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Hot mechanics group session from 2002 classic #2ndGear by #RascalVideo with #LanceGear, #PeterRaeg, #ChadHunt, #AdamWolfe, #Jerek, #RobAnthony & #DannyVox ⚙️

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PacoJonesFL1

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Slum Village was founded by rappers Baatin, T3 and producer Jay Dee (aka J Dilla) in the Conant Gardens neighborhood of Detroit, MI where they attended Pershing High School together. Fresh out of high school, the group steadily became popular in Detroit's underground hip hop scene. However, by the mid-1990s J Dilla was already a well known hip-hop prospect, with a string of singles and remixes to his name, working on projects with Janet Jackson, Pharcyde, De La Soul, Busta Rhymes, and Q-Tip among others. In 1995 he was invited to become a member of a production team known as The Ummah, which produced the fourth and fifth A Tribe Called Quest studio albums, as well as hits for a number of R&B and hip hop musicians. From 1996 to 1997 the group recorded their first album Fantastic (Vol. 1), however their first official release would be 'Fantastic, Vol. 2' which dropped in 2000. For the 2002 release "Trinity (Past, Present and Future)" on Barak/Capitol Records, T3 brought in Elzhi to join the group as J Dilla left to focus on his solo career. The album was a moderate success and contained the single "Tainted", produced by Karriem Riggins and featuring Dwele. Also in 2002,'Dirty District, a compilation songs by Detroit rappers largely produced by T3 and Young RJ"Rice, was released. The group then became a duo consisting T3 and Elzhi, when Baatin became sick while touring in France shortly before the release their 2004 album, Detroit Deli (A Taste of Detroit) and departed to seek treatment. The album included the hit single, "Selfish", produced by Kanye West and featuring John Legend. The song samples a part of the intro to the hit song "Call Me" by Aretha Franklin. After parting ways with Capitol Records in 2005, they released Prequel to a Classic a mixtape mostly previously unreleased material, followed by Slum Village "Self-Titled" release in October the same year.
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Slum Village was founded by rappers Baatin, T3 and producer Jay Dee (aka J Dilla) in the Conant Gardens neighborhood of Detroit, MI where they attended Pershing High School together. Fresh out of high school, the group steadily became popular in Detroit's underground hip hop scene. However, by the mid-1990s J Dilla was already a well known hip-hop prospect, with a string of singles and remixes to his name, working on projects with Janet Jackson, Pharcyde, De La Soul, Busta Rhymes, and Q-Tip among others. In 1995 he was invited to become a member of a production team known as The Ummah, which produced the fourth and fifth A Tribe Called Quest studio albums, as well as hits for a number of R&B and hip hop musicians. From 1996 to 1997 the group recorded their first album Fantastic (Vol. 1), however their first official release would be 'Fantastic, Vol. 2' which dropped in 2000. For the 2002 release "Trinity (Past, Present and Future)" on Barak/Capitol Records, T3 brought in Elzhi to join the group as J Dilla left to focus on his solo career. The album was a moderate success and contained the single "Tainted", produced by Karriem Riggins and featuring Dwele. Also in 2002,'Dirty District, a compilation songs by Detroit rappers largely produced by T3 and Young RJ"Rice, was released. The group then became a duo consisting T3 and Elzhi, when Baatin became sick while touring in France shortly before the release their 2004 album, Detroit Deli (A Taste of Detroit) and departed to seek treatment. The album included the hit single, "Selfish", produced by Kanye West and featuring John Legend. The song samples a part of the intro to the hit song "Call Me" by Aretha Franklin. After parting ways with Capitol Records in 2005, they released Prequel to a Classic a mixtape mostly previously unreleased material, followed by Slum Village "Self-Titled" release in October the same year.

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“Candyman” was written by Christina Aguilera and Linda Perry for Aguilera's 2006 album Back to Basics. Inspired by the sound of 1940s swing and the vocal harmonies of The Andrews Sisters, particularly “Boogie Woogie Bugle Boy,” the song combines vintage jazz, blues and pop with Aguilera's provocative modern style. It also incorporates a sample from “Tarzan & Jane Swingin' on a Vine,” a U.S. Marines cadence, giving the track its instantly recognisable military-style chant. The track became a major international hit, reaching No. 25 on the Billboard Hot 100, No. 17 on the UK Singles Chart and No. 9 on the Canadian Hot 100. The music video, co-directed by Aguilera and Matthew Rolston, embraces a 1940s World War II aesthetic and presents Aguilera as a three-woman singing group inspired by The Andrews Sisters. The video also features references to classic Hollywood pin-up culture and the famous “We Can Do It!” poster, while Benji Schwimmer appears as her dance partner.
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“Candyman” was written by Christina Aguilera and Linda Perry for Aguilera's 2006 album Back to Basics. Inspired by the sound of 1940s swing and the vocal harmonies of The Andrews Sisters, particularly “Boogie Woogie Bugle Boy,” the song combines vintage jazz, blues and pop with Aguilera's provocative modern style. It also incorporates a sample from “Tarzan & Jane Swingin' on a Vine,” a U.S. Marines cadence, giving the track its instantly recognisable military-style chant. The track became a major international hit, reaching No. 25 on the Billboard Hot 100, No. 17 on the UK Singles Chart and No. 9 on the Canadian Hot 100. The music video, co-directed by Aguilera and Matthew Rolston, embraces a 1940s World War II aesthetic and presents Aguilera as a three-woman singing group inspired by The Andrews Sisters. The video also features references to classic Hollywood pin-up culture and the famous “We Can Do It!” poster, while Benji Schwimmer appears as her dance partner.

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Remy Shand emerged on to the scene in 2002 with his debut album 'The Way I Feel', a potent canon of songs inspired by classic Motown and Memphis soul. Primarily home-schooled in his native Winnipeg, Shand began raiding his parents record collection at an early age -- soaking up a wide range of jazz, soul, and R&B, with Marvin Gaye's classic Here, My Dear having a profound influence on his musical direction. Dropping out of high school to study and pursue music full-time, Shand played as a session musician and was a member of various experimental groups until he decided to focus a solo career. In 1998, he began to write and record the songs that would later become The Way I Feel. Three years later he was signed to Motown Records and the album saw the light of day in early 2002. The record met critical and underground success and received four Grammy nominations, including one for best R&B album. Shand now leads a quiet life out of the public eye and has transitioned into electrical engineering, stating: "Motown was one of the few studios that built their own gear. I think that inspired me to become more than just an entertainer. Modern music has always been dictated by technological advancements intertwined with cultural movements. Song and dance have been around for ages and I would like to encourage more artists to evolve beyond that cycle, separate themselves from the pageantry, and get heavy with the recording arts and sciences. It’s time to step into the future and innovate."
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Remy Shand emerged on to the scene in 2002 with his debut album 'The Way I Feel', a potent canon of songs inspired by classic Motown and Memphis soul. Primarily home-schooled in his native Winnipeg, Shand began raiding his parents record collection at an early age -- soaking up a wide range of jazz, soul, and R&B, with Marvin Gaye's classic Here, My Dear having a profound influence on his musical direction. Dropping out of high school to study and pursue music full-time, Shand played as a session musician and was a member of various experimental groups until he decided to focus a solo career. In 1998, he began to write and record the songs that would later become The Way I Feel. Three years later he was signed to Motown Records and the album saw the light of day in early 2002. The record met critical and underground success and received four Grammy nominations, including one for best R&B album. Shand now leads a quiet life out of the public eye and has transitioned into electrical engineering, stating: "Motown was one of the few studios that built their own gear. I think that inspired me to become more than just an entertainer. Modern music has always been dictated by technological advancements intertwined with cultural movements. Song and dance have been around for ages and I would like to encourage more artists to evolve beyond that cycle, separate themselves from the pageantry, and get heavy with the recording arts and sciences. It’s time to step into the future and innovate."

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“A Little Respect” is from Erasure’s 1988 album The Innocents. Written by Vince Clarke and Andy Bell, the synth-pop classic became one of the duo's signature songs, reaching #4 on the UK Singles Chart and becoming their second Top 20 hit on the Billboard Hot 100, where it peaked at #14. Its infectious melody, emotional lyrics and instantly recognizable chorus helped establish The Innocents as Erasure's commercial breakthrough. The track's soaring vocal performance, combined with Vince Clarke's sophisticated electronic production, created one of the defining songs of late-1980s synth-pop. Decades later the song experienced a renewed surge in popularity after the cast of the hit TV series Scrubs performed an impromptu singalong in a memorable 2002 episode, introducing “A Little Respect” to a new generation of listeners and reinforcing its place as one of Erasure's most enduring songs.
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“A Little Respect” is from Erasure’s 1988 album The Innocents. Written by Vince Clarke and Andy Bell, the synth-pop classic became one of the duo's signature songs, reaching #4 on the UK Singles Chart and becoming their second Top 20 hit on the Billboard Hot 100, where it peaked at #14. Its infectious melody, emotional lyrics and instantly recognizable chorus helped establish The Innocents as Erasure's commercial breakthrough. The track's soaring vocal performance, combined with Vince Clarke's sophisticated electronic production, created one of the defining songs of late-1980s synth-pop. Decades later the song experienced a renewed surge in popularity after the cast of the hit TV series Scrubs performed an impromptu singalong in a memorable 2002 episode, introducing “A Little Respect” to a new generation of listeners and reinforcing its place as one of Erasure's most enduring songs.

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“A Little Respect” is from Erasure’s 1988 album The Innocents. Written by Vince Clarke and Andy Bell, the synth-pop classic became one of the duo's signature songs, reaching #4 on the UK Singles Chart and becoming their first Top 20 hit on the Billboard Hot 100, where it peaked at #14. Its infectious melody, emotional lyrics and instantly recognizable chorus helped establish The Innocents as Erasure's commercial breakthrough. The track's soaring vocal performance, combined with Vince Clarke's sophisticated electronic production, created one of the defining songs of late-1980s synth-pop. Decades later the song experienced a renewed surge in popularity after the cast of the hit TV series Scrubs performed an impromptu singalong in a memorable 2002 episode, introducing “A Little Respect” to a new generation of listeners and reinforcing its place as one of Erasure's most enduring songs.
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“A Little Respect” is from Erasure’s 1988 album The Innocents. Written by Vince Clarke and Andy Bell, the synth-pop classic became one of the duo's signature songs, reaching #4 on the UK Singles Chart and becoming their first Top 20 hit on the Billboard Hot 100, where it peaked at #14. Its infectious melody, emotional lyrics and instantly recognizable chorus helped establish The Innocents as Erasure's commercial breakthrough. The track's soaring vocal performance, combined with Vince Clarke's sophisticated electronic production, created one of the defining songs of late-1980s synth-pop. Decades later the song experienced a renewed surge in popularity after the cast of the hit TV series Scrubs performed an impromptu singalong in a memorable 2002 episode, introducing “A Little Respect” to a new generation of listeners and reinforcing its place as one of Erasure's most enduring songs.

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“Get Lucky” is from Daft Punk’s 2013 album Random Access Memories. Featuring Pharrell Williams on vocals and Nile Rodgers on guitar, the disco-funk track became a massive global hit, peaking at #2 on the Billboard Hot 100, where it was blocked from the top spot by Robin Thicke's "Blurred Lines," which also featured Pharrell Williams. It reached #1 in the UK, France, Australia, and more than 30 other countries, and won Record of the Year and Best Pop Duo/Group Performance at the 2014 Grammy Awards. The song's infectious groove and feel-good energy helped revive interest in live instrumentation and classic disco sounds in modern pop and electronic music. Its release was preceded by a 15-second teaser during Saturday Night Live, which ignited worldwide anticipation. "Get Lucky" also spent a record 46 consecutive weeks at #1 on Billboard's Dance/Electronic Songs chart, while Daft Punk's celebrated performance with Stevie Wonder at the 2014 Grammy Awards has since become one of the defining moments of the duo's career before their split in 2021.

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“Get Lucky” is from Daft Punk’s 2013 album Random Access Memories. Featuring Pharrell Williams on vocals and Nile Rodgers on guitar, the disco-funk track became a massive global hit, peaking at #2 on the Billboard Hot 100, where it was blocked from the top spot by Robin Thicke's "Blurred Lines," which also featured Pharrell Williams. It reached #1 in the UK, France, Australia, and more than 30 other countries, and won Record of the Year and Best Pop Duo/Group Performance at the 2014 Grammy Awards. The song's infectious groove and feel-good energy helped revive interest in live instrumentation and classic disco sounds in modern pop and electronic music. Its release was preceded by a 15-second teaser during Saturday Night Live, which ignited worldwide anticipation. "Get Lucky" also spent a record 46 consecutive weeks at #1 on Billboard's Dance/Electronic Songs chart, while Daft Punk's celebrated performance with Stevie Wonder at the 2014 Grammy Awards has since become one of the defining moments of the duo's career before their split in 2021.
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“Get Lucky” is from Daft Punk’s 2013 album Random Access Memories. Featuring Pharrell Williams on vocals and Nile Rodgers on guitar, the disco-funk track became a massive global hit, peaking at #2 on the Billboard Hot 100, where it was blocked from the top spot by Robin Thicke's "Blurred Lines," which also featured Pharrell Williams. It reached #1 in the UK, France, Australia, and more than 30 other countries, and won Record of the Year and Best Pop Duo/Group Performance at the 2014 Grammy Awards. The song's infectious groove and feel-good energy helped revive interest in live instrumentation and classic disco sounds in modern pop and electronic music. Its release was preceded by a 15-second teaser during Saturday Night Live, which ignited worldwide anticipation. "Get Lucky" also spent a record 46 consecutive weeks at #1 on Billboard's Dance/Electronic Songs chart, while Daft Punk's celebrated performance with Stevie Wonder at the 2014 Grammy Awards has since become one of the defining moments of the duo's career before their split in 2021.

