Sensitive content

This media may contain sensitive content.

Загрузка видео...

Не удалось загрузить видео

На главную

Jane Doe Ridin Jane needs some time to take away stress from undercover work 🕵️ Jane: DaB VA: ✦𝙿𝚒𝚡𝚒𝚎𝚆𝚒𝚕𝚕𝚘𝚠✦ | Voice Actress & Sound | SFX: Lerico - 🎵 Sound Editor (Commissions Open) #JaneDoe #ZenlessZoneZero #zzzero

Goonduude's profile picture

GD

49,995 subscribers

457,851 просмотров • 1 год назад •via X (Twitter)

NSFW#JaneDoe#ZenlessZoneZero#zzzero
LIVE

Anya Rossi• Live Now

Private livecam show

Комментарии: 0

Нет доступных комментариев

Здесь появятся комментарии из оригинального поста

Похожие видео

🦋: Jane... In the past five days, Lin rushed to finish work. To be back in time for our anniversary. Lin will take better care of Jane from now on. 🧸: Are you tired? 🦋🧸: 🫂 🦋: Getting Jane's magical hug has made all the tiredness go away #VaselineThailand #MiuNatsha #LenaMiu #ลีน่าหมิว #lalinalena
1:01

🦋: Jane... In the past five days, Lin rushed to finish work. To be back in time for our anniversary. Lin will take better care of Jane from now on. 🧸: Are you tired? 🦋🧸: 🫂 🦋: Getting Jane's magical hug has made all the tiredness go away #VaselineThailand #MiuNatsha #LenaMiu #ลีน่าหมิว #lalinalena

biruaena

66,495 просмотров • 7 месяцев назад

Not to mention the top-notch VAs, like Cinder - Adult VA 💋✨, Endy 🔞 Lewd Sheep, ✦𝙿𝚒𝚡𝚒𝚎𝚆𝚒𝚕𝚕𝚘𝚠✦ | Voice Actress & Sound, Missus🎙️🔞💋 | COMMS OPEN, Wildflower Phoenix | The Velvet Siren and our Scarlet, who make such a work that worth way more than their regular rates.
1:05

Sensitive content

Not to mention the top-notch VAs, like Cinder - Adult VA 💋✨, Endy 🔞 Lewd Sheep, ✦𝙿𝚒𝚡𝚒𝚎𝚆𝚒𝚕𝚕𝚘𝚠✦ | Voice Actress & Sound, Missus🎙️🔞💋 | COMMS OPEN, Wildflower Phoenix | The Velvet Siren and our Scarlet, who make such a work that worth way more than their regular rates.

Sweet Pea Art Studio

19,051 просмотров • 1 год назад

PITCH FORK released a article on Young Dabo diss on Jane Remover calling it evil 👀 “Full of transphobic and misogynistic bars, the streamer’s new song is the sound of the manosphere.” “the Dabo diss feels like the release of an energy that has been fermenting in the underground for years, a generation of kids that grew up on the hedonism of Opium and the general manosphere and look at their allegations not as an irredeemable knock but proof of their masculinity and the way society punishes that masculinity. It’s an evil song, man” category, but things got darker when Dabo, who has been making cursed rage rap for some time now, tagged himself in with a nasty Jane Remover diss track and video called “Bleed.” In the clip, released on X, Dabo, wearing one of Carti’s Young Vamp Life caps, and a friend, punch and beat on a man wearing a red wig who is supposed to be a stand-in for Jane. As that goes on, Dabo, in shitty Auto-Tune, raps threats directed at Jane and commenting on the fact that she is a trans woman like, “I chopped the whole shit down like you did your dick,” “Make the pussy bleed,” and “Racist ho’, she talkin’ out her chest, ain’t got no titties.” He uses “Stop speaking on the culture, bitch, it’s Black business,” as a defense, but we all know it’s just a way for him to get away with, “I don’t give a fuck ’bout no misogyny.”
1:32

PITCH FORK released a article on Young Dabo diss on Jane Remover calling it evil 👀 “Full of transphobic and misogynistic bars, the streamer’s new song is the sound of the manosphere.” “the Dabo diss feels like the release of an energy that has been fermenting in the underground for years, a generation of kids that grew up on the hedonism of Opium and the general manosphere and look at their allegations not as an irredeemable knock but proof of their masculinity and the way society punishes that masculinity. It’s an evil song, man” category, but things got darker when Dabo, who has been making cursed rage rap for some time now, tagged himself in with a nasty Jane Remover diss track and video called “Bleed.” In the clip, released on X, Dabo, wearing one of Carti’s Young Vamp Life caps, and a friend, punch and beat on a man wearing a red wig who is supposed to be a stand-in for Jane. As that goes on, Dabo, in shitty Auto-Tune, raps threats directed at Jane and commenting on the fact that she is a trans woman like, “I chopped the whole shit down like you did your dick,” “Make the pussy bleed,” and “Racist ho’, she talkin’ out her chest, ain’t got no titties.” He uses “Stop speaking on the culture, bitch, it’s Black business,” as a defense, but we all know it’s just a way for him to get away with, “I don’t give a fuck ’bout no misogyny.”

DaboUpdates

27,921 просмотров • 4 месяцев назад

One of the things Mickelly Carlone noticed after moving from Ontario to Alberta was how much friendlier people are here. He said in Ontario, people on the street often don’t even talk to each other. Then he came to Alberta, and one day he got home from work and found out somebody had plowed his entire driveway for free. No announcement. No invoice. No expectation. Just a neighbor seeing something that needed to be done and doing it. That might sound small to some people, but this is one of the things that makes Alberta different. We take pride in helping each other out. When someone is stuck, we help. When someone needs a hand, we show up. When there’s snow to move, a truck to pull out, a neighbor to check on, or a family going through a hard time, Albertans don’t wait around for government to solve it. We just do what needs to be done. Maybe that happens in Ontario too sometimes. But according to my friend, it is not normal there. In Alberta, it is. And that culture is worth protecting. Full video here:
1:47

One of the things Mickelly Carlone noticed after moving from Ontario to Alberta was how much friendlier people are here. He said in Ontario, people on the street often don’t even talk to each other. Then he came to Alberta, and one day he got home from work and found out somebody had plowed his entire driveway for free. No announcement. No invoice. No expectation. Just a neighbor seeing something that needed to be done and doing it. That might sound small to some people, but this is one of the things that makes Alberta different. We take pride in helping each other out. When someone is stuck, we help. When someone needs a hand, we show up. When there’s snow to move, a truck to pull out, a neighbor to check on, or a family going through a hard time, Albertans don’t wait around for government to solve it. We just do what needs to be done. Maybe that happens in Ontario too sometimes. But according to my friend, it is not normal there. In Alberta, it is. And that culture is worth protecting. Full video here:

Jon Alberta Patriot

17,120 просмотров • 4 месяцев назад

When Karen Carpenter Starts to Sing, the Room Goes Quiet The moment Karen Carpenter starts to sing, the whole room seems to quiet down. Her contralto doesn’t need a big range or raw power to make its point. The second she steps up to the mic, the space between singer and listener disappears. What’s left is a presence so close it feels almost like she’s singing right next to you. The 1970s were full of big rock spectacles, but The Carpenters went the other way. Their stage was built on quiet elegance: Richard calm behind a Wurlitzer, a set of clear acrylic drums catching the light, and Karen standing front and center in a simple pastel gown. No flashy effects, no chaos. It felt more like an open studio than a concert stage — everything unnecessary stripped away so the music could take over. What makes Karen’s voice so magnetic is the way she places every note and how close she works the microphone. She sings near enough that you hear the warmth, the breath, and all the fine detail in her lower register. The sound doesn’t come at you from across the room. It arrives like a quiet confession spoken right in your ear. Richard’s arranging sense made that smoothness possible. He always knew exactly how much space his sister’s voice needed. He never crowded the tracks with busy instruments. His Wurlitzer kept a gentle pulse underneath, giving Karen’s voice room to move freely without ever having to fight for attention. What sets The Carpenters apart as a true American legacy is the honesty in how they handled a melody. In a time when bigger and more dramatic felt like the goal, Karen sang with real restraint. Whether the line rose or settled, she never overplayed the emotion or forced the sadness. She just let the feeling move through the words. That plain honesty ended up carrying more weight than most of the theatrics around it. Decades later, the sound still doesn’t feel dated. Karen Carpenter’s voice remains a kind of gold standard for purity. It brings you back to what classic pop does best: a strong melody, a clean arrangement, and a voice honest enough to stop time for a minute. When the last notes from the Wurlitzer fade out, what’s left isn’t the glow of stage lights or technical flash. It’s the warm aftertaste of that one-of-a-kind contralto — a voice that never has to push for attention, but somehow always makes you want to stay and listen a little longer.
3:30

