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Buffalo Springfield 🎩🪄 For What It’s Worth (1967) Released December 23rd, 1967. Stephen Stills’ quiet warning turned anthem. This Monterey Pop live cut freezes the moment, folk-rock tension, harmonies tight, message louder than the amps. A candle that still flickers.

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37,190 görüntüleme • 8 ay önce •via X (Twitter)

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This was the moment students from Butere Girls walked to the stage, sang the national anthem and stood in silence for a minute. Then, without performing, they turned and walked away. A quiet act of defiance that spoke louder than any skit they could have perfomed.
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This was the moment students from Butere Girls walked to the stage, sang the national anthem and stood in silence for a minute. Then, without performing, they turned and walked away. A quiet act of defiance that spoke louder than any skit they could have perfomed.

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💿This is Tommy James & The Shondells performing “I Think We’re Alone Now” live in 1967. 🎶🎶🎶 Most people today know the song from Tiffany’s 1987 version, but this is the original. The live performance has that clean, upbeat 1960s pop-rock energy that made the track a hit the first time around. It’s a good reminder of how many big 80s hits started life two decades earlier. The original still holds up really well. Do you prefer the 1967 Tommy James version or Tiffany’s 80s cover? 👇 #TommyJames #IThinkWereAloneNow #60sMusic #ClassicRock #MusicHistory
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💿This is Tommy James & The Shondells performing “I Think We’re Alone Now” live in 1967. 🎶🎶🎶 Most people today know the song from Tiffany’s 1987 version, but this is the original. The live performance has that clean, upbeat 1960s pop-rock energy that made the track a hit the first time around. It’s a good reminder of how many big 80s hits started life two decades earlier. The original still holds up really well. Do you prefer the 1967 Tommy James version or Tiffany’s 80s cover? 👇 #TommyJames #IThinkWereAloneNow #60sMusic #ClassicRock #MusicHistory

BiffBifford™ 🇺🇸

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For What It's Worth is from the album Buffalo Springfield (1966). Stephen Stills wrote the lyrics after driving across the Sunset Strip in Los Angeles in November 1966 and seeing police violently cracking down on a peaceful protest by young people against curfew and nightclub closures. Released as a single in December 1966, it reached #7 on the Billboard Hot 100 (the biggest hit of the band's short career), even though it did not directly address the Vietnam War, radio and the public adopted the song as a cry against police repression and injustice.
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For What It's Worth is from the album Buffalo Springfield (1966). Stephen Stills wrote the lyrics after driving across the Sunset Strip in Los Angeles in November 1966 and seeing police violently cracking down on a peaceful protest by young people against curfew and nightclub closures. Released as a single in December 1966, it reached #7 on the Billboard Hot 100 (the biggest hit of the band's short career), even though it did not directly address the Vietnam War, radio and the public adopted the song as a cry against police repression and injustice.

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“For What It’s Worth” was written by Stephen Stills in late 1966 after witnessing the unrest surrounding the Sunset Strip curfew riots in Los Angeles, where clashes had broken out between young protesters and police over new restrictions on nightlife around clubs such as Pandora’s Box. Released as a single in December 1966, the song quickly became Buffalo Springfield’s breakthrough hit reaching #7 on the Billboard Hot 100 in early 1967. Although it is often remembered today as a Vietnam-era protest anthem, the song was not originally written about the war. Its tense, understated lyrics instead captured the atmosphere of confusion, suspicion and generational conflict in America at the time, which is precisely why it later came to symbolize the wider turbulence of the late 1960s.
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“For What It’s Worth” was written by Stephen Stills in late 1966 after witnessing the unrest surrounding the Sunset Strip curfew riots in Los Angeles, where clashes had broken out between young protesters and police over new restrictions on nightlife around clubs such as Pandora’s Box. Released as a single in December 1966, the song quickly became Buffalo Springfield’s breakthrough hit reaching #7 on the Billboard Hot 100 in early 1967. Although it is often remembered today as a Vietnam-era protest anthem, the song was not originally written about the war. Its tense, understated lyrics instead captured the atmosphere of confusion, suspicion and generational conflict in America at the time, which is precisely why it later came to symbolize the wider turbulence of the late 1960s.

