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#junhwi in the Random Play Dance from School Attack by DGDG Studio h2h - rude kiiikiii- 404 illit - magnetic aespa - drama izone - sequence lesserafim - easy lesserafim- antifragile h2h- foucs gfriend- time for the moon night illit - it’s me smn- waveway izone- fista

10,433 görüntüleme • 2 ay önce •via X (Twitter)

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Let me ask you an honest question: Who’s your daddy? If you’re a high school student athlete in Illinois, the answer is easy when it comes to one’s “Right to Play.” It’s not your Mom or Dad. It’s a private third-party vendor called the Illinois High School Association (IHSA). If you play a high school sport, the IHSA controls you even when your school day is over and even more when school isn’t even in session. It’s long been an overreach of control from a small group of narrow-minded ego-driven adults literally dictating what student athletes and families can do in their free time. But much-needed and welcome change is getting closer for all student athletes and their families, as more and more student athletes and parents come forward from present and past to speak up and talk about the disadvantages the IHSA - and those who benefit from it - have and are causing. The first victory earlier this week was by slaughter rule, a 12-0 thumping over the IHSA in committee vote. Now it moves to the big leagues. You can read more here: I encourage you to engage and educate yourself in a topic that 75 percent of high school student athletes across the U.S. can do, but it’s something high school student athletes in Illinois can’t do. Over the next 30 days, you are going to see more stories and hear directly from student athletes, families, leading athletic trainers and doctors, school leaders from Illinois and other states on local and national media outlets talking about this overreach and how the IHSA continues to put student athletes at a disadvantage. So I ask you again: Since when does a private third-party vendor get to control what student athletes and their families do, especially during their free time? Think about that. As you’ll see once again, it’s another classic case of cherry-picking to benefit one’s self by an organization that has now lost three consecutive court cases due to its unlawful dictating overreach. As always, I’ll layout both sides and show you how this has and continues to work easily and well for high school student athletes and schools across the U.S. - except in Illinois. They’ll say “health & safety.” They’ll say “scheduling & other logistics.” I’ll show you how those stocked talking points aren’t even tired, “they’re outdated” as one athletic trainer and other athletic director said to me today. Change for adults who control is always hard. It’s time to do what is right and long overdue for high school student athletes and families in Illinois. You’ll see why loud and clear beginning this week. **This is the first in a daily series.**

Trost

11,116 görüntüleme • 1 yıl önce

Bill “Bojangles” Robinson and Shirley Temple in the 1938 film “Rebecca of Sunnybrook Farm.” In the history of tap dance there are some names of mythical proportions. A tale of legend. Dancers, then are the dancer’s dancer. Robinson was such a one. A gold standard in dance. Dancers - whom most of you in reverence genuflect both knees for - such as Fred Astaire, Sammy Davis Jr, Gene Kelly, Eleanor Powell, The Nicholas Brothers, Ann Miller, Gregory Hines, to Vera-Ellen, have all openly hallowed the name of the great Bill Robinson as their influence. An inductee of the Tap Dance Hall of Fame. Temple, today recognised by cultural critics - as the most popular child star in all of time. This prodigious star who could sing, act, and dance all at age five. A box office title holder from the years of 1935-38. The years when no star could beat her film appearances. Robinson and Temple together would make four films in total. The 1935 film The Little Colonel - which saw them perform their iconic staircase dance was one of the symbols on screen of breaking of racial barriers. As with the performance in view here, Robinson was the one who choreographed all their dances in films. The dance above is not an easy one. We have taps in crotchet beats - but there are many flurries of taps in the values of semiquavers and demisemiquavers. These are note values heard when listening to many fast notes being played in some of the most difficult classical music. To think Temple is only ten years old here is astonishing. The reason I used musical terms is because Robinson’s choreography is a blending of movement with a separate rhythmic composition for the taps. He treated Temple as a working equal. She relayed, “He didn’t talk down to me like to a little girl” which is evident. Saying Robinson would fondly call her “darling.” It’s interesting to see the visual cues at play which he uses to ensure she remains in time and step. The reason why there is repeated eye contact. How did Robinson communicate this to a small child? He taught her to, “feel the beat, rather than count it out.” Together they made an unforgettable team on screen.

