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Her Name Is Ragatha - (Hamantha jack stauber) Lighting by: RobcastXM itspronouncednifty (instagram) Ragatha plush: Foxdragonartz 2D ragatha art: BlushEra Rigs and maps credit in the comments!!! #tadcㅤㅤ #theamazingdigitalcircus #ragatha #jackstauber

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MicroGaming🇫🇮

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69,278 görüntüleme • 1 ay önce •via X (Twitter)

Sanat#tadcㅤㅤ#theamazingdigitalcircus#ragatha#jackstauber
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Is it me or Jax was waiting for ragatha to finish working? The fact he got into his car..sadly? Zooble taking ragatha home instead of him and jax getting even more awful to zooble next episodes? Tasting gangle and holding her hand in episode 6 as if to irritate zooble back?..
0:51

Is it me or Jax was waiting for ragatha to finish working? The fact he got into his car..sadly? Zooble taking ragatha home instead of him and jax getting even more awful to zooble next episodes? Tasting gangle and holding her hand in episode 6 as if to irritate zooble back?..

🎀angela ݁˖·

24,440 görüntüleme • 11 ay önce

Don't Hug Me I'm Abstracting (The Amazing Digital Circus Song) FULL 3D Animation By Palytra Productions Is Out NOW! - Pomni, Ragatha, Kinger, Gangle and Zooble will FINALLY have their happy ending! But...what about Jax? 🐰 - #TADC #TheAmazingDigitalCircus #TADCSpoilers
0:26

Don't Hug Me I'm Abstracting (The Amazing Digital Circus Song) FULL 3D Animation By Palytra Productions Is Out NOW! - Pomni, Ragatha, Kinger, Gangle and Zooble will FINALLY have their happy ending! But...what about Jax? 🐰 - #TADC #TheAmazingDigitalCircus #TADCSpoilers

Cougar MacDowall

111,205 görüntüleme • 4 ay önce

S5E11 with OONA is now live 💃 We dive into her background before OONA, the birth of OONA, the importance of anonymity, reflections on the intersection of crypto and art, unexpected reactions during her performances, thoughts on AI, ethics and implications of sex robots, her upcoming performance at the NASDAQ and more 📝Show Notes📝 02:15 Intro 05:34 Oona's Background and Name Origin 08:45 The Birth of Oona at NFT NYC 2021 14:05 They All Make The Same Shape When They Tell You To Fuck Off 19:30 Importance of Anonymity 25:34 OONA's Eggs (and Dealing with Dickhead Collectors) 43:10 How Did You Fall In Love with Art? 46:17 Comments on the Art Market 1:03:19 Performance Art and Unexpected Audience Reactions 1:16:19 Crypto, Art, and Societal Reflections 1:36:41 The Future of AI and Technology in Society 1:50:22 The Ethics and Implications of Sex Robots 1:56:28 Upcoming Projects and Final Thoughts ⚡Powered by Towns App⚡
1:59:51

S5E11 with OONA is now live 💃 We dive into her background before OONA, the birth of OONA, the importance of anonymity, reflections on the intersection of crypto and art, unexpected reactions during her performances, thoughts on AI, ethics and implications of sex robots, her upcoming performance at the NASDAQ and more 📝Show Notes📝 02:15 Intro 05:34 Oona's Background and Name Origin 08:45 The Birth of Oona at NFT NYC 2021 14:05 They All Make The Same Shape When They Tell You To Fuck Off 19:30 Importance of Anonymity 25:34 OONA's Eggs (and Dealing with Dickhead Collectors) 43:10 How Did You Fall In Love with Art? 46:17 Comments on the Art Market 1:03:19 Performance Art and Unexpected Audience Reactions 1:16:19 Crypto, Art, and Societal Reflections 1:36:41 The Future of AI and Technology in Society 1:50:22 The Ethics and Implications of Sex Robots 1:56:28 Upcoming Projects and Final Thoughts ⚡Powered by Towns App⚡

DeeZe ⛳🏌️‍♂️

44,378 görüntüleme • 1 yıl önce

𝐕𝐈𝐃𝐄𝐎: 𝐏𝐫𝐞𝐠𝐧𝐚𝐧𝐭 𝐖𝐨𝐦𝐚𝐧 𝐃𝐢𝐞𝐬 𝐀𝐟𝐭𝐞𝐫 𝐀𝐥𝐥𝐞𝐠𝐞𝐝𝐥𝐲 𝐁𝐞𝐢𝐧𝐠 𝐃𝐞𝐧𝐢𝐞𝐝 𝐓𝐫𝐞𝐚𝐭𝐦𝐞𝐧𝐭 𝐎𝐯𝐞𝐫 ₦𝟓𝟎𝟎,𝟎𝟎𝟎 𝐃𝐞𝐩𝐨𝐬𝐢𝐭 A pregnant woman in labour has tragically passed away after allegedly being denied treatment at a hospital due to her inability to pay a ₦500,000 deposit. The heartbreaking ordeal was first shared on Instagram in February by her husband, Akinbobola Folajimi, and recently gained widespread attention on X, formerly known as Twitter. In the video, the expectant mother is seen inside a car with her husband, visibly weak as he desperately tries to keep her conscious. He repeatedly called her name and urged her to stay strong for their children. “My goodness, Kemi, look at me. Stay strong, look at me. Think about your kids, please. You need to be very strong for me,” he pleaded. The husband, in a post announcing the death of his wife, Kemi, revealed that they initially sought help at a private hospital but were turned away because they couldn’t afford the ₦500,000 deposit. He added that they were referred to a general hospital in Epe, but she didn’t survive the journey. In his post Folajimi wrote, "Private hospitals in Nigeria. The doctor told me to deposit 500k and I begged him to start doing whatever is needed to save my wife, we needed emergency support while I run around for the money but they drove us out like they don't care. "Unfortunately blindly rejected us and asked me to take her to General Hospital at Epe, even the doctor knows that Epe from Lakwe is way too far for such her condition. Before we rushed her to Epe, she was gone "How???? such a wicked institution, well only jah knows and sees all. this is just too much for me." As the video continues to spread online, many concerned individuals have flooded the comment section, expressing their outrage and sympathy. Credit: Instagram | Captainblaze --- Follow us for more breaking news and videos
0:27

𝐕𝐈𝐃𝐄𝐎: 𝐏𝐫𝐞𝐠𝐧𝐚𝐧𝐭 𝐖𝐨𝐦𝐚𝐧 𝐃𝐢𝐞𝐬 𝐀𝐟𝐭𝐞𝐫 𝐀𝐥𝐥𝐞𝐠𝐞𝐝𝐥𝐲 𝐁𝐞𝐢𝐧𝐠 𝐃𝐞𝐧𝐢𝐞𝐝 𝐓𝐫𝐞𝐚𝐭𝐦𝐞𝐧𝐭 𝐎𝐯𝐞𝐫 ₦𝟓𝟎𝟎,𝟎𝟎𝟎 𝐃𝐞𝐩𝐨𝐬𝐢𝐭 A pregnant woman in labour has tragically passed away after allegedly being denied treatment at a hospital due to her inability to pay a ₦500,000 deposit. The heartbreaking ordeal was first shared on Instagram in February by her husband, Akinbobola Folajimi, and recently gained widespread attention on X, formerly known as Twitter. In the video, the expectant mother is seen inside a car with her husband, visibly weak as he desperately tries to keep her conscious. He repeatedly called her name and urged her to stay strong for their children. “My goodness, Kemi, look at me. Stay strong, look at me. Think about your kids, please. You need to be very strong for me,” he pleaded. The husband, in a post announcing the death of his wife, Kemi, revealed that they initially sought help at a private hospital but were turned away because they couldn’t afford the ₦500,000 deposit. He added that they were referred to a general hospital in Epe, but she didn’t survive the journey. In his post Folajimi wrote, "Private hospitals in Nigeria. The doctor told me to deposit 500k and I begged him to start doing whatever is needed to save my wife, we needed emergency support while I run around for the money but they drove us out like they don't care. "Unfortunately blindly rejected us and asked me to take her to General Hospital at Epe, even the doctor knows that Epe from Lakwe is way too far for such her condition. Before we rushed her to Epe, she was gone "How???? such a wicked institution, well only jah knows and sees all. this is just too much for me." As the video continues to spread online, many concerned individuals have flooded the comment section, expressing their outrage and sympathy. Credit: Instagram | Captainblaze --- Follow us for more breaking news and videos

Punch Newspapers

143,826 görüntüleme • 1 yıl önce

A 26-year-old from Dallas built an AI cabin girl with Claude and turned her into a $13,900/month account. It took 11 days. He trained a LoRA on 62 renders, locked the seed, and left small flaws on purpose: one strap mark, one loose hair, slightly uneven cabin light. Too perfect looks fake. Tiny imperfections sell the illusion. She posts 4 times a day. Overhead bin. Aisle walk. Bag lift. Seat turn. The videos bring attention, but the replies make the money. An agent answers in under 32 seconds, checks a 10,300-name memory file, reads the last chat, and replies like she actually knows the person. By month three, she hit 156K on TikTok and 61K on Instagram. Then brands came in: luggage, travel pillows, airport accessories. $2,700/month from deals. The private channel is $21. 533 men pay. $11,200 from chat. $2,700 from brands. $190 in compute. His own account has 5 followers and no profile photo. Her account gets 290+ DMs every night. The stack: Claude locked identity, body shape and cabin lighting. LoRA learned only aisle and luggage scenes. Cabin set stayed fixed. Bag movement had natural shifts. Then upscale, schedule, post. The cabin pulled them in. The memory agent kept them paying.
0:49

A 26-year-old from Dallas built an AI cabin girl with Claude and turned her into a $13,900/month account. It took 11 days. He trained a LoRA on 62 renders, locked the seed, and left small flaws on purpose: one strap mark, one loose hair, slightly uneven cabin light. Too perfect looks fake. Tiny imperfections sell the illusion. She posts 4 times a day. Overhead bin. Aisle walk. Bag lift. Seat turn. The videos bring attention, but the replies make the money. An agent answers in under 32 seconds, checks a 10,300-name memory file, reads the last chat, and replies like she actually knows the person. By month three, she hit 156K on TikTok and 61K on Instagram. Then brands came in: luggage, travel pillows, airport accessories. $2,700/month from deals. The private channel is $21. 533 men pay. $11,200 from chat. $2,700 from brands. $190 in compute. His own account has 5 followers and no profile photo. Her account gets 290+ DMs every night. The stack: Claude locked identity, body shape and cabin lighting. LoRA learned only aisle and luggage scenes. Cabin set stayed fixed. Bag movement had natural shifts. Then upscale, schedule, post. The cabin pulled them in. The memory agent kept them paying.

Performance

85,267 görüntüleme • 27 gün önce

FUTURE EXPLODES: “Beyoncé stole Drunk in Love from me… then won a Grammy with it and never said a word” Future drops a bombshell in a raw Instagram interview… “Drunk in Love was mine first. I wrote it. I recorded the demo. The whole vibe, the melody, the energy… that was my song. They asked me to play it for Beyoncé so she could maybe hop on it as a feature. I was young, hungry, not the big name yet. I thought we were talking collaboration. Next thing I know, the song is on her album. No feature for me. No credit the way it should’ve been. Just… gone. And that same song goes on to win her a Grammy. She never said a word. No thank you. No acknowledgment. Nothing. I sat with that for years. Watched it become one of her biggest records while I was still grinding, still trying to get people to take me serious. It hurt. Still does. Because that wasn’t just a song… that was a piece of me they took when I didn’t have the power to stop it.” The comments are already on fire.
1:08

FUTURE EXPLODES: “Beyoncé stole Drunk in Love from me… then won a Grammy with it and never said a word” Future drops a bombshell in a raw Instagram interview… “Drunk in Love was mine first. I wrote it. I recorded the demo. The whole vibe, the melody, the energy… that was my song. They asked me to play it for Beyoncé so she could maybe hop on it as a feature. I was young, hungry, not the big name yet. I thought we were talking collaboration. Next thing I know, the song is on her album. No feature for me. No credit the way it should’ve been. Just… gone. And that same song goes on to win her a Grammy. She never said a word. No thank you. No acknowledgment. Nothing. I sat with that for years. Watched it become one of her biggest records while I was still grinding, still trying to get people to take me serious. It hurt. Still does. Because that wasn’t just a song… that was a piece of me they took when I didn’t have the power to stop it.” The comments are already on fire.

ꌚꐇꉣꈼꌅꌚꂦꋊ 1.1 🫥

133,541 görüntüleme • 2 ay önce

Hotel employee busted stealing credit card info and making purchases. Always check your bank alerts—because sometimes the call is coming from inside the hotel. ​When a traveler noticed unauthorized charges popping up on her Capital One card, the paper trail didn't lead to a shadowy overseas hacker. It led straight back to the front desk of the hotel she had just checked out of. ​The victim, Samantha Warner, had recently stayed at the Red Lion Hotel in Ellensburg, Washington. A few days later, red flags went up: first, a $27.75 pending charge at the Majestic Theater in Yakima, followed shortly by an active $44.76 order from an Ellensburg Domino’s Pizza. Suspicious, Warner called the Domino’s directly to investigate. An employee confirmed the delivery was addressed to none other than the Red Lion Hotel—ordered under the first name “Alexis.” Warner immediately remembered the front desk clerk on duty during her stay had that exact name. ​Ellensburg Police were notified, and Sergeant Potter went straight to the Domino’s location to verify the delivery details. The receipts confirmed the order was placed online under the name Alexis King. A records check on King revealed not only an active misdemeanor bench warrant for driving with a suspended license, but also an eerily similar recent complaint from another Red Lion guest whose card had been hit for roughly $300 in fraudulent charges at local Yakima businesses, including Walmart and KFC. ​Bodycam footage captured the moment officers showed up at the Red Lion to arrest 24-year-old Alexis King right in the middle of her shift. ​During her interrogation, King initially tried to pass the transactions off as a bizarre technology glitch, claiming her phone had simply “autofilled” a stored card by mistake. But that defense quickly crumbled under scrutiny. When investigators pressed her on how an unsuspecting guest’s 16-digit number, expiration date, and CVV magically landed in her personal Apple Wallet without manual entry, King folded. She admitted to charging three tickets to Zootopia 2 and confessed the transactions weren't accidental. ​King broke down her financial struggles, explaining that as a single mother working minimum wage ($17/hour), she was desperate after a former manager held back hours on her schedule limiting her to just two shifts a week. ​Even more alarming was how she allegedly got the numbers in the first place: according to incident reports, King stated that hotel staff had learned to type guests' full, unmasked credit card credentials directly into the open "comments" field of the hotel’s reservation software to bypass built-in data masking, leaving sensitive guest information completely exposed. ​King was booked on two counts of second-degree identity theft, two counts of second-degree theft, and her outstanding warrant before being released on a $5,000 bond pending trial proceedings in Kittitas County. This case is still working it's way through the court system. ​A brutal reminder that guest privacy is only as secure as the internal software controls—and the people behind the desk.
22:33

Hotel employee busted stealing credit card info and making purchases. Always check your bank alerts—because sometimes the call is coming from inside the hotel. ​When a traveler noticed unauthorized charges popping up on her Capital One card, the paper trail didn't lead to a shadowy overseas hacker. It led straight back to the front desk of the hotel she had just checked out of. ​The victim, Samantha Warner, had recently stayed at the Red Lion Hotel in Ellensburg, Washington. A few days later, red flags went up: first, a $27.75 pending charge at the Majestic Theater in Yakima, followed shortly by an active $44.76 order from an Ellensburg Domino’s Pizza. Suspicious, Warner called the Domino’s directly to investigate. An employee confirmed the delivery was addressed to none other than the Red Lion Hotel—ordered under the first name “Alexis.” Warner immediately remembered the front desk clerk on duty during her stay had that exact name. ​Ellensburg Police were notified, and Sergeant Potter went straight to the Domino’s location to verify the delivery details. The receipts confirmed the order was placed online under the name Alexis King. A records check on King revealed not only an active misdemeanor bench warrant for driving with a suspended license, but also an eerily similar recent complaint from another Red Lion guest whose card had been hit for roughly $300 in fraudulent charges at local Yakima businesses, including Walmart and KFC. ​Bodycam footage captured the moment officers showed up at the Red Lion to arrest 24-year-old Alexis King right in the middle of her shift. ​During her interrogation, King initially tried to pass the transactions off as a bizarre technology glitch, claiming her phone had simply “autofilled” a stored card by mistake. But that defense quickly crumbled under scrutiny. When investigators pressed her on how an unsuspecting guest’s 16-digit number, expiration date, and CVV magically landed in her personal Apple Wallet without manual entry, King folded. She admitted to charging three tickets to Zootopia 2 and confessed the transactions weren't accidental. ​King broke down her financial struggles, explaining that as a single mother working minimum wage ($17/hour), she was desperate after a former manager held back hours on her schedule limiting her to just two shifts a week. ​Even more alarming was how she allegedly got the numbers in the first place: according to incident reports, King stated that hotel staff had learned to type guests' full, unmasked credit card credentials directly into the open "comments" field of the hotel’s reservation software to bypass built-in data masking, leaving sensitive guest information completely exposed. ​King was booked on two counts of second-degree identity theft, two counts of second-degree theft, and her outstanding warrant before being released on a $5,000 bond pending trial proceedings in Kittitas County. This case is still working it's way through the court system. ​A brutal reminder that guest privacy is only as secure as the internal software controls—and the people behind the desk.