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“𝐘𝐨𝐮’𝐫𝐞 𝐒𝐭𝐢𝐥𝐥 𝐭𝐡𝐞 𝐎𝐧𝐞” – 𝐒𝐡𝐚𝐧𝐢𝐚 𝐓𝐰𝐚𝐢𝐧 (𝟏𝟗𝟗𝟖) One of the defining love songs of the ’90s, “You’re Still the One” by Shania Twain is more than a chart-topper—it’s a reminder that real love lasts, even when no one else believes in it. Released in 1998, this Grammy-winning ballad beautifully blended country and pop, becoming an anthem for couples who proved the odds wrong and stayed together. 💛🎶

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Vegans over reacting to eating meat again😂 The intensity of these first-bite reactions after years of intentional avoidance reveals something deeper than preference. Dietary identity can become so tightly woven into self-image that the sensory experience of meat triggers a full emotional cascade — shock, guilt, curiosity, even reluctant pleasure — all in the same moment. What we’re watching isn’t just “overreaction.” It’s the collision between a carefully constructed moral framework and the ancient, hard-wired human response to concentrated protein and fat. The longer the abstention, the stronger the rebound. Some people process it with laughter, others with visible distress. Both are authentic. These clips capture a quiet cultural tension playing out in real time: how far personal ethics can stretch against biology, and what happens the second that tension snaps. Worth watching less for the punchline and more for what it quietly says about belief, habit, and the stubborn body that refuses to forget.
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Vegans over reacting to eating meat again😂 The intensity of these first-bite reactions after years of intentional avoidance reveals something deeper than preference. Dietary identity can become so tightly woven into self-image that the sensory experience of meat triggers a full emotional cascade — shock, guilt, curiosity, even reluctant pleasure — all in the same moment. What we’re watching isn’t just “overreaction.” It’s the collision between a carefully constructed moral framework and the ancient, hard-wired human response to concentrated protein and fat. The longer the abstention, the stronger the rebound. Some people process it with laughter, others with visible distress. Both are authentic. These clips capture a quiet cultural tension playing out in real time: how far personal ethics can stretch against biology, and what happens the second that tension snaps. Worth watching less for the punchline and more for what it quietly says about belief, habit, and the stubborn body that refuses to forget.

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1960s Czech movies are crazy, as well as crazy good. Here's a few I've seen that YOU ought to watch as well: Fantastic Planet (1967 Franco-Czech co-production; better science fiction film than any anime I've seen) Prague Nights (1969) horror/fantasy anthology Invention For Destruction (1958) the most amazing "animation" I've ever seen, based on a strange combination of cardboard cut-outs, stop-motion, and live-action. Everyone ought to see this. The trailer is shown below. Also, Karel Zeman, the director of Invention For Destruction, did a bunch of other crazy fantasy movies all worth watching. One's about some boy scouts who sail down a river into the past and meet prehistoric monsters.
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1960s Czech movies are crazy, as well as crazy good. Here's a few I've seen that YOU ought to watch as well: Fantastic Planet (1967 Franco-Czech co-production; better science fiction film than any anime I've seen) Prague Nights (1969) horror/fantasy anthology Invention For Destruction (1958) the most amazing "animation" I've ever seen, based on a strange combination of cardboard cut-outs, stop-motion, and live-action. Everyone ought to see this. The trailer is shown below. Also, Karel Zeman, the director of Invention For Destruction, did a bunch of other crazy fantasy movies all worth watching. One's about some boy scouts who sail down a river into the past and meet prehistoric monsters.

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🚨 ON LIVE TV: THE ESTABLISHMENT GETS CALLED OUT 🚨 That moment when the polite façade finally cracks. On air, Julia Hartley-Brewer refused to dance around the issue — and Adam Boulton had nowhere to hide. When pressed on his friendliness with Peter Mandelson, the exchange turned explosive: “He’s a nasty piece of work, a proven liar, best mates with a paedophile — and you’re happy to be mates with him?” No euphemisms. No deflection. Just the question the public keeps asking — what did people know, and why was he still protected? This wasn’t gossip. It was about vetting failures, judgment, and a political class that keeps recycling the same figures no matter the baggage. While others tried to reframe it as a “risk” or a “gamble,” Julia cut straight through the fog: some risks should never be taken — especially at the highest levels of public office. Credit where it’s due This is what accountability looks like when someone finally says the quiet part out loud. The public isn’t asking for spin anymore. They’re asking for answers.