When Karen Carpenter Starts to Sing, the Room Goes Quiet The moment Karen Carpenter starts to sing, the whole room seems to quiet down. Her contralto doesn’t need a big range or raw power to make its point. The second she steps up to the mic, the space between singer and listener disappears. What’s left is a presence so close it feels almost like she’s singing right next to you. The 1970s were full of big rock spectacles, but The Carpenters went the other way. Their stage was built on quiet elegance: Richard calm behind a Wurlitzer, a set of clear acrylic drums catching the light, and Karen standing front and center in a simple pastel gown. No flashy effects, no chaos. It felt more like an open studio than a concert stage — everything unnecessary stripped away so the music could take over. What makes Karen’s voice so magnetic is the way she places every note and how close she works the microphone. She sings near enough that you hear the warmth, the breath, and all the fine detail in her lower register. The sound doesn’t come at you from across the room. It arrives like a quiet confession spoken right in your ear. Richard’s arranging sense made that smoothness possible. He always knew exactly how much space his sister’s voice needed. He never crowded the tracks with busy instruments. His Wurlitzer kept a gentle pulse underneath, giving Karen’s voice room to move freely without ever having to fight for attention. What sets The Carpenters apart as a true American legacy is the honesty in how they handled a melody. In a time when bigger and more dramatic felt like the goal, Karen sang with real restraint. Whether the line rose or settled, she never overplayed the emotion or forced the sadness. She just let the feeling move through the words. That plain honesty ended up carrying more weight than most of the theatrics around it. Decades later, the sound still doesn’t feel dated. Karen Carpenter’s voice remains a kind of gold standard for purity. It brings you back to what classic pop does best: a strong melody, a clean arrangement, and a voice honest enough to stop time for a minute. When the last notes from the Wurlitzer fade out, what’s left isn’t the glow of stage lights or technical flash. It’s the warm aftertaste of that one-of-a-kind contralto — a voice that never has to push for attention, but somehow always makes you want to stay and listen a little longer.

Music over time🎻

88,505 просмотров • 22 дней назад

I've been building on #threejs since 2015. Back then there was no InstancedMesh, no BatchedMesh. Most of the tools we take for granted today didn't exist. In 2017, while developing Jamir, I started building my own game engine on top of it. I've spent the years since profiling and optimizing that engine, often chasing performance problems line by line. That engine became X3JS. After all this time, the hardest part is still how deeply everything is connected. Even the best AI models today can make a change that looks completely correct, and quietly break something three systems away. An engine like this doesn't forgive that. So for this test I didn't want a synthetic benchmark. I wanted a real, AAA-looking game scene: cinematics, dialogue, characters, terrain, weather, a boss fight. The gameplay, the cinematics, the MIDI music, the music and sound selections, the animation choices: all of it was produced by AI through X3JS's MCP tools. Camera work, dialogue, voice casting, triggers, enemy behavior. Everything in the scene comes from the X3JS asset library and when X3JS releases, users will be able to use all of these assets freely in their own games. The video shows the exact same scene, side by side: - GTX 960M, a 2015 laptop GPU - RTX 4070, a desktop GPU Two separate gameplay runs never line up perfectly, so I made a few cuts to keep the cinematics in sync between the two sides. The scene, the settings, and the cinematics themselves are identical. The GTX 960M is still one of my favorite machines to test on and i am lucky to have that. If a heavy scene runs well there, the optimization work is real, not a number on a slide. And X3JS contributors; Terrain materials: Poly Haven Sound archive and AI meta: Selekt Audio
5:00

I've been building on #threejs since 2015. Back then there was no InstancedMesh, no BatchedMesh. Most of the tools we take for granted today didn't exist. In 2017, while developing Jamir, I started building my own game engine on top of it. I've spent the years since profiling and optimizing that engine, often chasing performance problems line by line. That engine became X3JS. After all this time, the hardest part is still how deeply everything is connected. Even the best AI models today can make a change that looks completely correct, and quietly break something three systems away. An engine like this doesn't forgive that. So for this test I didn't want a synthetic benchmark. I wanted a real, AAA-looking game scene: cinematics, dialogue, characters, terrain, weather, a boss fight. The gameplay, the cinematics, the MIDI music, the music and sound selections, the animation choices: all of it was produced by AI through X3JS's MCP tools. Camera work, dialogue, voice casting, triggers, enemy behavior. Everything in the scene comes from the X3JS asset library and when X3JS releases, users will be able to use all of these assets freely in their own games. The video shows the exact same scene, side by side: - GTX 960M, a 2015 laptop GPU - RTX 4070, a desktop GPU Two separate gameplay runs never line up perfectly, so I made a few cuts to keep the cinematics in sync between the two sides. The scene, the settings, and the cinematics themselves are identical. The GTX 960M is still one of my favorite machines to test on and i am lucky to have that. If a heavy scene runs well there, the optimization work is real, not a number on a slide. And X3JS contributors; Terrain materials: Poly Haven Sound archive and AI meta: Selekt Audio

mert

13,849 просмотров • 22 дней назад

A few months ago, I wrote about being voicepilled after experiencing the magic of AI-powered voice-to-text. Today, I sit down with Wispr Flow Founder Tanay Kothari to ask the question: “What if we could get rid of keyboards?" Tanay is ushering in a world where voice becomes the primary interface with technology. Here’s the idea he returns to, again and again: the keyboard was never meant to be a long-term solution. As he reminded me, there are 700 million people with dyslexia for whom “using technology means spelling words with a keyboard—the literal hardest thing for them to do.” Millions more with Parkinson’s, ALS, or motor challenges find typing impossible. Older adults peck at keys with two fingers. Even fast typists are contorting their minds into an outdated input device. People assume switching to voice is about speed, but voice interfaces are much more than time savers. Typing itself forces the mind into a choppy, self-editing posture. Every sentence becomes a series of micro-interruptions: spell this, fix that, move this clause, check that comma. By contrast, speaking lets the idea come out whole. “Just tell me your gibberish,” he said, “and I’ll take care of it.” The power of what he’s built with Wispr Flow is that, within half a second, your ramble becomes polished prose, and the median user hits send without even rereading. The trust is immediate. And the behavioral effects are fascinating: sales teams sound more human, customer service agents sound warmer, “bad texters” suddenly become articulate communicators. The most intriguing point Tanay made is that voice will force us to rethink hardware itself. Our devices today were built for screens, keyboards, and apps. They assume computing is something you sit down to do, staring into a rectangle. But an AI-native world could leverage ambient listening, lightweight cognition, continuous context, and interaction that feels like talking to a second brain. If that’s true, then voice is the opening act of a much larger shift away from screen-bound computing toward a world where technology blends into the background and our attention returns to the foreground. A world where we walk through cities with our eyes up, not down. A world where AI augments cognition rather than fragments it. Tanay’s vision is radical only because we’ve lived inside the keyboard era for so long. His out-of-the-box thinking is allowing us to finally work beyond the box itself—the screen that mediates every digital interaction most of us have ever had. But once you see what’s possible, it feels less like science fiction and more like overdue course correction.
43:42

A few months ago, I wrote about being voicepilled after experiencing the magic of AI-powered voice-to-text. Today, I sit down with Wispr Flow Founder Tanay Kothari to ask the question: “What if we could get rid of keyboards?" Tanay is ushering in a world where voice becomes the primary interface with technology. Here’s the idea he returns to, again and again: the keyboard was never meant to be a long-term solution. As he reminded me, there are 700 million people with dyslexia for whom “using technology means spelling words with a keyboard—the literal hardest thing for them to do.” Millions more with Parkinson’s, ALS, or motor challenges find typing impossible. Older adults peck at keys with two fingers. Even fast typists are contorting their minds into an outdated input device. People assume switching to voice is about speed, but voice interfaces are much more than time savers. Typing itself forces the mind into a choppy, self-editing posture. Every sentence becomes a series of micro-interruptions: spell this, fix that, move this clause, check that comma. By contrast, speaking lets the idea come out whole. “Just tell me your gibberish,” he said, “and I’ll take care of it.” The power of what he’s built with Wispr Flow is that, within half a second, your ramble becomes polished prose, and the median user hits send without even rereading. The trust is immediate. And the behavioral effects are fascinating: sales teams sound more human, customer service agents sound warmer, “bad texters” suddenly become articulate communicators. The most intriguing point Tanay made is that voice will force us to rethink hardware itself. Our devices today were built for screens, keyboards, and apps. They assume computing is something you sit down to do, staring into a rectangle. But an AI-native world could leverage ambient listening, lightweight cognition, continuous context, and interaction that feels like talking to a second brain. If that’s true, then voice is the opening act of a much larger shift away from screen-bound computing toward a world where technology blends into the background and our attention returns to the foreground. A world where we walk through cities with our eyes up, not down. A world where AI augments cognition rather than fragments it. Tanay’s vision is radical only because we’ve lived inside the keyboard era for so long. His out-of-the-box thinking is allowing us to finally work beyond the box itself—the screen that mediates every digital interaction most of us have ever had. But once you see what’s possible, it feels less like science fiction and more like overdue course correction.