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Back in November 2024, HAF did what every advocacy group does—put out a standard statement welcoming engagement with the new administration. No endorsement, no grand declaration—just basic advocacy. And somehow, that was enough to send American Academy of Religion Hinduism scholars into a spiral, dedicating an entire academic session to attacking HAF. From conspiracy theories about a nonexistent "Hindu American Project 2025" to calling yoga practitioners “cottage industry gurus” and tying Take Back Yoga to “fascist violence”—this is next-level absurdity. And when we tried to engage? We got a straight-up get lost. So much for academic dialogue. At the end of the day, this isn’t about debate—it’s about gatekeeping Hinduism. But here’s the thing: HAF isn’t playing by those rules. We’re here, we’re advocating, and we’re not going anywhere. HAF’s Executive Director Suhag A. Shukla has a hot take, and you don’t want to miss this one.
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Back in November 2024, HAF did what every advocacy group does—put out a standard statement welcoming engagement with the new administration. No endorsement, no grand declaration—just basic advocacy. And somehow, that was enough to send American Academy of Religion Hinduism scholars into a spiral, dedicating an entire academic session to attacking HAF. From conspiracy theories about a nonexistent "Hindu American Project 2025" to calling yoga practitioners “cottage industry gurus” and tying Take Back Yoga to “fascist violence”—this is next-level absurdity. And when we tried to engage? We got a straight-up get lost. So much for academic dialogue. At the end of the day, this isn’t about debate—it’s about gatekeeping Hinduism. But here’s the thing: HAF isn’t playing by those rules. We’re here, we’re advocating, and we’re not going anywhere. HAF’s Executive Director Suhag A. Shukla has a hot take, and you don’t want to miss this one.

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"Ain't Nobody" almost never happened. Rufus initially rejected the song because its unusual drum machine pattern and minimalist arrangement sounded too different from the band's previous material. Keyboardist David "Hawk" Wolinski insisted on keeping it, believing it had the potential to become something special. According to Wolinski, producer Quincy Jones later wanted Michael Jackson to record the song for Thriller but he refused because he believed it belonged to Chaka Khan and Rufus. Released in 1983 as one of the studio recordings on the live album Stompin' at the Savoy, "Ain't Nobody" became Rufus and Chaka Khan's final hit together. The song reached No. 1 on the Billboard R&B chart, No. 22 on the Billboard Hot 100 and No. 8 on the UK Singles Chart. It also won the Grammy Award for Best R&B Performance by a Duo or Group with Vocal in 1984. Its innovative blend of funk, R&B and electronic production helped transform it into a timeless classic that continues to be sampled and covered decades after its release.
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"Ain't Nobody" almost never happened. Rufus initially rejected the song because its unusual drum machine pattern and minimalist arrangement sounded too different from the band's previous material. Keyboardist David "Hawk" Wolinski insisted on keeping it, believing it had the potential to become something special. According to Wolinski, producer Quincy Jones later wanted Michael Jackson to record the song for Thriller but he refused because he believed it belonged to Chaka Khan and Rufus. Released in 1983 as one of the studio recordings on the live album Stompin' at the Savoy, "Ain't Nobody" became Rufus and Chaka Khan's final hit together. The song reached No. 1 on the Billboard R&B chart, No. 22 on the Billboard Hot 100 and No. 8 on the UK Singles Chart. It also won the Grammy Award for Best R&B Performance by a Duo or Group with Vocal in 1984. Its innovative blend of funk, R&B and electronic production helped transform it into a timeless classic that continues to be sampled and covered decades after its release.

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Did you know⁉️ Just Blaze produced the track, sampling Rose Royce’s 1976 ballad “I’m Going Down” (pitching up elements for that signature early-2000s “chipmunk soul” sound)‼️. He originally made a faster version of the beat for Memphis Bleek, who passed on it‼️. Just Blaze slowed and reworked it; Jay-Z heard it, liked it, and asked to hold it since he wasn’t actively working on an album at the time (right after "The Blueprint 2")‼️. The beat sat unused for a while (Cam’ron has said roughly two months)‼️. Cam’ron and Juelz Santana ended up taking it‼️Juelz reportedly pushed Cam to grab the beat‼️. They recorded quickly and got an unmixed version on New York radio (Hot 97) almost immediately, before the sample was fully cleared‼️. There was some initial tension: Just Blaze worried about the uncleared sample and publishing issues, and Jay-Z was reportedly annoyed that the beat went to Cam instead of him‼️. Once it blew up, they smoothed it over. Cam has joked about it being a hit that justified giving up some publishing, referencing Jay’s own experience with “Hard Knock Life.”‼️ The song is pure Dipset-era swagger and wordplay‼️. The repeated “Oh boy” hook and references (“look at his kicks… look at his car… all I say is oh boy”) play on multiple meanings of “boy”‼️the drug money funding the lifestyle, admiration from women, loyalty to the crew (“my boy”), and general Harlem flexing‼️. Cam and Juelz trade verses full of street talk, materialism, women, guns, bail money, and crew loyalty, delivered with Cam’s signature witty, rapid-fire internal rhymes and a lighthearted tone that still nods to the real risks of the life‼️. Chart success and impact⁉️ Released as a single in April 2002, it peaked at #4 on the Billboard Hot 100‼️, spent five weeks at #1 on the Hot R&B/Hip-Hop Songs chart‼️, and hit #1 on Hot Rap Tracks‼️. It earned a Grammy nomination and later ranked on VH1’s 100 Greatest Songs of Hip Hop‼️. The music video, shot in Harlem and directed by Bryan Barber and Jim Jones, features cameos from Dame Dash, Jim Jones, Angie Martinez, and others from the Roc/Dipset circle‼️. It was a breakthrough for Cam’ron on Roc-A-Fella and helped introduce Juelz Santana and the broader Diplomats sound to a wider audience‼️. Mariah Carey later interpolated/sampled it for her 2002 track “Boy (I Need You)” (featuring Cam)‼️. Jay-Z recorded a verse for a remix that included a Nas diss‼️. Cam’ron (with Juelz) thought it was weak and had it erased‼️Cam has called it “crazy trash” and said he didn’t want it circulating‼️. The official remix that did come out featured Birdman, TQ, and Jim Jones instead‼️. In short, “Oh Boy” is the classic example of Cam and Dipset turning a leftover beat into a massive, catchy street hit through sharp wordplay, Harlem energy, and Just Blaze’s production‼️.
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Did you know⁉️ Just Blaze produced the track, sampling Rose Royce’s 1976 ballad “I’m Going Down” (pitching up elements for that signature early-2000s “chipmunk soul” sound)‼️. He originally made a faster version of the beat for Memphis Bleek, who passed on it‼️. Just Blaze slowed and reworked it; Jay-Z heard it, liked it, and asked to hold it since he wasn’t actively working on an album at the time (right after "The Blueprint 2")‼️. The beat sat unused for a while (Cam’ron has said roughly two months)‼️. Cam’ron and Juelz Santana ended up taking it‼️Juelz reportedly pushed Cam to grab the beat‼️. They recorded quickly and got an unmixed version on New York radio (Hot 97) almost immediately, before the sample was fully cleared‼️. There was some initial tension: Just Blaze worried about the uncleared sample and publishing issues, and Jay-Z was reportedly annoyed that the beat went to Cam instead of him‼️. Once it blew up, they smoothed it over. Cam has joked about it being a hit that justified giving up some publishing, referencing Jay’s own experience with “Hard Knock Life.”‼️ The song is pure Dipset-era swagger and wordplay‼️. The repeated “Oh boy” hook and references (“look at his kicks… look at his car… all I say is oh boy”) play on multiple meanings of “boy”‼️the drug money funding the lifestyle, admiration from women, loyalty to the crew (“my boy”), and general Harlem flexing‼️. Cam and Juelz trade verses full of street talk, materialism, women, guns, bail money, and crew loyalty, delivered with Cam’s signature witty, rapid-fire internal rhymes and a lighthearted tone that still nods to the real risks of the life‼️. Chart success and impact⁉️ Released as a single in April 2002, it peaked at #4 on the Billboard Hot 100‼️, spent five weeks at #1 on the Hot R&B/Hip-Hop Songs chart‼️, and hit #1 on Hot Rap Tracks‼️. It earned a Grammy nomination and later ranked on VH1’s 100 Greatest Songs of Hip Hop‼️. The music video, shot in Harlem and directed by Bryan Barber and Jim Jones, features cameos from Dame Dash, Jim Jones, Angie Martinez, and others from the Roc/Dipset circle‼️. It was a breakthrough for Cam’ron on Roc-A-Fella and helped introduce Juelz Santana and the broader Diplomats sound to a wider audience‼️. Mariah Carey later interpolated/sampled it for her 2002 track “Boy (I Need You)” (featuring Cam)‼️. Jay-Z recorded a verse for a remix that included a Nas diss‼️. Cam’ron (with Juelz) thought it was weak and had it erased‼️Cam has called it “crazy trash” and said he didn’t want it circulating‼️. The official remix that did come out featured Birdman, TQ, and Jim Jones instead‼️. In short, “Oh Boy” is the classic example of Cam and Dipset turning a leftover beat into a massive, catchy street hit through sharp wordplay, Harlem energy, and Just Blaze’s production‼️.

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53,257 просмотров • 1 месяц назад

🇺🇸 DOUBLE STANDARD ON CHRISTIAN TARGETS? MEN WAVE BACON AT MUSLIMS IN FLORIDA, HIT WITH FELONY CHARGES A group of dudes crashed a Muslim prayer session in a campus parking garage at dusk. The Muslims are bowed down on mats, and these guys start yelling "Jesus is Lord!" while waving bacon strips around, offering it up like "It's halal now, eat whenever you want!" One even spits near them. It cuts to a mocking news parody of an "Imam Cries Because of Bacon." Total clown show, and now 3 of 'em, identified as locals,are slapped with felony hate crime charges for harassment, intimidation, and ethnic slurs. Cops say it's a bias-motivated beef, enhanced under Florida law. Similar stunts against Christians in the U.S.? Yeah, disruptions happen, but the enforcement feels lopsided. Plenty slip through: Art desecrations like "Piss Christ" sparked outrage but 0 charges, protected as free speech. Protests storming services over abortion or LGBTQ issues? Often, no arrests if non-violent, just escorted out. And Hollywood mocks God nonstop, with no legal blowback. FBI 2023 stats scream it, 11,862 hate crimes total, religion-based ones dominated by anti-Jewish (1,832 incidents) and anti-Muslim (236, down from 2022) Anti-Christian (including Catholic/Protestant) clocks in lower, around 200-300 combined in recent years, often underreported. Keep in mind that, circa 62% of the entire U.S. population consists of Christians, while Jews and Muslims put together barely scratch the 3%. Prosecution rates? Tough to pin, DOJ doesn't break 'em out by bias, but experts say anti-Christian cases get dismissed more as "vandalism" vs. hate, while Muslim/Jewish ones amp up fast due to visibility. Attacks on churches spiked 436 in 2023 (arson, vandalism), but convictions lag; feels like the majority faith gets short shrift. Bias vibes are strong, Muslim taunts hit felonies hard, while Christian hits often fizzle without equal zeal. Source: FBI Reports, DOJ, Grokipedia
0:44

🇺🇸 DOUBLE STANDARD ON CHRISTIAN TARGETS? MEN WAVE BACON AT MUSLIMS IN FLORIDA, HIT WITH FELONY CHARGES A group of dudes crashed a Muslim prayer session in a campus parking garage at dusk. The Muslims are bowed down on mats, and these guys start yelling "Jesus is Lord!" while waving bacon strips around, offering it up like "It's halal now, eat whenever you want!" One even spits near them. It cuts to a mocking news parody of an "Imam Cries Because of Bacon." Total clown show, and now 3 of 'em, identified as locals,are slapped with felony hate crime charges for harassment, intimidation, and ethnic slurs. Cops say it's a bias-motivated beef, enhanced under Florida law. Similar stunts against Christians in the U.S.? Yeah, disruptions happen, but the enforcement feels lopsided. Plenty slip through: Art desecrations like "Piss Christ" sparked outrage but 0 charges, protected as free speech. Protests storming services over abortion or LGBTQ issues? Often, no arrests if non-violent, just escorted out. And Hollywood mocks God nonstop, with no legal blowback. FBI 2023 stats scream it, 11,862 hate crimes total, religion-based ones dominated by anti-Jewish (1,832 incidents) and anti-Muslim (236, down from 2022) Anti-Christian (including Catholic/Protestant) clocks in lower, around 200-300 combined in recent years, often underreported. Keep in mind that, circa 62% of the entire U.S. population consists of Christians, while Jews and Muslims put together barely scratch the 3%. Prosecution rates? Tough to pin, DOJ doesn't break 'em out by bias, but experts say anti-Christian cases get dismissed more as "vandalism" vs. hate, while Muslim/Jewish ones amp up fast due to visibility. Attacks on churches spiked 436 in 2023 (arson, vandalism), but convictions lag; feels like the majority faith gets short shrift. Bias vibes are strong, Muslim taunts hit felonies hard, while Christian hits often fizzle without equal zeal. Source: FBI Reports, DOJ, Grokipedia

Mario Nawfal

158,383 просмотров • 10 месяцев назад

Can't get enough of Seedance 2.5. The best part is it can generate 30s video in one single prompt, and the result is so realistic! So, here's another one that I made using CapCut. Prompt: [STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over a dramatic coastal cliff and open ocean. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic coastal cliff and ocean physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush over open water, near-miss whooshes past yachts, soft landing roll on sand, distant ocean waves and beach ambient noise, final bite sounds. [IMAGE REFERENCES] Use the provided Hoshino character sheet as the single strict visual reference for the male character. Exact face, black hair, dark brown eyes, lean athletic build (178 cm), gold earrings, and overall facial structure locked from the reference. Outfit: modern high-performance cliff-jumping wingsuit — sleek, form-fitting design in matte charcoal black with sharp white paneling and subtle gold zipper accents (matching his minimalist aesthetic). The wingsuit is worn from the start with a matching technical backpack. Body proportions, posture, and face remain fully locked to the Hoshino reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Hoshino stands on the edge of a high rocky cliff overlooking the open ocean, wearing his charcoal-and-white wingsuit and technical backpack. He looks straight into the camera with calm, confident intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the cliff edge. 3-5s: [Continuous freefall] He completes the somersault and falls head-first toward the sea. At exactly 1.5 seconds into the fall he fully deploys the wingsuit with a sharp snap. The wing membranes inflate and he levels out into a smooth glide. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed just above the ocean surface along the coastline. He weaves tightly past sheer cliff faces, banking hard left and right, turquoise water and rocky walls streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above the water. He almost collides with a large luxury yacht that suddenly turns, banks hard to avoid it, then narrowly misses a smaller motor yacht. He dips under a yacht’s outstretched boom and threads between two more vessels. 18-23s: [Water-level action] Still flying extremely low over the sea, he dodges a startled seabird that dives across his path, skims past a group of people on a nearby yacht who scatter in surprise, and banks sharply to avoid an open yacht swim platform. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the soft beach sand and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the sand beside him, revealing a clean fitted white undershirt underneath. 26-28s: [Beach level] He walks a few steps still wearing the backpack and stops right in front of a classic beachside hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a calm, satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit membranes, impact, roll, near-misses with yachts, water spray), stable character locked to the Hoshino reference, realistic ocean reflections, cliff rock textures and wind, no artifacts, movie-level stability, pure single continuous take.
0:30