Hollywood Golden Age of Cinema

137,221 görüntüleme • 9 ay önce

will miss the burn this year. it’s always been a place of inspiration for me. it’s spontaneous and magical. when I first went 14 years ago I wasn’t booked by any camps. I just pulled up to friends art cars .. random as fuck laptop out covered in dust .. playing dance at sunrise to anyone that rode by me.. eventually a crowd would form out of curiosity . or reggae at sunset . it was a world that the burners just made up everything can be improvised. one of the most bizarre sets was me skrillex and tale of us in (maybe 2014?) in a giant dust storm while the man burned . the more I went the more I played . the bigger the crowds the more the chaos and animosity of an outsider like me coming to the playa unhinged . once I even photoshopped popeyes on a jet and said they sponsored my trip . (burning man politicians asked me to delete that and patrons called for me to be banned- I guess sarcasm is lost after too much ketamine from the higher ups) but it doesn’t matter - u can hear whispers that’s “it’s not like it used be” from the old timers and the plug and play veterans on holiday from their hedge funds . the event is what you make of it .. there is nothing like it in the world . no matter who u are - you create a world that feels like walking thru outer space . maybe u see your first public sex in the sand! you are gonna fall in love with an angel at center camp doing acro yoga or rethink your shitty life or marriage. maybe you cry for an hour at the temple remembering your mother or just seeing a picture of someone’s sister or dog that just spontaneously gives your grief .. that’s the most powerful drug I have ever done at the burn.. or learn that you would rather be a fire dancer or sword swallower (not like the ones at the orgy dome) instead of a lawyer . maybe you end up on fox news talking about the apocalypse after the rainstorm 2023. or maybe your just gay and you figured that out during carl cox disco set. anyway fuck it . everyone should go once but I think my time is up. ❤️ glad to be part of the lore and carry on faithful burners . 📟

diplo

13,587 görüntüleme • 1 yıl önce

DANCING IN THE STREET UPGRADED 4K VIDEO WITH PREVIOUSLY UNSEEN FOOTAGE “Just as long as you are there...” The headline says it all, keep reading for the full press release and links. #BowieJaggerDITS DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET WATCH THE 12” REMIX UPGRADED 4K VIDEO FEATURING UNSEEN FOOTAGE HERE NOW 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” OUT NOW ON PARLOPHONE RECORDS 40 years ago this week, the David Bowie and Mick Jagger duet of the Motown classic, “Dancing In The Street” was released with all the proceeds benefiting famine relief. The track and video had been debuted six weeks earlier during Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for the relief of the famine in Ethiopia. The video, which, like the song, had been recorded and filmed in thirteen hours, only fourteen days earlier, was shown just before Bowie took to the stage at Wembley Stadium. The making of the video was documented at the time, but that footage has mainly remained unseen until today. The new 4K video for the Steve Thompson Mix remix of the track features behind-the-scenes footage from the late-night shoot at Spillers Millennium Mills in the East End of London. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100. To celebrate the 40th anniversary of ”Dancing In The Street,” a limited edition white vinyl 12" is available now, bringing together every one of the song's mixes for the first time. As with the original, 30% of the retail price from the sale of this single, representing royalties and proceeds, will be donated to the Band Aid Charitable Trust by David Bowie, Mick Jagger and Parlophone Records. Talking about the collaboration today, Mick Jagger comments ‘’We had such a laugh doing ‘Dancing in the Street’ with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET - 40th ANNIVERSARY LIMITED EDITION REMASTERED WHITE VINYL 12” - OUT NOW ON PARLOPHONE

