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#Asian #BWC #BigDick #POV #Stretched #Stretching #ThickCock #Tiny #WMAF Thick dick for small pussy of Ela Lin

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102,327 次观看 • 7 个月前 •via X (Twitter)

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Stacy Size Queen Shames Small Cock Loser for Masturbating Instead of Getting Laid. Does this sound like you? Just shamelessly masturbating your tiny little dick nub? Disgusting! #sph #humiliation #dickrate
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🇮🇱 The world loves to call us "land greedy," but let’s look at the actual map. 3,000 years ago, Israel stretched from Egypt all the way to the Euphrates River. Today? We are smaller than New Jersey. We’ve been shrinking for 2,500 years while the rest of the world points fingers. Meanwhile, look at the other side. Islam started on a small part of the Arabian Peninsula and within 100 years, they took Iraq, Syria, Egypt, Persia, and Spain. Today, they cover 25% of the entire planet. They’ve conquered North Africa, the Middle East, Central and Southeast Asia, and they are still pushing into Europe and the USA. So let’s get this straight: an empire that grew from a tiny spot to a quarter of the earth isn't the story, but tiny Israel - which has only gotten smaller - is the "aggressor" ? It’s pure nonsense. The media and the "experts" use these lies because they can't handle the truth. We aren't greedy for wanting to keep the tiny sliver of land we have left. This is our home, our history, and we aren't giving up another inch. Enough with the double standards.
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🇮🇱 The world loves to call us "land greedy," but let’s look at the actual map. 3,000 years ago, Israel stretched from Egypt all the way to the Euphrates River. Today? We are smaller than New Jersey. We’ve been shrinking for 2,500 years while the rest of the world points fingers. Meanwhile, look at the other side. Islam started on a small part of the Arabian Peninsula and within 100 years, they took Iraq, Syria, Egypt, Persia, and Spain. Today, they cover 25% of the entire planet. They’ve conquered North Africa, the Middle East, Central and Southeast Asia, and they are still pushing into Europe and the USA. So let’s get this straight: an empire that grew from a tiny spot to a quarter of the earth isn't the story, but tiny Israel - which has only gotten smaller - is the "aggressor" ? It’s pure nonsense. The media and the "experts" use these lies because they can't handle the truth. We aren't greedy for wanting to keep the tiny sliver of land we have left. This is our home, our history, and we aren't giving up another inch. Enough with the double standards.

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Half a century ago, the Banqiao Dam collapse killed 240,000 people — the deadliest technological disaster in human history, surpassing even Chernobyl. The Chinese government kept it under strict secrecy for decades, with zero public reflection. On the 50th anniversary this year? Chinese media fell completely silent. Rescuers described the nightmare: along highways stretching over a hundred kilometers in the disaster zone, swarms of flies were so thick they bent tree branches under their weight. This is the true face of the CCP — no regard for human lives, only for saving face. They obsess over mianzi, yet repeatedly chase small short-term gains (贪小便宜) by cutting corners, ignoring risks, and prioritizing political image over safety. The result? Catastrophic failures that destroy far more face than any honesty ever could. Similar disasters will inevitably recur under the same rotten system. History erased, lessons ignored, lives disposable. #BanqiaoDam #ChinaCensorship #TGTM

The Great Translation Movement 大翻译运动

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Flew this tight little white twink all the way to Dubai to be our personal cum-guzzling fuck toy, breeding bitch, and eager pink boy-cunt for the entire week. We parade and pose him like a trophy wherever we go, but behind closed doors we three huge hung Black Bulls are viciously destroying and wrecking his sloppy, greedy boy-pussy — brutally stretching, pile-driving, and gaping his hungry fuckhole raw with our thick veiny BBCs until it’s completely ruined, prolapsed, wrecked, and turned into a sloppy dripping cum-sleeve. By the end of the week this little snowbunny won’t be walking straight, just waddling bow-legged with our thick loads bubbling and leaking out of his destroyed cunt down his thighs. Hope he packed a fucking diaper for that long flight home 😈🍆💦💦💦 #BBC #Interracial #SizeQueen #BlackDaddies #BoyPussy #TwinkDestruction #LuxuryBBC #BreedingSeason #HeightDifference #Snowbunny #BBCGang #PinkBoyPussy #CumDump #HoleWrecker #BBCBreeding #GapingBoy #SloppyCunt #BoyCunt #CumSleeve #ProlapsedPussy #BBCWorship
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Flew this tight little white twink all the way to Dubai to be our personal cum-guzzling fuck toy, breeding bitch, and eager pink boy-cunt for the entire week. We parade and pose him like a trophy wherever we go, but behind closed doors we three huge hung Black Bulls are viciously destroying and wrecking his sloppy, greedy boy-pussy — brutally stretching, pile-driving, and gaping his hungry fuckhole raw with our thick veiny BBCs until it’s completely ruined, prolapsed, wrecked, and turned into a sloppy dripping cum-sleeve. By the end of the week this little snowbunny won’t be walking straight, just waddling bow-legged with our thick loads bubbling and leaking out of his destroyed cunt down his thighs. Hope he packed a fucking diaper for that long flight home 😈🍆💦💦💦 #BBC #Interracial #SizeQueen #BlackDaddies #BoyPussy #TwinkDestruction #LuxuryBBC #BreedingSeason #HeightDifference #Snowbunny #BBCGang #PinkBoyPussy #CumDump #HoleWrecker #BBCBreeding #GapingBoy #SloppyCunt #BoyCunt #CumSleeve #ProlapsedPussy #BBCWorship

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A touching story about Wendell — a rescued opossum (North American possum) who was saved when he was very young, only the size of a mouse, and later grew into an adorable “fluff monster.” 💖✨ Wendell was found when he was still extremely small, rat-sized, alone and weak on the streets. Dolly Neely (the rescuer) took him in and cared for him. From a tiny, scruffy little baby with barely opened eyes, Wendell slowly grew up. He was bottle-fed, cuddled, bathed, and played with. Over time, he became very attached to Dolly, often clinging to her shoulder, sleeping alongside her, and showing a gentle, affectionate personality. Wendell eventually grew into a large opossum with thick, fluffy fur — a true “fluff monster,” looking like a warm, soft ball of fur. Dolly describes him as a “love sponge” — he loves giving and receiving affection, enjoys hugs and cuddles, and is squishy, mushy, and incredibly sweet.