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THIS WEEKEND, IT’S NOT ABOUT YOU. IT’S ABOUT THEM. Memorial Day isn’t a day of sadness—It’s a day of honor. It’s a day to pay respect to the men and women who gave everything. Not just for a flag. Not for glory. But for the person to their left and their right. For this country—for something greater than themselves. We get to live with the benefits of their sacrifice. The freedoms. The opportunities. The respect that the uniform still commands. But make no mistake—we didn’t earn that. THEY did. Say their names. Say them proud. Say them with honor. Say them with respect. As bad as it hurts, it’s what THEY would want. If any of us gave our lives for this country wouldn’t want a single tear, a single moment of sadness. We’d want the world to know: we died with honor and dignity, for something greater than ourselves. And don’t you dare tell others to honor them, to respect them, or to live a life worthy of their sacrifice—if you’re not doing the same. Don’t post for attention. Don’t make it about your feelings. Don’t turn it into a day about you. Make it about them. Live in a way that’s worthy of what they gave up. Make this weekend an act of honor. Because they gave their tomorrows for our todays. Happy Memorial Day. GYSGT KENEFICK LT JOHNSON GYSGT JOHNSON DOC LAYTON DOC CANNON SGT WRIGHTSMAN

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🇮🇱 BIBI AT THE WALL Prime Minister Benjamin Netanyahu prayed at the Western Wall, carrying the weight of Israel, the region, and much of the world on his shoulders. In a moment when every eye is on Israel, it’s powerful to see a leader who remembers he’s just a vessel, one who still turns to God for strength. Behind the quiet moment: rising tension on every front. • Iran has regrouped with help from Russia, China, and North Korea. • Hezbollah is re-arming through Syria. • The Houthis continue their attacks from Yemen. Israel’s past victories were real, but like cancer, if even one cell remains, it grows back. And that’s exactly what we’re seeing now. Let’s pray that this time, when the world demands Israel stop “before it’s done,” we don’t stop. Stay connected. Follow, Subscribe Mossad Commentary.
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🇮🇱 BIBI AT THE WALL Prime Minister Benjamin Netanyahu prayed at the Western Wall, carrying the weight of Israel, the region, and much of the world on his shoulders. In a moment when every eye is on Israel, it’s powerful to see a leader who remembers he’s just a vessel, one who still turns to God for strength. Behind the quiet moment: rising tension on every front. • Iran has regrouped with help from Russia, China, and North Korea. • Hezbollah is re-arming through Syria. • The Houthis continue their attacks from Yemen. Israel’s past victories were real, but like cancer, if even one cell remains, it grows back. And that’s exactly what we’re seeing now. Let’s pray that this time, when the world demands Israel stop “before it’s done,” we don’t stop. Stay connected. Follow, Subscribe Mossad Commentary.

Mossad Commentary

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THOMAS SANKARA BLAST THE IMF In 1987, Thomas Sankara, the revolutionary president of Burkina Faso spoke about the IMF, food aid, and the quiet violence of dependency that keeps nations poor. He warned that aid without dignity is another form of control, and that the debt imposed on Africa was nothing less than a new kind of colonization. Just five months after that interview, he was assassinated. His killers were backed by France and the United States—the very powers whose global order he had challenged. Sankara dreamed of a self-sufficient Africa, feeding itself, making its own clothes, and refusing to be dictated to by foreign hands. They silenced his voice, but not his vision. Today, his words echo louder than ever, as new forms of “aid,” “loans,” and “partnerships” arrive wearing the same old masks. Sankara’s message remains a warning and a call: that liberation means nothing if we are still forced to beg for what we already own. VoxUmmah Venezuelanalysis Qiao Collective Progressive International Kawsachun News Orinoco Tribune @blkagendareport Soberanía: The Mexican Politics Podcast
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THOMAS SANKARA BLAST THE IMF In 1987, Thomas Sankara, the revolutionary president of Burkina Faso spoke about the IMF, food aid, and the quiet violence of dependency that keeps nations poor. He warned that aid without dignity is another form of control, and that the debt imposed on Africa was nothing less than a new kind of colonization. Just five months after that interview, he was assassinated. His killers were backed by France and the United States—the very powers whose global order he had challenged. Sankara dreamed of a self-sufficient Africa, feeding itself, making its own clothes, and refusing to be dictated to by foreign hands. They silenced his voice, but not his vision. Today, his words echo louder than ever, as new forms of “aid,” “loans,” and “partnerships” arrive wearing the same old masks. Sankara’s message remains a warning and a call: that liberation means nothing if we are still forced to beg for what we already own. VoxUmmah Venezuelanalysis Qiao Collective Progressive International Kawsachun News Orinoco Tribune @blkagendareport Soberanía: The Mexican Politics Podcast