Reid Hoffman

14,401 просмотров • 9 месяцев назад

🚨WILL BE K☠️LLED ANY TIME WITHOUT FURTHER NOTICE #NORTHCENTRAL ACC #LOSANGELES #CALIFORNIA - URGENT MEDICAL RESCUE / FOSTER OR ADOPT🚨 THIS IS HER ONLY POST ON X ‼️Lily (female), 6 years old, 47 pounds #A2252415 ‼️ 🏥🛟Lily is sick & has been ill for the entire time she has been in the shelter. Lily's medical notes indicate: enlarged vulva, bilateral cherry eye, lenticular opacity (ask the shelter for notes)🏥🛟 💰💲Needs pledges to attract rescue💲💰 Meet Lily, a sweet 6 year old female that will break your heart! She spends most of her time tucked away quietly in her cubby She's timid coming out of her kennel & volunteers get her from the back to minimize her stress. She trembles around barking dogs, trying to slip into any open kennel she can to hide. So volunteers take her the quiet route when heading to the yard Lily will tuck herself into a corner or hide behind the pool. She is wary of handling so her friends usually just sit by her side & she will allow some light, calm petting. She's been in a few playgroups, she gives timid greetings, is lower energy & mingles well in yard where dogs aren't pushy with their greetings. Lily had a moment where she thought about playing with a social female but couldn't commit Lily has clearly not been cared for in the way she should & she needs some real TLC. Volunteers would love to see her scooped up by a rescue that can get her the medical attention she needs & into a calm home where she can decompress in her own time. Volunteers adore Lily & think she deserves to experience real love ⚠️If you choose to adopt this animal you must have her examined by your Veterinarian within 72 Hours. Further medical care will be required at your expense⚠️ Shelter Link - with current Status👇 PetHarbor Link - with current Status👇 North Central Animal Care & Control 3201 Lacy Street • Los Angeles • CA 90031 Phone: (888) 452 7381 • Fax: (213) 847 0555 Website: 🟥 𝐑𝗲𝘀𝗰𝘂𝗲 𝗖𝗼𝗼𝗿𝗱𝗶𝗻𝗮𝘁𝗼𝗿𝘀 - 𝗘𝗺𝗮𝗶𝗹 𝗔𝗟𝗟 𝗯𝗲𝗹𝗼𝘄: Garens.Loyd@lacity.org Stephanie.Walker@lacity.org Mario.Ochoa@lacity.org Ani.Webmaster@lacity.org Aimee.Rousey@lacity.org Jaclyn.Kirkman@lacity.org Veronica.Perry@lacity.org Cellphone: (213) 435-9152 Please tag rescues & advocates that might be able to help. TY 💚🙏💚 #teamgreenacres #rescue #America #usa #pledge #pledge4rescue #PledgesSaveLives #k9hour #rehomehour #shelterdogshare #shelterdog #shelterdogs #dogsoftwitter #dogsofX #dogsofinstagram #teamzay
0:48

🚨WILL BE K☠️LLED ANY TIME WITHOUT FURTHER NOTICE #NORTHCENTRAL ACC #LOSANGELES #CALIFORNIA - URGENT MEDICAL RESCUE / FOSTER OR ADOPT🚨 THIS IS HER ONLY POST ON X ‼️Lily (female), 6 years old, 47 pounds #A2252415 ‼️ 🏥🛟Lily is sick & has been ill for the entire time she has been in the shelter. Lily's medical notes indicate: enlarged vulva, bilateral cherry eye, lenticular opacity (ask the shelter for notes)🏥🛟 💰💲Needs pledges to attract rescue💲💰 Meet Lily, a sweet 6 year old female that will break your heart! She spends most of her time tucked away quietly in her cubby She's timid coming out of her kennel & volunteers get her from the back to minimize her stress. She trembles around barking dogs, trying to slip into any open kennel she can to hide. So volunteers take her the quiet route when heading to the yard Lily will tuck herself into a corner or hide behind the pool. She is wary of handling so her friends usually just sit by her side & she will allow some light, calm petting. She's been in a few playgroups, she gives timid greetings, is lower energy & mingles well in yard where dogs aren't pushy with their greetings. Lily had a moment where she thought about playing with a social female but couldn't commit Lily has clearly not been cared for in the way she should & she needs some real TLC. Volunteers would love to see her scooped up by a rescue that can get her the medical attention she needs & into a calm home where she can decompress in her own time. Volunteers adore Lily & think she deserves to experience real love ⚠️If you choose to adopt this animal you must have her examined by your Veterinarian within 72 Hours. Further medical care will be required at your expense⚠️ Shelter Link - with current Status👇 PetHarbor Link - with current Status👇 North Central Animal Care & Control 3201 Lacy Street • Los Angeles • CA 90031 Phone: (888) 452 7381 • Fax: (213) 847 0555 Website: 🟥 𝐑𝗲𝘀𝗰𝘂𝗲 𝗖𝗼𝗼𝗿𝗱𝗶𝗻𝗮𝘁𝗼𝗿𝘀 - 𝗘𝗺𝗮𝗶𝗹 𝗔𝗟𝗟 𝗯𝗲𝗹𝗼𝘄: [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] Cellphone: (213) 435-9152 Please tag rescues & advocates that might be able to help. TY 💚🙏💚 #teamgreenacres #rescue #America #usa #pledge #pledge4rescue #PledgesSaveLives #k9hour #rehomehour #shelterdogshare #shelterdog #shelterdogs #dogsoftwitter #dogsofX #dogsofinstagram #teamzay

Greenacres Rescue

22,428 просмотров • 6 месяцев назад

Way back in 1996, I was working on Diddy Kong Racing. Probably the most fun I've had in my entire life! One of the most fun parts was creating animation sequences using the custom made software by Rob Harrison who was one of the lead programmers on the team. After I gave him a list of features I needed it to have, Robert created a great editor based on a simplified timeline editor similar to what I had previously used in Alias Poweranimator. Characters, objects and cameras would follow paths that I could draw to create motion, and along those paths I could place 'trigger' events which were usually icons that looked like a musical note or a special effect. So for instance, during the start sequence when Diddy Kong flies around the famous 'N64' logo high up in the clouds, Diddy Followed a path and as he hit triggers along the way, special sound effects were triggered and twinkle star particles were emitted. The sky background was simply a spinning cylinder with a basic blue sky texture on it. However, although it sounds simple, scenes soon became very complicated, and this WIZPIG end sequence after defeating him for the first time was a lot to handle. I made the characters follow paths which ran all over the place triggering sound effects as they ran away from the evil boss! I had so much fun creating sequences, and doing WIZPIG's VOICE! But none of this would have been possible without the great work from Rob to give me a great tool to animate those sequences which really brought the game to life! All of the team worked their asses off in a red hot barn during that summer, but we loved every minute - and it shows in the game! I remember Chris Stamper being really impressed with the speed we were putting this kind of thing together thanks to the way we were communicating with each other as a team. But with this particular sequence he wasn't happy when he saw I was building a lighthouse. I remember him asking why I was wasting memory on graphics because it was in short supply - and everything should be built for a reason. (And quite rightly so) However, little did he know it would become a rocket ship for Wizpig to launch into space with, and ride around the space racetrack, but he soon found out! Lee Schuneman did a great job bringing the team together and getting them to trust in his vision of a racing game with an 'adventure' element. The amazing front end by Johnni Christiensen set it apart from many other games with it's bold use of colour and great cartoony style And that music you hear is by non other than my best pal David Wise! What a game! What a time we had! We all worked so hard - And some of the team now even work with me at Playtonic Games! (Paul Mountain, John Pegg, Martin Wakely) #DiddyKongRacing #GameDev #VideoGameHistory #Art #Characterdesign
1:57