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Created With Grok Imagine. ●. The Ring World - Stillness, silence 1. Nebula Birthplace - Star formation 2. The Pillars - Birth, creation 3. The Storm - Isolation, turbulence 4. The Wanderer - Eternal journey 5. The Threshold - Edge of reality 6. The Collision - Time meaningless 7. The Abyss - Forever stares back 8. The Pale Blue Dot - Home grok imagine prompts used: [ { "id": 0, "title": "The Ring World", "prompt": "A gas giant's rings stretching to infinity, seen edge-on as razor-thin lines of pale gold and silver ice extending beyond comprehension into the void. The planet itself is a massive sphere of muted amber and slate grey storms, half in shadow, half catching distant starlight. The rings cast a whisper-thin shadow band across the planet's face. Everything floats in absolute silence and stillness against crushing black emptiness. A single moon, small and pale, drifts in the middle distance. The scale is vertigo-inducing - the rings could wrap around everything you've ever known. Cinematic composition, extreme wide shot, deep atmospheric blacks, soft diffused lighting, melancholic and vast, jewel-tone highlights on ring particles catching light, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 1, "title": "Nebula Birthplace", "prompt": "A breathtaking view of the Carina Nebula's star-forming pillars, towering columns of cosmic dust and hydrogen gas illuminated by the fierce ultraviolet radiation of newborn blue-white stars. The pillars rise like ancient cathedral spires against a backdrop of deep crimson and burnt orange gas clouds, with delicate tendrils of teal and magenta plasma curling at their edges. Thousands of pinpoint stars scatter across the scene like diamond dust, while a brilliant central cluster of young O-type stars blazes with intense blue-white light, casting dramatic shadows through the translucent dust lanes. Wispy shock fronts of superheated gas glow in electric blue where stellar winds collide with denser material. Ultra high resolution, photorealistic astrophotography style, Hubble Space Telescope quality." }, { "id": 2, "title": "The Pillars", "prompt": "Colossal pillars of cosmic dust rising from an infinite void, monolithic towers of deep indigo and midnight blue stretching impossibly tall against the blackness of space. Edges glow with ethereal bioluminescent teal and soft magenta where newborn stars ignite within, light bleeding through translucent layers of gas like lanterns behind silk. Thousands of stars scattered like crushed diamonds across absolute darkness. Scale is incomprehensible - each pillar contains worlds. Soft god rays pierce through gaps in the dust. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into the void, jewel-tone luminosity, 8K, anamorphic lens quality, awe-inspiring cosmic sublime aesthetic." }, { "id": 3, "title": "The Storm", "prompt": "A massive planetary storm seen from orbit, a swirling vortex of deep sapphire blue and electric teal gases spinning slowly in the darkness. The eye of the storm reveals darker layers beneath - navy, cobalt, almost black. High altitude cloud wisps of pale white ice crystals streak across the surface at impossible speeds, frozen in this moment. The planet's limb curves away into shadow, a thin bright arc of atmospheric haze glowing where day meets night. Everything else is void - pure crushing blackness surrounding this lonely turbulent world. Cinematic close orbit view, moody and isolated, deep rich blues against absolute black, soft diffused lighting from distant sun, atmospheric and melancholic, 8K, anamorphic lens quality, cosmic sublime aesthetic." }, { "id": 4, "title": "The Wanderer", "prompt": "A comet drifting through the inner solar system, its ancient dark nucleus trailing twin tails that stretch across the entire frame and beyond. The dust tail sweeps in a graceful arc of pale gold and cream, while the ion tail streams straight back in ghostly electric blue, both dissolving into the infinite black. The nucleus itself is a small dark heart of primordial ice, barely visible, jets of sublimating gas creating a soft teal-white coma glow around it. It has traveled for billions of years through absolute nothing to reach this moment. Loneliness incarnate. Cinematic composition, sense of vast journey and isolation, soft ethereal glow against crushing void, muted jewel tones, atmospheric and melancholic, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 5, "title": "The Threshold", "prompt": "The event horizon of a supermassive black hole, reality distorting at the edge of existence. A thin brilliant ring of superheated gas - white-hot fading to deep amber and crimson - orbits at nearly light speed, smeared into a perfect glowing halo by gravitational lensing. Behind it, stars are warped and duplicated, stretched into arcs and rings around the perfect circular darkness at the center. The black hole itself is absence - not black but nothing, a hole in the universe where light falls forever. The accretion disk reflects faintly in the gravitationally mirrored space above and below. Staring into infinity. Cinematic composition, reality-bending distortion, warm accretion glow against absolute crushing void, terrifying and beautiful, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 6, "title": "The Collision", "prompt": "Two galaxies passing through each other in slow gravitational embrace, their spiral arms stretched and distorted into sweeping tidal ribbons of light. Stars by the billions flow like luminous rivers between the merging cores - streams of pale gold, soft blue, and distant white pulling across hundreds of thousands of light-years of void. Where the cores approach, intense knots of newborn stars blaze in clusters of soft cyan and magenta. Dark dust lanes create dramatic silhouettes against the glowing stellar streams. The interaction has been happening for millions of years and will continue for millions more. Time is meaningless at this scale. Cinematic extreme wide shot, incomprehensible scale, soft ethereal luminosity, jewel tones against absolute black void, 8K, anamorphic, cosmic sublime aesthetic." }, { "id": 7, "title": "The Abyss", "prompt": "A vast cosmic void stretching infinitely in all directions, an endless expanse of deep black punctuated by distant pinpricks of starlight. In the foreground, a swirling nebula of ethereal gas and dust glows softly in shades of violet, indigo, and midnight blue, illuminated from within by the faint light of newborn stars. Wisps of iridescent teal and magenta drift through the darkness like ghostly tendrils, creating a sense of depth and mystery. The scale is incomprehensible - this is a place where entire galaxies could fit within the frame. You are small. You are nothing. You are staring into forever and forever stares back. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into infinite void, soft ethereal bioluminescence, jewel-tone nebula glow against absolute darkness, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 8, "title": "The Pale Blue Dot", "prompt": "Earth seen from four billion miles away, a tiny pale blue-white speck barely visible against the absolute black void of deep space. No detail, no continents, no clouds - just a faint luminous point of soft cyan light, smaller than a grain of sand, floating in endless nothing. The frame is almost entirely pure black emptiness with the tiny distant Earth off-center, barely there, almost lost. A subtle scattered band of faint light crosses the frame diagonally - ancient sunlight diffused through interplanetary dust. The loneliness is overwhelming. The fragility is heartbreaking. Everything that ever lived, loved, or mattered exists on that barely-visible point of light. Minimalist composition, extreme negative space, 90% pure black void, tiny distant pale blue dot, Voyager 1 perspective, melancholic and profound, 8K, anamorphic lens, cosmic sublime aesthetic." } ]
0:54