David Bowie Official

20,861 görüntüleme • 1 yıl önce

So let me get this straight… Meghan Markle is charging £1,400 per head for some wannabe “girls weekend,” and now suddenly we’re meant to believe it’s all being overshadowed by “security concerns” because someone might show up and record? I guess Meghan Markle remembered how she & Harry were secretly mic’d up during the jubilee celebrations, trying to discreetly record the royal family for their Netflix show. You sold tickets to strangers. You advertised the hotel, the dates, the exact location. You made it open to anyone with two grand burning a hole in their wallet. And now you’re shocked someone might pull out a phone? Why is she so afraid of being recorded anyway? If you’re this authentic truth-teller living your “best life,” what’s the panic? Afraid the footage will show you phoning it in? Or that your curated “vulnerable” act cracks under real questions from actual women who paid to be there? Real people who aren’t hand-picked Sussex Squad sycophants. This is the same tired playbook every single time. When something flops or doesn’t sell the way it should, cue the drama, cue the fear narrative, cue the “we’re under threat” storyline. It’s never “this didn’t land,” it’s always “poor me, look at the danger.” Also, thanks to Zandi for perfectly showing the exact kind of fans Meghan actually wants in the room - the toxic, conspiracy-fueled echo chamber who attack everyone else while crying victim. For once, thanks to the media for shining the spotlight on it too. Now Meghan’s stuck in a perfect lose-lose: if she hosts Zandi like nothing happened, she looks like she endorses that garbage and her “wellness” event turns into a squad echo chamber of mean girls. If she kicks her out or distances herself? Well, that won’t look great either, alienating the die-hard supporters who prop up her whole narrative. You can’t curate the crowd when the tickets are this desperate. What a brutal little dilemma she’s created for herself. 🤭 Let’s be honest, the real security threat here isn’t some random with a hidden camera. It’s the mirror. It’s the low demand. It’s the optics of who she’s welcoming. It’s the constant pivot from “we sold out instantly” to “we’re under threat” the moment the cash flow slows. Piece of advice: stop selling access if you’re this scared of being seen raw. Or maybe, just maybe, the real security risk is the mirror showing a grifter whose brand only works when everything’s tightly controlled.

Queen Esther

149,456 görüntüleme • 4 ay önce

DANCING IN THE STREET - 40th ANNIVERSARY WHITE VINYL 12” - JAGGER SPEAKS “When people stared in Jagger’s eyes and scored, Like the video films we saw...” The headline says it all but keep reading for the press release and a few words from Sir Michael Philip Jagger himself, along with a link to the upgraded 4k video. #BowieLiveAid #BowieJaggerDancing #BowieJaggerDITS + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” AVAILABLE 29th AUGUST 2025 ON PARLOPHONE: (Link will update throughout the day) WATCH THE UPGRADED 4K VIDEO NOW: ‘’We had such a laugh doing Dancing in the Street with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Mick Jagger, June 2025 LONDON, 10TH JUNE 2025 - 40 years ago today, Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for relief of the famine in Ethiopia, was announced with a press conference on the pitch at Wembley Stadium. The show was held simultaneously on Saturday, 13th July 1985, at Wembley and John F. Kennedy Stadium in Philadelphia. One of the day's highlights was the surprise duet of the Motown classic, 'Dancing In The Street', between David Bowie and Mick Jagger. The video for the track, which, like the song, had only been recorded and filmed in thirteen hours, only fourteen days earlier, was shown at 7 pm in the UK (2 pm in Philadelphia), just before Bowie took to the stage at Wembley Stadium. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100 chart. To celebrate the 40th anniversary of the track, a limited edition white vinyl 12" will be released on 29th August, 2 days after its anniversary, bringing together all of the song's mixes for the first time. 30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199). The original plan for Live Aid was to perform the track together live, with Bowie at Wembley Stadium and Jagger at John F. Kennedy Stadium in Philadelphia. It soon became apparent that the satellite link-up between the two countries would mean a half-second delay, rendering the plan impossible. Instead, the pair convened at Westside Studios in London on 29th June, where Bowie was working with producers Clive Langer & Alan Winstanley. The duo went directly from the studio to Spillers Millennium Mills in the East End to shoot the video with director David Mallet, who had previously worked with Bowie on the groundbreaking Ashes To Ashes video. The video has been upgraded to high resolution to celebrate the anniversary using the original film negative. Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying, “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) + - + - + - + - + - + - + - + - + - + - + - +