Can't get enough of Seedance 2.5. The best part is it can generate 30s video in one single prompt, and the result is so realistic! So, here's another one that I made using CapCut. Prompt: [STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over a dramatic coastal cliff and open ocean. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic coastal cliff and ocean physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush over open water, near-miss whooshes past yachts, soft landing roll on sand, distant ocean waves and beach ambient noise, final bite sounds. [IMAGE REFERENCES] Use the provided Hoshino character sheet as the single strict visual reference for the male character. Exact face, black hair, dark brown eyes, lean athletic build (178 cm), gold earrings, and overall facial structure locked from the reference. Outfit: modern high-performance cliff-jumping wingsuit — sleek, form-fitting design in matte charcoal black with sharp white paneling and subtle gold zipper accents (matching his minimalist aesthetic). The wingsuit is worn from the start with a matching technical backpack. Body proportions, posture, and face remain fully locked to the Hoshino reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Hoshino stands on the edge of a high rocky cliff overlooking the open ocean, wearing his charcoal-and-white wingsuit and technical backpack. He looks straight into the camera with calm, confident intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the cliff edge. 3-5s: [Continuous freefall] He completes the somersault and falls head-first toward the sea. At exactly 1.5 seconds into the fall he fully deploys the wingsuit with a sharp snap. The wing membranes inflate and he levels out into a smooth glide. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed just above the ocean surface along the coastline. He weaves tightly past sheer cliff faces, banking hard left and right, turquoise water and rocky walls streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above the water. He almost collides with a large luxury yacht that suddenly turns, banks hard to avoid it, then narrowly misses a smaller motor yacht. He dips under a yacht’s outstretched boom and threads between two more vessels. 18-23s: [Water-level action] Still flying extremely low over the sea, he dodges a startled seabird that dives across his path, skims past a group of people on a nearby yacht who scatter in surprise, and banks sharply to avoid an open yacht swim platform. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the soft beach sand and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the sand beside him, revealing a clean fitted white undershirt underneath. 26-28s: [Beach level] He walks a few steps still wearing the backpack and stops right in front of a classic beachside hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a calm, satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit membranes, impact, roll, near-misses with yachts, water spray), stable character locked to the Hoshino reference, realistic ocean reflections, cliff rock textures and wind, no artifacts, movie-level stability, pure single continuous take.

MrDejie

198,144 просмотров • 2 месяцев назад

🚨 The legendary Joe McMoneagle, the CIA’s Remote Viewer No. 1, played a pivotal role in the highly classified Stargate program, where he used remote viewing to penetrate the world’s deepest intelligence secrets. His sessions pinpointed undetectable nuclear submarines, exposed covert Soviet weapons programs, and provided life-saving intelligence during high-stakes missions in Vietnam and Europe, earning him the Legion of Merit. McMoneagle also describes out-of-body experiences and remote viewing sessions that revealed unusual structures on Mars—specifically pyramidal formations and fortress-like ruins. He claims to possess JPL negatives that match his descriptions and believes further analysis is needed. These findings come amid growing evidence that Mars once had rivers, a magnetosphere, and even fossilized bacteria—an idea that gained traction after NASA’s ALH 84001 meteorite discovery, President Clinton’s 1996 announcement, and analyses from plasma physicist John Brandenburg suggesting Mars may have suffered a nuclear catastrophe. From double-blind experiments demonstrating psi perception as a quantifiable skill to the precise methods behind remote viewing accuracy, McMoneagle challenges the limits of human perception. This episode explores the mechanics of consciousness, the future of intelligence gathering, and the controversial possibility that Mars may hold evidence of past civilization. Key Revelations: 1. Military-Grade Remote Viewing: Over 200 verified remote viewing sessions provided crucial intelligence from the late 1970s through the early 1980s. His work in identifying hidden Soviet submarine construction sites and military facilities led to major breakthroughs in U.S. defense strategy. In 1979, his session revealed an unknown Soviet sub with slanted missile tubes, later confirmed by satellite imagery. This intelligence helped shape U.S. naval countermeasures during the Cold War. 2. Unusual Structures on Mars: McMoneagle was tasked by the Department of Defense to remote view Mars at “1 million B.C.” He described massive pyramidal structures, collapsed fortifications, and signs of a lost civilization. He later obtained JPL negatives that he claims validate some of his descriptions. Recently, satellite imagery of a square anomaly on Mars—discussed by Elon Musk and mainstream scientists—has reignited interest in artificial-looking structures. If McMoneagle’s JPL negatives can be formally analyzed, they could contribute to the growing case that Mars’ past is more complex than officially acknowledged. 3. The Case for Life on Mars: McMoneagle’s claims align with a growing body of scientific evidence suggesting Mars may have supported life: • The 1996 ALH 84001 meteorite contained possible fossilized bacteria, prompting President Clinton’s public statement about potential Martian life. • Mars’ atmosphere contains Xenon-129 and Argon-40, which plasma physicist John Brandenburg argues are signatures of nuclear cataclysm—potential evidence of a large-scale ancient war. • Haim Eshed, former Israeli space security chief, has stated that human contact with extraterrestrials is ongoing and that the U.S. has knowledge of non-human presence on Mars. 4. Evolutionary Roots of Psychic Insight: McMoneagle believes remote viewing is an evolutionary ability that was once crucial for human survival. Before spoken language, early humans relied on telepathic perception to track predators, coordinate hunts, and sense threats—just as animals do today. Over time, this innate skill atrophied, but it remains latent within the human mind. 5. Refined Stargate Protocols: From 1972 to 1979, McMoneagle helped refine strict double-blind protocols for remote viewing. These included blind targeting, left-brain monitoring techniques, and strict data analysis procedures to separate real perceptions from imagination. These methods proved essential for achieving military-grade accuracy in intelligence gathering. 6. Double-Blind Validation & Telepathy: One of the most startling studies involved a Soviet experiment testing remote influence on biological targets. • Mice were divided into control and test groups through a randomized selection process. • Remote viewers were instructed to increase anxiety in the target mice. • Post-mortem chemical analysis confirmed heightened stress markers exclusively in the targeted group. McMoneagle also explores the mechanics of psi perception, emphasizing that knowing is a “sense” unto itself. This aligns with findings from The Telepathy Tapes, a hit podcast exploring cases of nonverbal communication in highly intuitive individuals, including autistic children with extraordinary clairvoyance. 7. Integration with Modern Technology: McMoneagle’s open-source remote viewing methodologies are now being integrated with artificial intelligence and pattern recognition software. Since the early 2000s, tests have explored whether AI-enhanced psi data analysis could detect non-human signatures hidden in vast data sets. 8. High-Stakes Intelligence Operations: Remote viewing played a role in critical military intelligence operations beyond Soviet submarine detection. • His sessions identified hidden crash sites at classified locations such as Fort Meade and Dugway Proving Grounds. • He tracked covert Soviet weapons facilities in real-time, allowing for rapid intelligence action when traditional surveillance failed. • The MX Missile Program was scrapped after McMoneagle and his team proved they could remotely locate mobile nuclear warheads—saving the U.S. over $100 billion. 9. The Power of Intent: Remote viewing accuracy hinges on disciplined intent and mental precision. • McMoneagle trains viewers to suppress ego and detach from analytical overlay, a process he refined through thousands of sessions. • In military applications, those who followed these strict focus protocols demonstrated significantly higher accuracy rates. 10. Future Contact with Aliens: McMoneagle believes remote viewing could be humanity’s first tool for non-physical contact with extraterrestrial intelligence. • He suggests that advanced civilizations may already be observing human development and that psi-based intelligence collection could be used to detect and interact with them. • While skeptics demand a “smoking gun,” he maintains that his Mars sessions are one more compelling data point in a much larger puzzle. The ultimate question: Can remote viewing be the key to unlocking interstellar diplomacy?
0:47

🚨 The legendary Joe McMoneagle, the CIA’s Remote Viewer No. 1, played a pivotal role in the highly classified Stargate program, where he used remote viewing to penetrate the world’s deepest intelligence secrets. His sessions pinpointed undetectable nuclear submarines, exposed covert Soviet weapons programs, and provided life-saving intelligence during high-stakes missions in Vietnam and Europe, earning him the Legion of Merit. McMoneagle also describes out-of-body experiences and remote viewing sessions that revealed unusual structures on Mars—specifically pyramidal formations and fortress-like ruins. He claims to possess JPL negatives that match his descriptions and believes further analysis is needed. These findings come amid growing evidence that Mars once had rivers, a magnetosphere, and even fossilized bacteria—an idea that gained traction after NASA’s ALH 84001 meteorite discovery, President Clinton’s 1996 announcement, and analyses from plasma physicist John Brandenburg suggesting Mars may have suffered a nuclear catastrophe. From double-blind experiments demonstrating psi perception as a quantifiable skill to the precise methods behind remote viewing accuracy, McMoneagle challenges the limits of human perception. This episode explores the mechanics of consciousness, the future of intelligence gathering, and the controversial possibility that Mars may hold evidence of past civilization. Key Revelations: 1. Military-Grade Remote Viewing: Over 200 verified remote viewing sessions provided crucial intelligence from the late 1970s through the early 1980s. His work in identifying hidden Soviet submarine construction sites and military facilities led to major breakthroughs in U.S. defense strategy. In 1979, his session revealed an unknown Soviet sub with slanted missile tubes, later confirmed by satellite imagery. This intelligence helped shape U.S. naval countermeasures during the Cold War. 2. Unusual Structures on Mars: McMoneagle was tasked by the Department of Defense to remote view Mars at “1 million B.C.” He described massive pyramidal structures, collapsed fortifications, and signs of a lost civilization. He later obtained JPL negatives that he claims validate some of his descriptions. Recently, satellite imagery of a square anomaly on Mars—discussed by Elon Musk and mainstream scientists—has reignited interest in artificial-looking structures. If McMoneagle’s JPL negatives can be formally analyzed, they could contribute to the growing case that Mars’ past is more complex than officially acknowledged. 3. The Case for Life on Mars: McMoneagle’s claims align with a growing body of scientific evidence suggesting Mars may have supported life: • The 1996 ALH 84001 meteorite contained possible fossilized bacteria, prompting President Clinton’s public statement about potential Martian life. • Mars’ atmosphere contains Xenon-129 and Argon-40, which plasma physicist John Brandenburg argues are signatures of nuclear cataclysm—potential evidence of a large-scale ancient war. • Haim Eshed, former Israeli space security chief, has stated that human contact with extraterrestrials is ongoing and that the U.S. has knowledge of non-human presence on Mars. 4. Evolutionary Roots of Psychic Insight: McMoneagle believes remote viewing is an evolutionary ability that was once crucial for human survival. Before spoken language, early humans relied on telepathic perception to track predators, coordinate hunts, and sense threats—just as animals do today. Over time, this innate skill atrophied, but it remains latent within the human mind. 5. Refined Stargate Protocols: From 1972 to 1979, McMoneagle helped refine strict double-blind protocols for remote viewing. These included blind targeting, left-brain monitoring techniques, and strict data analysis procedures to separate real perceptions from imagination. These methods proved essential for achieving military-grade accuracy in intelligence gathering. 6. Double-Blind Validation & Telepathy: One of the most startling studies involved a Soviet experiment testing remote influence on biological targets. • Mice were divided into control and test groups through a randomized selection process. • Remote viewers were instructed to increase anxiety in the target mice. • Post-mortem chemical analysis confirmed heightened stress markers exclusively in the targeted group. McMoneagle also explores the mechanics of psi perception, emphasizing that knowing is a “sense” unto itself. This aligns with findings from The Telepathy Tapes, a hit podcast exploring cases of nonverbal communication in highly intuitive individuals, including autistic children with extraordinary clairvoyance. 7. Integration with Modern Technology: McMoneagle’s open-source remote viewing methodologies are now being integrated with artificial intelligence and pattern recognition software. Since the early 2000s, tests have explored whether AI-enhanced psi data analysis could detect non-human signatures hidden in vast data sets. 8. High-Stakes Intelligence Operations: Remote viewing played a role in critical military intelligence operations beyond Soviet submarine detection. • His sessions identified hidden crash sites at classified locations such as Fort Meade and Dugway Proving Grounds. • He tracked covert Soviet weapons facilities in real-time, allowing for rapid intelligence action when traditional surveillance failed. • The MX Missile Program was scrapped after McMoneagle and his team proved they could remotely locate mobile nuclear warheads—saving the U.S. over $100 billion. 9. The Power of Intent: Remote viewing accuracy hinges on disciplined intent and mental precision. • McMoneagle trains viewers to suppress ego and detach from analytical overlay, a process he refined through thousands of sessions. • In military applications, those who followed these strict focus protocols demonstrated significantly higher accuracy rates. 10. Future Contact with Aliens: McMoneagle believes remote viewing could be humanity’s first tool for non-physical contact with extraterrestrial intelligence. • He suggests that advanced civilizations may already be observing human development and that psi-based intelligence collection could be used to detect and interact with them. • While skeptics demand a “smoking gun,” he maintains that his Mars sessions are one more compelling data point in a much larger puzzle. The ultimate question: Can remote viewing be the key to unlocking interstellar diplomacy?