Created With Grok Imagine. ●. The Ring World - Stillness, silence 1. Nebula Birthplace - Star formation 2. The Pillars - Birth, creation 3. The Storm - Isolation, turbulence 4. The Wanderer - Eternal journey 5. The Threshold - Edge of reality 6. The Collision - Time meaningless 7. The Abyss - Forever stares back 8. The Pale Blue Dot - Home grok imagine prompts used: [ { "id": 0, "title": "The Ring World", "prompt": "A gas giant's rings stretching to infinity, seen edge-on as razor-thin lines of pale gold and silver ice extending beyond comprehension into the void. The planet itself is a massive sphere of muted amber and slate grey storms, half in shadow, half catching distant starlight. The rings cast a whisper-thin shadow band across the planet's face. Everything floats in absolute silence and stillness against crushing black emptiness. A single moon, small and pale, drifts in the middle distance. The scale is vertigo-inducing - the rings could wrap around everything you've ever known. Cinematic composition, extreme wide shot, deep atmospheric blacks, soft diffused lighting, melancholic and vast, jewel-tone highlights on ring particles catching light, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 1, "title": "Nebula Birthplace", "prompt": "A breathtaking view of the Carina Nebula's star-forming pillars, towering columns of cosmic dust and hydrogen gas illuminated by the fierce ultraviolet radiation of newborn blue-white stars. The pillars rise like ancient cathedral spires against a backdrop of deep crimson and burnt orange gas clouds, with delicate tendrils of teal and magenta plasma curling at their edges. Thousands of pinpoint stars scatter across the scene like diamond dust, while a brilliant central cluster of young O-type stars blazes with intense blue-white light, casting dramatic shadows through the translucent dust lanes. Wispy shock fronts of superheated gas glow in electric blue where stellar winds collide with denser material. Ultra high resolution, photorealistic astrophotography style, Hubble Space Telescope quality." }, { "id": 2, "title": "The Pillars", "prompt": "Colossal pillars of cosmic dust rising from an infinite void, monolithic towers of deep indigo and midnight blue stretching impossibly tall against the blackness of space. Edges glow with ethereal bioluminescent teal and soft magenta where newborn stars ignite within, light bleeding through translucent layers of gas like lanterns behind silk. Thousands of stars scattered like crushed diamonds across absolute darkness. Scale is incomprehensible - each pillar contains worlds. Soft god rays pierce through gaps in the dust. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into the void, jewel-tone luminosity, 8K, anamorphic lens quality, awe-inspiring cosmic sublime aesthetic." }, { "id": 3, "title": "The Storm", "prompt": "A massive planetary storm seen from orbit, a swirling vortex of deep sapphire blue and electric teal gases spinning slowly in the darkness. The eye of the storm reveals darker layers beneath - navy, cobalt, almost black. High altitude cloud wisps of pale white ice crystals streak across the surface at impossible speeds, frozen in this moment. The planet's limb curves away into shadow, a thin bright arc of atmospheric haze glowing where day meets night. Everything else is void - pure crushing blackness surrounding this lonely turbulent world. Cinematic close orbit view, moody and isolated, deep rich blues against absolute black, soft diffused lighting from distant sun, atmospheric and melancholic, 8K, anamorphic lens quality, cosmic sublime aesthetic." }, { "id": 4, "title": "The Wanderer", "prompt": "A comet drifting through the inner solar system, its ancient dark nucleus trailing twin tails that stretch across the entire frame and beyond. The dust tail sweeps in a graceful arc of pale gold and cream, while the ion tail streams straight back in ghostly electric blue, both dissolving into the infinite black. The nucleus itself is a small dark heart of primordial ice, barely visible, jets of sublimating gas creating a soft teal-white coma glow around it. It has traveled for billions of years through absolute nothing to reach this moment. Loneliness incarnate. Cinematic composition, sense of vast journey and isolation, soft ethereal glow against crushing void, muted jewel tones, atmospheric and melancholic, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 5, "title": "The Threshold", "prompt": "The event horizon of a supermassive black hole, reality distorting at the edge of existence. A thin brilliant ring of superheated gas - white-hot fading to deep amber and crimson - orbits at nearly light speed, smeared into a perfect glowing halo by gravitational lensing. Behind it, stars are warped and duplicated, stretched into arcs and rings around the perfect circular darkness at the center. The black hole itself is absence - not black but nothing, a hole in the universe where light falls forever. The accretion disk reflects faintly in the gravitationally mirrored space above and below. Staring into infinity. Cinematic composition, reality-bending distortion, warm accretion glow against absolute crushing void, terrifying and beautiful, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 6, "title": "The Collision", "prompt": "Two galaxies passing through each other in slow gravitational embrace, their spiral arms stretched and distorted into sweeping tidal ribbons of light. Stars by the billions flow like luminous rivers between the merging cores - streams of pale gold, soft blue, and distant white pulling across hundreds of thousands of light-years of void. Where the cores approach, intense knots of newborn stars blaze in clusters of soft cyan and magenta. Dark dust lanes create dramatic silhouettes against the glowing stellar streams. The interaction has been happening for millions of years and will continue for millions more. Time is meaningless at this scale. Cinematic extreme wide shot, incomprehensible scale, soft ethereal luminosity, jewel tones against absolute black void, 8K, anamorphic, cosmic sublime aesthetic." }, { "id": 7, "title": "The Abyss", "prompt": "A vast cosmic void stretching infinitely in all directions, an endless expanse of deep black punctuated by distant pinpricks of starlight. In the foreground, a swirling nebula of ethereal gas and dust glows softly in shades of violet, indigo, and midnight blue, illuminated from within by the faint light of newborn stars. Wisps of iridescent teal and magenta drift through the darkness like ghostly tendrils, creating a sense of depth and mystery. The scale is incomprehensible - this is a place where entire galaxies could fit within the frame. You are small. You are nothing. You are staring into forever and forever stares back. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into infinite void, soft ethereal bioluminescence, jewel-tone nebula glow against absolute darkness, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 8, "title": "The Pale Blue Dot", "prompt": "Earth seen from four billion miles away, a tiny pale blue-white speck barely visible against the absolute black void of deep space. No detail, no continents, no clouds - just a faint luminous point of soft cyan light, smaller than a grain of sand, floating in endless nothing. The frame is almost entirely pure black emptiness with the tiny distant Earth off-center, barely there, almost lost. A subtle scattered band of faint light crosses the frame diagonally - ancient sunlight diffused through interplanetary dust. The loneliness is overwhelming. The fragility is heartbreaking. Everything that ever lived, loved, or mattered exists on that barely-visible point of light. Minimalist composition, extreme negative space, 90% pure black void, tiny distant pale blue dot, Voyager 1 perspective, melancholic and profound, 8K, anamorphic lens, cosmic sublime aesthetic." } ]

tetsuo

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🇺🇸 EPSTEIN'S 'EGG-SHAPED' PENIS RESURFACES IN CRINGE DEPO Talk about awkward unearthed gems, a 2009 civil lawsuit deposition clip just bubbled up showing Jeffrey Epstein smirking like a creep when grilled about his "egg-shaped" penis by an attorney repping alleged underage victims. The lawyer didn't hold back: "Is it true, sir, that you have what is described as an egg-shaped penis?" Epstein's smug glance down sparked his lawyer to threaten bailing on the interview, but the grilling continued with details of it being "oval-shaped, thick towards the bottom but thin and small towards the head." His team shut it down quick, with Epstein ripping off his mic in a huff. This drops as fresh bombs from alleged victim Rina Oh in a Substack chat with Tina Brown, dubbing Epstein's junk "extremely deformed" and "lemon-shaped." Small, even erect, clocking in at "probably like 2 inches." Oof, the pedo financier's dark secrets keep spilling postmortem. The scandal ties eerily to freshly resurfaced whispers about Adolf Hitler's own alleged micropenis, a condition speculated in historical docs like a 1923 prison exam revealing hypospadias and undersized bits. Plaguing the dictator with insecurity that some historians link to his rage-fueled atrocities. Both tyrants in their domains, both dogged by tiny manhood myths, coincidence or cosmic joke? As Epstein's files wait for release, expect more twisted reveals on the "little" details that defined big evils. Source: NY Post, Substack, History, 🔥Sir Escanor (𝘏𝘰𝘱𝘪𝘶𝘮 𝘚𝘭𝘢𝘺𝘦𝘳)🔥
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Sensitive content

