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🇵🇸🇮🇱A scene from Jerusalem today that needs no explanation—only honesty: A Palestinian bus driver beaten and cursed by a group of settler kids, standing there unable to defend himself… not out of fear—out of certainty. He knows that if he lifts a finger to protect himself, within two seconds...

106,614 Aufrufe • vor 7 Monaten •via X (Twitter)

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A Jewish rapper just released a song scolding a Palestinian for not loving Palestine correctly. That is what is happening on track four of Iceman, the first of three albums Drake dropped overnight. He goes after DJ Khaled for not being pro-Palestine enough. > “Your people are still waitin’ for a Free Palestine. But apparently, everything isn’t black and white and red and green.” Read it twice. There is no Gaza in the lyric. No mention of a single Palestinian besides Khaled himself. There is a Palestinian artist being publicly dressed down by a non-Palestinian for not performing his identity correctly. Khaled has stayed quiet on Gaza since October 7. In this climate, that is not betrayal. It is self-protection. Anything he says will get ripped apart by the loudest faction in the room. A Palestinian-American producer in Miami is allowed to live his life. What Drake is doing is the opposite of pro-Palestine. He has appointed himself the man who decides how Palestinians should behave in public. This is exactly what Kendrick was pointing at on “Not Like Us.” Drake doesn’t have an identity. He has a marketing department. He locates himself wherever the audience is loudest, and Free Palestine is the loudest audience right now. That’s the costume. The timing tells the rest. Kendrick called Drake a certified pedophile on the biggest song of 2024. Drake sued his label for defamation. He lost. Now he is back with three albums in a single drop, and the first political move he reaches for is “Free Palestine” deployed as ammunition against another artist. That is what celebrity image rehab looks like in 2026. Find a justice cause that is currently flattering. Wear it loud enough that the cause and your comeback blur into the same press cycle. Solidarity used to mean helping people. Now it means using them.

Hen Mazzig

68,547 Aufrufe • vor 1 Monat

what im about to say is just MY vision! this is how i see it i feel like the car in the mv represents heeseung himself and everything he has gone through over the years. in the mv, when he first got the car, it’s bright red. red symbolizes his passion, excitement, and happiness as he finally achieves the dream he had worked toward for so long. he has debuted, he is standing on stage and he is doing what he always wanted to do as the story progresses, the car becomes almost completely gray. i see this as a reflection of heeseung’s burnout and emotional exhaustion. the feeling of becoming drained after constantly giving so much of yourself without having enough time to recover. heeseung had dreams and desire to release his own solo music and show a different side of himself as an artist, but he wasn’t able to do it, he pushed it aside for a long time so he started losing hope. the fading color of the car mirrors how his passion and motivation were slowly being overshadowed by frustration and disappointment yet the car never becomes entirely gray. the driver’s door is still red. that remaining red represents the part of heeseung that refused to let go of his dreams and passion. no matter how exhausted he became, no matter how much disappointment he faced, there was still a small part of him that continued to believe that things could get better. the car is literally following heeseung and refusing to let go. i feel like it symbolizes the passion that survived even when everything else seemed to be fading away – the fully red car shows the joy of a dream coming true – the gray car shows the emotional cost of everything that came afterward – and the driver’s red door shows that no matter how difficult the journey became, he never completely lost himself that’s why i believe the car represents heeseung/his dreams

ev.