Way back in 1996, I was working on Diddy Kong Racing. Probably the most fun I've had in my entire life! One of the most fun parts was creating animation sequences using the custom made software by Rob Harrison who was one of the lead programmers on the team. After I gave him a list of features I needed it to have, Robert created a great editor based on a simplified timeline editor similar to what I had previously used in Alias Poweranimator. Characters, objects and cameras would follow paths that I could draw to create motion, and along those paths I could place 'trigger' events which were usually icons that looked like a musical note or a special effect. So for instance, during the start sequence when Diddy Kong flies around the famous 'N64' logo high up in the clouds, Diddy Followed a path and as he hit triggers along the way, special sound effects were triggered and twinkle star particles were emitted. The sky background was simply a spinning cylinder with a basic blue sky texture on it. However, although it sounds simple, scenes soon became very complicated, and this WIZPIG end sequence after defeating him for the first time was a lot to handle. I made the characters follow paths which ran all over the place triggering sound effects as they ran away from the evil boss! I had so much fun creating sequences, and doing WIZPIG's VOICE! But none of this would have been possible without the great work from Rob to give me a great tool to animate those sequences which really brought the game to life! All of the team worked their asses off in a red hot barn during that summer, but we loved every minute - and it shows in the game! I remember Chris Stamper being really impressed with the speed we were putting this kind of thing together thanks to the way we were communicating with each other as a team. But with this particular sequence he wasn't happy when he saw I was building a lighthouse. I remember him asking why I was wasting memory on graphics because it was in short supply - and everything should be built for a reason. (And quite rightly so) However, little did he know it would become a rocket ship for Wizpig to launch into space with, and ride around the space racetrack, but he soon found out! Lee Schuneman did a great job bringing the team together and getting them to trust in his vision of a racing game with an 'adventure' element. The amazing front end by Johnni Christiensen set it apart from many other games with it's bold use of colour and great cartoony style And that music you hear is by non other than my best pal David Wise! What a game! What a time we had! We all worked so hard - And some of the team now even work with me at Playtonic Games! (Paul Mountain, John Pegg, Martin Wakely) #DiddyKongRacing #GameDev #VideoGameHistory #Art #Characterdesign

KevBayliss_VideoGame_Artist

91,197 просмотров • 6 месяцев назад

In Remembrance of Carole Lombard Born | October 6, 1908 in Fort Wayne, Indiana, USA Died | January 16, 1942 aged 33 at Potosi Mountain, Nevada, USA Video | Carole Lombard Tribute Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. By age 15 she had had enough of school, though, and quit. She joined a theatre troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to “talkies”. While some stars' careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole's light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn't work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Twentieth Century (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for My Man Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in The Great Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn't surprising as she was smart enough to see through the good-ol'-boy syndrome of the studio moguls. She commanded and received what was one of the top salaries in the business ― at one time it was reported she was making $35,000 a week. She made but one film in 1941, Mr. & Mrs. Smith (1941). Her last film was in 1942, when she played Maria Tura opposite Jack Benny in To Be or Not to Be (1942). Tragically, she didn't live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since. ― IMDb mini biography by: Denny Jackson Video footage courtesy of Saxon Brack Music | Dances with Wolves [1990] ― “The John Dunbar Theme”
2:19

In Remembrance of Carole Lombard Born | October 6, 1908 in Fort Wayne, Indiana, USA Died | January 16, 1942 aged 33 at Potosi Mountain, Nevada, USA Video | Carole Lombard Tribute Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. By age 15 she had had enough of school, though, and quit. She joined a theatre troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to “talkies”. While some stars' careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole's light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn't work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Twentieth Century (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for My Man Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in The Great Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn't surprising as she was smart enough to see through the good-ol'-boy syndrome of the studio moguls. She commanded and received what was one of the top salaries in the business ― at one time it was reported she was making $35,000 a week. She made but one film in 1941, Mr. & Mrs. Smith (1941). Her last film was in 1942, when she played Maria Tura opposite Jack Benny in To Be or Not to Be (1942). Tragically, she didn't live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since. ― IMDb mini biography by: Denny Jackson Video footage courtesy of Saxon Brack Music | Dances with Wolves [1990] ― “The John Dunbar Theme”

Hollywood Golden Age of Cinema

17,680 просмотров • 7 месяцев назад

Some personal news: I am running to be mayor of West Vancouver in the Oct. 17 municipal election. Kirk LaPointe Announces Candidacy for Mayor of West Vancouver Says community needs stronger financial discipline, better consultation, and a clearer plan for the future WEST VANCOUVER, BC — Veteran journalist, business executive and community board member Kirk LaPointe is seeking the office of Mayor of West Vancouver, launching a campaign focused on restoring public trust, bringing greater discipline to taxes and spending, strengthening village centres and local business, planning responsibly for housing and infrastructure, and giving West Vancouver a stronger voice at Metro Vancouver. Learn more, and how to support, at “We need to manage public money more carefully, support a healthier local economy, and make sure West Vancouver speaks with a stronger voice regionally,” LaPointe said. “Above all, we need to rebuild confidence that local government is working with the community, not simply presenting decisions to it. People want to know their voice matters before decisions are made, not after.” LaPointe said he is entering the race because local government has become too reactive, too costly, and too disconnected from the people it serves. He said West Vancouver needs leadership that listens earlier, explains decisions more clearly, and works with the community on a practical long-term plan. LaPointe has spent decades in journalism, business, and public life, leading major national and local news organizations, serving in senior business and communications roles, acting as an ombudsman, teaching at the university level, and serving on community not-for-profit boards. He said those experiences have been grounded in public accountability, sound judgment, and helping people understand complex issues and institutions. “My career has been about asking tough questions, listening closely, and ethically holding institutions to account,” LaPointe said. “I want to bring that same seriousness, openness, and respect for the public to the mayor’s office.” LaPointe said West Vancouver needs a more disciplined approach on taxes, spending, infrastructure planning, and service delivery with greater burdens looming and many residents feeling they are being asked to pay more without enough clarity, consultation, or long-term vision. He said the community also needs a practical economic plan to strengthen village centres, support local business, and broaden the tax base over time. He said West Vancouver must plan thoughtfully for changing housing needs, including gentle densification that respects neighbourhood character and protects livability. He said the community must be more welcoming to seniors, families, workers, and younger generations who want to build their lives here. LaPointe said recent controversies, including the paid parking debate, have reinforced a growing public concern that consultation too often comes late in the process, after key decisions have effectively been shaped. He said decisions affecting daily life, neighbourhood character, and local business must be grounded in meaningful public engagement and clear public justification. He also said West Vancouver needs stronger accountability at Metro Vancouver, where major decisions on spending, infrastructure, and regional priorities have significant local consequences. He would not accept additional compensation from the Metro Vancouver board. “This is a community with deep strengths, high expectations, and a strong sense of place,” LaPointe said. “It deserves leadership that is prudent, consultative, and prepared to work with residents on a real plan for the years ahead.” Further details of LaPointe’s campaign for the October 17 election will be announced in the coming weeks.
0:52

Some personal news: I am running to be mayor of West Vancouver in the Oct. 17 municipal election. Kirk LaPointe Announces Candidacy for Mayor of West Vancouver Says community needs stronger financial discipline, better consultation, and a clearer plan for the future WEST VANCOUVER, BC — Veteran journalist, business executive and community board member Kirk LaPointe is seeking the office of Mayor of West Vancouver, launching a campaign focused on restoring public trust, bringing greater discipline to taxes and spending, strengthening village centres and local business, planning responsibly for housing and infrastructure, and giving West Vancouver a stronger voice at Metro Vancouver. Learn more, and how to support, at “We need to manage public money more carefully, support a healthier local economy, and make sure West Vancouver speaks with a stronger voice regionally,” LaPointe said. “Above all, we need to rebuild confidence that local government is working with the community, not simply presenting decisions to it. People want to know their voice matters before decisions are made, not after.” LaPointe said he is entering the race because local government has become too reactive, too costly, and too disconnected from the people it serves. He said West Vancouver needs leadership that listens earlier, explains decisions more clearly, and works with the community on a practical long-term plan. LaPointe has spent decades in journalism, business, and public life, leading major national and local news organizations, serving in senior business and communications roles, acting as an ombudsman, teaching at the university level, and serving on community not-for-profit boards. He said those experiences have been grounded in public accountability, sound judgment, and helping people understand complex issues and institutions. “My career has been about asking tough questions, listening closely, and ethically holding institutions to account,” LaPointe said. “I want to bring that same seriousness, openness, and respect for the public to the mayor’s office.” LaPointe said West Vancouver needs a more disciplined approach on taxes, spending, infrastructure planning, and service delivery with greater burdens looming and many residents feeling they are being asked to pay more without enough clarity, consultation, or long-term vision. He said the community also needs a practical economic plan to strengthen village centres, support local business, and broaden the tax base over time. He said West Vancouver must plan thoughtfully for changing housing needs, including gentle densification that respects neighbourhood character and protects livability. He said the community must be more welcoming to seniors, families, workers, and younger generations who want to build their lives here. LaPointe said recent controversies, including the paid parking debate, have reinforced a growing public concern that consultation too often comes late in the process, after key decisions have effectively been shaped. He said decisions affecting daily life, neighbourhood character, and local business must be grounded in meaningful public engagement and clear public justification. He also said West Vancouver needs stronger accountability at Metro Vancouver, where major decisions on spending, infrastructure, and regional priorities have significant local consequences. He would not accept additional compensation from the Metro Vancouver board. “This is a community with deep strengths, high expectations, and a strong sense of place,” LaPointe said. “It deserves leadership that is prudent, consultative, and prepared to work with residents on a real plan for the years ahead.” Further details of LaPointe’s campaign for the October 17 election will be announced in the coming weeks.