Jesse Michels

263,672 просмотров • 1 год назад

BONNIE LEVEL UP #22ndBonnieBDparty 🦊: What am I supposed to do? 🎤: Give her a birthday blessing. 🐰: Oh! Is your nose running? 🦊: For real? 🐰: You're crying? (wipes Emi's nose) Are you crying? Is it tears? Are you crying? 🦊: (wipes her eyes) 🐰: That's a big piece of eye gunk~ 🦊: (wipes Bonnie's eyes) 🎤: This is a bickering kind of love, right? 🦊: What am I supposed to say? 🐰: ☺️ 🐰: Is it real? 🦊: It's a fan 😆 🦊: What is that? The fan thing. 🐰: A fan, like when they wrap those new year lucky draw presents. 🦊: You'll have to open it to see. It's exactly like it. 🐰: Or is Any hidden in there?? 🦊: It might be too small 😆 🐰: It might not fit her. 🦊: Do you want to open it? 🐰: I do!! 🦊: It's exactly like it. 🐰: Really? 🦊: Almost exactly like it, but it's the one that's the closest to it. 🐰: Lemme see~ how do I open it? 🦊: Here here, you can open it yourself. 🐰: (starts opening it) 🐰: When did you buy it? 🦊: When did I buy it? 🦊: (helps Bonnie open it) 🎤: The vibe is like opening up the back of a truck to sell things. 🐰: (opens it) 🐰: 😭 🦊: It's exactly like it. It's even got the pearly design here. 🐰: 😭 🦊: Isn't it just like it? 🐰: 😭 🦊: It's really like it. I had to go to so many shops before I could find it. 🐰: How many shops did you go to? 🦊: So many. It's really like it. 🐰: Where did you buy it from? 🦊: Do you want to hold it? 🐰: I'm going to bring it to the concert. It'll definitely be at the Love Session. 🐰: (admiring the guitar) 🦊: Do you like it? 🐰: 🙂‍↕️ 🐰: My mic disappeared. 🦊: Her mic disappeared, where'd it go? 😆 🐰: My face is all gone now. I love it more than anything in the world. 🦊: Is it pretty? 🐰: It is. 🦊: It's really beautiful. The first time I saw it, I was like, this is the one. 🐰: It's beautiful. 🦊: Will you play it? 🐰: I will. I love it so much, I'm going to keep it till the day I die. 🦊: Yeah, guitars are things that, when ppl move homes, they'll bring their guitars with them. 🐰: What do you mean by moving? 🦊: As in, usually, guitars are things that ppl will bring with them even when they move homes. 🐰: Yeah. I'll bring it out with me. 🦊: You'll bring it out with you? 😆 🐰: I'll bring it to Central World, I'll walk and buy sweets with it. 🦊: It's heavy. 🐰: Oh, it's heavy. That's so sweet. 🦊: It really suits you. No one bought the same thing, right? 🐰: No, you're the only one I told. 🦊: The whole world knows now! 🐰: Oh yeah, they put it in (the Love Session BTS video). 🦊: 😆 🐰: They put it in the video. How come you're so sweet? 🦊: Do you want to try playing it? 🎤: Do you want to try playing? Will we see this guitar on stage on 7 March (EmiBonnie Love Session). 🦊: You can see it, but it doesn't have an amp, bc I had to choose between it having an amp or not having an amp. If it's a classic guitar with real wood, they don't really have amps apparently. That's what they said. 🎤: Do you want to give it a try? 🐰: No, I'm shy. Let me practice first. 🦊: Try listening to the sound. It's already been tuned. 🐰: (tries playing it) 🦊: Has it been tuned? Is this already tuned? 🐰: Yeah ☺️ 🐰: (hugs the guitar) 🐰: I'm going to hug it to sleep tonight. 🦊: You're going to hug it to sleep 😆 🎤: She's going to hug it to sleep 😆 🦊: It's so beautiful. It suits Bonnie the most. 🐰: (hugs the guitar) 🐰: When did you buy it? You had the time? 🦊: I did, I did. 🐰: When? We're together all the time, when'd you go? 🗣️: (screaming) 🦊: For this, of course I had time. 🐰: A spy. 🦊: Is it beautiful? 🐰: It's beautiful. Which shop did you buy it from? Does anyone know? 🦊: Are you going to buy another one or what? 😆 🐰: No, I'm not going to buy another one, this is the only one I want. 🎤: Everyone must want to take photos of the two of them with the guitar. You can stand next to the table with the cake. 🦊🐰: (being sweet with each other while everyone takes photos) 🦊: Which camera? 🎤: All the cameras. 🐰: Pls Meitu, edit the photos for me.
6:56

BONNIE LEVEL UP #22ndBonnieBDparty 🦊: What am I supposed to do? 🎤: Give her a birthday blessing. 🐰: Oh! Is your nose running? 🦊: For real? 🐰: You're crying? (wipes Emi's nose) Are you crying? Is it tears? Are you crying? 🦊: (wipes her eyes) 🐰: That's a big piece of eye gunk~ 🦊: (wipes Bonnie's eyes) 🎤: This is a bickering kind of love, right? 🦊: What am I supposed to say? 🐰: ☺️ 🐰: Is it real? 🦊: It's a fan 😆 🦊: What is that? The fan thing. 🐰: A fan, like when they wrap those new year lucky draw presents. 🦊: You'll have to open it to see. It's exactly like it. 🐰: Or is Any hidden in there?? 🦊: It might be too small 😆 🐰: It might not fit her. 🦊: Do you want to open it? 🐰: I do!! 🦊: It's exactly like it. 🐰: Really? 🦊: Almost exactly like it, but it's the one that's the closest to it. 🐰: Lemme see~ how do I open it? 🦊: Here here, you can open it yourself. 🐰: (starts opening it) 🐰: When did you buy it? 🦊: When did I buy it? 🦊: (helps Bonnie open it) 🎤: The vibe is like opening up the back of a truck to sell things. 🐰: (opens it) 🐰: 😭 🦊: It's exactly like it. It's even got the pearly design here. 🐰: 😭 🦊: Isn't it just like it? 🐰: 😭 🦊: It's really like it. I had to go to so many shops before I could find it. 🐰: How many shops did you go to? 🦊: So many. It's really like it. 🐰: Where did you buy it from? 🦊: Do you want to hold it? 🐰: I'm going to bring it to the concert. It'll definitely be at the Love Session. 🐰: (admiring the guitar) 🦊: Do you like it? 🐰: 🙂‍↕️ 🐰: My mic disappeared. 🦊: Her mic disappeared, where'd it go? 😆 🐰: My face is all gone now. I love it more than anything in the world. 🦊: Is it pretty? 🐰: It is. 🦊: It's really beautiful. The first time I saw it, I was like, this is the one. 🐰: It's beautiful. 🦊: Will you play it? 🐰: I will. I love it so much, I'm going to keep it till the day I die. 🦊: Yeah, guitars are things that, when ppl move homes, they'll bring their guitars with them. 🐰: What do you mean by moving? 🦊: As in, usually, guitars are things that ppl will bring with them even when they move homes. 🐰: Yeah. I'll bring it out with me. 🦊: You'll bring it out with you? 😆 🐰: I'll bring it to Central World, I'll walk and buy sweets with it. 🦊: It's heavy. 🐰: Oh, it's heavy. That's so sweet. 🦊: It really suits you. No one bought the same thing, right? 🐰: No, you're the only one I told. 🦊: The whole world knows now! 🐰: Oh yeah, they put it in (the Love Session BTS video). 🦊: 😆 🐰: They put it in the video. How come you're so sweet? 🦊: Do you want to try playing it? 🎤: Do you want to try playing? Will we see this guitar on stage on 7 March (EmiBonnie Love Session). 🦊: You can see it, but it doesn't have an amp, bc I had to choose between it having an amp or not having an amp. If it's a classic guitar with real wood, they don't really have amps apparently. That's what they said. 🎤: Do you want to give it a try? 🐰: No, I'm shy. Let me practice first. 🦊: Try listening to the sound. It's already been tuned. 🐰: (tries playing it) 🦊: Has it been tuned? Is this already tuned? 🐰: Yeah ☺️ 🐰: (hugs the guitar) 🐰: I'm going to hug it to sleep tonight. 🦊: You're going to hug it to sleep 😆 🎤: She's going to hug it to sleep 😆 🦊: It's so beautiful. It suits Bonnie the most. 🐰: (hugs the guitar) 🐰: When did you buy it? You had the time? 🦊: I did, I did. 🐰: When? We're together all the time, when'd you go? 🗣️: (screaming) 🦊: For this, of course I had time. 🐰: A spy. 🦊: Is it beautiful? 🐰: It's beautiful. Which shop did you buy it from? Does anyone know? 🦊: Are you going to buy another one or what? 😆 🐰: No, I'm not going to buy another one, this is the only one I want. 🎤: Everyone must want to take photos of the two of them with the guitar. You can stand next to the table with the cake. 🦊🐰: (being sweet with each other while everyone takes photos) 🦊: Which camera? 🎤: All the cameras. 🐰: Pls Meitu, edit the photos for me.

K-bab

73,138 просмотров • 8 месяцев назад

Christopher Helali of the American Communist Party has been a high-level Venceremos Brigadista since he began traveling to Cuba in 2015. He has been to Cuba “many many times” since then. Helali’s hero and mentor is George Galloway ( UK Workers Party - Sovintern ) , a personal friend and confidant of Fidel Castro since 1987. Fidel Castro was also a friend / colleague of Jeffrey Epstein and Ghislaine Maxwell, starting in 2002. Sovintern was co-founded by the ACP, UK Workers Party (among other Communist parties around the world) and Fidel Castro’s Grandson: Fidel Antonio Castro Smirnov. 🇨🇺 In Cuba, Helali studied at the University of Havana under Dr. Thalia Fung (half Cuban, half Chinese), a founding member of Fidel Castro’s Cuban Communist Party (PCC) and a high-ranking member of the Committee for the Defense of the Revolution (CDR), part of the Ministry of Revolutionary Armed Forces—armed thugs that spy on Cuban locals to root out, oppress, and imprison dissenters. 🕵🏾‍♂️Helali started going to Cuba the year after ICAP President Fernando Gonzalez Llort (Convicted Spy & Leader of the Cuban Five / WASP Network) was released in a prisoner exchange under Obama in 2014. ICAP is Cuban regime’s premier intelligence front group & vehicle for radical left-wing extremism and subversive foreign influence in the U.S. 🇨🇳 Before 2015, Helali studied in Wuhan at Huazhong University of Science and Technology on a Chinese CCP state-sponsored scholarship for two years and traveled to the DPRK. 🏩 In January 2025, Helali went to Havana and attended the 6th International Conference for World Balance, sponsored by ICAP (Cuban Institute of Friendship with the Peoples) that oversees the NNOC (National Network on Cuba). Helali and ICAP President Fernando Gonzalez Llort were part of the same plenary session on Cuban Solidarity. The Havana Conference on WB was hosted by the President of Cuba, Miguel Diaz Canel (Raul Castro’s puppet) with many high ranking Foreign Ministers in attendance, such as: 🇷🇺 Dmitry Georgievich Novikov - First Deputy Chairman of the State Duma Committee on International Affairs & prominent member and deputy of the Communist Party of the Russian Federation (CPRF). 🇻🇪 Rander Peña Ramirez - Executive Secretary of ALBA-TCP deputy minister for Latin America of the Venezuelan Ministry of Foreign Affairs and VP for International Affairs of the United Socialist Party of Venezuela (PSUV). 🇻🇪 Jorge Arreaza - Former VP & Minister of Foreign Affairs of Venezuela 🇫🇷 Boris Differ - International Secretary of the Pole of Communist Revival in France (PRF) 🇷🇸 Aleksandar Denić - Executive Secretary of the New Communist Party of Yugoslavia (NKPJ) Also in attendance - - Medea Benjamin of CODEPINK 🎀 - David Adler of Progressive International - People’s Human Rights Observatory, GAMIP, Kavilando, Black Alliance for Peace, Veterans For Peace, Jose Marti Project, and World BEYOND War. ICAP was one of five entities Rubio designated as off-limits under sanctions. The sanctions also target Cuba’s Ministry of the Revolutionary Armed Forces (MINFAR), the Committees for the Defense of the Revolution (CDR), Minera La Victoria S.A., and the state-run tourism company Amistur Cuba S.A., which has arranged trips to Cuba with U.S. nonprofits in the Singham CODEPINK - People’s Forum - DSA - PSL Network. Rubio sanctioned ICAP, GAESA, and the CDR earlier this year. Interesting observation - —> ICAP was sanctioned on June 4, 2026. —> Helali stepped down from the ACP on June 5, 2026.
7:45

Christopher Helali of the American Communist Party has been a high-level Venceremos Brigadista since he began traveling to Cuba in 2015. He has been to Cuba “many many times” since then. Helali’s hero and mentor is George Galloway ( UK Workers Party - Sovintern ) , a personal friend and confidant of Fidel Castro since 1987. Fidel Castro was also a friend / colleague of Jeffrey Epstein and Ghislaine Maxwell, starting in 2002. Sovintern was co-founded by the ACP, UK Workers Party (among other Communist parties around the world) and Fidel Castro’s Grandson: Fidel Antonio Castro Smirnov. 🇨🇺 In Cuba, Helali studied at the University of Havana under Dr. Thalia Fung (half Cuban, half Chinese), a founding member of Fidel Castro’s Cuban Communist Party (PCC) and a high-ranking member of the Committee for the Defense of the Revolution (CDR), part of the Ministry of Revolutionary Armed Forces—armed thugs that spy on Cuban locals to root out, oppress, and imprison dissenters. 🕵🏾‍♂️Helali started going to Cuba the year after ICAP President Fernando Gonzalez Llort (Convicted Spy & Leader of the Cuban Five / WASP Network) was released in a prisoner exchange under Obama in 2014. ICAP is Cuban regime’s premier intelligence front group & vehicle for radical left-wing extremism and subversive foreign influence in the U.S. 🇨🇳 Before 2015, Helali studied in Wuhan at Huazhong University of Science and Technology on a Chinese CCP state-sponsored scholarship for two years and traveled to the DPRK. 🏩 In January 2025, Helali went to Havana and attended the 6th International Conference for World Balance, sponsored by ICAP (Cuban Institute of Friendship with the Peoples) that oversees the NNOC (National Network on Cuba). Helali and ICAP President Fernando Gonzalez Llort were part of the same plenary session on Cuban Solidarity. The Havana Conference on WB was hosted by the President of Cuba, Miguel Diaz Canel (Raul Castro’s puppet) with many high ranking Foreign Ministers in attendance, such as: 🇷🇺 Dmitry Georgievich Novikov - First Deputy Chairman of the State Duma Committee on International Affairs & prominent member and deputy of the Communist Party of the Russian Federation (CPRF). 🇻🇪 Rander Peña Ramirez - Executive Secretary of ALBA-TCP deputy minister for Latin America of the Venezuelan Ministry of Foreign Affairs and VP for International Affairs of the United Socialist Party of Venezuela (PSUV). 🇻🇪 Jorge Arreaza - Former VP & Minister of Foreign Affairs of Venezuela 🇫🇷 Boris Differ - International Secretary of the Pole of Communist Revival in France (PRF) 🇷🇸 Aleksandar Denić - Executive Secretary of the New Communist Party of Yugoslavia (NKPJ) Also in attendance - - Medea Benjamin of CODEPINK 🎀 - David Adler of Progressive International - People’s Human Rights Observatory, GAMIP, Kavilando, Black Alliance for Peace, Veterans For Peace, Jose Marti Project, and World BEYOND War. ICAP was one of five entities Rubio designated as off-limits under sanctions. The sanctions also target Cuba’s Ministry of the Revolutionary Armed Forces (MINFAR), the Committees for the Defense of the Revolution (CDR), Minera La Victoria S.A., and the state-run tourism company Amistur Cuba S.A., which has arranged trips to Cuba with U.S. nonprofits in the Singham CODEPINK - People’s Forum - DSA - PSL Network. Rubio sanctioned ICAP, GAESA, and the CDR earlier this year. Interesting observation - —> ICAP was sanctioned on June 4, 2026. —> Helali stepped down from the ACP on June 5, 2026.

