance, characterised by graceful, measured steps and impeccable poise, the finale introduces a far more vigorous mode of movement. The dancer no longer glides effortlessly across the stage with restrained elegance, but embraces a dance of unmistakable rhythm and decisive energy, where every step radiates vitality and purpose. What is particularly remarkable is Mozart's ability to evoke the impression of an entire ensemble through the resources of a single piano. Rather than imitating the sound of an Ottoman military band directly, he transforms its most distinctive qualities into the expressive language of the keyboard. The most significant technical feature lies in his treatment of the left hand. Instead of employing the familiar Alberti bass accompaniment found throughout much Classical repertoire, Mozart constructs powerful gestures in the lower register through octave chords preceded by brief ornamental notes. These sonorities suggest the firm, rhythmic impact of feet striking the ground. Each resonant bass chord serves not merely a harmonic function, but also provides rhythmic propulsion, much as a drum sustains the pulse of an entire dance. Meanwhile, the right hand creates a more agile and animated layer of movement. Its rapid passagework, flowing thirds and brightly contoured melodies resemble the graceful motions of the dancer's arms and upper body—constantly shifting, yet always retaining absolute precision. These two layers of movement complement one another perfectly. The left hand provides weight, stability and momentum. The right hand supplies flexibility, brilliance and lightness. Together they allow the piano to transcend the limitations of a solo instrument, creating the illusion of multiple musical voices inhabiting the same acoustic space. If we continue to imagine the finale as a dance, this is the moment when the court dancer adopts an entirely new physical language. The octave chords in the bass resemble forceful stamps upon the floor. The swift figurations of the right hand suggest agile turns and flowing gestures. Yet beneath all this exuberant energy lies the firm discipline of the Rondo form. The principal theme continually returns, establishing a stable centre amidst the movement's ever-changing colours and textures. Here we encounter one of Mozart's most distinctive artistic qualities. His music may overflow with vitality without ever surrendering its sense of order. It may convey an impression of complete freedom while remaining securely governed by a lucid and perfectly balanced structure. For this reason, Rondo alla Turca is celebrated not merely for its instantly recognisable melody or its infectious brilliance. Its deeper significance lies in Mozart's ability to transform an irresistibly engaging musical idea into a fully integrated architectural design, in which rhythm, colour and form merge into a single, continuous current of movement. Perfect Balance: The Enduring Essence of Piano Sonata No. 11, K.331 Looking back upon the journey of K.331 as a whole, it becomes clear that the work's greatness does not reside in any single moment. Not solely in the theme and variations with their remarkable eighteen-bar design. Not solely in the lyrical stillness of Variation V. Nor solely in the radiant vitality of Rondo alla Turca. The sonata's enduring value lies in Mozart's extraordinary ability to unite elements that might otherwise appear irreconcilable within a single, harmonious whole. A theme that extends beyond established convention while preserving perfect balance. A musical journey that passes from the brightness of A major into the deeper colours of A minor without ever creating a sense of rupture. A moment in which time itself appears to slow, allowing the piano to sing. A finale overflowing with vigour while never abandoning the elegance of Classical form. Mozart does not create beauty by eliminating contrasts. He creates beauty by placing each contrast precisely where it belongs within a perfectly ordered design. This, indeed, is the principle that permeates Piano Sonata No. 11 in A major, K.331. Balance is not a condition of immobility. It is the capacity to allow contrasting forms of movement to coexist within a unified whole. In K.331, Mozart transforms that principle into the very language of music. A court dancer may pass from grace to strength, from light into shadow, from quiet contemplation to exuberant brilliance; yet in every moment, every step remains part of the same dance.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