Kirk LaPointe

21,820 просмотров • 5 месяцев назад

A Voice That Needs Almost Nothing Black-and-white footage. An empty stage. Joan Baez stands alone with an acoustic guitar, long hair falling to one side, a dark dress, no band. She begins “500 Miles.” The first notes are enough to explain why first-time listeners, even more than sixty years later, are still often caught off guard. Joan’s 1965 voice does not live on volume, grit, or obvious emotional display. It is a clear, high soprano that places each note close to center. Very little vibrato. Almost no edge. No deliberate curves meant to “sell” the feeling. The sound is held flat and precise, so the force does not come from pushing air. It comes from clarity: every vowel is fully exposed. “500 Miles” is a traditional American folk song, shaped by Hedy West from older variants and then carried into the folk revival. The lyric is plain: no money, no way to cover the distance home, still too far to go. Peter, Paul and Mary brought it to a wider audience with warm three-part harmony. Joan does something else. She sings as if she does not need a second layer of storytelling. The melodic intervals and the rests between lines do the narrating. The longing is not interpreted. It is left bare. The stage in the clip does one job: it removes every place to lean. One guitar. One microphone. Flat light. No backing harmony, no drums to pull the tempo, no camera moves engineered for a climax. Each note has to stand in the air on its own. The silence between phrases registers like a second rhythm. Fingers on the fretboard, the slight tilt of a shoulder, a glance that drifts off-camera — details modern production usually swallows — become the entire visual language. The audience in the old footage sits still. No applause between verses. No one performing enjoyment for the lens. Early-’60s folk asked for that kind of attention: listening the way you listen to someone speak, not the way you watch a number. The quiet of the room is not a side effect. It is the environment that lets the soprano travel the full distance without needing more volume. Other versions of “500 Miles” often take the opposite path. Some are warmer, denser with harmony, more willing to keep the sadness close to the surface. Bobby Bare turned it into a country hit with a clear narrative pulse. Later recordings frequently add pads or studio atmosphere for a sense of space. Joan’s early reading does not manufacture space. The space is already there: the room, the gap between her and the seats, the miles named in the lyric. The voice simply moves through those distances. Not every singer can work this way. Most voices need arrangement, texture, other instruments to feel complete. The 1965 clip shows a narrower case: when a voice already has enough clarity and control, adding layers can start to cover more than it lifts. The black-and-white footage does not argue the point with a statement. It simply leaves Joan Baez, a guitar, and a song about not being able to get home. Sixty years on, the performance does not feel like a finished musical number from the past. It feels more like a held silence that was preserved. Joan Baez does not try to close the five hundred miles in the lyric. She only sets a microphone in the middle of that open distance, sings the song once, and lets the quiet finish the rest.
2:34

A Voice That Needs Almost Nothing Black-and-white footage. An empty stage. Joan Baez stands alone with an acoustic guitar, long hair falling to one side, a dark dress, no band. She begins “500 Miles.” The first notes are enough to explain why first-time listeners, even more than sixty years later, are still often caught off guard. Joan’s 1965 voice does not live on volume, grit, or obvious emotional display. It is a clear, high soprano that places each note close to center. Very little vibrato. Almost no edge. No deliberate curves meant to “sell” the feeling. The sound is held flat and precise, so the force does not come from pushing air. It comes from clarity: every vowel is fully exposed. “500 Miles” is a traditional American folk song, shaped by Hedy West from older variants and then carried into the folk revival. The lyric is plain: no money, no way to cover the distance home, still too far to go. Peter, Paul and Mary brought it to a wider audience with warm three-part harmony. Joan does something else. She sings as if she does not need a second layer of storytelling. The melodic intervals and the rests between lines do the narrating. The longing is not interpreted. It is left bare. The stage in the clip does one job: it removes every place to lean. One guitar. One microphone. Flat light. No backing harmony, no drums to pull the tempo, no camera moves engineered for a climax. Each note has to stand in the air on its own. The silence between phrases registers like a second rhythm. Fingers on the fretboard, the slight tilt of a shoulder, a glance that drifts off-camera — details modern production usually swallows — become the entire visual language. The audience in the old footage sits still. No applause between verses. No one performing enjoyment for the lens. Early-’60s folk asked for that kind of attention: listening the way you listen to someone speak, not the way you watch a number. The quiet of the room is not a side effect. It is the environment that lets the soprano travel the full distance without needing more volume. Other versions of “500 Miles” often take the opposite path. Some are warmer, denser with harmony, more willing to keep the sadness close to the surface. Bobby Bare turned it into a country hit with a clear narrative pulse. Later recordings frequently add pads or studio atmosphere for a sense of space. Joan’s early reading does not manufacture space. The space is already there: the room, the gap between her and the seats, the miles named in the lyric. The voice simply moves through those distances. Not every singer can work this way. Most voices need arrangement, texture, other instruments to feel complete. The 1965 clip shows a narrower case: when a voice already has enough clarity and control, adding layers can start to cover more than it lifts. The black-and-white footage does not argue the point with a statement. It simply leaves Joan Baez, a guitar, and a song about not being able to get home. Sixty years on, the performance does not feel like a finished musical number from the past. It feels more like a held silence that was preserved. Joan Baez does not try to close the five hundred miles in the lyric. She only sets a microphone in the middle of that open distance, sings the song once, and lets the quiet finish the rest.

Music over time🎻

91,208 просмотров • 17 дней назад

When poor Liesel (pronounced 'leezel', like the girl in The Sound of Music) was spotted, the finder thought she was dead. She was so weak, so terribly deathly sick that she had collapsed crossing a path and lay there, helpless, unable to move, out in the open. The finder rushed her to the nearest vet (luckily it was mine!), who immediately called me for advice. They had grave concerns, and they were right. Liesel is a victim of casual cruelty and overriding conceit. Liesel has been 'treated' by a small start-up 'rescue' and then abused, by being tagged, before being released. A hedgehog's coat of spines is their everything - their insulation and their suit of armour. They spend a lot of time grooming, scratching and shaking their coat to ensure all the spines are unhindered and can be aligned perfectly. The stress of not being able to do that, and feeling vulnerable, is overwhelming to these little animals. And stress stops the immune system from working efficiently, leaving the tagged victim open to every parasite and disease. Three rescues, a veterinary practice, and several members of the public have voiced their concerns to me recently about this spate of tagging. I have been collating the evidence. Every single tagged hedgehog found has died, despite treatment, because they were so terribly ill and stressed. To be clear: it's illegal to tag a wild animal without a licence. There's a very good reason why it's illegal to tag a wild animal - it causes them such terrible, constant, and unbearable stress. And stress kills wildlife. Under Section 14 of the Wildlife and Countryside Act 1981 and Schedule 2 of The Conservation of Habitats and Species Regulations 2017, "You need a licence to take a species from the wild.... to mark or tag. For example, to monitor, sample or manage the species after release." And a licence is only granted when the information likely to be obtained is so important that it outweighs the risk of death to the animal. Our hedgehogs have very little legal protection, yet they are protected from unauthorised tagging because it's well established that this activity places such a strain on the animal that they are likely to die from the stress. Yet you'll see perpetrators trying to claim that it's nothing, and they are "collecting vital information". No, they're not. They are playing scientist. Using the vulnerable animals entrusted into their care as disposable vehicles upon which to enact their expansive delusions. Super gluing a bit of plastic containing your phone number onto a hedgehog's spines, and then releasing him, is not 'research'. It's torture. It's abuse of trust. It's an ego trip. It's not gathering information - they aren't transmitters. They are bits of plastic. They'll never see that hedgehog again, or retrieve any information. All that will be learned from anyone finding that poor victim is that some irresponsible person with no real understanding of how hedgehogs work has contributed to their death. So make no mistake, if you are an inexperienced rescue and have copied one of these delusional rescues who have been applying these tags illegally, you too are breaking the law. More importantly, you are harming a gentle, defenceless animal who already has more than enough disadvantages to deal with. Liesel is still alive. Barely. After suffering at the hands of her would-be rescuer she has been slowly starving to death, and every parasite around has taken advantage of her weakened state. Believe it or not Liesel is a full grown adult, yet she weighs just 400g; the weight of a 5 week old hoglet. As you can see, her bones carry no fat at all. Each vertebrae is clearly visible and she is flat and frail. Even the effort of eating exhausts her. Her outlook is poor, but you can save others like Liesel. Just a dish of dry cat food put out each night is all it takes. That tiny effort, that small mercy, would mean hardly anything to you, but would mean the difference between life and death to them.
2:59