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US export-control disable Claude Fable 5 overnight. Not for what it said - for what one trader did with it. He turned an $11,000 wreck into $300,000 profit in five days. Then they pulled Claude Fable 5 from public hands. Too late - his bot's still running. His wallet: Every other Claude model still works. The two best ones don't. Anthropic's calling it a misunderstanding. Maybe. But think about what gets a model killed by export control overnight, no warning. Here's what Fable 5 actually did for him. It doesn't predict price. It computes the whole probability surface of a market - every outcome, weighted, faster than the market can correct itself. It finds the bets the crowd writes off as impossible, runs the real math, and buys them for pennies when the math disagrees. One of those just paid x205. A regular guy, a model this sharp, a market no regulator polices. They closed that door overnight - one night too late. He's holding one of the last builds that ever touched a live market. It's still on Polymarket right now, hunting the same mispriced tails. Fable 5 is locked. The algorithm it wrote is loose. You can't open the model anymore. You can still copy the wallet it built in two clicks:

cvxv666

77,366 görüntüleme • 2 ay önce

🎶 The Song Still Hasn’t Surrendered. The late afternoon light was soft, the crowd stretched all the way to the horizon, and she simply held the microphone and sang. No dancing. No elaborate production. Just that quiet, clear voice and eyes fixed somewhere beyond the front rows. That video still circulates today. More than twenty years have passed. Musical trends have come and gone. Entire generations have grown up with completely different sounds. And yet every time “White Flag” plays from that Live 8 performance, people still stop, go quiet, and sometimes… feel their eyes sting. Why? The song begins with a stark admission. “I know you think that I shouldn’t still love you / Or tell you that.” She knows the other person doesn’t want to hear it anymore. She knows she caused enough damage. She even understands the logic of “it’s over, so let it go.” Then the chorus rises: “I will go down with this ship And I won’t put my hands up and surrender There will be no white flag above my door I’m in love and always will be.” A white flag is the universal symbol of surrender. Dido flips it. She refuses to surrender her own feelings. Not because she still hopes for a reunion. Not because she’s clinging. Simply because the feeling is still there, and she can’t — and won’t — pretend it has disappeared. Some people once heard this as a song about unhealthy attachment. Listen more carefully and it becomes something simpler and more honest: a refusal to erase what is still true. Dido wrote it after the end of her engagement. Years later she admitted that hearing the song still brings the old emotion back. The track doesn’t try to explain or heal anything. It just records a very real state of being: still in love, even when there’s no way back. That’s what has kept “White Flag” alive. It doesn’t belong to one generation. A twenty-year-old hears it and recognizes a feeling they just lived through. Someone in their forties or fifties hears it and remembers the times they faced the same choice. Feeling has no age. It only has moments when it’s still present and moments when it has faded. Dido’s voice makes that even clearer. She never needed big vocal fireworks. Soft breath, slow melody, every line delivered like a private conversation. Even standing in front of hundreds of thousands of people at Live 8, the song still felt intimate. In the middle of a global event about poverty and justice, she brought something small and personal onto the stage. That contrast made the emotion cut sharper. There’s a detail most people don’t know. Right after she walked off the Hyde Park stage, Dido got into a helicopter. She flew straight to the Eden Project in Cornwall to perform again at the Africa Calling show, then flew on to Paris for a third performance — all in the same day. Three stages, three cities, a few short hours. She wanted to do what Phil Collins had done at Live Aid in 1985, only more ambitious. While the world watched a historic concert, Dido was still moving between flights, carrying the same song about refusing to let go. Today that Live 8 video still gets millions of views. Some people say they listen to it alone in the car. Others connect it to someone they lost. Many simply write: “I don’t know why, but it still gets me every time.” No further explanation needed. The song speaks for itself. Looking back at that moment in 2005, Dido wasn’t trying to move the audience. She just stood there and sang exactly what she felt. No exaggeration, no polish. That honesty is what carried the song further than any trend. More than twenty years later, “White Flag” is still here. Not because it’s perfect. But because it’s true. Do you still carry any “white flag” of your own?
3:57