17,991 просмотров • 12 дней назад

Today I wanted to wish a Man who, at sixteen, left Ahmedabad with almost nothing in his pocket. He took the Gujarat Mail to Mumbai, joined Mahendra Brothers to learn diamond sorting, and later started his own small brokerage in Zaveri Bazaar. That was his beginning. #HappyBirthdayGautamBhai Gautam Adani. From those humble steps, he went on to build one of India’s largest infrastructure empires. Not through shortcuts, but through consistent execution, bold bets on long-term projects, and a clear focus on nation-building. And then let me tell u something on his 64th Birthday… 1 - Started in diamond trading after moving to Mumbai at 16. 2 - Worked at Mahendra Brothers before starting his own brokerage in Zaveri Bazaar. 3 - Moved into commodity trading and exports in the late 1980s. 4 - Incorporated Adani Exports in 1993. 5 - Identified Mundra’s potential as a port in the mid-1990s. 6 - Developed Mundra Port from a small creek into a major commercial port. 7 - Created India’s first private port with integrated SEZ facilities. 8 - Focused on long-term infrastructure assets over short-term gains. 9 - Expanded port capacity steadily even during low investment periods. 10 - Grew Mundra into one of India’s busiest ports. 11 - Entered the power sector and built large thermal power plants. 12 - Expanded Adani Ports across both coasts. 13 - Built transmission lines to strengthen power infrastructure. 14 - Established a model of port-led industrial development in Gujarat. 15 - Began investing in renewable energy as India’s energy transition started. 16 - Expanded solar and wind projects across multiple states. 17 - Built one of India’s early large-scale renewable energy portfolios. 18 - Acquired six airports in 2020, entering the aviation sector. 19 - Took over operations of Ahmedabad, Lucknow, and other airports. 20 - Modernised and expanded airport infrastructure across India. 21 - Added Mumbai and Navi Mumbai airports to the portfolio. 22 - His airports now handle nearly 23-25% of India’s air traffic. 23 - Accelerated renewable energy capacity at a rapid pace. 24 - Developed the world’s largest single-location renewable project at Khavda. 25 - Delivered the highest-ever annual capex by any Indian corporate — ₹1.53 lakh crore in FY26. 26 - Added over 5 GW of new renewable capacity in a single year. 27 - Took Adani Green’s operational renewable capacity beyond 19 GW. 28 - Installed over 9.4 GW at the Khavda Renewable Energy Park. 29 - Crossed 500 million tonnes of cumulative cargo at Adani Ports. 30 - Made Mundra the first Indian port to handle over 200 MMT cargo in a year. 31 - Invested in data centres and digital infrastructure. 32 - Scaled cement and other businesses to support India’s construction needs. 33 - Maintained high execution pace despite global and domestic challenges. 34 - Through Adani Foundation, impacted over 9.6 million people. 35 - Worked across more than 7,000 villages in 22 states. 36 - Built and upgraded schools and digital classrooms in rural areas. 37 - Provided healthcare through hospitals, clinics, and mobile units. 38 - Focused on skill development and sustainable livelihoods in backward regions. 39 - Supported nutrition and women empowerment programmes. 40 - Created direct employment for tens of thousands of people. 41 - Generated lakhs of indirect jobs through port, airport, and energy projects. 42 - Promoted local hiring and entrepreneurship around project sites. 43 - Played a major role in improving India’s port and logistics capacity. 44 - Helped increase India’s share in global trade through better infrastructure. 45 - Accelerated India’s transition towards renewable energy at scale. 46 - Strengthened India’s energy security through power and renewable projects. 47 - Created long-term assets that will serve India for decades. 48 - Attracted significant investment into Indian infrastructure. 49 - Demonstrated that Indian companies can deliver and operate mega projects.