Giggling Gannon

44,380 görüntüleme • 10 gün önce

‘F*CK WHITE PEOPLE’ Palestinian refugee confronted in Montreal Last Saturday, March 7, Lavoie crossed paths with this woman — Samar Alkhdour — as she was heading to a demonstration organized by Iranians in Montreal. As might be expected, since Alkhdour openly supports what she calls the “resistance” in Gaza — in other words, Hamas — she was leaving the area rather than taking part in the demonstration. Lavoie questioned her about the comments she had made toward Canada, as well as the remarks she had made about white people. This is not the first time Samar Alkhdour has been seen at protests. She is a pro-Hamas activist who regularly participates in demonstrations. According to her LinkedIn profile, she works at the Immigrant Social Assistance Centre in Montreal. But who exactly is this woman who has been widely featured by mainstream media outlets, many of which helped pressure the government to accelerate the admission of Palestinian refugees into Canada? It is important to remember that due to the presence of Hamas members and other radical groups in Gaza, the vetting process for refugee applicants must be extremely rigorous. Here is what Lavoie was able to uncover. Samar Alkhdour is originally from the Gaza Strip, where she lived with her husband, Mahmoud El-Kahlout — a name that will return later in the story. She is the mother of three children, including her eldest daughter, who suffered from severe cerebral palsy affecting her vision, mobility, and ability to eat. In 2017, Alkhdour reportedly received a scholarship and a visa to study in Ohio, in the United States. She left Gaza with two of her children, leaving behind her severely disabled daughter and her husband, who at the time had not received security clearance to leave Gaza. It was not until 2018 that her husband was finally able to join her in the United States. Meanwhile, their daughter remained in Gaza because they were unable to find suitable transportation for the child, who was extremely ill. In 2019, after completing her degree, Alkhdour and her family applied for refugee status in Canada. However, at the time it was impossible to claim asylum from within the United States due to the Safe Third Country Agreement between the two countries. This means that Alkhdour and her family most likely crossed the border illegally at Roxham Road, as thousands of migrants did during that period. For several years, their social media accounts contained almost no posts about Gaza — and none about their daughter who remained there. It was only after October 7, 2023, when Hamas massacred innocent civilians in Israel, that Alkhdour and her husband began actively campaigning to pressure the Canadian government to accelerate the entry of Palestinian refugees — including their own family members. In several media appearances, they used the tragic situation of their daughter in order to pressure the government, even blaming Canada for her death — despite the fact that she had been left behind by them, not Canada. Alkhdour was even arrested and charged after participating in pressure actions outside the Montreal office of Mark Miller, Canada’s former immigration minister, where she camped for several days. The charges were later dropped. In several of her activist videos, she can be seen disrespecting police officers, disrupting public spaces, glorifying the events of October 7, and calling on people to escalate disruptive actions. Her ex-husband — because according to Alkhdour they may have divorced — Mahmoud El-Kahlout, who according to LinkedIn works for Air Canada, has also used media appearances to pressure the government to accelerate the arrival of his family in Canada. Mahmoud has also publicly expressed support for Hamas. In one of his publications, Mahmoud El-Kahlout indicated his wish to avenge the sniper who took out his beloved Yahya Sinwar, the mastermind behind the October 7 massacre, stating in Arabic: “You Will Be Trampled.” On his Instagram account, Mahmoud El-Kahlout even paid tribute to a man released from prison after 13 years for stabbing two Israelis. Mahmoud El-Kahlout has also stated that a man named Dr. Ahmed Hassan El-Kahlout, who was detained by Israeli forces and admitted to being a member of Hamas, is a member of his family. However, Lavoie was not able to confirm the exact family connection. Mahmoud claims the man’s confession was obtained under coercion. However, a well-placed source confirmed to Lavoie that the statements in the video are authentic and that no coercion was used. Mahmoud is also trying to bring his brother to Canada — a graphic designer who, according to his own social media, also expresses support for Hamas. In one post, children can be seen watching Abu Obaida, the Hamas spokesperson, with the caption in Arabic: “The legacy of difficult days! A generation with a true role model.” Canada has allowed — and continues to allow — individuals into the country who import their conflicts here, despise the culture of the country, and openly support terrorist organizations. According to Lavoie, Samar Alkhdour and her husband should never have been allowed to immigrate to Canada. Those who agree can sign the petition at REPORT by Alexandra Lavoie:
18:19

‘F*CK WHITE PEOPLE’ Palestinian refugee confronted in Montreal Last Saturday, March 7, Lavoie crossed paths with this woman — Samar Alkhdour — as she was heading to a demonstration organized by Iranians in Montreal. As might be expected, since Alkhdour openly supports what she calls the “resistance” in Gaza — in other words, Hamas — she was leaving the area rather than taking part in the demonstration. Lavoie questioned her about the comments she had made toward Canada, as well as the remarks she had made about white people. This is not the first time Samar Alkhdour has been seen at protests. She is a pro-Hamas activist who regularly participates in demonstrations. According to her LinkedIn profile, she works at the Immigrant Social Assistance Centre in Montreal. But who exactly is this woman who has been widely featured by mainstream media outlets, many of which helped pressure the government to accelerate the admission of Palestinian refugees into Canada? It is important to remember that due to the presence of Hamas members and other radical groups in Gaza, the vetting process for refugee applicants must be extremely rigorous. Here is what Lavoie was able to uncover. Samar Alkhdour is originally from the Gaza Strip, where she lived with her husband, Mahmoud El-Kahlout — a name that will return later in the story. She is the mother of three children, including her eldest daughter, who suffered from severe cerebral palsy affecting her vision, mobility, and ability to eat. In 2017, Alkhdour reportedly received a scholarship and a visa to study in Ohio, in the United States. She left Gaza with two of her children, leaving behind her severely disabled daughter and her husband, who at the time had not received security clearance to leave Gaza. It was not until 2018 that her husband was finally able to join her in the United States. Meanwhile, their daughter remained in Gaza because they were unable to find suitable transportation for the child, who was extremely ill. In 2019, after completing her degree, Alkhdour and her family applied for refugee status in Canada. However, at the time it was impossible to claim asylum from within the United States due to the Safe Third Country Agreement between the two countries. This means that Alkhdour and her family most likely crossed the border illegally at Roxham Road, as thousands of migrants did during that period. For several years, their social media accounts contained almost no posts about Gaza — and none about their daughter who remained there. It was only after October 7, 2023, when Hamas massacred innocent civilians in Israel, that Alkhdour and her husband began actively campaigning to pressure the Canadian government to accelerate the entry of Palestinian refugees — including their own family members. In several media appearances, they used the tragic situation of their daughter in order to pressure the government, even blaming Canada for her death — despite the fact that she had been left behind by them, not Canada. Alkhdour was even arrested and charged after participating in pressure actions outside the Montreal office of Mark Miller, Canada’s former immigration minister, where she camped for several days. The charges were later dropped. In several of her activist videos, she can be seen disrespecting police officers, disrupting public spaces, glorifying the events of October 7, and calling on people to escalate disruptive actions. Her ex-husband — because according to Alkhdour they may have divorced — Mahmoud El-Kahlout, who according to LinkedIn works for Air Canada, has also used media appearances to pressure the government to accelerate the arrival of his family in Canada. Mahmoud has also publicly expressed support for Hamas. In one of his publications, Mahmoud El-Kahlout indicated his wish to avenge the sniper who took out his beloved Yahya Sinwar, the mastermind behind the October 7 massacre, stating in Arabic: “You Will Be Trampled.” On his Instagram account, Mahmoud El-Kahlout even paid tribute to a man released from prison after 13 years for stabbing two Israelis. Mahmoud El-Kahlout has also stated that a man named Dr. Ahmed Hassan El-Kahlout, who was detained by Israeli forces and admitted to being a member of Hamas, is a member of his family. However, Lavoie was not able to confirm the exact family connection. Mahmoud claims the man’s confession was obtained under coercion. However, a well-placed source confirmed to Lavoie that the statements in the video are authentic and that no coercion was used. Mahmoud is also trying to bring his brother to Canada — a graphic designer who, according to his own social media, also expresses support for Hamas. In one post, children can be seen watching Abu Obaida, the Hamas spokesperson, with the caption in Arabic: “The legacy of difficult days! A generation with a true role model.” Canada has allowed — and continues to allow — individuals into the country who import their conflicts here, despise the culture of the country, and openly support terrorist organizations. According to Lavoie, Samar Alkhdour and her husband should never have been allowed to immigrate to Canada. Those who agree can sign the petition at REPORT by Alexandra Lavoie:

Rebel News

22,479 görüntüleme • 7 ay önce

VALENTINES DAY IS A PAGAN HOLIDAY CALLED LUPERCALIA The first man named Valentine, was Lupercus (The hunter). Nimrod King of Babylon, worshipper of Baal, was known as the mighty Hunter and was the Romans Lupercus. Lupercalia is a blood ritual falling on 13, 14, and 15. Valentine's Day or Lupercalia is just another occult holyday celebrating Osiris, Ra, Moloch, Baal, Lucifer, Saturn, etc all which represent the occult esoteric mystery schools and Babylonian Mystery Religion sun worship. This is who they are, astrotheologists and today is one of their ritual Holydays. Keep your children close as sacrifice will be taking place it started yesterday will continue today at the peak and also tomorrow. Not to mention last night was also a full moon "Snow moon" Futhermore.... keep in mind King Nimrod built Babylon and commissioned the building of the tower of Babel to reach God and become God. "Valentines day is currently celebrated on February 14th. In ancient Babylonian times the solstice occurred on January 6th, Nimrod’s true birthday. It was the custom of antiquity for the mother of a male child to present herself for purification on the 40th day after the day of birth. The 40th day after January 6th is February 15th. The Lupercalia celebration began on the evening of February 14th hence our current holiday, St. Valentine’s Day. Nimrod was the original St. Valentine but he wasn’t called that during Lupercalia annual celebration. The name Valentine originated in Rome. Valentine was also known as Saturn (Satan), and Nimrod, the Roman Babylonian god who hid from his pursuers in a secret place. The Latin word Saturn is derived from the Semitic-speaking Babylonians. It means “Be hid,” “Hide self,” “Secret,” “Conceal.” The original Semitic (Hebrew) word, from which the Latin Saturn is derived, is used 83 times in the Old Testament. According to ancient tradition, Saturn (Nimrod) fled from his pursuers to Italy. The Apennine Mountains of Italy were anciently named the mountains of Nembrod, or Nimrod. Nimrod briefly hid out at the site where Rome was later built. The ancient name of Rome, before it was rebuilt in 753 B.C., was Saturnia, the site of Saturn’s (Nimrod’s) hiding. There he was found and slain for his crimes. Later, professing Christians in Constantine’s day made Nimrod the St. Valentine of the heathen, “A Saint of the Church,” and continued to honor him under the name of a Christian martyr. Valentine was a common Roman name. The parents of Rome often gave this name to their children in honor of the famous man who was first called Valentine in antiquity. That famous man was Lupercus, “The Hunter” (Nimrod). The Greeks called Lupercus, “Pan.” The Semites called Pan, “Baal,” according to “Classical Dictionaries.” Baal is often mentioned in the Bible and this was merely another name for Nimrod, “The mighty Hunter” (Genesis 10:9). The hunter, Nimrod was the Lupercus, or wolf hunter of the Romans. And St. Valentine’s Day was originally a day set aside by the pagans in his honor. Valentine comes from the Latin word “Valentinus,” a proper name derived from the word “Valens,” meaning, “To be strong,” as illustrated in the Webster’s Unabridged Dictionary. It means strong, powerful, mighty. Another name for Nimrod was “Sanctus,” and “Santa.” The Romans acquired the symbol of the heart from the Babylonians. In the Babylonian language for “Heart” was “Bal.” The heart, or “Bal,” was merely a symbol of Nimrod the “Baal” (the name of Satan), or Lord of the Babylonians. Another Nimrod name as a child, was “Cupid,” meaning desire (Encyclopedia Britannica, art., “Cupid”). It is said that when Nimrod’s mother saw him, she lusted after him, and desired him. Nimrod became her “Cupid,” her desired one. As Nimrod grew up, he became the child-hero of many women who desired him. He was their Cupid. In the Book of Daniel he is called the “Desire of women” (Daniel 11:37). Moffatt translates the word as Tammuz, a Babylonian name of Nimrod. He provoked so many women to jealousy that an idol of him was often called the “Idol of jealousy” (Ezekiel 8:5). The pagans commemorated their hero-hunter Nimrod, or Baal, by sending heart shaped love tokens to one another on the evening of February 14th as a symbol of him. The heart shape that we use today is given out on Valentines Day in forms of chocolate and candy, because it’s considered a day of love and lovemaking. The shape of this heart is not in the shape of a human heart. It derives from an extinct plant called, “Silphium.” Silphium was the most effective birth control of its time. It was so popular that its shape was used on Greek coins." Even more interesting.... Lupercalia = Wolf Festival (literally) Lupercalia comes from Lupercus, an old Italic god. Lupercus = “he who wards off wolves” or “wolf god.” The festival was held at the Lupercal Cave, where: Romulus and Remus were suckled by a she-wolf (lupa) Rome’s origin story is wolf-raised So from the jump: Rome = founded by wolves Lupercalia = ritual honoring wolf power The Luperci: Men Who Became Wolves (Symbolically) The priests of the festival were called Luperci. During the rite they: Sacrificed goats and a dog (both linked to wildness and liminality), smeared blood on their foreheads Laughed it off, ritual rebirth, stripped nearly naked and ran through the city whipping people with goat hides This matters because in Indo-European cultures: Nudity + blood + animal skins = transformation rites These are the same elements later associated with berserkers and werewolves. The Luperci weren’t pretending to be wolves. They were ritually assuming wolf nature. Lupus, Lupa, Lycanthropy. Same Root Family Latin lupus = wolf Greek lykos = wolf Lycanthropy = lykos (wolf) + anthropos (man) Roman writers knew this connection. Pliny the Elder records Arcadian wolf-men legends where: A man eats human flesh during a ritual. Becomes a wolf for 9 years. Can return to human form if he abstains. Lupercalia happened mid-February, a dangerous threshold: Winter to Spring Death to Fertility Order to Chaos Werewolves always appear in liminal spaces: - Full moons - Forest edges - Night - Seasonal transitions Same psychology. Same symbolism. When Christianity absorbed Rome: Lupercalia was banned. Wolf symbolism was flipped from sacred protector to demonic shapeshifter. Saint Augustine and later medieval clergy reframed wolf-men as servants of Satan and turned ritual transformation into curses. Now research: Dogman Sources: Video credit: A call for Vengence Youtube
12:02