🎶 The Song Still Hasn’t Surrendered. The late afternoon light was soft, the crowd stretched all the way to the horizon, and she simply held the microphone and sang. No dancing. No elaborate production. Just that quiet, clear voice and eyes fixed somewhere beyond the front rows. That video still circulates today. More than twenty years have passed. Musical trends have come and gone. Entire generations have grown up with completely different sounds. And yet every time “White Flag” plays from that Live 8 performance, people still stop, go quiet, and sometimes… feel their eyes sting. Why? The song begins with a stark admission. “I know you think that I shouldn’t still love you / Or tell you that.” She knows the other person doesn’t want to hear it anymore. She knows she caused enough damage. She even understands the logic of “it’s over, so let it go.” Then the chorus rises: “I will go down with this ship And I won’t put my hands up and surrender There will be no white flag above my door I’m in love and always will be.” A white flag is the universal symbol of surrender. Dido flips it. She refuses to surrender her own feelings. Not because she still hopes for a reunion. Not because she’s clinging. Simply because the feeling is still there, and she can’t — and won’t — pretend it has disappeared. Some people once heard this as a song about unhealthy attachment. Listen more carefully and it becomes something simpler and more honest: a refusal to erase what is still true. Dido wrote it after the end of her engagement. Years later she admitted that hearing the song still brings the old emotion back. The track doesn’t try to explain or heal anything. It just records a very real state of being: still in love, even when there’s no way back. That’s what has kept “White Flag” alive. It doesn’t belong to one generation. A twenty-year-old hears it and recognizes a feeling they just lived through. Someone in their forties or fifties hears it and remembers the times they faced the same choice. Feeling has no age. It only has moments when it’s still present and moments when it has faded. Dido’s voice makes that even clearer. She never needed big vocal fireworks. Soft breath, slow melody, every line delivered like a private conversation. Even standing in front of hundreds of thousands of people at Live 8, the song still felt intimate. In the middle of a global event about poverty and justice, she brought something small and personal onto the stage. That contrast made the emotion cut sharper. There’s a detail most people don’t know. Right after she walked off the Hyde Park stage, Dido got into a helicopter. She flew straight to the Eden Project in Cornwall to perform again at the Africa Calling show, then flew on to Paris for a third performance — all in the same day. Three stages, three cities, a few short hours. She wanted to do what Phil Collins had done at Live Aid in 1985, only more ambitious. While the world watched a historic concert, Dido was still moving between flights, carrying the same song about refusing to let go. Today that Live 8 video still gets millions of views. Some people say they listen to it alone in the car. Others connect it to someone they lost. Many simply write: “I don’t know why, but it still gets me every time.” No further explanation needed. The song speaks for itself. Looking back at that moment in 2005, Dido wasn’t trying to move the audience. She just stood there and sang exactly what she felt. No exaggeration, no polish. That honesty is what carried the song further than any trend. More than twenty years later, “White Flag” is still here. Not because it’s perfect. But because it’s true. Do you still carry any “white flag” of your own?