🇺🇸 EPSTEIN'S 'EGG-SHAPED' PENIS RESURFACES IN CRINGE DEPO Talk about awkward unearthed gems, a 2009 civil lawsuit deposition clip just bubbled up showing Jeffrey Epstein smirking like a creep when grilled about his "egg-shaped" penis by an attorney repping alleged underage victims. The lawyer didn't hold back: "Is it true, sir, that you have what is described as an egg-shaped penis?" Epstein's smug glance down sparked his lawyer to threaten bailing on the interview, but the grilling continued with details of it being "oval-shaped, thick towards the bottom but thin and small towards the head." His team shut it down quick, with Epstein ripping off his mic in a huff. This drops as fresh bombs from alleged victim Rina Oh in a Substack chat with Tina Brown, dubbing Epstein's junk "extremely deformed" and "lemon-shaped." Small, even erect, clocking in at "probably like 2 inches." Oof, the pedo financier's dark secrets keep spilling postmortem. The scandal ties eerily to freshly resurfaced whispers about Adolf Hitler's own alleged micropenis, a condition speculated in historical docs like a 1923 prison exam revealing hypospadias and undersized bits. Plaguing the dictator with insecurity that some historians link to his rage-fueled atrocities. Both tyrants in their domains, both dogged by tiny manhood myths, coincidence or cosmic joke? As Epstein's files wait for release, expect more twisted reveals on the "little" details that defined big evils. Source: NY Post, Substack, History, 🔥Sir Escanor (𝘏𝘰𝘱𝘪𝘶𝘮 𝘚𝘭𝘢𝘺𝘦𝘳)🔥

Mario Nawfal

437,549 次观看 • 7 个月前

Long post, please kindly read them. it would just take less than 2 minute of your time. A Midnight Call 26 Oct 2024 It was 2 a.m., the world outside silent and still. I was bone-tired from a grueling day, my head heavy with the weight of it all. I’d just slipped into sleep when my phone suddenly buzzed, vibrating insistently on the bedside table. At first, I ignored it, thinking it could wait until morning. But then it rang again, and something in its persistence made me pick up. “Hello?” I answered, my voice feeble with exhaustion. “Is this Advocate Ashwin?” A man's voice, firm yet urgent, came through the line. “Yes” I tried to shake the sleep from my voice. “This is Shivakumar, Sub Inspector from **** police station” he said, his tone grave. Instantly, I sat up, alert. “Tell me, sir. How can I help?” “We’re on the highway,” he began, voice thick with a mix of anger and sadness. “We found a young street calf, hardly a 5 months old. He was hit by a speeding vehicle, left to cry and bleed on the road. But that wasn’t the end of it,” he said, voice tight with contained rage. “Another vehicle came and hit him again, dragged him some distance, and left him there, barely breathing.” A surge of anger rose within me at the cruelty of it all, but I pushed it down. I had to act quickly. “Sir, please, can you have one of your men stay by him until we arrive?” I asked. “I’ll send a vehicle right away.” The Sub Inspector didn’t hesitate. “Yes, we’ll stay with him. He’s suffering. He needs us.” I quickly arranged for a team to be dispatched. By the time we reached the calf, the compassionate officers were there, standing guard by the frail figure lying on the road. He was so small, barely 4 month old and his breaths were shallow. His eyes, wide with pain and fear, were searching—perhaps for some kindness, some solace. The officers and our staff lifted him with the utmost care, placing him onto a plank, and our vehicle sped back to the gaushala. Our veterinary team had been waiting, ready with bandages and medicine, their faces showing both worry and determination. Gently, they began to examine him, murmuring soothing words, treating each bruise and wound as if it were their own. We all prayed intensely to Sri Krishna to help us recover the calf. Though he was bruised and had torn ligaments, thankfully no bones were broken. But the journey wasn’t over yet. For days, he lay in recovery, eyes watching us, filled with a fragile hope. Slowly, day by day, he began to show signs of strength, taking tiny steps, even nibbling on food placed before him. today , it’s been a week since that call pierced the silence of the night. Our little calf is beginning to stand on his own, determined, with a spark in his eyes that wasn’t there before. His journey has been painful, but he’s coming through it, one small step at a time. In the stillness of that night, a life was saved because of the compassion of strangers—of officers, vets, and everyone who believed in his right to live. Watching him now, I’m reminded of the incredible power of kindness, even in the loneliest hours. This wouldn't have been possible without your support and blessings of Krishna!. But what's in store for the drivers who sped away without having one bit of remorse? hell? or worse than that?
1:06

Long post, please kindly read them. it would just take less than 2 minute of your time. A Midnight Call 26 Oct 2024 It was 2 a.m., the world outside silent and still. I was bone-tired from a grueling day, my head heavy with the weight of it all. I’d just slipped into sleep when my phone suddenly buzzed, vibrating insistently on the bedside table. At first, I ignored it, thinking it could wait until morning. But then it rang again, and something in its persistence made me pick up. “Hello?” I answered, my voice feeble with exhaustion. “Is this Advocate Ashwin?” A man's voice, firm yet urgent, came through the line. “Yes” I tried to shake the sleep from my voice. “This is Shivakumar, Sub Inspector from **** police station” he said, his tone grave. Instantly, I sat up, alert. “Tell me, sir. How can I help?” “We’re on the highway,” he began, voice thick with a mix of anger and sadness. “We found a young street calf, hardly a 5 months old. He was hit by a speeding vehicle, left to cry and bleed on the road. But that wasn’t the end of it,” he said, voice tight with contained rage. “Another vehicle came and hit him again, dragged him some distance, and left him there, barely breathing.” A surge of anger rose within me at the cruelty of it all, but I pushed it down. I had to act quickly. “Sir, please, can you have one of your men stay by him until we arrive?” I asked. “I’ll send a vehicle right away.” The Sub Inspector didn’t hesitate. “Yes, we’ll stay with him. He’s suffering. He needs us.” I quickly arranged for a team to be dispatched. By the time we reached the calf, the compassionate officers were there, standing guard by the frail figure lying on the road. He was so small, barely 4 month old and his breaths were shallow. His eyes, wide with pain and fear, were searching—perhaps for some kindness, some solace. The officers and our staff lifted him with the utmost care, placing him onto a plank, and our vehicle sped back to the gaushala. Our veterinary team had been waiting, ready with bandages and medicine, their faces showing both worry and determination. Gently, they began to examine him, murmuring soothing words, treating each bruise and wound as if it were their own. We all prayed intensely to Sri Krishna to help us recover the calf. Though he was bruised and had torn ligaments, thankfully no bones were broken. But the journey wasn’t over yet. For days, he lay in recovery, eyes watching us, filled with a fragile hope. Slowly, day by day, he began to show signs of strength, taking tiny steps, even nibbling on food placed before him. today , it’s been a week since that call pierced the silence of the night. Our little calf is beginning to stand on his own, determined, with a spark in his eyes that wasn’t there before. His journey has been painful, but he’s coming through it, one small step at a time. In the stillness of that night, a life was saved because of the compassion of strangers—of officers, vets, and everyone who believed in his right to live. Watching him now, I’m reminded of the incredible power of kindness, even in the loneliest hours. This wouldn't have been possible without your support and blessings of Krishna!. But what's in store for the drivers who sped away without having one bit of remorse? hell? or worse than that?