VALENTINES DAY IS A PAGAN HOLIDAY CALLED LUPERCALIA The first man named Valentine, was Lupercus (The hunter). Nimrod King of Babylon, worshipper of Baal, was known as the mighty Hunter and was the Romans Lupercus. Lupercalia is a blood ritual falling on 13, 14, and 15. Valentine's Day or Lupercalia is just another occult holyday celebrating Osiris, Ra, Moloch, Baal, Lucifer, Saturn, etc all which represent the occult esoteric mystery schools and Babylonian Mystery Religion sun worship. This is who they are, astrotheologists and today is one of their ritual Holydays. Keep your children close as sacrifice will be taking place it started yesterday will continue today at the peak and also tomorrow. Not to mention last night was also a full moon "Snow moon" Futhermore.... keep in mind King Nimrod built Babylon and commissioned the building of the tower of Babel to reach God and become God. "Valentines day is currently celebrated on February 14th. In ancient Babylonian times the solstice occurred on January 6th, Nimrod’s true birthday. It was the custom of antiquity for the mother of a male child to present herself for purification on the 40th day after the day of birth. The 40th day after January 6th is February 15th. The Lupercalia celebration began on the evening of February 14th hence our current holiday, St. Valentine’s Day. Nimrod was the original St. Valentine but he wasn’t called that during Lupercalia annual celebration. The name Valentine originated in Rome. Valentine was also known as Saturn (Satan), and Nimrod, the Roman Babylonian god who hid from his pursuers in a secret place. The Latin word Saturn is derived from the Semitic-speaking Babylonians. It means “Be hid,” “Hide self,” “Secret,” “Conceal.” The original Semitic (Hebrew) word, from which the Latin Saturn is derived, is used 83 times in the Old Testament. According to ancient tradition, Saturn (Nimrod) fled from his pursuers to Italy. The Apennine Mountains of Italy were anciently named the mountains of Nembrod, or Nimrod. Nimrod briefly hid out at the site where Rome was later built. The ancient name of Rome, before it was rebuilt in 753 B.C., was Saturnia, the site of Saturn’s (Nimrod’s) hiding. There he was found and slain for his crimes. Later, professing Christians in Constantine’s day made Nimrod the St. Valentine of the heathen, “A Saint of the Church,” and continued to honor him under the name of a Christian martyr. Valentine was a common Roman name. The parents of Rome often gave this name to their children in honor of the famous man who was first called Valentine in antiquity. That famous man was Lupercus, “The Hunter” (Nimrod). The Greeks called Lupercus, “Pan.” The Semites called Pan, “Baal,” according to “Classical Dictionaries.” Baal is often mentioned in the Bible and this was merely another name for Nimrod, “The mighty Hunter” (Genesis 10:9). The hunter, Nimrod was the Lupercus, or wolf hunter of the Romans. And St. Valentine’s Day was originally a day set aside by the pagans in his honor. Valentine comes from the Latin word “Valentinus,” a proper name derived from the word “Valens,” meaning, “To be strong,” as illustrated in the Webster’s Unabridged Dictionary. It means strong, powerful, mighty. Another name for Nimrod was “Sanctus,” and “Santa.” The Romans acquired the symbol of the heart from the Babylonians. In the Babylonian language for “Heart” was “Bal.” The heart, or “Bal,” was merely a symbol of Nimrod the “Baal” (the name of Satan), or Lord of the Babylonians. Another Nimrod name as a child, was “Cupid,” meaning desire (Encyclopedia Britannica, art., “Cupid”). It is said that when Nimrod’s mother saw him, she lusted after him, and desired him. Nimrod became her “Cupid,” her desired one. As Nimrod grew up, he became the child-hero of many women who desired him. He was their Cupid. In the Book of Daniel he is called the “Desire of women” (Daniel 11:37). Moffatt translates the word as Tammuz, a Babylonian name of Nimrod. He provoked so many women to jealousy that an idol of him was often called the “Idol of jealousy” (Ezekiel 8:5). The pagans commemorated their hero-hunter Nimrod, or Baal, by sending heart shaped love tokens to one another on the evening of February 14th as a symbol of him. The heart shape that we use today is given out on Valentines Day in forms of chocolate and candy, because it’s considered a day of love and lovemaking. The shape of this heart is not in the shape of a human heart. It derives from an extinct plant called, “Silphium.” Silphium was the most effective birth control of its time. It was so popular that its shape was used on Greek coins." Even more interesting.... Lupercalia = Wolf Festival (literally) Lupercalia comes from Lupercus, an old Italic god. Lupercus = “he who wards off wolves” or “wolf god.” The festival was held at the Lupercal Cave, where: Romulus and Remus were suckled by a she-wolf (lupa) Rome’s origin story is wolf-raised So from the jump: Rome = founded by wolves Lupercalia = ritual honoring wolf power The Luperci: Men Who Became Wolves (Symbolically) The priests of the festival were called Luperci. During the rite they: Sacrificed goats and a dog (both linked to wildness and liminality), smeared blood on their foreheads Laughed it off, ritual rebirth, stripped nearly naked and ran through the city whipping people with goat hides This matters because in Indo-European cultures: Nudity + blood + animal skins = transformation rites These are the same elements later associated with berserkers and werewolves. The Luperci weren’t pretending to be wolves. They were ritually assuming wolf nature. Lupus, Lupa, Lycanthropy. Same Root Family Latin lupus = wolf Greek lykos = wolf Lycanthropy = lykos (wolf) + anthropos (man) Roman writers knew this connection. Pliny the Elder records Arcadian wolf-men legends where: A man eats human flesh during a ritual. Becomes a wolf for 9 years. Can return to human form if he abstains. Lupercalia happened mid-February, a dangerous threshold: Winter to Spring Death to Fertility Order to Chaos Werewolves always appear in liminal spaces: - Full moons - Forest edges - Night - Seasonal transitions Same psychology. Same symbolism. When Christianity absorbed Rome: Lupercalia was banned. Wolf symbolism was flipped from sacred protector to demonic shapeshifter. Saint Augustine and later medieval clergy reframed wolf-men as servants of Satan and turned ritual transformation into curses. Now research: Dogman Sources: Video credit: A call for Vengence Youtube

Redpill Drifter

1,808,112 görüntüleme • 8 ay önce

The Derveni Krater exhibited at the Archeological Museum of Thessaloniki is one of the most elaborate metal vessels from ancient Greece yet discovered. Found in 1962 in an undisturbed Macedonian tomb of late 4th Century BC at Derveni not far from Thessaloniki, the krater is a tour de force of highly sophisticated methods of bronze working. Weighing 40kg, it was made of bronze with a high tin content (of 15%), which endows it with a superb golden sheen without the use of any gold at all. Large bronze vessels with figural registers in relief, such as the Derveni krater, were extremely rare in ancient Greece. The most significant reason for this may not have been technical since large pieces of armor were decorated using precisely same techniques at the same time. Rather, this rarity may reflect the high cost of labor-intensive work, says Jasper Gaunt of the Emory University in Atlanta. It is most unusual to find much figural decoration on the bodies of substantial Greek bronze vessels of the Archaic and Classical periods. “The figural decoration on the body of the Derveni krater was well outside the usual canon even at the time of manufacture, far removed from the generally austere appearance of Archaic and Classical bronze vessels,” Gaunt says. The krater was discovered buried, as a funerary urn for a Thessalian aristocrat whose name is engraved on the vase: Astiouneios, son of Anaxagoras, from Larissa. The funerary inscription on the krater reads: ΑΣΤΙΟΥΝΕΙΟΣ ΑΝΑΞΑΓΟΡΑΙΟΙ ΕΣ ΛΑΡΙΣΑΣ, meaning: “Astiouneios, son of Anaxagoras, from Larisa.” Kraters (mixing bowls) were vessels used for mixing undiluted wine with water and most likely various spices, as well. The drink was then ladled out to fellow banqueters at ritual or festive celebrations. When excavated, the Derveni krater contained burnt bones that belonged to a man aged 35-50 and to a younger woman. The exact date and place of making are disputed. Most believe it was made around 370 BC in Athens. Based on the dialectal forms used in the inscription, some commentators think it was fabricated in Thessaly at the time of the revolt of the Aleuadae, around 350 BC. Others date it between 330 and 320 BC and credit it to bronzesmiths of the royal court of Alexander the Great. The vase is composed of two leaves of metal which were hammered and then joined although the handles and the volutes (scrolls) were cast and attached. The main alloy used gives it its golden color, but at various points, the decoration is worked with different metals as overlays or inlays of silver, copper, bronze, and other base metals. Snakes with copper and silver inlaid stripes frame the rising handles, wrapping their bodies around masks of underworld deities. On the shoulder sit four cast bronze figures: on one side a youthful Dionysos with an exhausted maenad and a sleeping Silenos and a maenad handling a snake on the other. In major repoussé frieze on the body, a bearded hunter is associated with Dionysian figures. Beryl Barr-Sharrar, Professor of Fine Arts at the Institute of Fine Arts, NYU, recently wrote a book about Derveni Krater. The artifact is placed in its Macedonian archaeological context and within context of art history as a highly elaborated, early 4th Century version of a metal type known in Athens by about 470 BC. David Mitten of Harvard University said that her book “elevates this masterpiece of later classical Greek art to a status alongside those of the Mausoleum at Halicarnassus and the Alexander Sarcophagus as the most important monuments of Greek art in the fourth century BC.” 🎥© The Archaeologist © Tasos Kokkinidis / Greek Reporter #archaeohistories
1:24

The Derveni Krater exhibited at the Archeological Museum of Thessaloniki is one of the most elaborate metal vessels from ancient Greece yet discovered. Found in 1962 in an undisturbed Macedonian tomb of late 4th Century BC at Derveni not far from Thessaloniki, the krater is a tour de force of highly sophisticated methods of bronze working. Weighing 40kg, it was made of bronze with a high tin content (of 15%), which endows it with a superb golden sheen without the use of any gold at all. Large bronze vessels with figural registers in relief, such as the Derveni krater, were extremely rare in ancient Greece. The most significant reason for this may not have been technical since large pieces of armor were decorated using precisely same techniques at the same time. Rather, this rarity may reflect the high cost of labor-intensive work, says Jasper Gaunt of the Emory University in Atlanta. It is most unusual to find much figural decoration on the bodies of substantial Greek bronze vessels of the Archaic and Classical periods. “The figural decoration on the body of the Derveni krater was well outside the usual canon even at the time of manufacture, far removed from the generally austere appearance of Archaic and Classical bronze vessels,” Gaunt says. The krater was discovered buried, as a funerary urn for a Thessalian aristocrat whose name is engraved on the vase: Astiouneios, son of Anaxagoras, from Larissa. The funerary inscription on the krater reads: ΑΣΤΙΟΥΝΕΙΟΣ ΑΝΑΞΑΓΟΡΑΙΟΙ ΕΣ ΛΑΡΙΣΑΣ, meaning: “Astiouneios, son of Anaxagoras, from Larisa.” Kraters (mixing bowls) were vessels used for mixing undiluted wine with water and most likely various spices, as well. The drink was then ladled out to fellow banqueters at ritual or festive celebrations. When excavated, the Derveni krater contained burnt bones that belonged to a man aged 35-50 and to a younger woman. The exact date and place of making are disputed. Most believe it was made around 370 BC in Athens. Based on the dialectal forms used in the inscription, some commentators think it was fabricated in Thessaly at the time of the revolt of the Aleuadae, around 350 BC. Others date it between 330 and 320 BC and credit it to bronzesmiths of the royal court of Alexander the Great. The vase is composed of two leaves of metal which were hammered and then joined although the handles and the volutes (scrolls) were cast and attached. The main alloy used gives it its golden color, but at various points, the decoration is worked with different metals as overlays or inlays of silver, copper, bronze, and other base metals. Snakes with copper and silver inlaid stripes frame the rising handles, wrapping their bodies around masks of underworld deities. On the shoulder sit four cast bronze figures: on one side a youthful Dionysos with an exhausted maenad and a sleeping Silenos and a maenad handling a snake on the other. In major repoussé frieze on the body, a bearded hunter is associated with Dionysian figures. Beryl Barr-Sharrar, Professor of Fine Arts at the Institute of Fine Arts, NYU, recently wrote a book about Derveni Krater. The artifact is placed in its Macedonian archaeological context and within context of art history as a highly elaborated, early 4th Century version of a metal type known in Athens by about 470 BC. David Mitten of Harvard University said that her book “elevates this masterpiece of later classical Greek art to a status alongside those of the Mausoleum at Halicarnassus and the Alexander Sarcophagus as the most important monuments of Greek art in the fourth century BC.” 🎥© The Archaeologist © Tasos Kokkinidis / Greek Reporter #archaeohistories