When poor Liesel (pronounced 'leezel', like the girl in The Sound of Music) was spotted, the finder thought she was dead. She was so weak, so terribly deathly sick that she had collapsed crossing a path and lay there, helpless, unable to move, out in the open. The finder rushed her to the nearest vet (luckily it was mine!), who immediately called me for advice. They had grave concerns, and they were right. Liesel is a victim of casual cruelty and overriding conceit. Liesel has been 'treated' by a small start-up 'rescue' and then abused, by being tagged, before being released. A hedgehog's coat of spines is their everything - their insulation and their suit of armour. They spend a lot of time grooming, scratching and shaking their coat to ensure all the spines are unhindered and can be aligned perfectly. The stress of not being able to do that, and feeling vulnerable, is overwhelming to these little animals. And stress stops the immune system from working efficiently, leaving the tagged victim open to every parasite and disease. Three rescues, a veterinary practice, and several members of the public have voiced their concerns to me recently about this spate of tagging. I have been collating the evidence. Every single tagged hedgehog found has died, despite treatment, because they were so terribly ill and stressed. To be clear: it's illegal to tag a wild animal without a licence. There's a very good reason why it's illegal to tag a wild animal - it causes them such terrible, constant, and unbearable stress. And stress kills wildlife. Under Section 14 of the Wildlife and Countryside Act 1981 and Schedule 2 of The Conservation of Habitats and Species Regulations 2017, "You need a licence to take a species from the wild.... to mark or tag. For example, to monitor, sample or manage the species after release." And a licence is only granted when the information likely to be obtained is so important that it outweighs the risk of death to the animal. Our hedgehogs have very little legal protection, yet they are protected from unauthorised tagging because it's well established that this activity places such a strain on the animal that they are likely to die from the stress. Yet you'll see perpetrators trying to claim that it's nothing, and they are "collecting vital information". No, they're not. They are playing scientist. Using the vulnerable animals entrusted into their care as disposable vehicles upon which to enact their expansive delusions. Super gluing a bit of plastic containing your phone number onto a hedgehog's spines, and then releasing him, is not 'research'. It's torture. It's abuse of trust. It's an ego trip. It's not gathering information - they aren't transmitters. They are bits of plastic. They'll never see that hedgehog again, or retrieve any information. All that will be learned from anyone finding that poor victim is that some irresponsible person with no real understanding of how hedgehogs work has contributed to their death. So make no mistake, if you are an inexperienced rescue and have copied one of these delusional rescues who have been applying these tags illegally, you too are breaking the law. More importantly, you are harming a gentle, defenceless animal who already has more than enough disadvantages to deal with. Liesel is still alive. Barely. After suffering at the hands of her would-be rescuer she has been slowly starving to death, and every parasite around has taken advantage of her weakened state. Believe it or not Liesel is a full grown adult, yet she weighs just 400g; the weight of a 5 week old hoglet. As you can see, her bones carry no fat at all. Each vertebrae is clearly visible and she is flat and frail. Even the effort of eating exhausts her. Her outlook is poor, but you can save others like Liesel. Just a dish of dry cat food put out each night is all it takes. That tiny effort, that small mercy, would mean hardly anything to you, but would mean the difference between life and death to them.

Hedgehog Cabin

78,591 просмотров • 2 лет назад

🚨 Last night, an audio file was discovered in the Epstein Files that appears to be an FBI wiretap recording of what people are claiming is Erika Kirk procuring young girls for Epstein. Here is what I know and the questions I have: 🔻 The Phone Call The recording features a phone discussion involving a youthful-sounding female—portrayed as cooperating with federal authorities (DOJ)—speaking with someone who sounds like Erika Kirk. Background voices suggest law enforcement personnel guiding or debriefing the young woman before and after the conversation. 🔻 The Most Important Question — Is It Really Her? Does it sound like her? Absolutely… but audio can be tricky, and I’m leaning more toward no. Let me tell you why: First, this audio recording did not come with a date—of course. That detail is vitally important. All I know is that this audio comes from Dataset 9, page 661 of the Epstein Files. — Document The FBI/DOJ should take the time to address this. I’m sure an official statement could clarify who these people are… the cooperating victim (if legally permissible), but more importantly, the recruiter. With that said, I did some digging in the documents on my own. This audio recording contains specific keywords that, if it was an FBI call, should have a paper trail, right? —— Key words I searched for: “The more you do, the more you make” or the shorter version, “The more you do.” Sure enough, there are quite a few documents mentioning this. Here is one example: Within the Epstein files, a victim by the name of Haley Robson is identified as someone who was both a victim and later became a recruiter for Epstein. This court document is an excerpt from her deposition in a 2008–2009 civil lawsuit (Jane Doe v. Jeffrey Epstein, Haley Robson, and Sarah Kellen, filed in Florida federal court). The documents refer to events from around 2002 in the Jeffrey Epstein case (specifically tied to his Palm Beach, Florida operations and documented in 2005 police/prosecution materials and the 2009 civil deposition). Robson, then a 16-year-old high school student in West Palm Beach, Florida, was approached at school and recruited. She has stated in interviews and deposition excerpts that she was told the phrase “the more you do, the more you make” in connection with the arrangement and payments. She eventually resisted further sexual acts but was then offered $200 per girl she recruited from her school. She ultimately brought at least eight others (young as 14), earning more based on the level of acts involved. The recruiter who initially approached her and told her the quote is consistently described in all public sources only as “a classmate,” “a friend,” or “a girl in her class” from Royal Palm Beach Community High School. Erika Kirk (Frantzve) did not attend Royal Palm Beach Community High School. She grew up in Scottsdale, Arizona, and graduated in 2007 from Notre Dame Preparatory High School, a private Catholic school in Scottsdale. Erika Kirk is 37 years old today and would have been 13 years old (if this audio recording is from 2002). There’s no way that’s her if this is the case. Haley Robson is 40 years old and was reportedly 16 when she first met Jeffrey Epstein (around 2002). The timeline seems to match, assuming this is the correct year. I’ve listened and compared Haley Robson’s voice, and there are some similarities to the voice heard on this recording. Also consider that 24 years can change a voice significantly. Regardless, this is also something Haley Robson could easily dispel or confirm. If she has an X account, please tag her and ask directly if that is her in the audio. She appears frequently on television, so I don’t think she would mind clarifying whether this recruiter in the audio is her or not. That should be straightforward So as of right now, based on the evidence—at least for me—going with my gut, this is not Erika Kirk.
2:41