49,920 Aufrufe • vor 7 Tagen

They did not take cursive from the schools because children no longer needed it. They took it because of what it was quietly building in them. Consider what the exercise actually is. A child, six years old, is handed a pen and asked to draw a single unbroken line that becomes a word. The wrist must float. The fingers must hold a living pressure, never quite the same twice, always correcting. The eye must follow the ink forward and trust the hand to finish what it has begun. There is no lifting, no stopping, no starting over mid-word. The loop must close. The ascender must rise and return. The sentence must travel from one margin to the other as a single continuous gesture, and at the end of it the hand must still be steady. Twelve years of this. Every day. Ten thousand small acts of sustained, self-correcting attention, carried out below the level of conscious thought, until the motion belongs to the body and the body belongs to the motion. This is not penmanship. It is the slow construction of an interior form. The hand that has learned to carry a line without breaking it is the hand of a mind that has learned to carry a thought without breaking it. The two are not metaphors for one another. They are the same faculty, trained in the same child, by the same daily discipline. Continuity of the stroke becomes continuity of the reasoning. The patience of the loop becomes the patience of the argument. The commitment to finish a word one has started becomes the commitment to finish a sentence, a paragraph, a life's idea, without reaching for the nearest distraction halfway through. Print is a different creature entirely. Print lifts. Print stops. Print assembles a word out of separate, stamped, interchangeable pieces, each one beginning and ending in isolation. A mind raised only on print learns to think the way print is made, in discrete tokens, in replaceable units, in fragments that can be recombined by any outside hand without the owner noticing the substitution. It is precisely the shape of thought a language model produces. It is precisely the shape of thought a language model can steer. Cursive is kata. This is the whole of it. A form repeated daily, for years, not for the sake of the form but for what the repetition lays down in the practitioner beneath the form. The swordsman does not train kata so that one day he may fight in kata. He trains it so that when the moment comes and there is no time to think, the movement is already inside him, older and deeper than thought, and it rises on its own. Cursive was the kata of the literate mind, the daily quiet drilling of continuity, of patience, of a line held steady under the long pressure of its own length. And the signature it produced at the end, that small flourished mark unique to a single human being on earth, was only the outward proof of an inward form no machine and no other hand could ever reproduce. Take the kata away and the practitioner is left with vocabulary in place of faculty. He can recognise a whole thought when he encounters one. He cannot carry one himself. He can admire a finished argument. He cannot sustain one long enough to close its loop. He begins books he does not finish, sentences he does not end, ideas he abandons the moment the screen in his palm offers him a brighter one. And when the machine begins feeding him tokens in the exact shape his schooling taught him to receive, he meets it with no interior resistance at all, because no interior form was ever built in him to push back with. They removed it quietly, across a generation, and they removed it in the last years before the machines arrived. Twelve years of daily practice in unbroken, embodied, self-authored thought, gone from the curriculum of almost every child in the Western world, just as the instruments designed to complete their sentences for them came online. The hand forgets. The mind, having never been taught the kata, forgets a thing it never knew it had. That is what cursive was. That is what was taken. And that is why the thought of anyone who still writes by hand, in long unlifted lines, remains, quietly, stubbornly, and without their ever needing to announce it, their own. Now the question stands open. What else has been banned, phased out, quietly retired from the curriculum and from common life over these same decades, under the same soft excuses? Mental arithmetic. Memorisation of poetry. Latin. Logic as a formal subject. Map reading. Knot work. The keeping of a commonplace book. The reading aloud of long passages in class. Singing in parts. What was each of those actually building in the child, beneath the surface of the lesson, and whose interest was served by its disappearance?

SiriusB

441,200 Aufrufe • vor 2 Monaten

I’ve seen a lot of people accuse Saudi Arabia of fabricating the moon sighting. Below is proof that it wasn’t. The first video is the exact moment the moon was sighted. The second video is the official testifying before a judge about the set up and what he saw exactly. He says "At 6:11pm (precisely) we saw an opening in the sky, and we all saw the moon and around the opening was all clouds" There is also a picture but it is against the Sunnah to share proof when a testimony is given by a Muslim so I refuse to share it in case we set a precedent to always share a picture and that would be a big error. A testimony of a Muslim is enough as we see from the Hadith of the Prophet صلى الله عليه وسلم It was narrated that Ibn 'Abbaas رضي الله عنه said: A Bedouin came to the Prophet صلى الله عليه وسلم and said, I have seen the new moon tonight. He said, "Do you bear witness that there is no god except Allah and that Muhammad is the Messenger of Allah?" He said, Yes. He said, "Get up, O Bilaal, and announce to the people that they should fast tomorrow." [at Tirmidhi: 691 Abu Dawood: [2340], an Nasaa'i: [2112] Ibn Maajah: [1652]. Shaykh al Albaani رحمه الله said: So we see from the Hadith that he, صلى الله عليه وسلم، instructed Bilaal to announce to the people that they would fast the next day. So the Messenger صلى الله عليه وسلم was content with the testimony of this man, whom he did not know, on the basis that he bore witness that there is no God but Allah and that Muhammad is the Messenger of Allah, i.e. he knew that he was a Muslim, but he did not check on him any further and he did not try to find out how intelligent and smart he was, as was the case in the first Hadith in which the witness was 'Abd Allah ibn 'Umar ibn al Khattab رضي الله عنه. Yet despite that he accepted his testimony. This Hadith makes things easier for people, and what this means is that the judge should be content with the witness as he appears to be, without needing to find people who know this man and can testify that he is of good character, as was the habit of judges since time immemorial. Rather it is sufficient to know that he is a Muslim. This man was a Bedouin of whom the Prophet صلى الله عليه وسلم had no prior knowledge and he was content that he uttered the Shahaadatayn before him. So he was a Muslim with the same rights and duties as any other, and based on his testimony and the fact that he was a Muslim he said: O Bilaal, announced to the people that they should fast tomorrow. [At Ta laaq 'ala Kitaab Bulugh al Maraam, (audio tape), Hadith 5, Kitaab al Siyaam] This Hadith is evidence for the principle that a Muslim is to be regarded as being of good character unless proven otherwise. Al San'aani رحمه الله said concerning what we learn from the hadeeth of Ibn 'Abbaas رضي الله عنه: It indicates that the basic principle with regard to the Muslims is that they are of good character, because the Prophet صلى الله عليه وسلم did not ask the Bedouin for anything except the Shahaadah. [Subul as Salaam by as San'aani: 2/153] And Allah knows best.

ابن البخاري

245,087 Aufrufe • vor 1 Jahr