Music over time🎻

12,562 görüntüleme • 5 gün önce

There’s a village in the Netherlands that never needed roads. Giethoorn was built on swampy peatland, where carts sank, paths disappeared, and water made more sense than asphalt. So instead of forcing the land to become something else, people adapted to it. They dug canals. Then they built homes on small islands and connected them with wooden bridges. And over time, what began as survival became one of the most peaceful villages in Europe. That’s what makes Giethoorn so fascinating. It wasn’t designed to be pretty for tourists. Giethoorn became beautiful because people lived slowly, worked hard, and built around the landscape instead of fighting it. Before the boats arrive, the village still has that feeling. Water sitting still. Ducks drifting past houses. Bicycles crossing small bridges. Nothing pushing you forward, except the slow pull of the water. Just a village waking up at its own pace. Giethoorn is easy to admire from a distance, but the real story is in the people who shaped it: peat cutters, boatmen, families living in thatched cottages, and residents now trying to protect a quiet village the world keeps showing up to see. That tension is what makes it worth writing about. The sobering reality is that Giethoorn isn’t perfect. It’s crowded in summer. Tourism has changed it. Quiet mornings are harder to find than they used to be. And yet, it still holds onto something rare. A way of life built around patience. I wrote about why Giethoorn never built roads, how it became famous, what it feels like to visit, when to go, and why this little Dutch village still matters. Check it out here:
1:05

There’s a village in the Netherlands that never needed roads. Giethoorn was built on swampy peatland, where carts sank, paths disappeared, and water made more sense than asphalt. So instead of forcing the land to become something else, people adapted to it. They dug canals. Then they built homes on small islands and connected them with wooden bridges. And over time, what began as survival became one of the most peaceful villages in Europe. That’s what makes Giethoorn so fascinating. It wasn’t designed to be pretty for tourists. Giethoorn became beautiful because people lived slowly, worked hard, and built around the landscape instead of fighting it. Before the boats arrive, the village still has that feeling. Water sitting still. Ducks drifting past houses. Bicycles crossing small bridges. Nothing pushing you forward, except the slow pull of the water. Just a village waking up at its own pace. Giethoorn is easy to admire from a distance, but the real story is in the people who shaped it: peat cutters, boatmen, families living in thatched cottages, and residents now trying to protect a quiet village the world keeps showing up to see. That tension is what makes it worth writing about. The sobering reality is that Giethoorn isn’t perfect. It’s crowded in summer. Tourism has changed it. Quiet mornings are harder to find than they used to be. And yet, it still holds onto something rare. A way of life built around patience. I wrote about why Giethoorn never built roads, how it became famous, what it feels like to visit, when to go, and why this little Dutch village still matters. Check it out here:

The Timeless Traveler 🇺🇸

98,320 görüntüleme • 1 ay önce

Girl math sometimes puts up walls between her and her goals… who knew it could build bridges? This treehouse needed a proper suspension bridge, but the original plan (running cable straight through each plank) wasn’t going to cut it. So I shifted gears: mounted everything beneath the walkway with eyelets, rerouted the main support lines, and wove in safety netting for the kids. Every knot, every tension adjustment, every “this might not hold but let’s try” moment was done by these two hands. Took longer than expected. Used way more carabiners than planned. But it’s up, it’s solid, and it swings just right when the wind hits. And guess what? Her very capable husband was right there… offering tools and moral support. Still she did every bit of the build herself. Because sometimes girl math isn’t about shortcuts. It’s about proving you can engineer your own way across. Treehouse dreams: unlocked.
1:29

Girl math sometimes puts up walls between her and her goals… who knew it could build bridges? This treehouse needed a proper suspension bridge, but the original plan (running cable straight through each plank) wasn’t going to cut it. So I shifted gears: mounted everything beneath the walkway with eyelets, rerouted the main support lines, and wove in safety netting for the kids. Every knot, every tension adjustment, every “this might not hold but let’s try” moment was done by these two hands. Took longer than expected. Used way more carabiners than planned. But it’s up, it’s solid, and it swings just right when the wind hits. And guess what? Her very capable husband was right there… offering tools and moral support. Still she did every bit of the build herself. Because sometimes girl math isn’t about shortcuts. It’s about proving you can engineer your own way across. Treehouse dreams: unlocked.

🚫👁️Drinks on Saturday🇺🇸

123,290 görüntüleme • 3 ay önce