🚨 Last night, an audio file was discovered in the Epstein Files that appears to be an FBI wiretap recording of what people are claiming is Erika Kirk procuring young girls for Epstein. Here is what I know and the questions I have: 🔻 The Phone Call The recording features a phone discussion involving a youthful-sounding female—portrayed as cooperating with federal authorities (DOJ)—speaking with someone who sounds like Erika Kirk. Background voices suggest law enforcement personnel guiding or debriefing the young woman before and after the conversation. 🔻 The Most Important Question — Is It Really Her? Does it sound like her? Absolutely… but audio can be tricky, and I’m leaning more toward no. Let me tell you why: First, this audio recording did not come with a date—of course. That detail is vitally important. All I know is that this audio comes from Dataset 9, page 661 of the Epstein Files. — Document The FBI/DOJ should take the time to address this. I’m sure an official statement could clarify who these people are… the cooperating victim (if legally permissible), but more importantly, the recruiter. With that said, I did some digging in the documents on my own. This audio recording contains specific keywords that, if it was an FBI call, should have a paper trail, right? —— Key words I searched for: “The more you do, the more you make” or the shorter version, “The more you do.” Sure enough, there are quite a few documents mentioning this. Here is one example: Within the Epstein files, a victim by the name of Haley Robson is identified as someone who was both a victim and later became a recruiter for Epstein. This court document is an excerpt from her deposition in a 2008–2009 civil lawsuit (Jane Doe v. Jeffrey Epstein, Haley Robson, and Sarah Kellen, filed in Florida federal court). The documents refer to events from around 2002 in the Jeffrey Epstein case (specifically tied to his Palm Beach, Florida operations and documented in 2005 police/prosecution materials and the 2009 civil deposition). Robson, then a 16-year-old high school student in West Palm Beach, Florida, was approached at school and recruited. She has stated in interviews and deposition excerpts that she was told the phrase “the more you do, the more you make” in connection with the arrangement and payments. She eventually resisted further sexual acts but was then offered $200 per girl she recruited from her school. She ultimately brought at least eight others (young as 14), earning more based on the level of acts involved. The recruiter who initially approached her and told her the quote is consistently described in all public sources only as “a classmate,” “a friend,” or “a girl in her class” from Royal Palm Beach Community High School. Erika Kirk (Frantzve) did not attend Royal Palm Beach Community High School. She grew up in Scottsdale, Arizona, and graduated in 2007 from Notre Dame Preparatory High School, a private Catholic school in Scottsdale. Erika Kirk is 37 years old today and would have been 13 years old (if this audio recording is from 2002). There’s no way that’s her if this is the case. Haley Robson is 40 years old and was reportedly 16 when she first met Jeffrey Epstein (around 2002). The timeline seems to match, assuming this is the correct year. I’ve listened and compared Haley Robson’s voice, and there are some similarities to the voice heard on this recording. Also consider that 24 years can change a voice significantly. Regardless, this is also something Haley Robson could easily dispel or confirm. If she has an X account, please tag her and ask directly if that is her in the audio. She appears frequently on television, so I don’t think she would mind clarifying whether this recruiter in the audio is her or not. That should be straightforward So as of right now, based on the evidence—at least for me—going with my gut, this is not Erika Kirk.

MJTruthUltra

147,775 просмотров • 6 месяцев назад

The Night Metallica Made 50,000 People Stop and Listen You expect Metallica to make a stadium explode. You expect the drums to hit hard, the guitars to come in loud, and thousands of people to lose themselves in the noise. But when James Hetfield begins playing the opening notes of “Nothing Else Matters,” something completely different happens. The noise seems to fall away, and the stadium starts listening. That moment at Dublin’s Aviva Stadium on June 19, 2026, is striking precisely because of how little it needs. There is no rush to overwhelm the audience. The guitar is clean and familiar, the melody moves patiently, and the band allows the song to breathe. For a group whose concerts are built around enormous sound, there is something almost surprising about seeing so many people become quiet at once. “Nothing Else Matters” has always occupied a different place in Metallica’s music. It is not complicated in the way many of their heavier songs are. Its strength comes from a melody that is easy to remember and lyrics that speak about trust, distance, and the things that remain important when everything else becomes noise. That simplicity is probably one reason the song has traveled so far beyond the usual metal audience. Live, the song gains another layer because Hetfield himself has changed. His voice no longer carries exactly the same sound it had when the song was recorded decades ago. There is more roughness and weight in it now, but that can make the words feel more believable rather than less. He is not simply repeating a famous song; he is singing something he has lived with for most of his adult life. Then the audience joins in, and the meaning of the song changes again. A person standing in the middle of thousands of strangers suddenly becomes part of something shared. Some people may be thinking about someone they love, others may remember a particular period of their lives, while some may simply be caught up in the beauty of hearing an entire stadium sing together. The details are different, but the feeling is surprisingly common. That is what makes this performance more interesting than just another great Metallica moment. A song that began as something personal has become something communal. The audience does not need to know each other, and they do not need to share the same musical tastes. For a few minutes, they only need to know the same words. There is also something fitting about the contrast. Metallica has spent decades proving how powerful loud music can be, yet one of their most enduring live moments comes from doing almost the opposite. The band does not need to push harder. The song already has enough emotional weight to fill the space. Perhaps that is why “Nothing Else Matters” continues to work after all these years. It does not depend on a particular fashion, generation, or musical trend. It speaks to something much simpler: the people and things we continue to hold close even when life becomes complicated. Watching tens of thousands of people sing it together, you realize that the quiet was never really the absence of sound. It was the moment when everyone was listening to the same thing. And for a band like Metallica, there may be no greater demonstration of power than that.
6:56

The Night Metallica Made 50,000 People Stop and Listen You expect Metallica to make a stadium explode. You expect the drums to hit hard, the guitars to come in loud, and thousands of people to lose themselves in the noise. But when James Hetfield begins playing the opening notes of “Nothing Else Matters,” something completely different happens. The noise seems to fall away, and the stadium starts listening. That moment at Dublin’s Aviva Stadium on June 19, 2026, is striking precisely because of how little it needs. There is no rush to overwhelm the audience. The guitar is clean and familiar, the melody moves patiently, and the band allows the song to breathe. For a group whose concerts are built around enormous sound, there is something almost surprising about seeing so many people become quiet at once. “Nothing Else Matters” has always occupied a different place in Metallica’s music. It is not complicated in the way many of their heavier songs are. Its strength comes from a melody that is easy to remember and lyrics that speak about trust, distance, and the things that remain important when everything else becomes noise. That simplicity is probably one reason the song has traveled so far beyond the usual metal audience. Live, the song gains another layer because Hetfield himself has changed. His voice no longer carries exactly the same sound it had when the song was recorded decades ago. There is more roughness and weight in it now, but that can make the words feel more believable rather than less. He is not simply repeating a famous song; he is singing something he has lived with for most of his adult life. Then the audience joins in, and the meaning of the song changes again. A person standing in the middle of thousands of strangers suddenly becomes part of something shared. Some people may be thinking about someone they love, others may remember a particular period of their lives, while some may simply be caught up in the beauty of hearing an entire stadium sing together. The details are different, but the feeling is surprisingly common. That is what makes this performance more interesting than just another great Metallica moment. A song that began as something personal has become something communal. The audience does not need to know each other, and they do not need to share the same musical tastes. For a few minutes, they only need to know the same words. There is also something fitting about the contrast. Metallica has spent decades proving how powerful loud music can be, yet one of their most enduring live moments comes from doing almost the opposite. The band does not need to push harder. The song already has enough emotional weight to fill the space. Perhaps that is why “Nothing Else Matters” continues to work after all these years. It does not depend on a particular fashion, generation, or musical trend. It speaks to something much simpler: the people and things we continue to hold close even when life becomes complicated. Watching tens of thousands of people sing it together, you realize that the quiet was never really the absence of sound. It was the moment when everyone was listening to the same thing. And for a band like Metallica, there may be no greater demonstration of power than that.

Emotion & Music

71,699 просмотров • 16 дней назад

[ THE EARLIEST VIDEO CIRCULATING ONLINE ABOUT YU MENGLONG CAME FROM PEOPLE LIVING NEAR HIS APARTMENT COMPLEX.]⭐️‼️ P1➕ Some claimed that the victim was indeed Yu Menglong. According to witnesses, at around 5:10 a.m., someone walking their dog near the complex discovered a man lying on the ground with blood in his mouth and a pool of blood beside him. The witness initially thought the man was just drunk and didn't pay attention, but after the dog sniffed out the smell of blood, he went closer, then called the security guards and emergency services (120). ( This is what the police reported to the cousin and the victim's family, the press - not sure is truth.) Residents recounted that the window of the apartment had a mosquito screen, which had been torn or forced open and it was not easy to open from the inside. Some suspected that this was not a suicide but that he might have been pushed. When people arrived, the victim was still neatly dressed, and one man even took off his own jacket to cover him. Rumors quickly spread: some said he died on the spot, while others insisted no official conclusion had been reached. One people note that the incident happened to be the victim of the movie Eternal Love (Ten Miles of Peach Blossoms). One witness's friend claimed to have personally seen the scene and confirmed the time as around 5:30 a.m. In short: early that morning, a man allegedly Yu Menglong was found deadon the ground with signs of bleeding after falling from above, the mosquito screen was broken, the true cause remains unclear, whether from drunkenness or being pushed. The rumors are now spreading widely online. The lie about Yu Menglong drinking alcohol unintentionally fell down was finally torn apart. 1. ❗️The first is the older female cousin who cried until she fainted and appeared to spread the news Said that Long's at 3 a.m still called her to report peace 10 minutes before his death, he also sent a creepy message about someone blocking the door, then the neighbor opposite the floor released the original recording, inside clearly transmitted the sound of "don't touch me" Summary of key points in Vu Menglong's case, revealed by his cousin: - Evidence from his cousin: - At 3:12 a.m. on September 11, Vu Menglong called her. He was completely sober, said he would call a driver to take him home, and mentioned that someone kept pressuring him to drink Western liquor. - At 5:50 a.m., he sent her a text: "Sister, someone is blocking the door" with three terrified emojis. - By around 6:00 a.m., he was found deadfrom a fall.( Notice from the police.) - His phone disappeared, police claimed they couldn't find it at the scene, though he had told his mother earlier that it was charging at home. 2. ❗️Neighbors & new evidence: - A neighbor across the street released a 1 minute 23 second audio recording around 5 a.m - Sounds of a struggle and furniture being knocked over. - A voice resembling Vu Menglong’s saying: "Don't touch me", "I want to go home." - Another male voice: "Finish this drink and then go. Don't disrespect me." - A loud "bang", then silence except for heavy breathing. - Some listeners heard a third voice: "Stop the noise, quickly take him away." - The same neighbor also recalled seeing lights on and two figures struggling near the window. Main suspicions: - He was sober and could not have simply "fallen drunk." - Messages, calls, recordings, and eyewitness accounts point to him being blocked, forced to drink, and involved in a struggle before hisdeath. - There are suspicions that crucial evidence (his missing phone) was deliberately concealed. - Public opinion exploded, rejecting the "accident" theory and believing he was forced into circumstances leading to his fall. 🙏 #于朦朧墜樓事件 #YuMenglongFallingEvent #justiceforyumenglong #于朦胧坠楼 #YuMenglong #于朦胧 #AlanYu #YuMenglong #JusticeforYuMenglong #YuMenglong于朦胧 #于朦胧
13:55