Anshul Saxena

338,552 просмотров • 1 месяц назад

I am the Executive Vice President of the Trump Organization. I am visiting China this week in a personal capacity as a supportive son. Normal people visit their mothers in a personal capacity. Normal people attend funerals in a personal capacity. I do it beside sixteen CEOs, five billionaires worth $870 billion, and a 500-aircraft Boeing order being finalized with Beijing during the trip. Goldman Sachs. Citigroup. Mastercard. Visa. Tim Cook. Larry Fink. Stephen Schwarzman. In a personal capacity. I am also the Chief Strategy Officer of American Bitcoin. My qualifications for this role include mowing lawns on my father's golf courses, laying tile at his properties, and serving as a boardroom judge on The Apprentice from 2010 to 2015. I have no documented experience in cryptocurrency, blockchain, or Bitcoin mining. My stake in American Bitcoin alone was worth $548 million by September 2025 — eight months into my father's second term. We purchased 16,000 Bitmain mining rigs for $314 million. Bitmain is Chinese. Bitmain is headquartered in Beijing. Beijing is where I am visiting in a personal capacity. In March we bought 11,298 more. The terms were "unusual" — hundreds of millions in equipment for "future considerations." I'm not sure what "future considerations" means in this context, especially when your father sets the tariff rate on your supplier's home country. I can tell you it is not a "conflict of interest." It is a "supply chain relationship." On May 12, the day I boarded this plane, my father announced a trade agreement with China. Tariffs on Chinese goods dropped from 145 percent to 30 percent. That is a 115-point reduction on the country that manufactures my equipment, announced the same day I flew there. I did not know. I did not ask. I did not need to ask. My family owns 60 percent of World Liberty Financial. We receive 75 percent of every token sold. The New Yorker's running total is $4.2 billion. Politico documented $12.9 billion in trading volume. Let me tell you about our team. My brother Barron is our "DeFi visionary." He was eighteen years old. His prior experience is being tall. My brother Don is "Web3 Ambassador." His prior experience is selling condos and shooting elephants. I handle "strategic planning." My prior experience is tile. My brother-in-law Jared received $2 billion from the Saudi sovereign wealth fund six months after leaving the White House. The fund's own advisory panel flagged his "lack of private equity experience" and called the due diligence results "unsatisfactory." They gave him the money anyway. My sister Ivanka received Chinese government approval for 16 trademarks during my father's first term. The categories included handbags, sunglasses, perfume, baby blankets, and voting machines. Voting machines. From China. While her father was president. That is not "corruption." That is "brand diversification." My father spent four years on Hunter Biden. Four years. The charge: Hunter sat on the board of Burisma for $83,000 a month with no energy experience. My father called it the greatest corruption in American political history. He withheld $391 million in military aid to Ukraine to pressure an investigation. He was impeached for it. He did it again. A special counsel was appointed. Total cost to taxpayers: millions. Total Hunter earnings: $11 million over five years. Let me do the math my father never did. Hunter Biden made $6,027 per day. My family makes $8.75 million per day. That is 1,451 times Hunter's rate. We earn his entire five-year scandal every thirty hours. Hunter had no energy experience. I have no crypto experience. Hunter sat on one board. I run the operation. Hunter met one banker for a coffee. I sit on Air Force One beside $870 billion negotiating with the country that manufactures my equipment. But here is the part that makes me proud. We launched a cryptocurrency in my father's name. It peaked at $73. It trades today at $2.43. Retail investors lost 95 percent of their money. We collected $400 million in transaction fees regardless of price. We hosted a dinner — the top 220 holders gained entry by holding enough of my father's coin. The top 29 received a champagne toast with the President of the United States. Price of admission: approximately $3.28 million in tokens. A public school teacher earns $3.28 million in 47 years. We call that "community engagement." Not "selling access." Access is what Hunter Biden sold for a cup of coffee. Three days before I boarded this plane to Beijing, our team moved $12 million in memecoin assets to custody platforms. Routine. Unrelated. Everything is unrelated to everything. In a personal capacity. On January 24, 2025 — four days after the inauguration — my father fired seventeen inspectors general in a single night. Without explanation. Without notice to Congress. Seventeen. The people whose job is to look. He removed them all at once and no one replaced them. There is no inspector general for a son's "personal capacity." There is no disclosure form for love. There is no ethics office for a champagne toast priced at $3.28 million. He didn't bend the guardrails. He fired the people who hold them. He built that. I fly in on it. $4.2 billion at cruising altitude. Every thirty hours, another Hunter Biden. Hunter Biden got a special counsel for a cup of coffee and a board seat that paid less per month than one champagne toast with my father costs per million. I am the Executive Vice President of the Trump Organization. I am the Chief Strategy Officer of American Bitcoin. I am the Web3 strategic planner at World Liberty Financial. I am visiting the country that manufactures my mining rigs, approved my sister's trademarks, and funds my brother-in-law's private equity firm, on a plane beside $870 billion and a president who spent four years calling $11 million treason. In a personal capacity. As a supportive son.