Ashwin Sampatkumaran

12,878 次观看 • 1 年前

Elon Musk just diagnosed the disease no one admits they have. Life has become a triage ward. Pay the bill. Dodge the crisis. Survive the week. Repeat until dead. Musk: “Life cannot just be about solving one miserable problem after another. That can’t be the only thing.” Most people can name every problem they are running from. They cannot name a single thing they are running toward. That is the disease. You did not lose your purpose. You replaced it with maintenance. Musk: “There need to be things that inspire you. That make you glad to wake up in the morning and be part of humanity.” Glad to be part of humanity. When was the last time you felt that. Not relief. Not distraction. Not the dull numbness of a weekend burning down to Sunday night. Actual gladness that you exist. Most people cannot answer that question. Not because the answer is painful. Because they have never been asked. We have spent decades staring at the floor. Sweeping the same dirt into the same corner of the same room. Musk quotes Tsiolkovsky: “Earth is the cradle of humanity, but you cannot stay in the cradle forever.” The cradle is warm. The cradle is safe. The cradle is small. And a species that refuses to leave it is not being cautious. It is dying slowly in the only room it has ever known. Musk: “It is time to go forth, become a starfaring civilization… and expand the scope and scale of human consciousness.” Look up tonight. Billions of galaxies. Trillions of stars. An ocean of light stretching 93 billion light years in every direction. And one tiny wet rock figured out how to wonder why it exists. We are not passengers on this planet. We are the universe waking up. And right now the only conscious thing in the universe is trapped in one room arguing about the electricity bill. The problems will never end. There will always be another fire. But you were not built to fight fires. The universe was dark for 13.8 billion years. Then it opened one eye. You.
0:31

Elon Musk just diagnosed the disease no one admits they have. Life has become a triage ward. Pay the bill. Dodge the crisis. Survive the week. Repeat until dead. Musk: “Life cannot just be about solving one miserable problem after another. That can’t be the only thing.” Most people can name every problem they are running from. They cannot name a single thing they are running toward. That is the disease. You did not lose your purpose. You replaced it with maintenance. Musk: “There need to be things that inspire you. That make you glad to wake up in the morning and be part of humanity.” Glad to be part of humanity. When was the last time you felt that. Not relief. Not distraction. Not the dull numbness of a weekend burning down to Sunday night. Actual gladness that you exist. Most people cannot answer that question. Not because the answer is painful. Because they have never been asked. We have spent decades staring at the floor. Sweeping the same dirt into the same corner of the same room. Musk quotes Tsiolkovsky: “Earth is the cradle of humanity, but you cannot stay in the cradle forever.” The cradle is warm. The cradle is safe. The cradle is small. And a species that refuses to leave it is not being cautious. It is dying slowly in the only room it has ever known. Musk: “It is time to go forth, become a starfaring civilization… and expand the scope and scale of human consciousness.” Look up tonight. Billions of galaxies. Trillions of stars. An ocean of light stretching 93 billion light years in every direction. And one tiny wet rock figured out how to wonder why it exists. We are not passengers on this planet. We are the universe waking up. And right now the only conscious thing in the universe is trapped in one room arguing about the electricity bill. The problems will never end. There will always be another fire. But you were not built to fight fires. The universe was dark for 13.8 billion years. Then it opened one eye. You.

Dustin

329,611 次观看 • 3 个月前

The Ultimate Garden Space-Savers: Pallets & Milk Crates Maximize your yard space and grow an abundance of fresh produce with these clever DIY vertical gardening hacks. How to Transform a Shipping Pallet Into a Vertical Garden An old wooden pallet can easily become a thriving, space-saving garden wall perfect for small yards, patios, or balconies. Prep the Base: Lay the pallet flat and wrap the back, bottom, and sides with heavy-duty landscape fabric. Use a staple gun to secure it tightly along the edges. This creates a secure backing that holds the soil in place. Fill with Soil: Flip the pallet over so the open slats are facing up. Pour high-quality potting mix into the openings, pressing it firmly into the channels until the pallet is packed full. Planting: Tuck your starter plants closely together into the exposed soil between the slats. The Vertical Shift: Leave the pallet flat for a week or two to allow the roots to take hold and stabilize the soil. Once established, lean it securely against a wall or fence, water thoroughly, and watch it grow. Best Plants for Pallet Gardening Shallow-rooted plants and compact varieties thrive best in the structured slots of a vertical pallet: Strawberries: The absolute king of pallet gardening. They cascade beautifully over the wooden slats and keep the fruit off the damp ground, preventing rot. Leafy Greens: Lettuce, spinach, kale, and arugula thrive in this setup and are easy to harvest at eye level. Fresh Herbs: Create a living herb wall with basil, thyme, oregano, mint, and parsley. Compact Flowers: Marigolds, pansies, and petunias add vibrant color and help attract pollinators to the garden. The Stacking Secret to Maxing Out Crate Potatoes Growing potatoes vertically in stacked milk crates is one of the most efficient ways to get a massive yield out of a tiny footprint. Line with Forage: Line the bottom of the first milk crate with a thick layer of straw or hay. This keeps the soil from washing out while maintaining excellent drainage. The First Layer: Add a few inches of rich compost and potting soil, then place the seed potatoes (sprouts facing up) onto the dirt. Cover them with another layer of soil. The Stacking Hack: As the potato plants grow and the green leafy stems reach toward the sun, place a second milk crate directly on top of the first. Continuous Hilling: Add more soil and straw around the growing stems, leaving just the top leaves exposed. Repeat this process, stacking up to three or four crates high. The Payoff: The buried stems will continually send out new roots that produce extra tubers. When the plants die back at the end of the season, simply unstack the crates one by one for an incredibly easy, dig-free harvest of fresh, clean potatoes.
0:35