Archaeo - Histories

31,418 görüntüleme • 1 yıl önce

🎬 Nano Banana Pro + Kling O1 ile Sevdiğiniz Filmin İçinden Sahnelere Işınlanın! Nasıl Yapılır? 👇(Promptlar ve Uygulama) 1️⃣ Her Sahneyi Oluşturun: Her sahneyi kendi tutarlılığınızı koruyarak oluşturmanız gerekiyor. Bunun için kendi fotoğrafınızı yükleyin ve aşağıdaki uyarlanabilir promptu kullanın. Not: Prompt içindeki köşeli parantezleri doldurun: karakter, film/dizi, sahne, poz, mekân vb. PROMPT (SELFIE SAHNESİ): STRICT IDENTITY LOCK – SELFIE SCENE The person holding the phone and taking the selfie MUST be the exact same person as in the uploaded reference image. Do NOT generate a new person. The face, facial proportions, jawline, beard, hairstyle, skin tone, age, and overall identity must be IDENTICAL to the reference photo. This is a selfie taken by the reference person, not a third-person photo. Scene takes place in: [UNIVERSE / FILM / SERIES NAME], at [SPECIFIC LOCATION]. The reference person is holding a smartphone with one hand, arm slightly extended, clearly taking a selfie. [CHARACTER NAME] is standing right next to the reference person, slightly leaning into the frame, with [CHARACTER POSE / MOOD], looking at the camera. The reference person looks exactly like the uploaded photo, same appearance, same vibe, natural and realistic. [CHARACTER NAME] looks exactly like in [FILM / SERIES NAME]: [CHARACTER ACTOR NAME – optional], [CLOTHING / OUTFIT DETAILS], [HAIR / FACE / DISTINCTIVE FEATURES], [OVERALL AURA OR PERSONALITY]. Camera perspective: realistic front-facing smartphone selfie Composition: slight wide-angle distortion typical of phone selfies Lighting: [LIGHTING DESCRIPTION matching the universe], cinematic realism Aspect ratio: 1:1 Style: ultra-realistic, [FILM / SERIES]-accurate, photorealistic Priority order: identity accuracy > selfie realism > scene accuracy 🚫 NEGATIVE PROMPT (AYNEN KALACAK) Voldemort following the person, Voldemort transforming, character morphing, identity change, face swap, teleporting, sudden scene cut, camera jump, third-person view, extra people, distorted face, CGI look, fantasy art, cartoon, glitch effects 2️⃣ Start Frame ve End Frame ile Video Oluşturun: Start frame kısmına başlangıç sahnenizi, end frame kısmına ise bitiş sahnesini yerleştirin. Örnek: Başlangıç: Spiderman ile sahne Bitiş: Witcher ile sahne Kurallar: Her end frame bir sonraki sahnenin start frame’i olmalı. Geçişler arası tutarlılığı korumak için video üretme modeli kullanın (ör. Kling O1). 3️⃣ Geçişleri Sağlamak için Uyarlanabilir Prompt: STRICT IDENTITY CONSISTENCY – TRANSITION SEQUENCE The person holding the phone must remain IDENTICAL to the reference identity across all frames. Face, facial structure, beard, hairstyle, skin tone, age, and overall appearance must not change at any point during the transition. This is a continuous selfie video, recorded by the same person with a front-facing smartphone camera. The video starts in: [BAŞLANGIÇ EVRENİ / DİZİ / FİLM ADI], at [BAŞLANGIÇ MEKÂNI]. The reference person is holding the phone, taking a selfie with [BAŞLANGIÇ KARAKTERİ] standing next to them. [BAŞLANGIÇ KARAKTERİ] remains in place, calm and still, maintaining their position in the background. After the selfie moment, the reference person turns slightly and starts walking away, still holding the phone in selfie position. [BAŞLANGIÇ KARAKTERİ] stays behind and does NOT follow, does NOT move, and does NOT transform. The reference person continues walking forward alone, phone held steadily. As the walk continues, the environment gradually transforms: [BAŞLANGIÇ MEKÂNININ AYIRT EDİCİ YAPILARI] slowly fade behind [BAŞLANGIÇ EVRENİNE AİT ATMOSFER DETAYLARI] dissolve into mist / fog The overall tone transitions into [HEDEF EVRENİN ATMOSFERİ: karanlık, mistik, futuristik vb.] Environmental textures subtly evolve into [HEDEF EVREN / MEKÂN TARZI] During the transition, a cinematic visual bridge appears: swirling fog faint magical / sci-fi / atmospheric particles subtle wind moody, desaturated lighting smooth atmospheric blending No hard cuts, no teleporting, no sudden jumps By the end of the walk, the environment has fully transformed into: [HEDEF EVRENİ / DİZİ / FİLM ADI]. [HEDEF KARAKTERİ] naturally enters the frame next to the reference person, as if joining for a selfie. The reference person stops walking and holds the phone steady to take a new selfie. [HEDEF KARAKTERİ] looks exactly like in [HEDEF EVRENİ / DİZİ / FİLM ADI]: [OYUNCU ADI – opsiyonel], [SAÇ / YÜZ / AYIRT EDİCİ ÖZELLİKLER], [KIYAFET / KOSTÜM DETAYLARI], [GENEL DURUŞ / KARAKTER AURASI]. Camera rules: front-facing smartphone selfie stable hand-held motion no camera flips no angle jumps Motion: smooth forward walk, natural human movement Style: cinematic, ultra-realistic, [HEDEF EVREN]-accurate Aspect ratio: 1:1 Priority: identity consistency > motion continuity > environment transition 🚫 NEGATIVE PROMPT (BUNU ASLA ÇIKARMA) [BAŞLANGIÇ KARAKTERİ] following the person, [BAŞLANGIÇ KARAKTERİ] transforming, character morphing, identity change, face swap, teleporting, sudden scene cut, camera jump, third-person view, extra people, distorted face, CGI look, fantasy art, cartoon, glitch effects 4️⃣ Videoları Birleştirin: Tüm sahneleri ve geçişleri oluşturduktan sonra CapCut veya benzeri bir video editöründe birleştirin. İsterseniz müzik ve ses efektleri ekleyin. Bu yöntemle, kendi fotoğrafınızı kullanarak tüm favori karakterlerle selfie videoları oluşturabilir ve sahneler arası mükemmel geçişler sağlayabilirsiniz! #AIArt #aivideo #FilmSelfie #VideoEditing #NanoBananaPro
0:50

🎬 Nano Banana Pro + Kling O1 ile Sevdiğiniz Filmin İçinden Sahnelere Işınlanın! Nasıl Yapılır? 👇(Promptlar ve Uygulama) 1️⃣ Her Sahneyi Oluşturun: Her sahneyi kendi tutarlılığınızı koruyarak oluşturmanız gerekiyor. Bunun için kendi fotoğrafınızı yükleyin ve aşağıdaki uyarlanabilir promptu kullanın. Not: Prompt içindeki köşeli parantezleri doldurun: karakter, film/dizi, sahne, poz, mekân vb. PROMPT (SELFIE SAHNESİ): STRICT IDENTITY LOCK – SELFIE SCENE The person holding the phone and taking the selfie MUST be the exact same person as in the uploaded reference image. Do NOT generate a new person. The face, facial proportions, jawline, beard, hairstyle, skin tone, age, and overall identity must be IDENTICAL to the reference photo. This is a selfie taken by the reference person, not a third-person photo. Scene takes place in: [UNIVERSE / FILM / SERIES NAME], at [SPECIFIC LOCATION]. The reference person is holding a smartphone with one hand, arm slightly extended, clearly taking a selfie. [CHARACTER NAME] is standing right next to the reference person, slightly leaning into the frame, with [CHARACTER POSE / MOOD], looking at the camera. The reference person looks exactly like the uploaded photo, same appearance, same vibe, natural and realistic. [CHARACTER NAME] looks exactly like in [FILM / SERIES NAME]: [CHARACTER ACTOR NAME – optional], [CLOTHING / OUTFIT DETAILS], [HAIR / FACE / DISTINCTIVE FEATURES], [OVERALL AURA OR PERSONALITY]. Camera perspective: realistic front-facing smartphone selfie Composition: slight wide-angle distortion typical of phone selfies Lighting: [LIGHTING DESCRIPTION matching the universe], cinematic realism Aspect ratio: 1:1 Style: ultra-realistic, [FILM / SERIES]-accurate, photorealistic Priority order: identity accuracy > selfie realism > scene accuracy 🚫 NEGATIVE PROMPT (AYNEN KALACAK) Voldemort following the person, Voldemort transforming, character morphing, identity change, face swap, teleporting, sudden scene cut, camera jump, third-person view, extra people, distorted face, CGI look, fantasy art, cartoon, glitch effects 2️⃣ Start Frame ve End Frame ile Video Oluşturun: Start frame kısmına başlangıç sahnenizi, end frame kısmına ise bitiş sahnesini yerleştirin. Örnek: Başlangıç: Spiderman ile sahne Bitiş: Witcher ile sahne Kurallar: Her end frame bir sonraki sahnenin start frame’i olmalı. Geçişler arası tutarlılığı korumak için video üretme modeli kullanın (ör. Kling O1). 3️⃣ Geçişleri Sağlamak için Uyarlanabilir Prompt: STRICT IDENTITY CONSISTENCY – TRANSITION SEQUENCE The person holding the phone must remain IDENTICAL to the reference identity across all frames. Face, facial structure, beard, hairstyle, skin tone, age, and overall appearance must not change at any point during the transition. This is a continuous selfie video, recorded by the same person with a front-facing smartphone camera. The video starts in: [BAŞLANGIÇ EVRENİ / DİZİ / FİLM ADI], at [BAŞLANGIÇ MEKÂNI]. The reference person is holding the phone, taking a selfie with [BAŞLANGIÇ KARAKTERİ] standing next to them. [BAŞLANGIÇ KARAKTERİ] remains in place, calm and still, maintaining their position in the background. After the selfie moment, the reference person turns slightly and starts walking away, still holding the phone in selfie position. [BAŞLANGIÇ KARAKTERİ] stays behind and does NOT follow, does NOT move, and does NOT transform. The reference person continues walking forward alone, phone held steadily. As the walk continues, the environment gradually transforms: [BAŞLANGIÇ MEKÂNININ AYIRT EDİCİ YAPILARI] slowly fade behind [BAŞLANGIÇ EVRENİNE AİT ATMOSFER DETAYLARI] dissolve into mist / fog The overall tone transitions into [HEDEF EVRENİN ATMOSFERİ: karanlık, mistik, futuristik vb.] Environmental textures subtly evolve into [HEDEF EVREN / MEKÂN TARZI] During the transition, a cinematic visual bridge appears: swirling fog faint magical / sci-fi / atmospheric particles subtle wind moody, desaturated lighting smooth atmospheric blending No hard cuts, no teleporting, no sudden jumps By the end of the walk, the environment has fully transformed into: [HEDEF EVRENİ / DİZİ / FİLM ADI]. [HEDEF KARAKTERİ] naturally enters the frame next to the reference person, as if joining for a selfie. The reference person stops walking and holds the phone steady to take a new selfie. [HEDEF KARAKTERİ] looks exactly like in [HEDEF EVRENİ / DİZİ / FİLM ADI]: [OYUNCU ADI – opsiyonel], [SAÇ / YÜZ / AYIRT EDİCİ ÖZELLİKLER], [KIYAFET / KOSTÜM DETAYLARI], [GENEL DURUŞ / KARAKTER AURASI]. Camera rules: front-facing smartphone selfie stable hand-held motion no camera flips no angle jumps Motion: smooth forward walk, natural human movement Style: cinematic, ultra-realistic, [HEDEF EVREN]-accurate Aspect ratio: 1:1 Priority: identity consistency > motion continuity > environment transition 🚫 NEGATIVE PROMPT (BUNU ASLA ÇIKARMA) [BAŞLANGIÇ KARAKTERİ] following the person, [BAŞLANGIÇ KARAKTERİ] transforming, character morphing, identity change, face swap, teleporting, sudden scene cut, camera jump, third-person view, extra people, distorted face, CGI look, fantasy art, cartoon, glitch effects 4️⃣ Videoları Birleştirin: Tüm sahneleri ve geçişleri oluşturduktan sonra CapCut veya benzeri bir video editöründe birleştirin. İsterseniz müzik ve ses efektleri ekleyin. Bu yöntemle, kendi fotoğrafınızı kullanarak tüm favori karakterlerle selfie videoları oluşturabilir ve sahneler arası mükemmel geçişler sağlayabilirsiniz! #AIArt #aivideo #FilmSelfie #VideoEditing #NanoBananaPro

Eray’la Yapay Zeka

36,475 görüntüleme • 10 ay önce

Ryan ‘NAZI’ Ferguson little muppet thinking he’s hard again. We attended Shrewsbury’s first protest today. Just to say this is not taking away from the Shrewsbury lads who organised their first protest today. They’ve done incredibly well. Unfortunately they didn’t know the type of very far right person they were dealing with, but now they do. Ryan Ferguson turned up as he usually does. As he arrived, he spotted us and was staring at us, we didn’t approach and kept our distance and he didn’t come over to say a single word. He made sure he was at the front of the protest march, like he always is, claiming it as his. We held back, just enjoying the moment. Then he tried to start a chant during the march saying “We hate Wrexham” because we have told him previously he’s not welcome in Wrexham and to stay away, which he has. Credit due or scared? Petrified 🤣 He was calling us sheep shaggers and making remarks about the “Welsh” the whole day to others, who he didn’t know were our friends. When one of our female organisers challenged him on camera as he was purposely tried to agitate the police, as he always does at the end when it was all very peaceful. He actually said we were “using his name for click baits”….. Whilst spitting. Embarrassing. Ryan you’re banned from most protests for a reason. No one likes you. Your pattern is clinging onto grassroots protests until they realise who you are. NAZI SCUM! He then dramatically ran past his “security guy” at one of our ex-military organisers, who to his credit stayed calm and disciplined and didn’t rise to it. As he’s trained to do. Once again, Ryan Ferguson has completely showed himself up as the child he is. He’s just a little muppet who eventually does nothing at all bar shouting into the void, pretending to look hard and abuse women. We do not align with Nazis and we certainly do not align with white supremacists. That is very clear from the video footage from our female organiser who was once again abused by Ryan Ferguson for saying the same thing as she did in her statement in February. This is the same woman that Ryan Ferguson threatened before. NWP asked her if she wanted to press charges but she didn’t want to, it’s messy and wastes valuable time. We would much rather encounter and expose Ryan Ferguson like this. We will link in the comments below the original post from Wrexham Unite where he sent the voice recording with the threat to a woman in February. We’re not scared of you Ryan Ferguson, and we never will be, you little fucking gimp. Chased out of Shrewsbury by Wrexham Unite… add that to your socials, sausage 💪🏼🏴󠁧󠁢󠁷󠁬󠁳󠁿
1:10

Ryan ‘NAZI’ Ferguson little muppet thinking he’s hard again. We attended Shrewsbury’s first protest today. Just to say this is not taking away from the Shrewsbury lads who organised their first protest today. They’ve done incredibly well. Unfortunately they didn’t know the type of very far right person they were dealing with, but now they do. Ryan Ferguson turned up as he usually does. As he arrived, he spotted us and was staring at us, we didn’t approach and kept our distance and he didn’t come over to say a single word. He made sure he was at the front of the protest march, like he always is, claiming it as his. We held back, just enjoying the moment. Then he tried to start a chant during the march saying “We hate Wrexham” because we have told him previously he’s not welcome in Wrexham and to stay away, which he has. Credit due or scared? Petrified 🤣 He was calling us sheep shaggers and making remarks about the “Welsh” the whole day to others, who he didn’t know were our friends. When one of our female organisers challenged him on camera as he was purposely tried to agitate the police, as he always does at the end when it was all very peaceful. He actually said we were “using his name for click baits”….. Whilst spitting. Embarrassing. Ryan you’re banned from most protests for a reason. No one likes you. Your pattern is clinging onto grassroots protests until they realise who you are. NAZI SCUM! He then dramatically ran past his “security guy” at one of our ex-military organisers, who to his credit stayed calm and disciplined and didn’t rise to it. As he’s trained to do. Once again, Ryan Ferguson has completely showed himself up as the child he is. He’s just a little muppet who eventually does nothing at all bar shouting into the void, pretending to look hard and abuse women. We do not align with Nazis and we certainly do not align with white supremacists. That is very clear from the video footage from our female organiser who was once again abused by Ryan Ferguson for saying the same thing as she did in her statement in February. This is the same woman that Ryan Ferguson threatened before. NWP asked her if she wanted to press charges but she didn’t want to, it’s messy and wastes valuable time. We would much rather encounter and expose Ryan Ferguson like this. We will link in the comments below the original post from Wrexham Unite where he sent the voice recording with the threat to a woman in February. We’re not scared of you Ryan Ferguson, and we never will be, you little fucking gimp. Chased out of Shrewsbury by Wrexham Unite… add that to your socials, sausage 💪🏼🏴󠁧󠁢󠁷󠁬󠁳󠁿