𝕄𝕖𝕠𝕨𝕝𝕝𝕚𝕠𝕟

15,616 просмотров • 18 дней назад

What led to the beef⁉️ In February 2007, 50 Cent was on Angie Martinez’s Hot 97 show and called Koch Records a “graveyard” for artists—implying it was a dead-end label where careers went to die, and that he could effectively shut down projects there‼️. Jim Jones (Dipset) had recently signed/released on Koch and was having success (notably with *Hustler’s P.O.M.E.* and “We Fly High”)‼️. Cam’ron, defending his crew and the label’s relevance, called in (or was put on the phone) and the two went at it live: arguing about sales, industry power, and who was bigger‼️. It turned personal and heated‼️. From there⁉️: - Cam’ron released the diss “Curtis” (mocking 50’s real name, Curtis Jackson, and going at his image/career)‼️. - 50 Cent fired back with “Funeral Music” (and later other tracks), including lines positioning Jim Jones as the new Dipset boss and Cam as demoted‼️. - There were videos, internet exchanges, and more disses‼️. Cam has repeatedly described the whole thing as “fun” and “just music” in later interviews, saying they never had deep personal street-level heat—more competitive industry sparring‼️. 50 has similarly said they wasted time on it due to competitive nature rather than real personal animosity, and they’ve long since reconciled (publicly cool for years, including joint appearances)‼️. During their 2024 interview on Cam’s *Talk With Flee* (with 50 as the guest), Cam brought up the specific move and called it a checkmate‼️. At the time of the beef, Dipset was dealing with *internal problems* that the public didn’t fully know about‼️Cam said nobody outside knew they weren’t fully on the same page, and he was hoping to fix things privately before they spilled out further‼️. 50 Cent then brought Jim Jones and Juelz Santana out on stage at one of his New York shows (Hammerstein Ballroom era references appear in accounts)‼️. Cam said when he saw members of his own group on stage with his opponent, it felt like the situation was spinning out of control: “It was a checkmate moment… This n***a’s devious‼️. But I respected it—I liked that shit.”‼️ He noted he wouldn’t have thought to reach out to someone like Tony Yayo or Lloyd Banks in a parallel situation, and he viewed the move as smart psychological warfare that exploited (and publicized) the existing Dipset tension‼️. 50’s side of the same conversation: He basically threw the invitation out as a calculated shot without being sure Jim would take it‼️. He joked along the lines of “We like Jimmy better than you anyway, Cam,” watched the response, saw interest, and invited him properly‼️. He described it as testing the waters and seeing what happened—Jim “bit.” Tony Yayo and others have separately called 50 a master manipulator who used chess/Art of War-style tactics in beefs, and this fit that pattern‼️. The stage appearance made the Dipset fractures more public and accelerated the perception that the group was fracturing (Jim and Cam’s relationship issues were already simmering)‼️. Cam has framed it in hindsight as an effective, respected chess move rather than pure betrayal talk, though Jim Jones later pushed back on the framing when the interview resurfaced‼️. They’ve long buried it—Cam has said when they finally spoke years later the first topic was getting to the money, and they’ve appeared together since‼️. The whole arc is classic mid-2000s New York competitive rap theater that started over a radio comment about a label and got amplified by diss records and one very public power move‼️💯.
4:00

What led to the beef⁉️ In February 2007, 50 Cent was on Angie Martinez’s Hot 97 show and called Koch Records a “graveyard” for artists—implying it was a dead-end label where careers went to die, and that he could effectively shut down projects there‼️. Jim Jones (Dipset) had recently signed/released on Koch and was having success (notably with *Hustler’s P.O.M.E.* and “We Fly High”)‼️. Cam’ron, defending his crew and the label’s relevance, called in (or was put on the phone) and the two went at it live: arguing about sales, industry power, and who was bigger‼️. It turned personal and heated‼️. From there⁉️: - Cam’ron released the diss “Curtis” (mocking 50’s real name, Curtis Jackson, and going at his image/career)‼️. - 50 Cent fired back with “Funeral Music” (and later other tracks), including lines positioning Jim Jones as the new Dipset boss and Cam as demoted‼️. - There were videos, internet exchanges, and more disses‼️. Cam has repeatedly described the whole thing as “fun” and “just music” in later interviews, saying they never had deep personal street-level heat—more competitive industry sparring‼️. 50 has similarly said they wasted time on it due to competitive nature rather than real personal animosity, and they’ve long since reconciled (publicly cool for years, including joint appearances)‼️. During their 2024 interview on Cam’s *Talk With Flee* (with 50 as the guest), Cam brought up the specific move and called it a checkmate‼️. At the time of the beef, Dipset was dealing with *internal problems* that the public didn’t fully know about‼️Cam said nobody outside knew they weren’t fully on the same page, and he was hoping to fix things privately before they spilled out further‼️. 50 Cent then brought Jim Jones and Juelz Santana out on stage at one of his New York shows (Hammerstein Ballroom era references appear in accounts)‼️. Cam said when he saw members of his own group on stage with his opponent, it felt like the situation was spinning out of control: “It was a checkmate moment… This n***a’s devious‼️. But I respected it—I liked that shit.”‼️ He noted he wouldn’t have thought to reach out to someone like Tony Yayo or Lloyd Banks in a parallel situation, and he viewed the move as smart psychological warfare that exploited (and publicized) the existing Dipset tension‼️. 50’s side of the same conversation: He basically threw the invitation out as a calculated shot without being sure Jim would take it‼️. He joked along the lines of “We like Jimmy better than you anyway, Cam,” watched the response, saw interest, and invited him properly‼️. He described it as testing the waters and seeing what happened—Jim “bit.” Tony Yayo and others have separately called 50 a master manipulator who used chess/Art of War-style tactics in beefs, and this fit that pattern‼️. The stage appearance made the Dipset fractures more public and accelerated the perception that the group was fracturing (Jim and Cam’s relationship issues were already simmering)‼️. Cam has framed it in hindsight as an effective, respected chess move rather than pure betrayal talk, though Jim Jones later pushed back on the framing when the interview resurfaced‼️. They’ve long buried it—Cam has said when they finally spoke years later the first topic was getting to the money, and they’ve appeared together since‼️. The whole arc is classic mid-2000s New York competitive rap theater that started over a radio comment about a label and got amplified by diss records and one very public power move‼️💯.

(st_ides)

148,350 просмотров • 1 месяц назад

Two and a Half Minutes That Defined a Decade The moment that “bum-ba-bum-BOOM” drumbeat hits, the whole stage seems to light up. Three young women stand under the lights, towering beehive hairdos, dark outfits, microphones in hand, moving and singing with pure energy. Ronnie is in the center—her voice sharp yet warm, those “whoa-oh-ohs” soaring without any strain. Backup dancers move behind them. The audience cheers. It’s just over two and a half minutes, but it feels like the entire 1960s has come alive right in front of you. The Ronettes came out of Spanish Harlem and Washington Heights in New York. Veronica “Ronnie” Bennett, her sister Estelle Bennett, and their cousin Nedra Talley started singing together in the late 1950s, drawing inspiration from doo-wop groups like Frankie Lymon & the Teenagers. They performed at the Peppermint Lounge, appeared in a twist movie, and released a few modest singles. The turning point came when Estelle called Philles Records. Phil Spector heard Ronnie sing “Why Do Fools Fall in Love” and immediately knew that was the voice he’d been looking for. The three of them signed with his label in 1963. “Be My Baby” was written by Jeff Barry, Ellie Greenwich, and Phil Spector. Ronnie later said the song captured the explosive feeling of those early days between her and the producer. The recording sessions took place in July 1963 at Gold Star Studios in Los Angeles. Ronnie flew out to California alone. The other two Ronettes weren’t called in. Background vocals came from the Blossoms, Cher (her first time in a studio), Sonny Bono, and Nino Tempo. The session musicians—later known as the Wrecking Crew—included Hal Blaine on drums, multiple pianos at once, guitars, bass, brass, and a full string section. It was the first time Spector used a full orchestra at Gold Star for one of his records. The studio was packed. They rehearsed for hours before rolling tape. Hal Blaine later explained that the legendary opening drum pattern came from an accident—he dropped a stick and missed the second beat. He kept the “mistake,” and it became the unforgettable signature. Ronnie spent three days recording her vocals. Between takes she would slip into the ladies’ room to practice those “oh-oh-ohs,” partly because the acoustics were great in there and partly so the musicians wouldn’t get distracted. Spector built his Wall of Sound by layering instruments thickly and using Gold Star’s famous echo chamber, creating a dense, almost symphonic sound he called “little symphonies for the kids.” The finished track felt both powerful and intimate, grand and personal at the same time. Released in August 1963, “Be My Baby” climbed to No. 2 on the Billboard Hot 100, held strong for weeks, hit No. 1 on Cash Box, and reached the top five in the UK. Dick Clark called it “the record of the century” on American Bandstand. It sold millions of copies in its first year. The song became an icon of the 1960s for several interlocking reasons. The Wall of Sound delivered a sense of scale that matched the energy and ambition of a young generation growing up with radio and television. The lyrics were simple teenage romance, yet Ronnie delivered them with confidence and a subtle sensuality that created a compelling tension. At that moment, girl groups were reshaping how female artists appeared on stage—confident, stylish, magnetic. “Be My Baby” captured that shift and elevated it. The impact was immediate. Brian Wilson of the Beach Boys heard the song for the first time while driving. He had to pull over to the side of the road, completely overwhelmed. He later called it the greatest record ever made and said no one would ever top it. Wilson bought multiple copies, played them over and over, and studied every layer. He wrote “Don’t Worry Baby” as a kind of answer song, originally intending it for the Ronettes, before keeping it for his own group. John Lennon loved Ronnie’s voice too. Later generations kept drawing from that drumbeat, that sense of space in the production, and the direct emotional charge of the track. Every time I watch the performance clip again, it still feels fresh. Ronnie smiles, sings, and moves across the stage as if the song had been written the day before. Nothing feels forced. The energy comes from the three of them, from the hidden orchestra behind them, and from the way the record was built. It’s a moment when pop music learned how to create something large inside a small frame. More than sixty years later, the recording still stands among the most important songs of its era, inducted into the Grammy Hall of Fame and the National Recording Registry of the Library of Congress. Sitting with the video, what comes through clearest is pure joy. No long explanation needed. Just that opening drumbeat, then Ronnie’s voice stepping in, and suddenly you remember why this song remains tied to the 1960s—because it caught the pulse of its time, because it was made with such care that it became a standard, and because it still makes people want to sing along, move along, and believe every word.
2:33

Two and a Half Minutes That Defined a Decade The moment that “bum-ba-bum-BOOM” drumbeat hits, the whole stage seems to light up. Three young women stand under the lights, towering beehive hairdos, dark outfits, microphones in hand, moving and singing with pure energy. Ronnie is in the center—her voice sharp yet warm, those “whoa-oh-ohs” soaring without any strain. Backup dancers move behind them. The audience cheers. It’s just over two and a half minutes, but it feels like the entire 1960s has come alive right in front of you. The Ronettes came out of Spanish Harlem and Washington Heights in New York. Veronica “Ronnie” Bennett, her sister Estelle Bennett, and their cousin Nedra Talley started singing together in the late 1950s, drawing inspiration from doo-wop groups like Frankie Lymon & the Teenagers. They performed at the Peppermint Lounge, appeared in a twist movie, and released a few modest singles. The turning point came when Estelle called Philles Records. Phil Spector heard Ronnie sing “Why Do Fools Fall in Love” and immediately knew that was the voice he’d been looking for. The three of them signed with his label in 1963. “Be My Baby” was written by Jeff Barry, Ellie Greenwich, and Phil Spector. Ronnie later said the song captured the explosive feeling of those early days between her and the producer. The recording sessions took place in July 1963 at Gold Star Studios in Los Angeles. Ronnie flew out to California alone. The other two Ronettes weren’t called in. Background vocals came from the Blossoms, Cher (her first time in a studio), Sonny Bono, and Nino Tempo. The session musicians—later known as the Wrecking Crew—included Hal Blaine on drums, multiple pianos at once, guitars, bass, brass, and a full string section. It was the first time Spector used a full orchestra at Gold Star for one of his records. The studio was packed. They rehearsed for hours before rolling tape. Hal Blaine later explained that the legendary opening drum pattern came from an accident—he dropped a stick and missed the second beat. He kept the “mistake,” and it became the unforgettable signature. Ronnie spent three days recording her vocals. Between takes she would slip into the ladies’ room to practice those “oh-oh-ohs,” partly because the acoustics were great in there and partly so the musicians wouldn’t get distracted. Spector built his Wall of Sound by layering instruments thickly and using Gold Star’s famous echo chamber, creating a dense, almost symphonic sound he called “little symphonies for the kids.” The finished track felt both powerful and intimate, grand and personal at the same time. Released in August 1963, “Be My Baby” climbed to No. 2 on the Billboard Hot 100, held strong for weeks, hit No. 1 on Cash Box, and reached the top five in the UK. Dick Clark called it “the record of the century” on American Bandstand. It sold millions of copies in its first year. The song became an icon of the 1960s for several interlocking reasons. The Wall of Sound delivered a sense of scale that matched the energy and ambition of a young generation growing up with radio and television. The lyrics were simple teenage romance, yet Ronnie delivered them with confidence and a subtle sensuality that created a compelling tension. At that moment, girl groups were reshaping how female artists appeared on stage—confident, stylish, magnetic. “Be My Baby” captured that shift and elevated it. The impact was immediate. Brian Wilson of the Beach Boys heard the song for the first time while driving. He had to pull over to the side of the road, completely overwhelmed. He later called it the greatest record ever made and said no one would ever top it. Wilson bought multiple copies, played them over and over, and studied every layer. He wrote “Don’t Worry Baby” as a kind of answer song, originally intending it for the Ronettes, before keeping it for his own group. John Lennon loved Ronnie’s voice too. Later generations kept drawing from that drumbeat, that sense of space in the production, and the direct emotional charge of the track. Every time I watch the performance clip again, it still feels fresh. Ronnie smiles, sings, and moves across the stage as if the song had been written the day before. Nothing feels forced. The energy comes from the three of them, from the hidden orchestra behind them, and from the way the record was built. It’s a moment when pop music learned how to create something large inside a small frame. More than sixty years later, the recording still stands among the most important songs of its era, inducted into the Grammy Hall of Fame and the National Recording Registry of the Library of Congress. Sitting with the video, what comes through clearest is pure joy. No long explanation needed. Just that opening drumbeat, then Ronnie’s voice stepping in, and suddenly you remember why this song remains tied to the 1960s—because it caught the pulse of its time, because it was made with such care that it became a standard, and because it still makes people want to sing along, move along, and believe every word.