The Ultimate Garden Space-Savers: Pallets & Milk Crates Maximize your yard space and grow an abundance of fresh produce with these clever DIY vertical gardening hacks. How to Transform a Shipping Pallet Into a Vertical Garden An old wooden pallet can easily become a thriving, space-saving garden wall perfect for small yards, patios, or balconies. Prep the Base: Lay the pallet flat and wrap the back, bottom, and sides with heavy-duty landscape fabric. Use a staple gun to secure it tightly along the edges. This creates a secure backing that holds the soil in place. Fill with Soil: Flip the pallet over so the open slats are facing up. Pour high-quality potting mix into the openings, pressing it firmly into the channels until the pallet is packed full. Planting: Tuck your starter plants closely together into the exposed soil between the slats. The Vertical Shift: Leave the pallet flat for a week or two to allow the roots to take hold and stabilize the soil. Once established, lean it securely against a wall or fence, water thoroughly, and watch it grow. Best Plants for Pallet Gardening Shallow-rooted plants and compact varieties thrive best in the structured slots of a vertical pallet: Strawberries: The absolute king of pallet gardening. They cascade beautifully over the wooden slats and keep the fruit off the damp ground, preventing rot. Leafy Greens: Lettuce, spinach, kale, and arugula thrive in this setup and are easy to harvest at eye level. Fresh Herbs: Create a living herb wall with basil, thyme, oregano, mint, and parsley. Compact Flowers: Marigolds, pansies, and petunias add vibrant color and help attract pollinators to the garden. The Stacking Secret to Maxing Out Crate Potatoes Growing potatoes vertically in stacked milk crates is one of the most efficient ways to get a massive yield out of a tiny footprint. Line with Forage: Line the bottom of the first milk crate with a thick layer of straw or hay. This keeps the soil from washing out while maintaining excellent drainage. The First Layer: Add a few inches of rich compost and potting soil, then place the seed potatoes (sprouts facing up) onto the dirt. Cover them with another layer of soil. The Stacking Hack: As the potato plants grow and the green leafy stems reach toward the sun, place a second milk crate directly on top of the first. Continuous Hilling: Add more soil and straw around the growing stems, leaving just the top leaves exposed. Repeat this process, stacking up to three or four crates high. The Payoff: The buried stems will continually send out new roots that produce extra tubers. When the plants die back at the end of the season, simply unstack the crates one by one for an incredibly easy, dig-free harvest of fresh, clean potatoes.

PeachProof

68,957 次观看 • 1 个月前

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.
0:36

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

Emily

20,940 次观看 • 5 个月前

In 1998, Apple was on the verge of bankruptcy. Everyone advised Tim Cook not to join. "They thought it was headed straight down." He saw something different. A sparkle in Steve's eye. He spent 6 minutes explaining what Jobs actually taught him: Steve Jobs was a teacher. "He taught me the value of focus, the importance of simplicity, the fact that making things simple is so much harder than making things complex." "For those of us that were fortunate enough to work with him, he was the teacher of a lifetime." When Jobs recruited him, Cook trusted his gut. "There was a feeling I had in talking to Steve that he was a very different kind of CEO. He was focused on products, products, and products." "He had a belief that small teams could do amazing work. I love that vision." Everyone else was chasing enterprise. Jobs wanted consumers. "In an environment where everyone was going to an enterprise kind of company, he wanted to refocus Apple on consumers." "It was brilliant because at the time nobody was doing that. Everybody thought you could not make any money selling to consumers." "I've never thought it was a good idea to follow the herd." Cook saw what others missed. "I thought I had a chance of a lifetime to work with the creative genius that started the entire industry. I didn't want to pass that up." People had forgotten how close Apple was to death. "Apple was on the verge of bankruptcy. It was a really awful time. People advised me not to come because they thought it was headed straight down." "But I saw something different. I saw the sparkle in Steve's eye. It meant we could pull off this turnaround for this American treasure." "I'm so glad to have been a part of that team." The teams that built Apple's greatest products were tiny. "He taught me the value of innovation, the fact that small teams could do amazing things." "I look at the size of the iPod team initially. I look at the size of the iPhone team. These were very small teams in the scheme of things." Jobs hired people who challenged him. "Hiring the best people to surround you that challenge you. That have skills that you don't. And being confident with that." The skill that made Jobs different wasn't conviction. It was flexibility. "He taught me not to be married to my past views. Not to be so proud you can't change your mind when you're presented with new evidence." "He could change like this." Cook was initially taken aback. "And then I became so enamored with it. Very few people have that skill because they get married to their past views." "I thought it was a brilliant skill." Did Jobs change Cook's mind? "Oh, he changed my mind about a lot of things. And he changed his mind about a lot of things." Did Cook ever change Jobs's mind? "Yes, of course. He loved to debate. He loved someone to debate him. You could always change his mind if you had the best idea." "We changed each other's minds. That's the reason it works so well." Cook sees supply chain as art. "Manufacturing has always interested me because I'm very curious about how things are made. I like to go to factories and see how things are put together, how they're created." "My undergraduate degree is in industrial engineering. It's essentially the study of people and machines and how the two working together can create things they couldn't create on their own." "I've always viewed the supply chain to be a bit of a piece of art when it's done correctly. It's a symphony of thousands of different components and parts coming together to create something." What did he sacrifice to get here? "Sleep. And fortunately, I love coffee." How much coffee? "Many cups. Please do not benchmark that." He starts every morning the same way. "I get up very early. I quickly go to the Mac and begin to go through the emails that have come in." "A lot of what I'm reading are from customers telling me how they're using our products and what it's doing for them." "I get notes that are positive and some that are not so positive. People feel free to reach out and voice their opinion. I think this is great because it keeps my hand on the pulse of the company." How does he handle criticism? "I have relatively thick skin. I try to internalize it and ask myself: is that accurate or not? Not just quickly put up a defensive shield and say why what we've done is right." What do people not realize about his job? "How much fun it is." "At times I hear other CEOs talk about how terrible their jobs are. Mine is fantastic. I love it." He made a 25-year plan in graduate school. "The first year or two was reasonably accurate. After that, it wasn't worth the paper it was written on." "Life has a way of happening and throwing you off from some well-crafted plan." "The most important thing is to roll with it. Make sure you recognize when doors are opening. And choose the one to walk through."
6:38

In 1998, Apple was on the verge of bankruptcy. Everyone advised Tim Cook not to join. "They thought it was headed straight down." He saw something different. A sparkle in Steve's eye. He spent 6 minutes explaining what Jobs actually taught him: Steve Jobs was a teacher. "He taught me the value of focus, the importance of simplicity, the fact that making things simple is so much harder than making things complex." "For those of us that were fortunate enough to work with him, he was the teacher of a lifetime." When Jobs recruited him, Cook trusted his gut. "There was a feeling I had in talking to Steve that he was a very different kind of CEO. He was focused on products, products, and products." "He had a belief that small teams could do amazing work. I love that vision." Everyone else was chasing enterprise. Jobs wanted consumers. "In an environment where everyone was going to an enterprise kind of company, he wanted to refocus Apple on consumers." "It was brilliant because at the time nobody was doing that. Everybody thought you could not make any money selling to consumers." "I've never thought it was a good idea to follow the herd." Cook saw what others missed. "I thought I had a chance of a lifetime to work with the creative genius that started the entire industry. I didn't want to pass that up." People had forgotten how close Apple was to death. "Apple was on the verge of bankruptcy. It was a really awful time. People advised me not to come because they thought it was headed straight down." "But I saw something different. I saw the sparkle in Steve's eye. It meant we could pull off this turnaround for this American treasure." "I'm so glad to have been a part of that team." The teams that built Apple's greatest products were tiny. "He taught me the value of innovation, the fact that small teams could do amazing things." "I look at the size of the iPod team initially. I look at the size of the iPhone team. These were very small teams in the scheme of things." Jobs hired people who challenged him. "Hiring the best people to surround you that challenge you. That have skills that you don't. And being confident with that." The skill that made Jobs different wasn't conviction. It was flexibility. "He taught me not to be married to my past views. Not to be so proud you can't change your mind when you're presented with new evidence." "He could change like this." Cook was initially taken aback. "And then I became so enamored with it. Very few people have that skill because they get married to their past views." "I thought it was a brilliant skill." Did Jobs change Cook's mind? "Oh, he changed my mind about a lot of things. And he changed his mind about a lot of things." Did Cook ever change Jobs's mind? "Yes, of course. He loved to debate. He loved someone to debate him. You could always change his mind if you had the best idea." "We changed each other's minds. That's the reason it works so well." Cook sees supply chain as art. "Manufacturing has always interested me because I'm very curious about how things are made. I like to go to factories and see how things are put together, how they're created." "My undergraduate degree is in industrial engineering. It's essentially the study of people and machines and how the two working together can create things they couldn't create on their own." "I've always viewed the supply chain to be a bit of a piece of art when it's done correctly. It's a symphony of thousands of different components and parts coming together to create something." What did he sacrifice to get here? "Sleep. And fortunately, I love coffee." How much coffee? "Many cups. Please do not benchmark that." He starts every morning the same way. "I get up very early. I quickly go to the Mac and begin to go through the emails that have come in." "A lot of what I'm reading are from customers telling me how they're using our products and what it's doing for them." "I get notes that are positive and some that are not so positive. People feel free to reach out and voice their opinion. I think this is great because it keeps my hand on the pulse of the company." How does he handle criticism? "I have relatively thick skin. I try to internalize it and ask myself: is that accurate or not? Not just quickly put up a defensive shield and say why what we've done is right." What do people not realize about his job? "How much fun it is." "At times I hear other CEOs talk about how terrible their jobs are. Mine is fantastic. I love it." He made a 25-year plan in graduate school. "The first year or two was reasonably accurate. After that, it wasn't worth the paper it was written on." "Life has a way of happening and throwing you off from some well-crafted plan." "The most important thing is to roll with it. Make sure you recognize when doors are opening. And choose the one to walk through."