Wrexham Unite 🏴󠁧󠁢󠁷󠁬󠁳󠁿

182,979 görüntüleme • 4 ay önce

🎬 Nano Banana Pro + Kling O1 Yapay Zeka Modelleri ile Fanatiği Olduğunuz Takımınızın Oyuncularıyla Sahaya Işınlanın! Nasıl Yapılır? 📷(Promptlar ve Uygulama)📷👇 1️⃣ Her Sahneyi Oluşturun: Her sahneyi kendi tutarlılığınızı ve futbolcu tutarlılığını koruyarak oluşturmanız gerekiyor. Bunun için kendi fotoğrafınızı yükleyin ve aşağıdaki uyarlanabilir promptu kullanın. NOT: Kendi Fotoğrafınızı ve Futbolcu fotoğrafını yükleyin ve promptun içinde isterseniz isim de belirtebilirsiniz bir de Location Kısmına Takımınızın Stadyumu'nun adını yazın! Boyut için ise "Aspect ratio" parametresini değiştirin. PROMPT: STRICT IDENTITY LOCK – SINGLE SELFIE SCENE The person holding the phone and taking the selfie MUST be the exact same person as in the uploaded reference image. Do NOT generate a new person. Face, facial structure, skin tone, hairstyle, beard, age, body proportions and overall appearance must remain IDENTICAL. IMPORTANT: The phone is held by the reference person. This is a front-facing smartphone selfie. The reference person’s FULL FACE must be clearly visible in the frame. No part of the face is cropped or hidden. Clothing rule: The reference person is wearing the SAME t-shirt as in the uploaded reference photo. Clothes must NOT change. Scene: Location is Fenerbahçe Ülker Stadium. Football pitch background, realistic stadium lighting. The reference person is holding the phone with one hand, arm slightly extended, taking a natural selfie. [FOOTBALLER NAME] is standing right next to the reference person. The footballer MUST look exactly like the uploaded footballer reference image. Same face, same hairstyle, same expression, same body type. The footballer is wearing the SAME jersey and outfit as in the uploaded footballer image. No outfit changes. Pose & mood: Both people are standing naturally. Relaxed, realistic, casual selfie moment. No exaggerated poses. Camera: Realistic front-facing smartphone selfie Slight wide-angle distortion typical of phone cameras Lighting: Natural stadium lighting, realistic, no cinematic exaggeration Aspect ratio: 1:1 vertical Style: Ultra-realistic, photorealistic Real-life selfie look Priority: identity accuracy > selfie realism > clothing accuracy > stadium accuracy 🚫 NEGATIVE PROMPT (BUNU HER ZAMAN EKLE) pgsql Kodu kopyala third-person view, floating camera, camera following subject, drone view, cinematic camera, face change, identity change, face swap, outfit change, different t-shirt, cropped face, hidden face, extra people, cgi, ai look, cartoon, fantasy art, distorted face 2️⃣ Start Frame ve End Frame ile Video Oluşturun: Start frame kısmına başlangıç sahnenizi, end frame kısmına ise bitiş sahnesini yerleştirin. Örnek: Başlangıç: Asensio ile fotoğrafınızın olduğu sahne Bitiş: Skriniar ile fotoğrafınızın olduğu sahne Kurallar: Her end frame bir sonraki sahnenin start frame’i olmalı. Geçişler arası tutarlılığı korumak için video üretme modeli kullanın (ör. Kling O1, veo 3.1, hailou). 3️⃣ Geçişleri Sağlamak için Uyarlanabilir Prompt: A continuous handheld selfie vlog. The subject is holding the phone and moving. The camera performs a quick horizontal sweep/pan to the left. As the camera moves, the first football player exits the frame to the left, and the second football player enters the frame from the right side. The man in the center stays consistent. The stadium background flows naturally. Professional motion blur during the transition. 4️⃣ Videoları Birleştirin: Tüm sahneleri ve geçişleri oluşturduktan sonra CapCut veya benzeri bir video editöründe birleştirin. İsterseniz müzik ve ses efektleri ekleyin. Bu yöntemle, kendi fotoğrafınızı kullanarak tüm favori Futbolcularla selfie videoları oluşturabilir ve sahneler arası mükemmel geçişler sağlayabilirsiniz! #yapayzeka #gemini #nanobananapro #klingai
1:19

🎬 Nano Banana Pro + Kling O1 Yapay Zeka Modelleri ile Fanatiği Olduğunuz Takımınızın Oyuncularıyla Sahaya Işınlanın! Nasıl Yapılır? 📷(Promptlar ve Uygulama)📷👇 1️⃣ Her Sahneyi Oluşturun: Her sahneyi kendi tutarlılığınızı ve futbolcu tutarlılığını koruyarak oluşturmanız gerekiyor. Bunun için kendi fotoğrafınızı yükleyin ve aşağıdaki uyarlanabilir promptu kullanın. NOT: Kendi Fotoğrafınızı ve Futbolcu fotoğrafını yükleyin ve promptun içinde isterseniz isim de belirtebilirsiniz bir de Location Kısmına Takımınızın Stadyumu'nun adını yazın! Boyut için ise "Aspect ratio" parametresini değiştirin. PROMPT: STRICT IDENTITY LOCK – SINGLE SELFIE SCENE The person holding the phone and taking the selfie MUST be the exact same person as in the uploaded reference image. Do NOT generate a new person. Face, facial structure, skin tone, hairstyle, beard, age, body proportions and overall appearance must remain IDENTICAL. IMPORTANT: The phone is held by the reference person. This is a front-facing smartphone selfie. The reference person’s FULL FACE must be clearly visible in the frame. No part of the face is cropped or hidden. Clothing rule: The reference person is wearing the SAME t-shirt as in the uploaded reference photo. Clothes must NOT change. Scene: Location is Fenerbahçe Ülker Stadium. Football pitch background, realistic stadium lighting. The reference person is holding the phone with one hand, arm slightly extended, taking a natural selfie. [FOOTBALLER NAME] is standing right next to the reference person. The footballer MUST look exactly like the uploaded footballer reference image. Same face, same hairstyle, same expression, same body type. The footballer is wearing the SAME jersey and outfit as in the uploaded footballer image. No outfit changes. Pose & mood: Both people are standing naturally. Relaxed, realistic, casual selfie moment. No exaggerated poses. Camera: Realistic front-facing smartphone selfie Slight wide-angle distortion typical of phone cameras Lighting: Natural stadium lighting, realistic, no cinematic exaggeration Aspect ratio: 1:1 vertical Style: Ultra-realistic, photorealistic Real-life selfie look Priority: identity accuracy > selfie realism > clothing accuracy > stadium accuracy 🚫 NEGATIVE PROMPT (BUNU HER ZAMAN EKLE) pgsql Kodu kopyala third-person view, floating camera, camera following subject, drone view, cinematic camera, face change, identity change, face swap, outfit change, different t-shirt, cropped face, hidden face, extra people, cgi, ai look, cartoon, fantasy art, distorted face 2️⃣ Start Frame ve End Frame ile Video Oluşturun: Start frame kısmına başlangıç sahnenizi, end frame kısmına ise bitiş sahnesini yerleştirin. Örnek: Başlangıç: Asensio ile fotoğrafınızın olduğu sahne Bitiş: Skriniar ile fotoğrafınızın olduğu sahne Kurallar: Her end frame bir sonraki sahnenin start frame’i olmalı. Geçişler arası tutarlılığı korumak için video üretme modeli kullanın (ör. Kling O1, veo 3.1, hailou). 3️⃣ Geçişleri Sağlamak için Uyarlanabilir Prompt: A continuous handheld selfie vlog. The subject is holding the phone and moving. The camera performs a quick horizontal sweep/pan to the left. As the camera moves, the first football player exits the frame to the left, and the second football player enters the frame from the right side. The man in the center stays consistent. The stadium background flows naturally. Professional motion blur during the transition. 4️⃣ Videoları Birleştirin: Tüm sahneleri ve geçişleri oluşturduktan sonra CapCut veya benzeri bir video editöründe birleştirin. İsterseniz müzik ve ses efektleri ekleyin. Bu yöntemle, kendi fotoğrafınızı kullanarak tüm favori Futbolcularla selfie videoları oluşturabilir ve sahneler arası mükemmel geçişler sağlayabilirsiniz! #yapayzeka #gemini #nanobananapro #klingai

Eray’la Yapay Zeka

63,550 görüntüleme • 10 ay önce

📖SEEDANCE 2.0 JUST MADE EVERY FILM SCHOOL IRRELEVANT FOR SOLO CREATORS Solo creators with the right workflow are closing clients that used to require a full production studio. Seedance 2.0 inside Dreamina holds character consistency across scenes in a way no other tool at this price point comes close to. Same face, same costume, same lighting logic — frame after frame after frame. That's the feature that turns a single prompt session into a short film. The lava demon materializing inside a gothic cathedral. The girl in black holding her ground while everything burns around her. Two characters with completely different visual languages sharing the same atmospheric world — and Seedance holds both of them consistent across every cut. That's not a generation. That's a production. Here's the 7-step workflow that produced this: • Step 1 — Define the character before you define the scene. Write a complete physical description — face structure, hair, clothing, skin, posture. This becomes the anchor every future generation references. • Step 2 — Build the world separately from the character. Gothic cathedral, candlelight, fog, cracked stone, scattered bodies. Define the atmosphere as its own entity before you place anyone inside it. • Step 3 — Generate the reference frame. One image that establishes the visual language, the color grade, the lighting temperature. Lock this as your style reference before generating any video. • Step 4 — Feed the reference into Seedance's image-to-video pipeline with a motion prompt. Camera behavior only — slow push, hold, circle. The image handles the subject. The prompt handles the direction. • Step 5 — Generate four variations per scene. Delete the two that look generated. Keep the one where the character's face holds and the atmosphere feels physical rather than rendered. • Step 6 — Edit in CapCut or Premiere Pro. Add music that matches the emotional temperature of the grade — the visual already tells you what the sound should feel like. Dark orchestral, slow tempo, single instrument carrying the melody. • Step 7 — Save the character description and reference frame as a template. The next episode starts from the same character in the same world. Series content becomes a system, not a restart. How a freelancer sells this: Dark fantasy content for game studios, music artists, and fantasy brands is a real market with real budgets. A musician dropping an album needs a visual world. A game studio needs promotional cinematics. A fantasy brand needs a story. Where to find clients: • Music artists on SoundCloud and Spotify releasing dark, gothic, or cinematic albums — search by genre, find artists with 1k–50k listeners who have no visual content. They have the audience and the need but no production budget for traditional video. • Indie game studios on Itch and Steam launching fantasy or horror titles — they need promotional cinematics and trailers but can't afford a production company. A single free scene built from their game's character art opens every conversation. • Dark fantasy and gothic brands on Instagram and TikTok with strong photo content but zero video presence — jewelry brands, clothing labels, occult lifestyle brands. They have the aesthetic already built. You just add motion to it. • Fantasy and horror fiction authors on Instagram and Substack launching new books — they need visual teasers, trailers, and world-building content to build pre-launch audiences. Most have no idea this kind of production is accessible at this price point. • Tabletop RPG creators and Dungeon Masters on Patreon and Kickstarter — they build entire fantasy universes and need cinematic content for campaigns, promotional videos, and subscriber rewards. The niche is underserved and the creators inside it spend consistently on content tools and services. 📥Tomorrow I'll show you what's sitting right next to this opportunity. 🔖Save this if you are looking for practical AI methods that actually pay.
0:36

📖SEEDANCE 2.0 JUST MADE EVERY FILM SCHOOL IRRELEVANT FOR SOLO CREATORS Solo creators with the right workflow are closing clients that used to require a full production studio. Seedance 2.0 inside Dreamina holds character consistency across scenes in a way no other tool at this price point comes close to. Same face, same costume, same lighting logic — frame after frame after frame. That's the feature that turns a single prompt session into a short film. The lava demon materializing inside a gothic cathedral. The girl in black holding her ground while everything burns around her. Two characters with completely different visual languages sharing the same atmospheric world — and Seedance holds both of them consistent across every cut. That's not a generation. That's a production. Here's the 7-step workflow that produced this: • Step 1 — Define the character before you define the scene. Write a complete physical description — face structure, hair, clothing, skin, posture. This becomes the anchor every future generation references. • Step 2 — Build the world separately from the character. Gothic cathedral, candlelight, fog, cracked stone, scattered bodies. Define the atmosphere as its own entity before you place anyone inside it. • Step 3 — Generate the reference frame. One image that establishes the visual language, the color grade, the lighting temperature. Lock this as your style reference before generating any video. • Step 4 — Feed the reference into Seedance's image-to-video pipeline with a motion prompt. Camera behavior only — slow push, hold, circle. The image handles the subject. The prompt handles the direction. • Step 5 — Generate four variations per scene. Delete the two that look generated. Keep the one where the character's face holds and the atmosphere feels physical rather than rendered. • Step 6 — Edit in CapCut or Premiere Pro. Add music that matches the emotional temperature of the grade — the visual already tells you what the sound should feel like. Dark orchestral, slow tempo, single instrument carrying the melody. • Step 7 — Save the character description and reference frame as a template. The next episode starts from the same character in the same world. Series content becomes a system, not a restart. How a freelancer sells this: Dark fantasy content for game studios, music artists, and fantasy brands is a real market with real budgets. A musician dropping an album needs a visual world. A game studio needs promotional cinematics. A fantasy brand needs a story. Where to find clients: • Music artists on SoundCloud and Spotify releasing dark, gothic, or cinematic albums — search by genre, find artists with 1k–50k listeners who have no visual content. They have the audience and the need but no production budget for traditional video. • Indie game studios on Itch and Steam launching fantasy or horror titles — they need promotional cinematics and trailers but can't afford a production company. A single free scene built from their game's character art opens every conversation. • Dark fantasy and gothic brands on Instagram and TikTok with strong photo content but zero video presence — jewelry brands, clothing labels, occult lifestyle brands. They have the aesthetic already built. You just add motion to it. • Fantasy and horror fiction authors on Instagram and Substack launching new books — they need visual teasers, trailers, and world-building content to build pre-launch audiences. Most have no idea this kind of production is accessible at this price point. • Tabletop RPG creators and Dungeon Masters on Patreon and Kickstarter — they build entire fantasy universes and need cinematic content for campaigns, promotional videos, and subscriber rewards. The niche is underserved and the creators inside it spend consistently on content tools and services. 📥Tomorrow I'll show you what's sitting right next to this opportunity. 🔖Save this if you are looking for practical AI methods that actually pay.