Music over time🎻

39,268 просмотров • 1 месяц назад

**MH370x Breaking Update** My Letter to Congress Dear Congress, My name is Ashton Forbes and I am currently disclosing the most important videos in the history of the world. All of this information is publicly available. I would like to state that I have a Top Secret US Government clearance as part of my job as a contractor. My job has nothing to do with advanced technology, I am only stating this to establish my credibility. I am not bound by an NDA. This is not a hoax, disinformation, or misinformation. You don't need to believe me because everything is verifiable. I am requesting a public hearing. I am willing to testify in front of congress as to the authenticity of these videos and explain every aspect of them. I would also invite physics experts to validate the science on display. The videos in question are that of the true fate of Malaysian Airlines Flight 370, on March 7th, 2014 at 18:40UTC at the Nicobar Islands. One is of an MQ-1C Gray Eagle with a thermal layer added by the leaker, and the other is a 3D battlespace produced by the SBIRS (Space Based Infrared System), via SIGINT (Signals Intelligence) using data from Spy Satellite USA-229 which has a sister satellite next to it classified as debris. This allows for the proven 3D stereoscopic imagery we see in the Satellite video. The oldest archived versions of the videos we could find come from "RegicideAnon" a UFO video uploader, who uploaded unrelated videos previously, indicating they are not the source. Higher quality versions were released by other UFO uploaders on youtube later on, indicating neither is the original source. The dates are damning. Satellite Video (Received: March 12, 2014, Uploaded May 19, 2014) - MQ-1C Gray Eagle (Received: June 5, 2014, Uploaded June 13, 2014) - So why now, many ask? Because only in 2023 do we have the basis to understand these videos to be real. We needed the 2017 DoD Navy UAP videos to understand what FLIR footage looks like, the 2019 Trump satellite leak to understand those capabilities, 2020 scientific papers that show 'wormholes' are humanely traversable, LK-99 that shows the emergence of superconductivity and finally AI in daily use as ChatGPT. Without all these things the MH370 videos seem like magic. We know the location of the videos because the investigative group I started, MH370x, satellite experts used amateur historical trajectories to identify the correct satellite in the correct position to take the 3D stereoscopic video we see. We can see six sets of coordinates in the satellite video which we had incorrectly thought were in the South Indian Ocean, until we were able to realize the only possible location was the Nicobar Islands because the plane is turning left in both videos and due to the coordinate shifts. This means the plane is turning south and to the east. The satellite and witness (Katherine Tee) indicate the time is 18:40UTC, March 7th, 2014. Proof the Satellite video is 3D Stereoscopic - SBIRS - USA-229, the smoking gun - The Witness - I have been investigating and writing about these videos as a Citizen Journalist for the past 10 weeks. My X Corp (Twitter) following has gone from 30 followers to 8500+ of multidisciplinary backgrounds from the strength of the evidence alone. My handle is . We have definitively proved every aspect of the videos to be authentic. We know the assets, the time, the location, we have a witness, we know that there was a fire on the plane likely from the lithium ion batteries which broke containment, causing the Halon gas to permeate throughout the plane. Lithium Ion Battery Fire - There was no debris field, which is impossible for a 777 crashing into the ocean. The small amounts of debris found are consistent with the fire scenario, and some debris had burn marks. A fire suppression device from a B777 washed up in the Maldives and was not investigated despite having visible serial numbers. The Maldives were intentionally excluded from the search, despite witnesses on one of the small islands seeing the plane flying low and identifying the red/blue stripe of Malaysian Airlines early in the morning on March 8, 2014. All the Witnesses - We know that the 'official' narratives are a lie to cover up that this technology was deployed to either save the plane, or as espionage to prevent the 20 Freescale Semiconductor scientists onboard from going to China. I suspect they are integral to the technology we see. We know the plane didn't crash into the ocean because the SOSUS system didn't hear the acoustic sound. The same system that heard the Titan sub pop and the Navy lied about it for 5 days while oxygen counters were on every major news channel. The Diego Garcia hydrophones and Western Australia hydrophones also didn't hear it. Missing Hydrophone Data - I wish that this being MH370 was the most important part of these videos, because ultimately I'm doing this for the families of the victims, the witnesses, the leaker of these videos, and the world that has been lied to. However, the most important part of these videos is that they prove conclusively that the US Government is hiding Superconductivity, Teleportation, and 'Free Energy' from the world. Everything we see in these videos can be explained by science. This is not 'aliens' in these videos. This is our technology. The assets are filming the plane before the orbs even show up. The drone cannot catch a 777-200, it must have intercepted it. This is a US Government operation. I do not believe that we could be this secretly advanced without a reverse engineering program. The orbs in this video are ignoring gravity, being pulled forward by some 'gravity engine' indicated by the dark lines in front of them, and upon intercept are traveling at estimated Mach3 speeds. The explanation for their pattern is artificial intelligence, a computer program. Superconductive Harmonic Orbs - Traversable Wormholes - The videos do not show annihilation because E=MC^2 and the 'zap' would be much larger. It's not an explosion because it's cold in the thermal, not hot. It's a black hole. It's also not 'cloaking' because the smoke stops when the plane disappears. It has to be teleportation based on science. A wormhole. I found out, to my own surprise, that humanely traversable wormholes are theoretically possible. This singularity is causing a transitional phase state change in the plane where it reverts to a wave function and obtains a probabilistic nature. This is only possible with superconductivity and ‘free energy’ technology. Macroscopic Decoherence (how the plane was teleported) - I was also able to identify the leaker of the videos as being Lieutenant Commander Edward C. Lin. He checks every box to be the leaker. Our Government attempted to put him in prison for life as a traitor, but he is no spy. Edward C. Lin is a hero. He took a plea deal after he was convinced he damaged national security, but he never revealed this information to our enemies. He simply wanted to do the right thing and tell the world the truth of this technology and what happened to MH370. He was sentenced to 9 years in prison and likely is bound by his plea deal to never speak about the videos again. We can vindicate this man as well as everyone else who was lied to or discredited. Evidence that the leaker is Edward C. Lin - I also got a tip from a source that told me that the nephew of Retired General Joseph F. Dunford has seen the videos and indirectly confirmed their authenticity. He was likely in charge of the operation as the commander of the International Security Assistance Force in 2014. He then served as the 19th Chairman of the Joint Chiefs of Staff, the nation’s highest-ranking military officer, and the principal military advisor to the President, Secretary of Defense, and National Security Council from Oct. 1, 2015, through Sept. 30, 2019. He is now on the board of directors at Lockheed Martin. While the destination of the plane is speculative, the most likely place is Diego Garcia. The witnesses in the Maldives indicate that, as well as the American passenger Phillip Wood EXIF data photo, that points to Diego Garica where he claimed to be held prisoner. I'm not sure what happened to the passengers. It is scientifically possible that some survived. None of the families of the victims have reached out to me. I am operating under the assumption that they were returned to their various countries in exchange for their silence, and Phillip Wood may be in Witness Protection. Phillip Wood EXIF photo is not 'fake' - I know the videos seem impossible, but they are authentic. They are not CGI. We were able to show that the satellite video is a Citrix session logged into the actual spy satellite database due to the framerate discrepancy between the mouse we see, and the background. (24fps vs 6fps) Also, hundreds of community VFX experts have analyzed the footage frame by frame and not a single discrepancy can be found. The list of requirements to ‘hoax’ the videos is practically impossible. What it would take to 'hoax' the MH370 videos - It's not CGI (see replies) - These videos implicate the US Government in a black budget reverse engineering program alla whistleblower David Grusch's sworn testimony to congress. This information will shock you and I hope you will seek to expose the truth. This surpasses petty politics. Please help for the good of the country. This is a verifiable conspiracy, and while I believe that it is being done because the forces that be think that society will collapse if this technology is made publicly available, I disagree. We can handle this information and the technology has the capability to change the circumstances of millions if not billions of people. What matters in this world is the time we spend in it, with the people we care about. That will not change. The reason I am requesting a public congressional hearing is because I believe the weight of the evidence can convince enough people in congress that the true events of MH370 were covered up by our own government and that there is a black budget advanced technology program, most likely based on reversed engineered Unidentified Aerial Phenomenon (UAP). Sincerely, -Ashton Forbes #MH370x #MH370
0:59

**MH370x Breaking Update** My Letter to Congress Dear Congress, My name is Ashton Forbes and I am currently disclosing the most important videos in the history of the world. All of this information is publicly available. I would like to state that I have a Top Secret US Government clearance as part of my job as a contractor. My job has nothing to do with advanced technology, I am only stating this to establish my credibility. I am not bound by an NDA. This is not a hoax, disinformation, or misinformation. You don't need to believe me because everything is verifiable. I am requesting a public hearing. I am willing to testify in front of congress as to the authenticity of these videos and explain every aspect of them. I would also invite physics experts to validate the science on display. The videos in question are that of the true fate of Malaysian Airlines Flight 370, on March 7th, 2014 at 18:40UTC at the Nicobar Islands. One is of an MQ-1C Gray Eagle with a thermal layer added by the leaker, and the other is a 3D battlespace produced by the SBIRS (Space Based Infrared System), via SIGINT (Signals Intelligence) using data from Spy Satellite USA-229 which has a sister satellite next to it classified as debris. This allows for the proven 3D stereoscopic imagery we see in the Satellite video. The oldest archived versions of the videos we could find come from "RegicideAnon" a UFO video uploader, who uploaded unrelated videos previously, indicating they are not the source. Higher quality versions were released by other UFO uploaders on youtube later on, indicating neither is the original source. The dates are damning. Satellite Video (Received: March 12, 2014, Uploaded May 19, 2014) - MQ-1C Gray Eagle (Received: June 5, 2014, Uploaded June 13, 2014) - So why now, many ask? Because only in 2023 do we have the basis to understand these videos to be real. We needed the 2017 DoD Navy UAP videos to understand what FLIR footage looks like, the 2019 Trump satellite leak to understand those capabilities, 2020 scientific papers that show 'wormholes' are humanely traversable, LK-99 that shows the emergence of superconductivity and finally AI in daily use as ChatGPT. Without all these things the MH370 videos seem like magic. We know the location of the videos because the investigative group I started, MH370x, satellite experts used amateur historical trajectories to identify the correct satellite in the correct position to take the 3D stereoscopic video we see. We can see six sets of coordinates in the satellite video which we had incorrectly thought were in the South Indian Ocean, until we were able to realize the only possible location was the Nicobar Islands because the plane is turning left in both videos and due to the coordinate shifts. This means the plane is turning south and to the east. The satellite and witness (Katherine Tee) indicate the time is 18:40UTC, March 7th, 2014. Proof the Satellite video is 3D Stereoscopic - SBIRS - USA-229, the smoking gun - The Witness - I have been investigating and writing about these videos as a Citizen Journalist for the past 10 weeks. My X Corp (Twitter) following has gone from 30 followers to 8500+ of multidisciplinary backgrounds from the strength of the evidence alone. My handle is . We have definitively proved every aspect of the videos to be authentic. We know the assets, the time, the location, we have a witness, we know that there was a fire on the plane likely from the lithium ion batteries which broke containment, causing the Halon gas to permeate throughout the plane. Lithium Ion Battery Fire - There was no debris field, which is impossible for a 777 crashing into the ocean. The small amounts of debris found are consistent with the fire scenario, and some debris had burn marks. A fire suppression device from a B777 washed up in the Maldives and was not investigated despite having visible serial numbers. The Maldives were intentionally excluded from the search, despite witnesses on one of the small islands seeing the plane flying low and identifying the red/blue stripe of Malaysian Airlines early in the morning on March 8, 2014. All the Witnesses - We know that the 'official' narratives are a lie to cover up that this technology was deployed to either save the plane, or as espionage to prevent the 20 Freescale Semiconductor scientists onboard from going to China. I suspect they are integral to the technology we see. We know the plane didn't crash into the ocean because the SOSUS system didn't hear the acoustic sound. The same system that heard the Titan sub pop and the Navy lied about it for 5 days while oxygen counters were on every major news channel. The Diego Garcia hydrophones and Western Australia hydrophones also didn't hear it. Missing Hydrophone Data - I wish that this being MH370 was the most important part of these videos, because ultimately I'm doing this for the families of the victims, the witnesses, the leaker of these videos, and the world that has been lied to. However, the most important part of these videos is that they prove conclusively that the US Government is hiding Superconductivity, Teleportation, and 'Free Energy' from the world. Everything we see in these videos can be explained by science. This is not 'aliens' in these videos. This is our technology. The assets are filming the plane before the orbs even show up. The drone cannot catch a 777-200, it must have intercepted it. This is a US Government operation. I do not believe that we could be this secretly advanced without a reverse engineering program. The orbs in this video are ignoring gravity, being pulled forward by some 'gravity engine' indicated by the dark lines in front of them, and upon intercept are traveling at estimated Mach3 speeds. The explanation for their pattern is artificial intelligence, a computer program. Superconductive Harmonic Orbs - Traversable Wormholes - The videos do not show annihilation because E=MC^2 and the 'zap' would be much larger. It's not an explosion because it's cold in the thermal, not hot. It's a black hole. It's also not 'cloaking' because the smoke stops when the plane disappears. It has to be teleportation based on science. A wormhole. I found out, to my own surprise, that humanely traversable wormholes are theoretically possible. This singularity is causing a transitional phase state change in the plane where it reverts to a wave function and obtains a probabilistic nature. This is only possible with superconductivity and ‘free energy’ technology. Macroscopic Decoherence (how the plane was teleported) - I was also able to identify the leaker of the videos as being Lieutenant Commander Edward C. Lin. He checks every box to be the leaker. Our Government attempted to put him in prison for life as a traitor, but he is no spy. Edward C. Lin is a hero. He took a plea deal after he was convinced he damaged national security, but he never revealed this information to our enemies. He simply wanted to do the right thing and tell the world the truth of this technology and what happened to MH370. He was sentenced to 9 years in prison and likely is bound by his plea deal to never speak about the videos again. We can vindicate this man as well as everyone else who was lied to or discredited. Evidence that the leaker is Edward C. Lin - I also got a tip from a source that told me that the nephew of Retired General Joseph F. Dunford has seen the videos and indirectly confirmed their authenticity. He was likely in charge of the operation as the commander of the International Security Assistance Force in 2014. He then served as the 19th Chairman of the Joint Chiefs of Staff, the nation’s highest-ranking military officer, and the principal military advisor to the President, Secretary of Defense, and National Security Council from Oct. 1, 2015, through Sept. 30, 2019. He is now on the board of directors at Lockheed Martin. While the destination of the plane is speculative, the most likely place is Diego Garcia. The witnesses in the Maldives indicate that, as well as the American passenger Phillip Wood EXIF data photo, that points to Diego Garica where he claimed to be held prisoner. I'm not sure what happened to the passengers. It is scientifically possible that some survived. None of the families of the victims have reached out to me. I am operating under the assumption that they were returned to their various countries in exchange for their silence, and Phillip Wood may be in Witness Protection. Phillip Wood EXIF photo is not 'fake' - I know the videos seem impossible, but they are authentic. They are not CGI. We were able to show that the satellite video is a Citrix session logged into the actual spy satellite database due to the framerate discrepancy between the mouse we see, and the background. (24fps vs 6fps) Also, hundreds of community VFX experts have analyzed the footage frame by frame and not a single discrepancy can be found. The list of requirements to ‘hoax’ the videos is practically impossible. What it would take to 'hoax' the MH370 videos - It's not CGI (see replies) - These videos implicate the US Government in a black budget reverse engineering program alla whistleblower David Grusch's sworn testimony to congress. This information will shock you and I hope you will seek to expose the truth. This surpasses petty politics. Please help for the good of the country. This is a verifiable conspiracy, and while I believe that it is being done because the forces that be think that society will collapse if this technology is made publicly available, I disagree. We can handle this information and the technology has the capability to change the circumstances of millions if not billions of people. What matters in this world is the time we spend in it, with the people we care about. That will not change. The reason I am requesting a public congressional hearing is because I believe the weight of the evidence can convince enough people in congress that the true events of MH370 were covered up by our own government and that there is a black budget advanced technology program, most likely based on reversed engineered Unidentified Aerial Phenomenon (UAP). Sincerely, -Ashton Forbes #MH370x #MH370