Jaynit

17,580 次观看 • 2 个月前

Eruption - Van Halen - Violin Cover by Nina D My journey to learn Eruption began a few years ago, when I only had access to a 5-string fretless violin. I learned a small bit of it, and quickly realized that I would need to compromise the octave range, and the finger tapping in order to perform it. There are a few covers out there of violinists doing just that, and they are very impressive. Anyone who knows me, knows that I did not want to do that. I wanted to sound like Eddie. Thus began my journey with the 7-string fretted violin. Pretty much the entire reason for having this instrument custom-made (thanks Wood Violins crew!) was to see if I could play Eruption. At the time of purchase, I wasn’t even sure if it would be physically possible to do the finger tapping, even with the new instrument. Upon its arrival, my first task was to learn how to play the darn thing- it’s like a completely different instrument, the neck is huge, I am tiny, and the low strings are super thick. (I also had to buy a special bow to properly play it). If your bow arm falters by a millimeter, you will hit the surrounding strings. Once I had this part somewhat down, I knew I had to dive into the hardest part right away- to answer the question, “but will it tap?” I began with transcribing this beast of a solo into notation. If you play guitar, and you want to learn how to play pretty much anything, you can go to YouTube and find slow note for note tutorials on EXACTLY how to do so. This doesn’t exist for trying to translate guitar things to a violin. You’re on your own. I tried it out with my normal rig. Pretty much dead sound. Nothing happening but noise. I had a few ideas for specialty pedals. Since you can’t really go to the store and try pedals any more, I bought one, it didn’t work, shipped it back, bought a different one, didn’t work, shipped it back, etc. ad nauseam. Months went by. It seemed for every step forward I took in achieving this technique, I took two steps back with new problems. For months, my poor family listened to what sounded like a train wreck falling on top of a car wreck falling off the Empire State Building. Brody even said to me, “it ain’t gonna happen.” So I locked myself away until it did. I struggled and fought the limitations of the instrument. I had some hard practice days, but the best motivation for me is “it can’t be done.” It took a combination of newly learned left and right hand technique, played precisely, practiced slowly for clarity, FOREVER to even make the right sound. The spaces that you need to hit, quickly, on a fretted violin are much smaller than that of a guitar. I tweaked the effect chain and technique right up until the 11th hour on the very final day of doing this. One day near the end of it, I was practicing in the studio and Brody was taking a shower. When he got out, he said to me he thought I was playing the recording of Van Halen. That was my breakthrough day. I knew I was close. I haven’t worked this hard since my masters recital on classical violin. I’ve ripped up my fingers to shreds, they bled, they blistered. Eddie Van Halen was in a class all of his own. His sound, technique, rhythm, and musicality changed the game for all guitarists (and this electric violinist) that followed. I am a far better performer, a far better violinist, with a much larger range of abilities, thanks to the months (or years) I put into dissecting his style and taking the time to do this on a violin as close to how he did it (so effortlessly) on a guitar as possible. Thank you, EVH, for making so many of us better musicians. ❤️🤍🖤 Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden HMU: the MOBB Group Graphics: Derryl Rice #eruption #vanhalen #eddievanhalen #evh #cover #coversong #guitarsolo #violin
1:51

Eruption - Van Halen - Violin Cover by Nina D My journey to learn Eruption began a few years ago, when I only had access to a 5-string fretless violin. I learned a small bit of it, and quickly realized that I would need to compromise the octave range, and the finger tapping in order to perform it. There are a few covers out there of violinists doing just that, and they are very impressive. Anyone who knows me, knows that I did not want to do that. I wanted to sound like Eddie. Thus began my journey with the 7-string fretted violin. Pretty much the entire reason for having this instrument custom-made (thanks Wood Violins crew!) was to see if I could play Eruption. At the time of purchase, I wasn’t even sure if it would be physically possible to do the finger tapping, even with the new instrument. Upon its arrival, my first task was to learn how to play the darn thing- it’s like a completely different instrument, the neck is huge, I am tiny, and the low strings are super thick. (I also had to buy a special bow to properly play it). If your bow arm falters by a millimeter, you will hit the surrounding strings. Once I had this part somewhat down, I knew I had to dive into the hardest part right away- to answer the question, “but will it tap?” I began with transcribing this beast of a solo into notation. If you play guitar, and you want to learn how to play pretty much anything, you can go to YouTube and find slow note for note tutorials on EXACTLY how to do so. This doesn’t exist for trying to translate guitar things to a violin. You’re on your own. I tried it out with my normal rig. Pretty much dead sound. Nothing happening but noise. I had a few ideas for specialty pedals. Since you can’t really go to the store and try pedals any more, I bought one, it didn’t work, shipped it back, bought a different one, didn’t work, shipped it back, etc. ad nauseam. Months went by. It seemed for every step forward I took in achieving this technique, I took two steps back with new problems. For months, my poor family listened to what sounded like a train wreck falling on top of a car wreck falling off the Empire State Building. Brody even said to me, “it ain’t gonna happen.” So I locked myself away until it did. I struggled and fought the limitations of the instrument. I had some hard practice days, but the best motivation for me is “it can’t be done.” It took a combination of newly learned left and right hand technique, played precisely, practiced slowly for clarity, FOREVER to even make the right sound. The spaces that you need to hit, quickly, on a fretted violin are much smaller than that of a guitar. I tweaked the effect chain and technique right up until the 11th hour on the very final day of doing this. One day near the end of it, I was practicing in the studio and Brody was taking a shower. When he got out, he said to me he thought I was playing the recording of Van Halen. That was my breakthrough day. I knew I was close. I haven’t worked this hard since my masters recital on classical violin. I’ve ripped up my fingers to shreds, they bled, they blistered. Eddie Van Halen was in a class all of his own. His sound, technique, rhythm, and musicality changed the game for all guitarists (and this electric violinist) that followed. I am a far better performer, a far better violinist, with a much larger range of abilities, thanks to the months (or years) I put into dissecting his style and taking the time to do this on a violin as close to how he did it (so effortlessly) on a guitar as possible. Thank you, EVH, for making so many of us better musicians. ❤️🤍🖤 Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden HMU: the MOBB Group Graphics: Derryl Rice #eruption #vanhalen #eddievanhalen #evh #cover #coversong #guitarsolo #violin