Zentrix⌚️

50,098 görüntüleme • 3 ay önce

Ghengis Khan was not an "evil tyrant", but actually one of the most compassionate leaders in human history. His first law as Khan, for example, was to ban bridal kidnapping. After, he created a welfare system for captured women in which they were financially cared for, along with their children. Captured women and children were allowed full rights and integration within the Mongol civilization. Captured children, especially, were encouraged to join the military and could rise to its highest ranks like any other Mongol. “As long as men kidnapped women, there would be feuding on the steppes. Genghis Khan’s first new law reportedly forbade the kidnapping of women, almost certainly a reaction to the kidnapping of his wife”. Furthermore, he “forbade the abduction and enslavement of any Mongol", ending all slavery within his lands. The motivation of these laws was due to the facts that Chingis was born from a kidnapped mother, enslaved as a boy, and his first wife was kidnapped. It is suspected by all scholars and especially the children of Chingis, that his first son was illegitimate and that the true father was the kidnapper of his wife. The child's name translated into english is something like "visitor", proving this claim to scholars. Yet, despite this problem, Chingis always insisted his first son was legitimate and consistently tried to make him the sole inheritor of the Empire, a task he failed to accomplish. These actions prove, without a doubt, the quality of Chingis' compassionate character. For those who do live in the steppe as I do, you may be surprised to know that bridal kidnapping is the most common form of marriage now today in the region with the sole exception of Mongolia. Locally, in Kyrgyzstan, we practice two types of kidnapping - "Ala-ka-chu" and "kyz kuumai". Ala-ka-chu is a forced kidnapping where men form a type of gang and plot the kidnapping of a local woman. Typically, the "rules" are that if a man kidnaps a woman and brings her to his home for 24 hours, she becomes his property. Families can even coordinate together to kidnap a woman and force her hand in marriage. Women are stolen so commonly, even a student from my university was abducted right in front of the gate recently. Ala-ka-chu is not an authentic tradition but rather an unjustly modified version of a legitimate tradition called "kyz kuumai", a consensual form of bridal kidnapping in which a man races after a woman on horseback and if he captures her, she becomes his property. If the woman wrestles the man or escapes from him, then she declines the marriage. It's her choice. Typically, it's like a quick game of chase, the woman allows the man to kiss her on the cheek and then she jumps off his horse into the sunset. Ancient Mongolia was much like my world in that sense that women and goods would constantly be stolen again and again and again in an endless cycle by all the various rival tribes. The kidnappings were always of the most violent character. Women, like Hoelun (Chingis Khan's mother), would routinely throw themselves to their kidnappers by submission so that their families could escape and survive. Chingis Khan was the sole person to stop this trend in Mongolia forever. These violent practices may continue today in various regions of the steppe, but never in Mongolia. The benevolence of Chingis Khan becomes clear with this example alone. His genius can be further seen with his tax policies. He established a free tax zone throughout the Silk Road. "He lowered taxes for everyone, and abolished them altogether for doctors, teachers, priests, and educational institutions.” Generally, there was a maximum of a 10% flat tax at maximum. We often look down upon Chingis Khan as some type of monster, yet his citizens had some of the lowest tax rates in human history, or, at the least, certainly lower than anything we currently face. Keep in mind, when we discuss "taxes" we mean captured enemies like Chinese farmers. Mongolian herdsmen, for example, paid a 1% tax. Military members could void all taxes by simply performing various acts of community service. With such an abundance of new cultures consistently conquered, Chingis Khan became perplexed. These foreign populations never fought over women as they did at home. Instead, the sedentary folk fought over religion. To solve this problem, “Genghis Khan decreed complete and total religious freedom for everyone. Although he continued to worship the spirits of his homeland, he did not permit them to be used as a national cult.” It is indeed written that Chingis' motivation for religious freedom laws was due to infighting between captured enemies, yes. However, I like to think personally that this law hails from his early exposure to Christians. For example, his father was named “Yesugei", translating to "Jesua" after Jesus. The Khan of his father and the first Khan Chingis served was a devout Christian, along with a majority of his members. This is not to say they experienced Christianity like a modern person. Certainly they were Mongols first, and Christians second. It is additionally important to note that the Empire was always ruled by women, while the men were at war. These women rulers were typically of a Christian orientation themselves, rather than a Tengrianist like Chingis. Meanwhile, the scholars of Chingis' day were Tibetan Buddhists, Chinese Confucians, or most often Persian Muslims. Religious freedom was an obvious necessity. The answer of why no Westerner knows any positive attributes of Chingis Khan is due to a mistranslation in name. The Mongols were a mysterious, unknown force to the Europeans. The Rus originally confused them with the Tatar peoples. The Tatars were a tribe focused in the South Russia. In the 1100s, they were on par with the Mongols and were the sworn enemy of Yisügei, the father of Chingis Khan, who they later killed by poison. Eventually, Chingis had his revenge, defeated the Tatars, and then incorporated them into his army, along with dozens of other turkic tribes throughout the region. The Europeans built upon the Rus translations and referred to the Mongols as “Tartars”, “a play on the Latin word for hell, ‘Tatarus’”. On older maps, one may find regions referenced as “Tartary” or “Tartaria”; these lands are simply the territories controlled by the Mongols (and various Turkic tribes) until the Soviet era. It is logical for Westerners to continually liken the Mongols with demons from hell (Tartarus) and exclusively maintain an oral history of terror associated with the Mongols. This information comes to us from the first Catholic friar to visit the Mongols in 1200s. The policy of graciously accepting and then integrating the enemy tribes into the Mongol forces began with the Tatars. When we think of "raping and pillaging" by the Mongols, we confuse it with encouraged integration in which, for the first time in steppe history, enemies were Yes, all the men were killed; you're right. However, the children, as previously clarified were adopted and kindly raised into various positions of power, rather than as slaves, as was the previous system. Ethnically, Mongols are most related to the Tatrs, Khitan, and Turkic tribes. “They asserted, then and now, a direct descent from the Huns, who founded the first empire on the high steppe in the third century. Hun is the Mongolian word for human being, and they called their Hun ancestors Hun-nu, the people of the sun.” The physical appearance of Chingis was never written down and all reference to Chingis' appearance was illegal to capture in art form. All later notions of Chingis' appearance comes from modern art. However, being so closely integrated with Tatars and directly from the Huns does confirm that the Mongols had blonde/orange hair with blue/green eyes, much like any European. "Mixing" most often occurred through consensual inter-marriage between captured women and Mongols. Throughout Chingis' time, the majority of external genetics would have come from inter-marriage between the Persian population (in a very low percentage). Chinese genetics were introduced to the Mongols throughout the rule of Kublai Khan. Kubali successfully conquered the Chinese and formally set up the new Mongol capital in now what is considered Bejing. He massively shifted the focus from Mongol culture and practices to Chinese. The 1200s began the genetic shift in all steppe genetics and cemented them as a "mixed" population. Every semester, I have a minimum of one student cry on me and lament that she should have a more European appearance and that she curses the Mongols for their mixing. It's a core issue at the identity of the steppe folk. Locally, we have a unique genetic anomaly where it is common to see a child with pure white hair and blue eyes come from two parents with black hair and black eyes. We call them "Yenesei Kyrgyz", referencing the original appearance and location of steppe folk in Siberia. The depth of Chingis' khans magnanimity is boundless. In steppe culture, his kindness would be considered boundless without any comparison. My contention is that Westerners fear Mongols for their battle tactics certainly, but majority from the mistranslation related to tartarus. I will begin to write a formal article about the history of Chingis Khan, as noted from a variety of sources including classical French, Persian, Chinese, and more recently American scholars. If this article performs well, I will write a longer form post soon. All ideas in this thread hail from Jack Weatherford's book Ghengis Khan and the Making of the Modern World, a commentary on the Secret History of the Mongols, newly translated into English. To conclude, the final reason why Westerns have no accurate information about the Mongols is due to secrecy. Their history is literally translated as The Secret History. All records of the ruling Mongol family were kept hidden. It's not a conspiracy to make this claim, but entirely logical, as seen in Chingis' own law of how he should never be publicly depicted. The Mongol rulers consistently made a substantial effort to keep their lived experience hidden from public view. Later Soviet influence did not help with record keeping. The singular, positive historical record Westerners had access to about the Mongols was from the account of Marco Polo. However, Polo's account focused on Kubali and the then newly formed Chinese-esque empire, rather than the benevolent examples from Chingis' personal legacy.
0:46

Ghengis Khan was not an "evil tyrant", but actually one of the most compassionate leaders in human history. His first law as Khan, for example, was to ban bridal kidnapping. After, he created a welfare system for captured women in which they were financially cared for, along with their children. Captured women and children were allowed full rights and integration within the Mongol civilization. Captured children, especially, were encouraged to join the military and could rise to its highest ranks like any other Mongol. “As long as men kidnapped women, there would be feuding on the steppes. Genghis Khan’s first new law reportedly forbade the kidnapping of women, almost certainly a reaction to the kidnapping of his wife”. Furthermore, he “forbade the abduction and enslavement of any Mongol", ending all slavery within his lands. The motivation of these laws was due to the facts that Chingis was born from a kidnapped mother, enslaved as a boy, and his first wife was kidnapped. It is suspected by all scholars and especially the children of Chingis, that his first son was illegitimate and that the true father was the kidnapper of his wife. The child's name translated into english is something like "visitor", proving this claim to scholars. Yet, despite this problem, Chingis always insisted his first son was legitimate and consistently tried to make him the sole inheritor of the Empire, a task he failed to accomplish. These actions prove, without a doubt, the quality of Chingis' compassionate character. For those who do live in the steppe as I do, you may be surprised to know that bridal kidnapping is the most common form of marriage now today in the region with the sole exception of Mongolia. Locally, in Kyrgyzstan, we practice two types of kidnapping - "Ala-ka-chu" and "kyz kuumai". Ala-ka-chu is a forced kidnapping where men form a type of gang and plot the kidnapping of a local woman. Typically, the "rules" are that if a man kidnaps a woman and brings her to his home for 24 hours, she becomes his property. Families can even coordinate together to kidnap a woman and force her hand in marriage. Women are stolen so commonly, even a student from my university was abducted right in front of the gate recently. Ala-ka-chu is not an authentic tradition but rather an unjustly modified version of a legitimate tradition called "kyz kuumai", a consensual form of bridal kidnapping in which a man races after a woman on horseback and if he captures her, she becomes his property. If the woman wrestles the man or escapes from him, then she declines the marriage. It's her choice. Typically, it's like a quick game of chase, the woman allows the man to kiss her on the cheek and then she jumps off his horse into the sunset. Ancient Mongolia was much like my world in that sense that women and goods would constantly be stolen again and again and again in an endless cycle by all the various rival tribes. The kidnappings were always of the most violent character. Women, like Hoelun (Chingis Khan's mother), would routinely throw themselves to their kidnappers by submission so that their families could escape and survive. Chingis Khan was the sole person to stop this trend in Mongolia forever. These violent practices may continue today in various regions of the steppe, but never in Mongolia. The benevolence of Chingis Khan becomes clear with this example alone. His genius can be further seen with his tax policies. He established a free tax zone throughout the Silk Road. "He lowered taxes for everyone, and abolished them altogether for doctors, teachers, priests, and educational institutions.” Generally, there was a maximum of a 10% flat tax at maximum. We often look down upon Chingis Khan as some type of monster, yet his citizens had some of the lowest tax rates in human history, or, at the least, certainly lower than anything we currently face. Keep in mind, when we discuss "taxes" we mean captured enemies like Chinese farmers. Mongolian herdsmen, for example, paid a 1% tax. Military members could void all taxes by simply performing various acts of community service. With such an abundance of new cultures consistently conquered, Chingis Khan became perplexed. These foreign populations never fought over women as they did at home. Instead, the sedentary folk fought over religion. To solve this problem, “Genghis Khan decreed complete and total religious freedom for everyone. Although he continued to worship the spirits of his homeland, he did not permit them to be used as a national cult.” It is indeed written that Chingis' motivation for religious freedom laws was due to infighting between captured enemies, yes. However, I like to think personally that this law hails from his early exposure to Christians. For example, his father was named “Yesugei", translating to "Jesua" after Jesus. The Khan of his father and the first Khan Chingis served was a devout Christian, along with a majority of his members. This is not to say they experienced Christianity like a modern person. Certainly they were Mongols first, and Christians second. It is additionally important to note that the Empire was always ruled by women, while the men were at war. These women rulers were typically of a Christian orientation themselves, rather than a Tengrianist like Chingis. Meanwhile, the scholars of Chingis' day were Tibetan Buddhists, Chinese Confucians, or most often Persian Muslims. Religious freedom was an obvious necessity. The answer of why no Westerner knows any positive attributes of Chingis Khan is due to a mistranslation in name. The Mongols were a mysterious, unknown force to the Europeans. The Rus originally confused them with the Tatar peoples. The Tatars were a tribe focused in the South Russia. In the 1100s, they were on par with the Mongols and were the sworn enemy of Yisügei, the father of Chingis Khan, who they later killed by poison. Eventually, Chingis had his revenge, defeated the Tatars, and then incorporated them into his army, along with dozens of other turkic tribes throughout the region. The Europeans built upon the Rus translations and referred to the Mongols as “Tartars”, “a play on the Latin word for hell, ‘Tatarus’”. On older maps, one may find regions referenced as “Tartary” or “Tartaria”; these lands are simply the territories controlled by the Mongols (and various Turkic tribes) until the Soviet era. It is logical for Westerners to continually liken the Mongols with demons from hell (Tartarus) and exclusively maintain an oral history of terror associated with the Mongols. This information comes to us from the first Catholic friar to visit the Mongols in 1200s. The policy of graciously accepting and then integrating the enemy tribes into the Mongol forces began with the Tatars. When we think of "raping and pillaging" by the Mongols, we confuse it with encouraged integration in which, for the first time in steppe history, enemies were Yes, all the men were killed; you're right. However, the children, as previously clarified were adopted and kindly raised into various positions of power, rather than as slaves, as was the previous system. Ethnically, Mongols are most related to the Tatrs, Khitan, and Turkic tribes. “They asserted, then and now, a direct descent from the Huns, who founded the first empire on the high steppe in the third century. Hun is the Mongolian word for human being, and they called their Hun ancestors Hun-nu, the people of the sun.” The physical appearance of Chingis was never written down and all reference to Chingis' appearance was illegal to capture in art form. All later notions of Chingis' appearance comes from modern art. However, being so closely integrated with Tatars and directly from the Huns does confirm that the Mongols had blonde/orange hair with blue/green eyes, much like any European. "Mixing" most often occurred through consensual inter-marriage between captured women and Mongols. Throughout Chingis' time, the majority of external genetics would have come from inter-marriage between the Persian population (in a very low percentage). Chinese genetics were introduced to the Mongols throughout the rule of Kublai Khan. Kubali successfully conquered the Chinese and formally set up the new Mongol capital in now what is considered Bejing. He massively shifted the focus from Mongol culture and practices to Chinese. The 1200s began the genetic shift in all steppe genetics and cemented them as a "mixed" population. Every semester, I have a minimum of one student cry on me and lament that she should have a more European appearance and that she curses the Mongols for their mixing. It's a core issue at the identity of the steppe folk. Locally, we have a unique genetic anomaly where it is common to see a child with pure white hair and blue eyes come from two parents with black hair and black eyes. We call them "Yenesei Kyrgyz", referencing the original appearance and location of steppe folk in Siberia. The depth of Chingis' khans magnanimity is boundless. In steppe culture, his kindness would be considered boundless without any comparison. My contention is that Westerners fear Mongols for their battle tactics certainly, but majority from the mistranslation related to tartarus. I will begin to write a formal article about the history of Chingis Khan, as noted from a variety of sources including classical French, Persian, Chinese, and more recently American scholars. If this article performs well, I will write a longer form post soon. All ideas in this thread hail from Jack Weatherford's book Ghengis Khan and the Making of the Modern World, a commentary on the Secret History of the Mongols, newly translated into English. To conclude, the final reason why Westerns have no accurate information about the Mongols is due to secrecy. Their history is literally translated as The Secret History. All records of the ruling Mongol family were kept hidden. It's not a conspiracy to make this claim, but entirely logical, as seen in Chingis' own law of how he should never be publicly depicted. The Mongol rulers consistently made a substantial effort to keep their lived experience hidden from public view. Later Soviet influence did not help with record keeping. The singular, positive historical record Westerners had access to about the Mongols was from the account of Marco Polo. However, Polo's account focused on Kubali and the then newly formed Chinese-esque empire, rather than the benevolent examples from Chingis' personal legacy.