Peter Girnus 🦅

965,803 просмотров • 2 месяцев назад

🚨It’s 3:20 a.m. in Tehran. Here are my 16 key observations on the current state of protests in Iran (January 13). 1⃣ Sixteen days of nationwide protests—from December 28 to January 12—mark the largest mass demonstrations in Iran’s modern history. As of this hour, there are no verified reports of street protests today. 2⃣ According to multiple reports, at least 12,000 people have been killed—a figure that can only be described as a massacre. Observers warn the real number may be significantly higher. 3⃣ Iranian diaspora media—including Iran International, Manoto, and BBC Persian—shifted coverage today. After days of cautious reporting to avoid spreading fear, they began documenting the scale of the regime’s crimes. Iranian society is in shock; emotions are raw and volatile. 4⃣Regime media struck a triumphalist tone, citing yesterday’s pro-government rally and claiming that “with the wisdom of the people and security forces,” Iran’s enemies were defeated—just as in the recent 12-day war. Tasnim, an IRGC-affiliated outlet, ran a full-page headline: “Iran won its second war with Israel in one year.” 5⃣Opposition voices counter this narrative, pointing to the 1979 Islamic revolution’s 398-day trajectory and arguing that revolutions are marathons, not two-week events. They describe the current path as irreversible and insist this is not the end of the game. 6⃣ Regime media reported that, over the past two days, security forces raided and destroyed dozens of alleged “armed riot cells.” Police officials claimed hundreds of arrests in Tehran, while provincial authorities cited widespread detentions nationwide, vowing to pursue protesters “to the last person.” 7⃣ Tehran’s prosecutor announced that cases accused of “moharebeh” (punishable by death) are being fast-tracked, with indictments already issued or imminent. 8⃣The regime’s foreign minister told Al Jazeera that Iran would not abandon “justice for people killed by foreign agents,” implicitly framing January 8—the first day of the Crown Prince’s call to protest—as “Day 13 of a U.S.–Israel war against Iran.” 9⃣ Senior officials escalated rhetoric: the president’s executive deputy branded the Crown Prince Reza Pahlavi “unpatriotic” for appealing to Trump; Khomeini’s grandson—without evidence—claimed protesters beheaded four people “ISIS-style.” Reformists and hardliners alike amplified coordinated, baseless accusations that protesters were beheading people and burning citizens alive. 🔟A regime figurehead claimed that two-thirds of the dead were “martyrs” killed by foreign actors—a familiar pattern over 47 years of blaming the U.S., Israel, and “enemies” for domestic unrest. At the same time, the regime refuses to hand over the bodies to their families in many cases. 11. Limited phone connectivity allowed Iranians abroad to receive harrowing messages from inside the country: accounts of relatives killed, questions about why the U.S. and Israel did not intervene, and pleas for international support amid mass arrests and fears of darker days ahead. 12. Trump, across social media and interviews, promised accountability for the regime’s crimes, warning that executions would trigger decisive action and emphasizing that the ultimate objective is “to win.” This messaging has sparked renewed hope. 13. At Trump’s request, Elon Musk made Starlink subscriptions free in Iran. An estimated 50,000 Starlink terminalsexist in the country, many previously offline due to cost. Meanwhile, state TV declared social media an “enemy battlefield” and said the internet will remain shut until “security conditions normalize.” 14. As limited connections return, families abroad are learning—often belatedly—of loved ones killed. One X user wrote: “I wish the phones hadn’t connected. They killed my cousin’s only 24-year-old son at his doorstep, in front of his father… I’m losing my mind.” [2nd pic] 15. New videos from January 8–9 are emerging with delay due to blackouts, revealing protests far larger than previously estimated. Many say January 8—the first day of the Crown Prince’s call—will be discussed for years. A journalist relayed from Tehran: “Everyone came out with their families. The regime saw the crowd—and chose mass killing.” 16. Outlook: The situation is extremely fragile. Street protests may be paused today, but public anger and shock are unresolved. Voices inside and outside Iran converge on one message: increase international pressure and demand global intervention. 2026 is a decisive year. The drivers of revolt remain—and in worse form. Resistance is likely to continue, possibly beyond traditional street protests. P.S. The first video dates back to January 8 in Mashhad and has just been released.

Navid Mohebbi نوید محبی

103,162 просмотров • 6 месяцев назад