Ashton Forbes

7,912,449 просмотров • 3 лет назад

The Daily Mail’s Royal Vendetta: A Month of Smears on William and Catherine, Followed by Crocodile Tears In the sweltering heat of August and September 2025, the Daily Mail unleashed a torrent of vitriol against Prince William, Catherine, the Princess of Wales, and even King Charles III. What began as whispers about a family home move quickly snowballed into a full-scale assault: accusations of “control freak” tendencies, “underwhelming” duties, a “dark past” tied to slavery, and hints of irreparable rifts. Collages of headlines tell the story — dozens of pieces from the Mail’s royal “hit squad,” peddling speculation as fact, while royal watchers cried “propaganda!” after every drop. This wasn’t journalism. It was SEO warfare dressed up as reporting, cynically timed to ride search trends like “William lazy,” “Kate health,” and “Charles succession,” while dangling glowing comparisons to bait Sussex fans. The Mail’s royal desk has turned itself into a digital sweatshop where outrage is the currency. Every article is deliberately contradictory — William is “too private” one day, “too performative” the next; Catherine is “influential but holding him back”; Charles is “weak but meddling.” Why? Because conflict sells. Rage-clicks fill MailOnline’s coffers. It’s the business model of chaos — and chaos is the coin of their grubby little realm. Now, in a twist worthy of their own soap-opera scripts, two of the Mail’s most prolific royal scribblers— Rebecca English and Richard Eden —have pivoted to pearl-clutching exposés about a “sinister plot” and “calculated wedge” undermining William and Catherine. It’s laughable. These aren’t brave whistleblowers; they’re architects of the very narrative they’re now decrying. The Daily Mail didn’t just report the hate—they manufactured it, weaponised it, monetised it, and now want to wash their hands as if they were bystanders. It’s the Fleet Street equivalent of throwing petrol on a bonfire, then sobbing that one’s eyebrows got singed. The Mail’s hypocrisy is breathtaking. For weeks, they ran columns dripping with Sussex apologia — Griffiths acting as Harry’s stenographer and Platell recycling Meghan’s grievances as “concerns,” and A.N. Wilson psychoanalysing William from his study like some amateur Freud-for-hire. All this while YouTube commenters and even their own readers blasted their Royals channel as “toxic propaganda.” But rather than adjust course, they doubled down — until subscribers fled and advertisers grew squeamish. Only then did the pivot to victimhood begin. One could almost hear the gnashing of teeth in Kensington High Street. Let’s expose the rot at the heart of this tabloid machine — how they orchestrated the smears, gamed the algorithms, amplified Sussex narratives, twisted facts into weapons, and how their financial decline drives the cruelty. The curtain must be pulled back, and the stagehands caught red-handed, script in one hand, calculator in the other. The Hit Parade: A Catalogue of Calculated Cruelty From 1 August to 27 September 2025, the Daily Mail’s royal desk became a factory for anti-Wales ammunition, deploying a multi-pronged strategy: recycle old grudges into fresh headlines, cherry-pick data to misrepresent workloads, sensationalise historical trivia, and frame every decision as evidence of impending royal collapse. The trigger? William and Catherine’s pragmatic decision to relocate from Adelaide Cottage to Forest Lodge on the Sandringham estate — a “forever home” for family stability amid Catherine’s cancer recovery and global threats. What should have been a non-story morphed into “proof” of William’s fatal flaws: too private, too lazy, too “woke,” too everything. In short, too damned convenient for the Mail’s search engine tinkering. This was not random. The Mail runs on click-chains: one “exclusive” generates spinoffs, which are then linked in sidebars, ensuring readers never escape the outrage cycle. Eviction headlines lead into slavery history “revelations,” which link to workload hit pieces, which in turn promote YouTube debate clips. It is algorithmic entrapment sold as news — a kind of journalistic mousetrap baited with bile. Here’s the rogue’s gallery of the worst offenders, their pieces dripping with pro-Sussex favoritism and wild conjecture, broken down by tactic: • Amanda Platell (Columnist): On 20 August, Platell sneered at William’s “puny” 71 engagements, cherry-picking incomplete 2024 figures and ignoring health crises in the family. She compared him unfavourably to Princess Anne and accused him of making the Firm “pure vanilla.” Platell’s column was SEO-stuffed with phrases like “workshy heir” and “royal crisis” — all designed to trend on Google and bait shares. Her follow-ups even recycled Meghan’s old “baby brain” anecdote as if it were fresh ammunition. This isn’t journalism; it’s content farming — and farming in barren soil at that. • Christopher Wilson (Historian/Columnist): On 23 August, Wilson exhumed Forest Lodge’s “dark past,” weaponising obscure history to frame William and Catherine as morally negligent. The piece was algorithmically tied to MailOnline’s “slavery legacy” tag — the same tag used to cover Netflix’s colonial dramas. It wasn’t about informing readers; it was about capturing traffic off unrelated cultural debates. Like a ghoul rifling through parish records for sport. • A.N. Wilson (Royal Author): On 19 September, he declared William “angry and unhappy,” citing outdated stats and palace whispers. But more insidious was the Mail’s packaging: push alerts framed it as a “shock diagnosis,” with sidebars linking to Sussex puff pieces. William’s Earthshot success was buried, Harry’s “fun scamp” antics headlined. Manipulation by design, as brazen as a conjurer’s sleight of hand. • Charlotte Griffiths (Royal Correspondent): On 13 September, Griffiths painted William as the villain blocking Harry’s reconciliation. Her reliance on “anonymous sources” was classic Mail — unverifiable quotes crafted to fuel fan wars online. Each story was cross-promoted under MailOnline’s “Sussex comeback” hub, ensuring clicks from both sides of the aisle. Division is profitable, and she is its clerk of works. • Liz Jones (Columnist): On 5 September, Jones targeted Kate’s “bronde” hair during a visit to the Natural History Museum gardens, mixing sharp critique with grudging praise. Trolls called the lighter shade “washed out” or a “wig,” but Jones framed it as smart and empowering, signalling Kate’s post-cancer confidence. Her long history of nitpicking Kate’s hair — from 2012 bangs to post-2024 hospital styles — fits the pattern: personal opinion masquerading as insight, always driving clicks. She also recently editorialised against William as a future king, questioning his temperament and charisma, further stoking debate and subtly undermining the heir apparent. • Tina Brown (via Mail amplification): Brown’s Vanity Fair critiques were sliced into fragments and drip-fed as “Mail exclusives.” This is another trick: repackaging syndicated content as fresh scoops, maximising monetisation while disguising the recycling. In Fleet Street terms, it’s reheated cabbage passed off as coq au vin. • Rebecca English & Richard Eden: Even before their pivot, both poured fuel on the fire. English questioned the Forest Lodge move as a “taxpayer gamble” (24 September). Eden mocked it as indecisiveness (18 September). Both columns carried DailyMailPlus paywall teasers, designed to convert outrage into subscriptions. This wasn’t reporting. It was a coordinated content strategy: anonymous sourcing (cheap and unverifiable), data manipulation (engagement cherry-picking), and emotional framing (slavery, evictions, family rifts) — all calculated to maximise page dwell-time and comments. It’s the cynical mechanics of Fleet Street turned up to eleven, all brass band and no tune. The Asinine Pivot: From Smear-Mongers to Victimhood By late September, the Mail faced a problem: the narrative it had stoked was now boomeranging. Readers began calling out bias, subscribers fled, and Palace Confidential was haemorrhaging viewers. Cue the pivot. • On 25 September, Eden wailed about a “sinister plot.” • On 26 September, English warned of a “wedge between Charles and William.” Both pieces were smoke and mirrors. They rehashed earlier reporting — their own reporting — while pretending to be alarmed that anti-Wales narratives were spreading. Classic Mail: start the fire, then play the firefighter. They build the echo chamber, harvest the clicks, and when the backlash hits, shrug and blame “external forces.” It is not just hypocrisy — it is fraud. Fraud against readers, against journalism, against public trust. A betrayal wrapped in bunting. YouTube Implosion: Palace Confidential’s Monarchy Meltdown The nadir came mid-September when the Mail’s Palace Confidential channel speculated if William’s reign would “end the monarchy.” The video was a montage of the very print smears their own desk had churned out — workload cherry-picking, rift whispers, Forest Lodge doom-mongering. Within days, subscribers plummeted by the thousands. Comment sections filled with accusations of “hateful propaganda.” Forensic look at the analytics shows watch-time collapsing, click-through rates nosediving. Why? Because even Mail loyalists saw through the con. They were watching for the same reheated slop, dressed up as “exclusive debate.” According to VidIQ data, the Daily Mail Royals YouTube channel currently shows around 482,000 subscribers and has amassed over 313 million total video views. While those are nontrivial numbers, the channel’s estimated monthly earnings do not vindicate the hours of content churn — often in the modest range of £14,580–44,550 depending on viewership and ad engagement. In other words, the editorial excess is not being rewarded by proportionate audience loyalty or monetisation growth — the metrics are flat or weakening under scrutiny. Tubics data earlier in 2025 had placed the Daily Mail Royals subscriber count at ~464,000 with a view count ~292 million, indicating very slow growth — a channel in stagnation rather than ascendancy. This wasn’t content collapse; it was audience striking back. The vox populi spoke — and it said, enough. Follow the Money: The Mail’s Financial Desperation To understand why the Daily Mail behaves this way, you must follow the money. The pathology of smear campaigns is fed by urgent financial pressure. • Print decline: As of June 2025, the Daily Mail’s audited daily circulation stood at ~631,191 copies. That figure reflects a dramatic shrinkage over years — the paper, once selling well into multiple hundreds of thousands more, is now hollowed out. • Yearly comparisons: In 2024, ABC audit figures showed the Daily Mail had a daily circulation of 706,839 — meaning circulation has dropped by over 10% in roughly a year. • Advertiser exodus: In January 2025, the Mail announced it would merge its print and online teams and initiate cost-cutting, as major advertisers increasingly balk at brand adjacency with toxic, polarising content. The memo revealed that Mail+ (the paywall arm) had achieved 100,000 paying subscribers since its launch — a modest number given the scale of MailOnline’s reach. • Staff cuts as symptom: This internal restructuring is not optional — it is a forced retreat. Under the integration plan, job losses are anticipated. • Parent group pressure: DMG Media, the Mail’s owner, has made it clear that the print-online integration is about survival in a hostile advertising environment and declining print returns. In short, the Mail is bleeding. These royal smear campaigns aren’t just editorial cynicism — they’re a press outlet in full panic, scrabbling for clicks, subscriptions, and relevance by flogging scandal, outrage, and division. It’s the frantic thrashing of a swimmer who knows the tide has turned against them. Dirty Hands, No Excuses: Time to Hold the Mail Accountable The Daily Mail’s hands aren’t just dirty — they’re smeared, ink-stained with the fingerprints of manipulation. This wasn’t an accident, not a slip of the editorial pen. It was deliberate. They gamed algorithms like card sharks stacking a deck, pitted fandoms against one another like gladiators in the Coliseum, and weaponised history, health, and grief as if they were trinkets to be traded for clicks. CharlotteGriffiths , Amanda Platell, A.N. Wilson, Tina Brown, Liz Jones Goddess and the rest dutifully acted as stenographers for Sussex spin; Rebecca English and Richard Eden cried about “plots” they themselves had stoked; and editors signed off on every exaggeration, knowing that rage pays the bills. And now, when the wind shifts, they dare pivot to victimhood — as if they were the collateral and not the culprits. It’s theatre. Bad theatre. And the damage? It’s carved into public trust like graffiti on a listed building. The contrast couldn’t be clearer. William and Catherine ride out the storm with quiet resilience, their 74% approval proving that duty and dignity still matter. The monarchy carries on; the Mail only carries on as long as division sells. Readers aren’t fooled. Legacy media is collapsing under the weight of its own duplicity. Advertisers abandoned The Sun after Hillsborough. News of the World collapsed after phone hacking. And the Daily Mail — drunk on its own poison — is staggering toward the same graveyard. This was never “just gossip.” It was calculated sabotage dressed up in broadsheet clothing, a smear campaign masquerading as reportage, a racket that hollowed out the very idea of journalism. They didn’t just observe events; they made them happen. They didn’t reflect public opinion; they twisted it. They didn’t hold power to account; they abused it. The case is closed. The Waleses endure — proof that quiet service and real substance always outlast scandal. The Mail’s hit squad, by contrast, are done. History won’t remember them as kingmakers, only as mercenaries who confused clickbait for craft and outrage for insight, and in the process wrote their own obituaries. They won’t go down as journalists; they’ll go down as clickbait casualties — yesterday’s men and women, swept away by the very tide they tried to ride. #BoycottDailyMail #WeAreTheMediaNow #RoyalSmearCampaign #ExposeTheMail #MediaManipulation #StopTheSpin #TabloidTyranny #FakeNewsFactory #MonarchyVsMedia #FleetStreetFraud #TruthOverClickbait #InkStainedLies
2:24