Rogue | Frontier Philosophy

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We’re often told Western societies are experiencing conditions reminiscent of the German Weimar Republic. But what exactly was the German Weimar Republic? I’d like to explain the republic…and its incredible levels of debauchery, meaninglessness, sex, drugs, and—of course—Jews. “The decay of moral values in all areas of life—the period of deepest German degradation—coincided exactly with the height of Jewish power in Germany.” -Karl Wiehe Background The Weimar Republic is the unofficial name—that was popularized by Adolf Hitler—of the German nation-state that existed from November of 1918 to March of 1933. It was named for the city of Weimar, Germany where the constitutional assembly that established the new German republic met. The official name of the republic was the German Reich. The Weimar Republic was established after Germany’s loss in WWI. Germany was forced under the Treaty of Versailles to accept “full responsibility” for the war and pay the debts of all the allied countries. Being forced to pay these massive debts devastated the German economy and skyrocketed inflation, unemployment, and suicide within Germany. At one point 40% of Germans were unemployed and many were homeless. In 1932, the German suicide rate was more than three times that of Great Britain and in one two-year period, Germany had more suicides than there had been deaths of American soldiers in all of WWI. The German currency became the most worthless currency in Europe. A loaf of bread in Berlin that cost around 160 German Marks at the end of 1922, cost 200,000,000,000 German Marks by late 1923. The German peoples’ life savings and purchasing power had melted away over the course of a few months. With a single US dollar being worth 4,210,500,000,000 German Marks by November of 1923, foreign currencies had much greater buying power in Germany. So naturally, foreigners flocked to Germany to take advantage of the cheap prices. With these foreigners arriving en masse, Germans desperate for work turned to one of primary industries the foreigners flocked to Germany for: the sex industry. Sex and Drugs Germans began flocking to urban hubs in search of work, and no urban hub was more popular than Berlin. Prostitution in Berlin wasn’t explicitly legal but existed in a kind of legal gray area where certain aspects of the sex trade were regulated while others remained unregulated. However, enforcement of any laws restricting prostitution was lax to non-existent. On any given night up to 100,000 prostitutes would line the streets of Berlin. Every type of prostitute was available: midgets, pregnant prostitutes who lined up on the street according to how pregnant they were, prostitutes that purposefully tried to be ugly, prostitutes with acid-scarred faces, prostitutes with missing limbs, mother and daughter prostitute pairs, dominatrixes, even hunchback prostitutes. Interracial, inter-generational, forced or abusive sex acts were all available for the right price. There was also a large male prostitution industry and homosexual men from across Europe came to Germany to pay for homosexual sex. And unlike most cities, Berlin boasted having not a single red-light district—but multiple. Child prostitutes were bought and sold in Weimar Berlin in a booming industry. Advertisements for child prostitutes were even placed in German magazines and newspapers. A person could order a child, or any other type of prostitute for that matter, over the phone and have them a few short minutes later. British historian Sir Arthur Bryant describes throngs of child prostitutes outside the doors of the great Berlin hotels and restaurants. Bryant adds, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” There were homosexual, lesbian, and even transsexual bars where, occasionally, public masturbation and orgies took place. These homosexual bars weren’t isolated or rare one-off outliers either, there were over 50 lesbian bars in Berlin and around 100 homosexual bars total. Drag shows and cross dressing were commonplace in these bars. Sexual acts involving torture or acts bringing a victim close to death, or even—in some instances—to death were performed in Weimar Germany (called Lustmord). As often happens when violent sexual perversions arise, so too do serial killers playing out their fetishes in reality. I refuse to name serial killers in my writings because I think it glorifies them, but you can look them up yourself. German Newspapers devoted entire sections to the violent sexual crimes of these serial killers and fictional accounts of murders sold very well on German book stands. Serial Killers had a romanticized lore around them, similar to what we see in western society today. Alongside prostitution and homosexual clubs, porn also enjoyed a golden age during the Weimar Republic. Like prostitution, porn existed in a kind of legal gray area where enforcement of any regulations on it were lax to non-existent. Images could be purchased under-the-counter at most street media kiosks. According to one report there were as many as 30 homosexual publications on any given Berlin media kiosk. Above all, pornography featuring models who bore a resemblance to the biggest movie stars of the day, such as Marlene Dietrich or Greta Garbo, were in the highest demand. Fashion began to blur the lines between masculine and feminine. The female image began to experiment with a more strong-willed independent tone and some women began to dress in masculine clothing. Similarly, male fashion began to experiment with feminization and cross-dressing amongst men began to rise. Berlin’s women began to question the need for a man in their lives at all and many Berlin women had no desire to start or raise a family. Drug use in the Weimar Republic also ran rampant and Berlin gained a reputation as a drug dealing hub around Germany and Europe. Cocaine was the most popular drug in the Weimar Republic and only required a simple prescription from a doctor. That said, opium (a predecessor to heroin), morphine and amphetamines were all readily available and extensively used as well. The drug usage was so pervasive there was even experimentation with using drugs for “scientific” sexual purposes. One of the chief “scientists” behind this experimentation with sex was a man named Magnus Hirshfeld. Magnus Hirschfeld was a homosexual Jew and one of the thought leaders behind the sexual debauchery overtaking Berlin. Hirschfeld had founded political organizations that fought for the rights of homosexuals in Germany well before the Weimar era and as far back as 1896. He led the campaign to overturn a statue of German Law called Paragraph 175 which forbid homosexuality in Germany. Hirschfeld would later go on to write a 1914 book called The Homosexuality of Men and Women in which he attempted to prove homosexuality occurred in every society around the world. Hirschfeld’s crowning achievement of debauchery, however, occurred in July of 1919 when he opened The Institute of Sexual Research (Institut für Sexualwissenschaft) in Berlin. The institute’s stated purpose was to establish the sexual sciences…and establish the sexual sciences the institute did. It was at the Institute of Sexual Research where the initial rubric for the innumerable genders we see in leftism today originated. At the institute, Hirschfeld developed a system which categorized 64 possible types of sexual intermediary (aka genders) and it was Hirschfeld who coined the term transvestite in 1910 and the term transsexual in 1923. The institute even performed sex re-assignment surgery. The Institute of Sexual Research also housed a large library for any and all homosexual, transsexual, and erotic literature. The institute had places for homosexuals to stay overnight as well as some of the first counseling services specifically tailored to homosexuals. Homosexual-specific medical services were provided in the institute as well. The institute also housed the Museum of Sex, an educational resource for the public, which was reported to have been visited by school classes. I think the writer Luigi Barzini most succinctly summarized the rampant debauchery that was Weimar Berlin when he said: “I saw pimps offering anything to anybody: little boys, little girls, robust young men, libidinous women, animals. The story went the rounds that a male goose whose neck you cut at just the right ecstatic moment would give you the most delicious frisson of all—as it allowed you to enjoy sod*my, bestiality, homosexuality, necrophilia, and sadism at one stroke.” A debaucherous infestation had overtaken Berlin and nowhere was that more evident than in the arts. Art, Music, and Film Art, music, and film in Berlin were overtaken by the sexual revolution and a move toward a Jewish-influenced anti-authoritarianism as well. The Berlin film industry started releasing risqué and homosexual films. The world’s first known homosexual film—Anders als die Andern (1919)—came out in Berlin during the Weimar era and is the story a man falling in love with one of his male violin students. This film was written by and featured none other than Magnus Hirschfeld himself. Another film called Mädchen in Uniform (1931) is about a schoolgirl who falls in love with her female teacher. The two commence a forbidden love and eventually even share an on-screen lesbian kiss on the mouth. The film ends when this lesbian love is exposed and the protagonist attempts suicide. German expressionist cinema also came to prominence in the Weimar Republic. This form of cinema emphasized depicting the artist's inner emotions (no matter how crude those emotions may be) rather than attempting to replicate reality. Two of the three key figures for the German expressionist movement were the Jews Fritz Lang and Robert Wiene. The expressionist film Metropolis was one of the biggest films of the Weimar era. Metropolis’ content is emblematic of the anti-authoritarian and communist messages of German expressionist cinema. The film takes place in a futuristic city where a beautiful and cultured utopia exists above a bleak underworld populated by mistreated workers. When a privileged young man discovers the grim scene under the city, he becomes intent on helping the workers. He befriends a rebellious teacher which puts him at odds with his authoritative father. The film was directed the Jew Fritz Lang and produced by the Jew Erich Pommer. The credits of the films of the Berlin movie industry were also littered with Jews. In fact, in 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jews. In the art scene, a thoroughly anti-authoritarian and communist movement called Dada arose. The Dadaist movement was comprised of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works. Dadaist works opposed any type of authority and made fun of far-right figures, including Hitler himself. According to Wikipedia, some sources claim the Dadaist movement was founded by a group of Jewish modernist artists. In music, one of the most popular singers of the day was a woman who was largely regarded as “the first official lesbian of Berlin” named Claire Waldoff. Waldoff dressed masculine and made no secret of her sexuality while actively trying to convert other culturally important women to become lesbian. One culturally important woman Waldoff succeeded in converting to bisexuality was one of the biggest movie stars in the world, Marlene Dietrich. Marlene was famous for pushing social norms and sometimes wore a tuxedo, helping to erode the image of traditionally masculine and traditionally feminine roles. Marlene credits Clarie Waldoff as “introducing her to lesbian love”. Marlene Deitrich was openly bisexual and an icon for homosexual women around the world when no other homosexual icons existed. One newspaper dubbed Dietrich “perhaps the busiest and most passionate bisexual in theatrical Berlin.” Anita Berber was one of the most popular nude dancers of the Weimar Republic and danced to songs with titles like, suicide, morphiem, and mad house. One of her husbands was also openly homosexual. In one famous story about Anita, she was being ignored by one of the tables she was dancing for, so she went over to the table, stood on top of it, and started peeing on the table while drinking their champagne. What a gal… Architecture One aesthetic element that I think tends to be overlooked in most writings on social decay is architecture. It should come as no surprise that the principal architecture movement of the Weimar Republic—called expressionist architecture—also took a turn from an aesthetic focused on beauty and perfection toward an aesthetic that focused on “distortion of form to create an emotional effect”. This is architecture that’s generally perceived as hideous or repulsive. I’d also argue there’s a larger psychological component to this expressionist architecture. This ugly architecture contributes to social decay by glorifying the more disgusting elements of society and humanity. It subconsciously undermines the idea that society should strive for perfection and instead is a call to accept society’s more heinous elements. This repulsive architecture is, in my view, anti-authoritarian and destructive to social norms. Two of the key architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. Jews One of the key factors in Hitler’s rise to power was his opposition of the Jewish influence inside Berlin. As such, this article would be incomplete without looking at the Jewish influence that existed inside Berlin or—possibly more importantly—the German public’s perception of the Jewish influence inside Berlin. Here are some of the figures I think best illustrate the Jewish over-representation in the Weimar Republic. All these figures should be viewed in consideration of this fact: Jews made up less than 1% (.09%) of the German population in the years of the Weimar Republic. In my opinion, these figures are staggering primarily because of the Jews’ immense over-representation in major positions of power within German society. Politics • The author of the 1919 German constitution was the Jew Hugo Preuss. • One quarter of the members of the 8-person Council of the People's Deputies that established the Weimar Republic were Jews (Otto Landesberg and Hugo Haase). • The main competing faction against the official Weimar government was headed by the Jew Kurt Eisner. • The SPD (Social Democratic Party of Germany) was the political party that primarily ran the Weimar Republic. 22% of the entirety of the SPD were Jews. • The SPD’s main political theorist was a Jew: Eduard Bernstein • Two of the political thinkers most respected by the SPD were Jews: Ferdinand Lassalle, Leopold Sonnemann. • SPD's “foremost theoretician of this century” was the Jew Rudolf Hilferding. • SPD Key Figure, industrialist, and political thinker Walther Rathenau was a Jew. • The Vice President of the Berlin Police was the jew Bernhard Weiss. • In the first Weimar administration Vice Chancellor Eugen Schiffer was Jewish as was Weimar Interior Minister Erich Koch-Weser. • 15% of the members of the Reichstag (German Parliament) were Jewish. • A large number of the members of the political elite of the Weimar Republic were Jews: Rosa Luxemburg, Paul Levi, Ernst Toller, Erich Muhsam, Gustav Landauer, Eugen Levine, and Karl Radek. The Press • The Ullstein Press was the publisher of many of the largest German newspapers and was owned by the Jew Leopold Ullstein. • The Berliner Iliustrirte Zeitung was one of the largest German newspapers. It was Published by the Ullstein Press and its chief editor was the Jew Kurt Korff. • The Vossische Zeitung was another of the largest German newspapers and was published by the Ullstein Press. Its chief editor was the Jew Georg Bernhard. • Another of the othe r largest newspaper publishers was the Jew Rudolf Mosse. • The Berliner Tageblatt was the largest of Rudolf Mosse’s newspapers and its chief editor was the Jew Theodor Wolff • Editor-in-chief of the SPD’s party paper Vorwärts was the Jew Friedrich Stampfer The Arts • The Jew Erich Pommer was a German-born film producer and executive. According to Wikipedia, “Pommer was perhaps the most powerful person in the German and European film industries in the 1920s and early 1930s.” • In 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jewish writers. • Two of the three key figures for the largest film movement of the Weimar era—the German expressionist movement—were the Jews Fritz Lang and Robert Wiene. • Two of the key Architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. • Some of the most influential producers, directors, & actors in Weimar cinema were Jews as well to name a few: Paul Davidson, Joseph Mandel, Jules Greenbaum, Max Reinhardt, Josef Von Sternberg, Fritz Kohn, Otto Wallburg, Peter Lowenstein. • To conclude the arts, some claim the anti-authoritarian and thoroughly communist Dadaist movement was founded by a group of Jewish modernist artists. Sex • Magnus Hirschfeld was Jewish. He was dubbed "the Einstein of Sex". He was president of World League of Sexual Reform and of course, founder of the Institute for Sexual Research. • Ivan Bloch was Jewish and is often called the "first Sexologist". • As quoted by Sir Arthur Bryant earlier, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” Other notable Jewish over-representations: (**Please Note** these next five bullet points are not official numbers and are from a NSDAP piece that was distributed in Weimar Germany. I'm including them because although I can't be completely sure of their accuracy, I think they most likely do generally represent the amalgamations of Jewish power in Weimar society. And, at the very least, these numbers represent the German public’s perception of Jewish amalgamations of power in Weimar society): • 56% of notaries were Jews. • 52% of doctors were Jews. • 45% of Hospital Directors were Jews. • 48% of lawyers were Jews. • 35% of dentists were Jews. One last note on the Jews of the Weimar Republic. I included a link with more detail below, but many Weimar Jews actively tried to conceal their Jewish identity and even went so far as bragging to other Jews when gentiles were unable to identify them. This is one of the reasons that, to this day, it’s somewhat difficult to identify who the Jews of the Weimar Republic were. What this means is that, although the identity of every Jew I list is verified, there are undoubtedly other prominent and non-prominent Jews I was unable to identify. The provided list should not be viewed as wholly representative of the Jewish influence within Weimar Germany. But even just considering the provided list, you can see the Jewish influence was substantial for a race of people comprising less than 1% of the total German population. This Jewish over-representation is even more substantial when you consider that many of these Jewish amalgamations of over-representation occurred within many of Germany’s most important social, political, and economic institutions. The Weimar Republic was often referred to as the "Juden Republic" (Jew's Republic) by Germans. I think it's easy to see why... Enter the National Socialists After Hitler’s rise to power in 1933, Goebbels and the Brownshirts began shutting down the homosexual dive bars that had risen to prominence during the Weimar Republic. They made one of the most popular homosexual bars in Berlin their headquarters after shutting it down. They pillaged Magnus Hirschfeld’s Institute for Sexual Research and Hirschfeld’s books on transsexual ideology were some of the first books the National Socialists burned. From Wikipedia itself, the books the National Socialists burned were: • Writings on sexuality and sexual education which serve the egocentric pleasure of the individual and thus, destroy the principles of race and Volk. • Pornography and explicit literature. • Pacifist literature. • All books degrading German purity. • Literature by Jewish authors, regardless of the field. • Popular entertainment literature that depicts life and life's goals in a superficial, unrealistic and sickly sweet manner, based on a bourgeois or upper class view of life. • The works of traitors, emigrants and authors from foreign countries who believe they can attack and denigrate the new Germany. • The literature of Marxism, Communism and Bolshevism. • Literature with liberal, democratic tendencies and attitudes, and writings supporting the Weimar Republic. • Books that advocate "art" which is decadent, bloodless, or purely constructivist. • The decadent, destructive and Volk-damaging writings of "Asphalt and Civilization" literati • Patriotic kitsch in literature. • All historical writings whose purpose is to denigrate the origin, the spirit and the culture of the German Volk, or to dissolve the racial and structural order of the Volk, or that denies the force and importance of leading historical figures in favor of egalitarianism and the masses, and which seeks to drag them through the mud. Very quickly after Hitler’s rise to power in 1933, the chief purveyors of the degeneracy that had overtaken Berlin would leave the city and National Socialist Germany would rise from its ashes. The rest—as they say—is history. (Sources and further reading in the comments below)
28:45