Nina DiGregorio

403,750 次观看 • 2 年前

You round the bend of that forgotten mountain trail, boots crunching on pine needles, the air thick with the scent of damp earth and rushing water. The stream’s been whispering to you for miles—clear, cold, cutting through granite like it’s been waiting centuries just for this moment. Then you see it: a small carved-out alcove tucked right against the bank, maybe three feet deep and wide enough for one person to kneel, the rock smoothed by who-knows-how-many old-timers before you. Sunlight slants in like a spotlight, turning the water’s edge into liquid gold. Your pulse kicks up. This isn’t just a pretty spot. This is a natural sluice box, a hidden trap where the current slows, drops its heavy cargo, and leaves the black sand shimmering like midnight promises. You drop your pack, heart hammering. Modern panning isn’t the back-breaking pick-and-shovel grind of 1849 anymore—you’ve got the kit: a lightweight 22-inch ceramic pan with riffles that catch every speck, a classifier screen to sort out the big stuff in seconds, a snuffer bottle the size of your thumb, and maybe a tiny hand sluice you can prop in the alcove’s curve if the mood strikes. Gold’s sitting at over $5,100 an ounce right now—prices that would’ve made those Forty-Niners weep. One decent pinch of flakes and you’re already ahead of your coffee money. You scoop a panful of that dark, promising gravel right from the alcove’s lip, plunge it into the stream, and start the dance: tilt, swirl, dip, let the river do the work. Lighter sands and pebbles wash away in lazy spirals while the heavies—magnetite, hematite, and yes, maybe that telltale flash of yellow—sink to the bottom like they belong there. The excitement builds with every swirl. You see the first “color”—tiny glittering threads hugging the riffles. Another pan. More. The alcove’s geometry is perfect; the stream bends just enough here to drop the good stuff century after century. You’re grinning like a kid, knees wet, sun warm on your neck, imagining the nugget that’s been waiting since the last ice age. A full vial after an hour? Two? The daydream races: sell it raw, melt it into a ring, or just keep it in a jar on the shelf as proof you outsmarted the mountains. Modern tools make it feel almost too easy—apps on your phone showing public claim maps, lightweight gear that fits in a daypack, even a cheap UV light to spot fluorescent tracers if you get fancy. This alcove could be your lucky strike. The thrill is electric. Here’s the straight truth, though, whispered like the stream itself: no, modern hand-panning isn’t a lucrative feat. Not in the “quit your job and buy a yacht” way. The average recreational panner pulls about 0.041 grams an hour in decent ground—that’s roughly twenty bucks at today’s prices, before gas, food, and the sheer sweat equity. A banner day in a rich pocket might net you a gram or two (maybe $160–$170), enough to cover your weekend and leave a little sparkle in your pocket. But most folks walk away with beautiful memories, a few flakes, and the quiet satisfaction of having chased the dream instead of scrolling on the couch. The real gold? The peace, the exercise, the story you’ll tell when you get home with wet boots and a grin you can’t wipe off. So yeah… that carved-out alcove next to the stream? It’s calling. Grab your pan, let the excitement build, and go see what the river’s been hiding. Just don’t quit your day job—let the mountains pay you in wonder instead.
0:53

You round the bend of that forgotten mountain trail, boots crunching on pine needles, the air thick with the scent of damp earth and rushing water. The stream’s been whispering to you for miles—clear, cold, cutting through granite like it’s been waiting centuries just for this moment. Then you see it: a small carved-out alcove tucked right against the bank, maybe three feet deep and wide enough for one person to kneel, the rock smoothed by who-knows-how-many old-timers before you. Sunlight slants in like a spotlight, turning the water’s edge into liquid gold. Your pulse kicks up. This isn’t just a pretty spot. This is a natural sluice box, a hidden trap where the current slows, drops its heavy cargo, and leaves the black sand shimmering like midnight promises. You drop your pack, heart hammering. Modern panning isn’t the back-breaking pick-and-shovel grind of 1849 anymore—you’ve got the kit: a lightweight 22-inch ceramic pan with riffles that catch every speck, a classifier screen to sort out the big stuff in seconds, a snuffer bottle the size of your thumb, and maybe a tiny hand sluice you can prop in the alcove’s curve if the mood strikes. Gold’s sitting at over $5,100 an ounce right now—prices that would’ve made those Forty-Niners weep. One decent pinch of flakes and you’re already ahead of your coffee money. You scoop a panful of that dark, promising gravel right from the alcove’s lip, plunge it into the stream, and start the dance: tilt, swirl, dip, let the river do the work. Lighter sands and pebbles wash away in lazy spirals while the heavies—magnetite, hematite, and yes, maybe that telltale flash of yellow—sink to the bottom like they belong there. The excitement builds with every swirl. You see the first “color”—tiny glittering threads hugging the riffles. Another pan. More. The alcove’s geometry is perfect; the stream bends just enough here to drop the good stuff century after century. You’re grinning like a kid, knees wet, sun warm on your neck, imagining the nugget that’s been waiting since the last ice age. A full vial after an hour? Two? The daydream races: sell it raw, melt it into a ring, or just keep it in a jar on the shelf as proof you outsmarted the mountains. Modern tools make it feel almost too easy—apps on your phone showing public claim maps, lightweight gear that fits in a daypack, even a cheap UV light to spot fluorescent tracers if you get fancy. This alcove could be your lucky strike. The thrill is electric. Here’s the straight truth, though, whispered like the stream itself: no, modern hand-panning isn’t a lucrative feat. Not in the “quit your job and buy a yacht” way. The average recreational panner pulls about 0.041 grams an hour in decent ground—that’s roughly twenty bucks at today’s prices, before gas, food, and the sheer sweat equity. A banner day in a rich pocket might net you a gram or two (maybe $160–$170), enough to cover your weekend and leave a little sparkle in your pocket. But most folks walk away with beautiful memories, a few flakes, and the quiet satisfaction of having chased the dream instead of scrolling on the couch. The real gold? The peace, the exercise, the story you’ll tell when you get home with wet boots and a grin you can’t wipe off. So yeah… that carved-out alcove next to the stream? It’s calling. Grab your pan, let the excitement build, and go see what the river’s been hiding. Just don’t quit your day job—let the mountains pay you in wonder instead.

🚫👁️Drinks on Saturday🇺🇸

1,322,206 次观看 • 4 个月前