The Daily Mail’s Royal Vendetta: A Month of Smears on William and Catherine, Followed by Crocodile Tears In the sweltering heat of August and September 2025, the Daily Mail unleashed a torrent of vitriol against Prince William, Catherine, the Princess of Wales, and even King Charles III. What began as whispers about a family home move quickly snowballed into a full-scale assault: accusations of “control freak” tendencies, “underwhelming” duties, a “dark past” tied to slavery, and hints of irreparable rifts. Collages of headlines tell the story — dozens of pieces from the Mail’s royal “hit squad,” peddling speculation as fact, while royal watchers cried “propaganda!” after every drop. This wasn’t journalism. It was SEO warfare dressed up as reporting, cynically timed to ride search trends like “William lazy,” “Kate health,” and “Charles succession,” while dangling glowing comparisons to bait Sussex fans. The Mail’s royal desk has turned itself into a digital sweatshop where outrage is the currency. Every article is deliberately contradictory — William is “too private” one day, “too performative” the next; Catherine is “influential but holding him back”; Charles is “weak but meddling.” Why? Because conflict sells. Rage-clicks fill MailOnline’s coffers. It’s the business model of chaos — and chaos is the coin of their grubby little realm. Now, in a twist worthy of their own soap-opera scripts, two of the Mail’s most prolific royal scribblers— Rebecca English and Richard Eden —have pivoted to pearl-clutching exposés about a “sinister plot” and “calculated wedge” undermining William and Catherine. It’s laughable. These aren’t brave whistleblowers; they’re architects of the very narrative they’re now decrying. The Daily Mail didn’t just report the hate—they manufactured it, weaponised it, monetised it, and now want to wash their hands as if they were bystanders. It’s the Fleet Street equivalent of throwing petrol on a bonfire, then sobbing that one’s eyebrows got singed. The Mail’s hypocrisy is breathtaking. For weeks, they ran columns dripping with Sussex apologia — Griffiths acting as Harry’s stenographer and Platell recycling Meghan’s grievances as “concerns,” and A.N. Wilson psychoanalysing William from his study like some amateur Freud-for-hire. All this while YouTube commenters and even their own readers blasted their Royals channel as “toxic propaganda.” But rather than adjust course, they doubled down — until subscribers fled and advertisers grew squeamish. Only then did the pivot to victimhood begin. One could almost hear the gnashing of teeth in Kensington High Street. Let’s expose the rot at the heart of this tabloid machine — how they orchestrated the smears, gamed the algorithms, amplified Sussex narratives, twisted facts into weapons, and how their financial decline drives the cruelty. The curtain must be pulled back, and the stagehands caught red-handed, script in one hand, calculator in the other. The Hit Parade: A Catalogue of Calculated Cruelty From 1 August to 27 September 2025, the Daily Mail’s royal desk became a factory for anti-Wales ammunition, deploying a multi-pronged strategy: recycle old grudges into fresh headlines, cherry-pick data to misrepresent workloads, sensationalise historical trivia, and frame every decision as evidence of impending royal collapse. The trigger? William and Catherine’s pragmatic decision to relocate from Adelaide Cottage to Forest Lodge on the Sandringham estate — a “forever home” for family stability amid Catherine’s cancer recovery and global threats. What should have been a non-story morphed into “proof” of William’s fatal flaws: too private, too lazy, too “woke,” too everything. In short, too damned convenient for the Mail’s search engine tinkering. This was not random. The Mail runs on click-chains: one “exclusive” generates spinoffs, which are then linked in sidebars, ensuring readers never escape the outrage cycle. Eviction headlines lead into slavery history “revelations,” which link to workload hit pieces, which in turn promote YouTube debate clips. It is algorithmic entrapment sold as news — a kind of journalistic mousetrap baited with bile. Here’s the rogue’s gallery of the worst offenders, their pieces dripping with pro-Sussex favoritism and wild conjecture, broken down by tactic: • Amanda Platell (Columnist): On 20 August, Platell sneered at William’s “puny” 71 engagements, cherry-picking incomplete 2024 figures and ignoring health crises in the family. She compared him unfavourably to Princess Anne and accused him of making the Firm “pure vanilla.” Platell’s column was SEO-stuffed with phrases like “workshy heir” and “royal crisis” — all designed to trend on Google and bait shares. Her follow-ups even recycled Meghan’s old “baby brain” anecdote as if it were fresh ammunition. This isn’t journalism; it’s content farming — and farming in barren soil at that. • Christopher Wilson (Historian/Columnist): On 23 August, Wilson exhumed Forest Lodge’s “dark past,” weaponising obscure history to frame William and Catherine as morally negligent. The piece was algorithmically tied to MailOnline’s “slavery legacy” tag — the same tag used to cover Netflix’s colonial dramas. It wasn’t about informing readers; it was about capturing traffic off unrelated cultural debates. Like a ghoul rifling through parish records for sport. • A.N. Wilson (Royal Author): On 19 September, he declared William “angry and unhappy,” citing outdated stats and palace whispers. But more insidious was the Mail’s packaging: push alerts framed it as a “shock diagnosis,” with sidebars linking to Sussex puff pieces. William’s Earthshot success was buried, Harry’s “fun scamp” antics headlined. Manipulation by design, as brazen as a conjurer’s sleight of hand. • Charlotte Griffiths (Royal Correspondent): On 13 September, Griffiths painted William as the villain blocking Harry’s reconciliation. Her reliance on “anonymous sources” was classic Mail — unverifiable quotes crafted to fuel fan wars online. Each story was cross-promoted under MailOnline’s “Sussex comeback” hub, ensuring clicks from both sides of the aisle. Division is profitable, and she is its clerk of works. • Liz Jones (Columnist): On 5 September, Jones targeted Kate’s “bronde” hair during a visit to the Natural History Museum gardens, mixing sharp critique with grudging praise. Trolls called the lighter shade “washed out” or a “wig,” but Jones framed it as smart and empowering, signalling Kate’s post-cancer confidence. Her long history of nitpicking Kate’s hair — from 2012 bangs to post-2024 hospital styles — fits the pattern: personal opinion masquerading as insight, always driving clicks. She also recently editorialised against William as a future king, questioning his temperament and charisma, further stoking debate and subtly undermining the heir apparent. • Tina Brown (via Mail amplification): Brown’s Vanity Fair critiques were sliced into fragments and drip-fed as “Mail exclusives.” This is another trick: repackaging syndicated content as fresh scoops, maximising monetisation while disguising the recycling. In Fleet Street terms, it’s reheated cabbage passed off as coq au vin. • Rebecca English & Richard Eden: Even before their pivot, both poured fuel on the fire. English questioned the Forest Lodge move as a “taxpayer gamble” (24 September). Eden mocked it as indecisiveness (18 September). Both columns carried DailyMailPlus paywall teasers, designed to convert outrage into subscriptions. This wasn’t reporting. It was a coordinated content strategy: anonymous sourcing (cheap and unverifiable), data manipulation (engagement cherry-picking), and emotional framing (slavery, evictions, family rifts) — all calculated to maximise page dwell-time and comments. It’s the cynical mechanics of Fleet Street turned up to eleven, all brass band and no tune. The Asinine Pivot: From Smear-Mongers to Victimhood By late September, the Mail faced a problem: the narrative it had stoked was now boomeranging. Readers began calling out bias, subscribers fled, and Palace Confidential was haemorrhaging viewers. Cue the pivot. • On 25 September, Eden wailed about a “sinister plot.” • On 26 September, English warned of a “wedge between Charles and William.” Both pieces were smoke and mirrors. They rehashed earlier reporting — their own reporting — while pretending to be alarmed that anti-Wales narratives were spreading. Classic Mail: start the fire, then play the firefighter. They build the echo chamber, harvest the clicks, and when the backlash hits, shrug and blame “external forces.” It is not just hypocrisy — it is fraud. Fraud against readers, against journalism, against public trust. A betrayal wrapped in bunting. YouTube Implosion: Palace Confidential’s Monarchy Meltdown The nadir came mid-September when the Mail’s Palace Confidential channel speculated if William’s reign would “end the monarchy.” The video was a montage of the very print smears their own desk had churned out — workload cherry-picking, rift whispers, Forest Lodge doom-mongering. Within days, subscribers plummeted by the thousands. Comment sections filled with accusations of “hateful propaganda.” Forensic look at the analytics shows watch-time collapsing, click-through rates nosediving. Why? Because even Mail loyalists saw through the con. They were watching for the same reheated slop, dressed up as “exclusive debate.” According to VidIQ data, the Daily Mail Royals YouTube channel currently shows around 482,000 subscribers and has amassed over 313 million total video views. While those are nontrivial numbers, the channel’s estimated monthly earnings do not vindicate the hours of content churn — often in the modest range of £14,580–44,550 depending on viewership and ad engagement. In other words, the editorial excess is not being rewarded by proportionate audience loyalty or monetisation growth — the metrics are flat or weakening under scrutiny. Tubics data earlier in 2025 had placed the Daily Mail Royals subscriber count at ~464,000 with a view count ~292 million, indicating very slow growth — a channel in stagnation rather than ascendancy. This wasn’t content collapse; it was audience striking back. The vox populi spoke — and it said, enough. Follow the Money: The Mail’s Financial Desperation To understand why the Daily Mail behaves this way, you must follow the money. The pathology of smear campaigns is fed by urgent financial pressure. • Print decline: As of June 2025, the Daily Mail’s audited daily circulation stood at ~631,191 copies. That figure reflects a dramatic shrinkage over years — the paper, once selling well into multiple hundreds of thousands more, is now hollowed out. • Yearly comparisons: In 2024, ABC audit figures showed the Daily Mail had a daily circulation of 706,839 — meaning circulation has dropped by over 10% in roughly a year. • Advertiser exodus: In January 2025, the Mail announced it would merge its print and online teams and initiate cost-cutting, as major advertisers increasingly balk at brand adjacency with toxic, polarising content. The memo revealed that Mail+ (the paywall arm) had achieved 100,000 paying subscribers since its launch — a modest number given the scale of MailOnline’s reach. • Staff cuts as symptom: This internal restructuring is not optional — it is a forced retreat. Under the integration plan, job losses are anticipated. • Parent group pressure: DMG Media, the Mail’s owner, has made it clear that the print-online integration is about survival in a hostile advertising environment and declining print returns. In short, the Mail is bleeding. These royal smear campaigns aren’t just editorial cynicism — they’re a press outlet in full panic, scrabbling for clicks, subscriptions, and relevance by flogging scandal, outrage, and division. It’s the frantic thrashing of a swimmer who knows the tide has turned against them. Dirty Hands, No Excuses: Time to Hold the Mail Accountable The Daily Mail’s hands aren’t just dirty — they’re smeared, ink-stained with the fingerprints of manipulation. This wasn’t an accident, not a slip of the editorial pen. It was deliberate. They gamed algorithms like card sharks stacking a deck, pitted fandoms against one another like gladiators in the Coliseum, and weaponised history, health, and grief as if they were trinkets to be traded for clicks. CharlotteGriffiths , Amanda Platell, A.N. Wilson, Tina Brown, Liz Jones Goddess and the rest dutifully acted as stenographers for Sussex spin; Rebecca English and Richard Eden cried about “plots” they themselves had stoked; and editors signed off on every exaggeration, knowing that rage pays the bills. And now, when the wind shifts, they dare pivot to victimhood — as if they were the collateral and not the culprits. It’s theatre. Bad theatre. And the damage? It’s carved into public trust like graffiti on a listed building. The contrast couldn’t be clearer. William and Catherine ride out the storm with quiet resilience, their 74% approval proving that duty and dignity still matter. The monarchy carries on; the Mail only carries on as long as division sells. Readers aren’t fooled. Legacy media is collapsing under the weight of its own duplicity. Advertisers abandoned The Sun after Hillsborough. News of the World collapsed after phone hacking. And the Daily Mail — drunk on its own poison — is staggering toward the same graveyard. This was never “just gossip.” It was calculated sabotage dressed up in broadsheet clothing, a smear campaign masquerading as reportage, a racket that hollowed out the very idea of journalism. They didn’t just observe events; they made them happen. They didn’t reflect public opinion; they twisted it. They didn’t hold power to account; they abused it. The case is closed. The Waleses endure — proof that quiet service and real substance always outlast scandal. The Mail’s hit squad, by contrast, are done. History won’t remember them as kingmakers, only as mercenaries who confused clickbait for craft and outrage for insight, and in the process wrote their own obituaries. They won’t go down as journalists; they’ll go down as clickbait casualties — yesterday’s men and women, swept away by the very tide they tried to ride. #BoycottDailyMail #WeAreTheMediaNow #RoyalSmearCampaign #ExposeTheMail #MediaManipulation #StopTheSpin #TabloidTyranny #FakeNewsFactory #MonarchyVsMedia #FleetStreetFraud #TruthOverClickbait #InkStainedLies

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