We’re often told Western societies are experiencing conditions reminiscent of the German Weimar Republic. But what exactly was the German Weimar Republic? I’d like to explain the republic…and its incredible levels of debauchery, meaninglessness, sex, drugs, and—of course—Jews. “The decay of moral values in all areas of life—the period of deepest German degradation—coincided exactly with the height of Jewish power in Germany.” -Karl Wiehe Background The Weimar Republic is the unofficial name—that was popularized by Adolf Hitler—of the German nation-state that existed from November of 1918 to March of 1933. It was named for the city of Weimar, Germany where the constitutional assembly that established the new German republic met. The official name of the republic was the German Reich. The Weimar Republic was established after Germany’s loss in WWI. Germany was forced under the Treaty of Versailles to accept “full responsibility” for the war and pay the debts of all the allied countries. Being forced to pay these massive debts devastated the German economy and skyrocketed inflation, unemployment, and suicide within Germany. At one point 40% of Germans were unemployed and many were homeless. In 1932, the German suicide rate was more than three times that of Great Britain and in one two-year period, Germany had more suicides than there had been deaths of American soldiers in all of WWI. The German currency became the most worthless currency in Europe. A loaf of bread in Berlin that cost around 160 German Marks at the end of 1922, cost 200,000,000,000 German Marks by late 1923. The German peoples’ life savings and purchasing power had melted away over the course of a few months. With a single US dollar being worth 4,210,500,000,000 German Marks by November of 1923, foreign currencies had much greater buying power in Germany. So naturally, foreigners flocked to Germany to take advantage of the cheap prices. With these foreigners arriving en masse, Germans desperate for work turned to one of primary industries the foreigners flocked to Germany for: the sex industry. Sex and Drugs Germans began flocking to urban hubs in search of work, and no urban hub was more popular than Berlin. Prostitution in Berlin wasn’t explicitly legal but existed in a kind of legal gray area where certain aspects of the sex trade were regulated while others remained unregulated. However, enforcement of any laws restricting prostitution was lax to non-existent. On any given night up to 100,000 prostitutes would line the streets of Berlin. Every type of prostitute was available: midgets, pregnant prostitutes who lined up on the street according to how pregnant they were, prostitutes that purposefully tried to be ugly, prostitutes with acid-scarred faces, prostitutes with missing limbs, mother and daughter prostitute pairs, dominatrixes, even hunchback prostitutes. Interracial, inter-generational, forced or abusive sex acts were all available for the right price. There was also a large male prostitution industry and homosexual men from across Europe came to Germany to pay for homosexual sex. And unlike most cities, Berlin boasted having not a single red-light district—but multiple. Child prostitutes were bought and sold in Weimar Berlin in a booming industry. Advertisements for child prostitutes were even placed in German magazines and newspapers. A person could order a child, or any other type of prostitute for that matter, over the phone and have them a few short minutes later. British historian Sir Arthur Bryant describes throngs of child prostitutes outside the doors of the great Berlin hotels and restaurants. Bryant adds, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” There were homosexual, lesbian, and even transsexual bars where, occasionally, public masturbation and orgies took place. These homosexual bars weren’t isolated or rare one-off outliers either, there were over 50 lesbian bars in Berlin and around 100 homosexual bars total. Drag shows and cross dressing were commonplace in these bars. Sexual acts involving torture or acts bringing a victim close to death, or even—in some instances—to death were performed in Weimar Germany (called Lustmord). As often happens when violent sexual perversions arise, so too do serial killers playing out their fetishes in reality. I refuse to name serial killers in my writings because I think it glorifies them, but you can look them up yourself. German Newspapers devoted entire sections to the violent sexual crimes of these serial killers and fictional accounts of murders sold very well on German book stands. Serial Killers had a romanticized lore around them, similar to what we see in western society today. Alongside prostitution and homosexual clubs, porn also enjoyed a golden age during the Weimar Republic. Like prostitution, porn existed in a kind of legal gray area where enforcement of any regulations on it were lax to non-existent. Images could be purchased under-the-counter at most street media kiosks. According to one report there were as many as 30 homosexual publications on any given Berlin media kiosk. Above all, pornography featuring models who bore a resemblance to the biggest movie stars of the day, such as Marlene Dietrich or Greta Garbo, were in the highest demand. Fashion began to blur the lines between masculine and feminine. The female image began to experiment with a more strong-willed independent tone and some women began to dress in masculine clothing. Similarly, male fashion began to experiment with feminization and cross-dressing amongst men began to rise. Berlin’s women began to question the need for a man in their lives at all and many Berlin women had no desire to start or raise a family. Drug use in the Weimar Republic also ran rampant and Berlin gained a reputation as a drug dealing hub around Germany and Europe. Cocaine was the most popular drug in the Weimar Republic and only required a simple prescription from a doctor. That said, opium (a predecessor to heroin), morphine and amphetamines were all readily available and extensively used as well. The drug usage was so pervasive there was even experimentation with using drugs for “scientific” sexual purposes. One of the chief “scientists” behind this experimentation with sex was a man named Magnus Hirshfeld. Magnus Hirschfeld was a homosexual Jew and one of the thought leaders behind the sexual debauchery overtaking Berlin. Hirschfeld had founded political organizations that fought for the rights of homosexuals in Germany well before the Weimar era and as far back as 1896. He led the campaign to overturn a statue of German Law called Paragraph 175 which forbid homosexuality in Germany. Hirschfeld would later go on to write a 1914 book called The Homosexuality of Men and Women in which he attempted to prove homosexuality occurred in every society around the world. Hirschfeld’s crowning achievement of debauchery, however, occurred in July of 1919 when he opened The Institute of Sexual Research (Institut für Sexualwissenschaft) in Berlin. The institute’s stated purpose was to establish the sexual sciences…and establish the sexual sciences the institute did. It was at the Institute of Sexual Research where the initial rubric for the innumerable genders we see in leftism today originated. At the institute, Hirschfeld developed a system which categorized 64 possible types of sexual intermediary (aka genders) and it was Hirschfeld who coined the term transvestite in 1910 and the term transsexual in 1923. The institute even performed sex re-assignment surgery. The Institute of Sexual Research also housed a large library for any and all homosexual, transsexual, and erotic literature. The institute had places for homosexuals to stay overnight as well as some of the first counseling services specifically tailored to homosexuals. Homosexual-specific medical services were provided in the institute as well. The institute also housed the Museum of Sex, an educational resource for the public, which was reported to have been visited by school classes. I think the writer Luigi Barzini most succinctly summarized the rampant debauchery that was Weimar Berlin when he said: “I saw pimps offering anything to anybody: little boys, little girls, robust young men, libidinous women, animals. The story went the rounds that a male goose whose neck you cut at just the right ecstatic moment would give you the most delicious frisson of all—as it allowed you to enjoy sod*my, bestiality, homosexuality, necrophilia, and sadism at one stroke.” A debaucherous infestation had overtaken Berlin and nowhere was that more evident than in the arts. Art, Music, and Film Art, music, and film in Berlin were overtaken by the sexual revolution and a move toward a Jewish-influenced anti-authoritarianism as well. The Berlin film industry started releasing risqué and homosexual films. The world’s first known homosexual film—Anders als die Andern (1919)—came out in Berlin during the Weimar era and is the story a man falling in love with one of his male violin students. This film was written by and featured none other than Magnus Hirschfeld himself. Another film called Mädchen in Uniform (1931) is about a schoolgirl who falls in love with her female teacher. The two commence a forbidden love and eventually even share an on-screen lesbian kiss on the mouth. The film ends when this lesbian love is exposed and the protagonist attempts suicide. German expressionist cinema also came to prominence in the Weimar Republic. This form of cinema emphasized depicting the artist's inner emotions (no matter how crude those emotions may be) rather than attempting to replicate reality. Two of the three key figures for the German expressionist movement were the Jews Fritz Lang and Robert Wiene. The expressionist film Metropolis was one of the biggest films of the Weimar era. Metropolis’ content is emblematic of the anti-authoritarian and communist messages of German expressionist cinema. The film takes place in a futuristic city where a beautiful and cultured utopia exists above a bleak underworld populated by mistreated workers. When a privileged young man discovers the grim scene under the city, he becomes intent on helping the workers. He befriends a rebellious teacher which puts him at odds with his authoritative father. The film was directed the Jew Fritz Lang and produced by the Jew Erich Pommer. The credits of the films of the Berlin movie industry were also littered with Jews. In fact, in 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jews. In the art scene, a thoroughly anti-authoritarian and communist movement called Dada arose. The Dadaist movement was comprised of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works. Dadaist works opposed any type of authority and made fun of far-right figures, including Hitler himself. According to Wikipedia, some sources claim the Dadaist movement was founded by a group of Jewish modernist artists. In music, one of the most popular singers of the day was a woman who was largely regarded as “the first official lesbian of Berlin” named Claire Waldoff. Waldoff dressed masculine and made no secret of her sexuality while actively trying to convert other culturally important women to become lesbian. One culturally important woman Waldoff succeeded in converting to bisexuality was one of the biggest movie stars in the world, Marlene Dietrich. Marlene was famous for pushing social norms and sometimes wore a tuxedo, helping to erode the image of traditionally masculine and traditionally feminine roles. Marlene credits Clarie Waldoff as “introducing her to lesbian love”. Marlene Deitrich was openly bisexual and an icon for homosexual women around the world when no other homosexual icons existed. One newspaper dubbed Dietrich “perhaps the busiest and most passionate bisexual in theatrical Berlin.” Anita Berber was one of the most popular nude dancers of the Weimar Republic and danced to songs with titles like, suicide, morphiem, and mad house. One of her husbands was also openly homosexual. In one famous story about Anita, she was being ignored by one of the tables she was dancing for, so she went over to the table, stood on top of it, and started peeing on the table while drinking their champagne. What a gal… Architecture One aesthetic element that I think tends to be overlooked in most writings on social decay is architecture. It should come as no surprise that the principal architecture movement of the Weimar Republic—called expressionist architecture—also took a turn from an aesthetic focused on beauty and perfection toward an aesthetic that focused on “distortion of form to create an emotional effect”. This is architecture that’s generally perceived as hideous or repulsive. I’d also argue there’s a larger psychological component to this expressionist architecture. This ugly architecture contributes to social decay by glorifying the more disgusting elements of society and humanity. It subconsciously undermines the idea that society should strive for perfection and instead is a call to accept society’s more heinous elements. This repulsive architecture is, in my view, anti-authoritarian and destructive to social norms. Two of the key architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. Jews One of the key factors in Hitler’s rise to power was his opposition of the Jewish influence inside Berlin. As such, this article would be incomplete without looking at the Jewish influence that existed inside Berlin or—possibly more importantly—the German public’s perception of the Jewish influence inside Berlin. Here are some of the figures I think best illustrate the Jewish over-representation in the Weimar Republic. All these figures should be viewed in consideration of this fact: Jews made up less than 1% (.09%) of the German population in the years of the Weimar Republic. In my opinion, these figures are staggering primarily because of the Jews’ immense over-representation in major positions of power within German society. Politics • The author of the 1919 German constitution was the Jew Hugo Preuss. • One quarter of the members of the 8-person Council of the People's Deputies that established the Weimar Republic were Jews (Otto Landesberg and Hugo Haase). • The main competing faction against the official Weimar government was headed by the Jew Kurt Eisner. • The SPD (Social Democratic Party of Germany) was the political party that primarily ran the Weimar Republic. 22% of the entirety of the SPD were Jews. • The SPD’s main political theorist was a Jew: Eduard Bernstein • Two of the political thinkers most respected by the SPD were Jews: Ferdinand Lassalle, Leopold Sonnemann. • SPD's “foremost theoretician of this century” was the Jew Rudolf Hilferding. • SPD Key Figure, industrialist, and political thinker Walther Rathenau was a Jew. • The Vice President of the Berlin Police was the jew Bernhard Weiss. • In the first Weimar administration Vice Chancellor Eugen Schiffer was Jewish as was Weimar Interior Minister Erich Koch-Weser. • 15% of the members of the Reichstag (German Parliament) were Jewish. • A large number of the members of the political elite of the Weimar Republic were Jews: Rosa Luxemburg, Paul Levi, Ernst Toller, Erich Muhsam, Gustav Landauer, Eugen Levine, and Karl Radek. The Press • The Ullstein Press was the publisher of many of the largest German newspapers and was owned by the Jew Leopold Ullstein. • The Berliner Iliustrirte Zeitung was one of the largest German newspapers. It was Published by the Ullstein Press and its chief editor was the Jew Kurt Korff. • The Vossische Zeitung was another of the largest German newspapers and was published by the Ullstein Press. Its chief editor was the Jew Georg Bernhard. • Another of the othe r largest newspaper publishers was the Jew Rudolf Mosse. • The Berliner Tageblatt was the largest of Rudolf Mosse’s newspapers and its chief editor was the Jew Theodor Wolff • Editor-in-chief of the SPD’s party paper Vorwärts was the Jew Friedrich Stampfer The Arts • The Jew Erich Pommer was a German-born film producer and executive. According to Wikipedia, “Pommer was perhaps the most powerful person in the German and European film industries in the 1920s and early 1930s.” • In 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jewish writers. • Two of the three key figures for the largest film movement of the Weimar era—the German expressionist movement—were the Jews Fritz Lang and Robert Wiene. • Two of the key Architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. • Some of the most influential producers, directors, & actors in Weimar cinema were Jews as well to name a few: Paul Davidson, Joseph Mandel, Jules Greenbaum, Max Reinhardt, Josef Von Sternberg, Fritz Kohn, Otto Wallburg, Peter Lowenstein. • To conclude the arts, some claim the anti-authoritarian and thoroughly communist Dadaist movement was founded by a group of Jewish modernist artists. Sex • Magnus Hirschfeld was Jewish. He was dubbed "the Einstein of Sex". He was president of World League of Sexual Reform and of course, founder of the Institute for Sexual Research. • Ivan Bloch was Jewish and is often called the "first Sexologist". • As quoted by Sir Arthur Bryant earlier, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” Other notable Jewish over-representations: (**Please Note** these next five bullet points are not official numbers and are from a NSDAP piece that was distributed in Weimar Germany. I'm including them because although I can't be completely sure of their accuracy, I think they most likely do generally represent the amalgamations of Jewish power in Weimar society. And, at the very least, these numbers represent the German public’s perception of Jewish amalgamations of power in Weimar society): • 56% of notaries were Jews. • 52% of doctors were Jews. • 45% of Hospital Directors were Jews. • 48% of lawyers were Jews. • 35% of dentists were Jews. One last note on the Jews of the Weimar Republic. I included a link with more detail below, but many Weimar Jews actively tried to conceal their Jewish identity and even went so far as bragging to other Jews when gentiles were unable to identify them. This is one of the reasons that, to this day, it’s somewhat difficult to identify who the Jews of the Weimar Republic were. What this means is that, although the identity of every Jew I list is verified, there are undoubtedly other prominent and non-prominent Jews I was unable to identify. The provided list should not be viewed as wholly representative of the Jewish influence within Weimar Germany. But even just considering the provided list, you can see the Jewish influence was substantial for a race of people comprising less than 1% of the total German population. This Jewish over-representation is even more substantial when you consider that many of these Jewish amalgamations of over-representation occurred within many of Germany’s most important social, political, and economic institutions. The Weimar Republic was often referred to as the "Juden Republic" (Jew's Republic) by Germans. I think it's easy to see why... Enter the National Socialists After Hitler’s rise to power in 1933, Goebbels and the Brownshirts began shutting down the homosexual dive bars that had risen to prominence during the Weimar Republic. They made one of the most popular homosexual bars in Berlin their headquarters after shutting it down. They pillaged Magnus Hirschfeld’s Institute for Sexual Research and Hirschfeld’s books on transsexual ideology were some of the first books the National Socialists burned. From Wikipedia itself, the books the National Socialists burned were: • Writings on sexuality and sexual education which serve the egocentric pleasure of the individual and thus, destroy the principles of race and Volk. • Pornography and explicit literature. • Pacifist literature. • All books degrading German purity. • Literature by Jewish authors, regardless of the field. • Popular entertainment literature that depicts life and life's goals in a superficial, unrealistic and sickly sweet manner, based on a bourgeois or upper class view of life. • The works of traitors, emigrants and authors from foreign countries who believe they can attack and denigrate the new Germany. • The literature of Marxism, Communism and Bolshevism. • Literature with liberal, democratic tendencies and attitudes, and writings supporting the Weimar Republic. • Books that advocate "art" which is decadent, bloodless, or purely constructivist. • The decadent, destructive and Volk-damaging writings of "Asphalt and Civilization" literati • Patriotic kitsch in literature. • All historical writings whose purpose is to denigrate the origin, the spirit and the culture of the German Volk, or to dissolve the racial and structural order of the Volk, or that denies the force and importance of leading historical figures in favor of egalitarianism and the masses, and which seeks to drag them through the mud. Very quickly after Hitler’s rise to power in 1933, the chief purveyors of the degeneracy that had overtaken Berlin would leave the city and National Socialist Germany would rise from its ashes. The rest—as they say—is history. (Sources and further reading in the comments below)

Bobby Thorne

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