[ THE EARLIEST VIDEO CIRCULATING ONLINE ABOUT YU MENGLONG CAME FROM PEOPLE LIVING NEAR HIS APARTMENT COMPLEX.]⭐️‼️ P1➕ Some claimed that the victim was indeed Yu Menglong. According to witnesses, at around 5:10 a.m., someone walking their dog near the complex discovered a man lying on the ground with blood in his mouth and a pool of blood beside him. The witness initially thought the man was just drunk and didn't pay attention, but after the dog sniffed out the smell of blood, he went closer, then called the security guards and emergency services (120). ( This is what the police reported to the cousin and the victim's family, the press - not sure is truth.) Residents recounted that the window of the apartment had a mosquito screen, which had been torn or forced open and it was not easy to open from the inside. Some suspected that this was not a suicide but that he might have been pushed. When people arrived, the victim was still neatly dressed, and one man even took off his own jacket to cover him. Rumors quickly spread: some said he died on the spot, while others insisted no official conclusion had been reached. One people note that the incident happened to be the victim of the movie Eternal Love (Ten Miles of Peach Blossoms). One witness's friend claimed to have personally seen the scene and confirmed the time as around 5:30 a.m. In short: early that morning, a man allegedly Yu Menglong was found deadon the ground with signs of bleeding after falling from above, the mosquito screen was broken, the true cause remains unclear, whether from drunkenness or being pushed. The rumors are now spreading widely online. The lie about Yu Menglong drinking alcohol unintentionally fell down was finally torn apart. 1. ❗️The first is the older female cousin who cried until she fainted and appeared to spread the news Said that Long's at 3 a.m still called her to report peace 10 minutes before his death, he also sent a creepy message about someone blocking the door, then the neighbor opposite the floor released the original recording, inside clearly transmitted the sound of "don't touch me" Summary of key points in Vu Menglong's case, revealed by his cousin: - Evidence from his cousin: - At 3:12 a.m. on September 11, Vu Menglong called her. He was completely sober, said he would call a driver to take him home, and mentioned that someone kept pressuring him to drink Western liquor. - At 5:50 a.m., he sent her a text: "Sister, someone is blocking the door" with three terrified emojis. - By around 6:00 a.m., he was found deadfrom a fall.( Notice from the police.) - His phone disappeared, police claimed they couldn't find it at the scene, though he had told his mother earlier that it was charging at home. 2. ❗️Neighbors & new evidence: - A neighbor across the street released a 1 minute 23 second audio recording around 5 a.m - Sounds of a struggle and furniture being knocked over. - A voice resembling Vu Menglong’s saying: "Don't touch me", "I want to go home." - Another male voice: "Finish this drink and then go. Don't disrespect me." - A loud "bang", then silence except for heavy breathing. - Some listeners heard a third voice: "Stop the noise, quickly take him away." - The same neighbor also recalled seeing lights on and two figures struggling near the window. Main suspicions: - He was sober and could not have simply "fallen drunk." - Messages, calls, recordings, and eyewitness accounts point to him being blocked, forced to drink, and involved in a struggle before hisdeath. - There are suspicions that crucial evidence (his missing phone) was deliberately concealed. - Public opinion exploded, rejecting the "accident" theory and believing he was forced into circumstances leading to his fall. 🙏 #于朦朧墜樓事件 #YuMenglongFallingEvent #justiceforyumenglong #于朦胧坠楼 #YuMenglong #于朦胧 #AlanYu #YuMenglong #JusticeforYuMenglong #YuMenglong于朦胧 #于朦胧

미나문🌙 🇰🇷🇹🇼

65,490 просмотров • 11 месяцев назад

YouTuber That Surprise Witness, J.D. released a video about Bri Stern's lawsuit against Andrew Tate. It is, in my opinion, a pro-Tate propaganda piece, designed to create doubt about Stern's allegations and minimise the allegations against Tate. Here are some moments which sum up the video. Firstly, she reads Stern's allegations of Tate controlling her and restricting her freedom of movement, which is corroborated by countless victims listed in Tate's human trafficking cases. "I mean. it does sound kind of restrictive. But like... I mean... how nice a building you wanna live in?" BJ could easily direct this at any of the victims in the Tates human trafficking cases who were forbidden to leave the house with threats of violence and monitored 24/7 with armed guards. In the next clip, BJ goes into what she calls "the greatest event of all" (the alleged assault of Stern). She seems to deliberately downplay and minimise the allegations. "...he began to become, you know, very physically violent or whatever." The allegation is that Tate violently strangled Stern to the point of near unconsciousness, while beating her in the face, resulting in a diagnosis of post-concussion syndrome. After glossing over these allegations, BJ bizarrely has a good old laugh about Tate "completing the mission and going to sleep." In the last clip, BJ says that if Tate did do all the things he is alleged of, it's "kinda bad." Violently raping women and, while strangling them unconscious and beating them. Trafficking women and underage children into pornography. Anally raping a 15-year-old child while he beat and strangled her. BJ thinks these acts are merely "kinda bad." For a large portion of the video, BJ references two completely unrelated and not even remotely similar situations Bri has been in with previous partners. She them combines these and says that she has had three issues with ex partners including Tate. This tactic is IDENTICAL to the attacks that we saw from Tate's PR network towards Jane Doe. At least one of these individuals (Ryan Dawson) was confirmed to have been paid by Tate for these smears. This woman is demented. Be very wary of any influencers you see use this line of attacks on any potential victim of the Tate brothers.
1:07

YouTuber That Surprise Witness, J.D. released a video about Bri Stern's lawsuit against Andrew Tate. It is, in my opinion, a pro-Tate propaganda piece, designed to create doubt about Stern's allegations and minimise the allegations against Tate. Here are some moments which sum up the video. Firstly, she reads Stern's allegations of Tate controlling her and restricting her freedom of movement, which is corroborated by countless victims listed in Tate's human trafficking cases. "I mean. it does sound kind of restrictive. But like... I mean... how nice a building you wanna live in?" BJ could easily direct this at any of the victims in the Tates human trafficking cases who were forbidden to leave the house with threats of violence and monitored 24/7 with armed guards. In the next clip, BJ goes into what she calls "the greatest event of all" (the alleged assault of Stern). She seems to deliberately downplay and minimise the allegations. "...he began to become, you know, very physically violent or whatever." The allegation is that Tate violently strangled Stern to the point of near unconsciousness, while beating her in the face, resulting in a diagnosis of post-concussion syndrome. After glossing over these allegations, BJ bizarrely has a good old laugh about Tate "completing the mission and going to sleep." In the last clip, BJ says that if Tate did do all the things he is alleged of, it's "kinda bad." Violently raping women and, while strangling them unconscious and beating them. Trafficking women and underage children into pornography. Anally raping a 15-year-old child while he beat and strangled her. BJ thinks these acts are merely "kinda bad." For a large portion of the video, BJ references two completely unrelated and not even remotely similar situations Bri has been in with previous partners. She them combines these and says that she has had three issues with ex partners including Tate. This tactic is IDENTICAL to the attacks that we saw from Tate's PR network towards Jane Doe. At least one of these individuals (Ryan Dawson) was confirmed to have been paid by Tate for these smears. This woman is demented. Be very wary of any influencers you see use this line of attacks on any potential victim of the Tate brothers.

Gadget

13,613 просмотров • 1 год назад