David Bowie Official

50,698 görüntüleme • 1 yıl önce

Pam Grier reminisces the story of how she got the role in John Carpenter's "Escape from L.A." (1996): "[When John Carpenter called me] I thought somebody was punking me, [I said] ‘This ain’t John Carpenter! John says ‘Pam, I know this is a hard role for you. I want you to play a man,’ [Carpenter said] I know you’re a woman, but you’re gonna play a man. You are Snake Plissken’s best friend, and you were both guys, but Snake comes looking for you, and you’ve [transitioned]. I said, ‘John, I don’t want to disappoint you, how do I do this?’ [He said] ‘Well, you stay pretty, Pam, you just show me what you got. I don’t wanna disappoint John, what am I gonna do? I’m gonna fail in front of Kurt [Russell] and Warner Bros., everyone’s there. [I was guided by one thought] Men … you check each other’s johnson out all the time. I put a sock in my leggings. and stuffed it. [But] the leggings flattened it. So I had a … flattened pen!s … I looked and I said, ‘Oh my god, it’s flattened out, I have to take it out!’ So I thought, ‘Okay, what do I do, what do I do, I gotta put something [in there]. [I went to the grocery store across the studio to find a substitute for the real thing] I find the right zucchini and everyone in the store is watching me, saying ‘There’s a woman who’s holding up vegetables to her crotch. [When I returned to the studio] Two crew members walk out and say, ‘Hey, that guy really looks like Pam Grier.’ I nailed it. I walked into [the audition room] and said, ‘Hey John, how ya doing,’ and he started laughing … He starts laughing and choking, I thought I was giving him a heart attack. He said, ‘Kurt, Kurt, come over here and meet Pam.’ And Kurt comes over, and the first thing he looks at IS my zucchini. And he starts laughing, and they gave me the job." ("You’ll Never Believe How Pam Grier Landed Her Role in John Carpenter’s ‘Escape from L.A.’", Remind Magazine, 2025) P.S: Happy 77th birthday, Pam Grier!

DepressedBergman

363,941 görüntüleme • 3 ay önce

A story I’d like to share and hope you “play” the end: Back in the 1960s my dad was the lead singer of a band named “Johnny and the Fires” (he was Johnny). They mostly played in Buffalo and surrounding-area nightclubs and also got some play on local radio. They made a record (78 RPM) of their “hit” song “Stop, Look, and Listen!” It was actually recorded at 24 Northampton Street in Buffalo. I know because it’s printed on the record (you’ll see later). That’s across the street from the Delta Sonic and old post office on Main Street, near the NFTA station. Apparently there was a music studio there?! I have no idea. At my high school graduation party, we had a live band. My brother was the drummer (you may already know I also play the drums). They learned Stop, Look, and Listen and my father went up and sang it with them. My dad died two years later of a heart attack, at 48 years old. In 2011, I moved back to Buffalo to work at WGR. A couple years later, I got a Facebook message from a guy who said he recognized my name (and voice!) and wondered if I was John Capaccio‘s son, because he played saxophone with him in the band Johnny and the Fires. We connected. His name is Sam Guarino and he is in the Buffalo Music Hall of Fame (inducted in 2011)! Amazing. 🤯 Sam and I became friends. He told me about the other band members. One was the drummer, Vito Camilleri, who (at the time) owned Vito’s Cut and Style on Hertel Ave. I went into visit Vito one time to say hello. I’ve also connected recently with one of their guitarists, Salvatore Sciolino, who told me “your dad and me got into a lot of trouble together.” (Not a surprise to me! 😂) Sam had Stop, Look, and Listen converted into a CD. I then recorded it into an MP4. I wanted to share it for all of them and you to hear. Sam has been trying to help me figure out some of the lyrics since they are a little tough to make out. But that’s part of the fun, too! Here it is. I hope you enjoy it as much as I do! 🎙️⏯️

Sal Capaccio 🏈

344,779 görüntüleme • 2 yıl önce

In 2003 I stopped on the side of the highway. I got out of my car. I looked up. I can’t really describe the feeling, but dumbstruck awe is as close as possible. I was on my way home very late from a school event and suddenly I was surrounded by green, red, and purple fire. The night sky was enveloped in them. Honestly I thought I was having a medical emergency. It was the Northern Lights, but unlike anything I’ve ever seen. I stood for 20 minutes looking up as twisting and chaotic lights spun around me, in the middle of nowhere, without any light pollution. I also HEARD them. It was a crackling and twinkling sound, like wind chimes made of breaking tinfoil. Nobody else I knew saw them that night. I also wasn't believed that they made sound - which has been proven to be true. That was the last MASSIVE geomagnetic storm the Earth experience and it was like what we saw last night. We got warning thanks to social media that one was coming and the weather cooperated. Little cloud, and a warm wind. We sat beneath the sky initially in blankets but then 1:00 AM rolled around. Gorgeous dancing beams of light blasted overhead, with the same greens, reds, pinks, and purples I saw so many years ago. It got so bright, it was as if Mother Nature had turned on a nightlight across the night sky, to ward off bad dreams and spooky shadows. I had tears in my eyes. I felt so small, yet I was experiencing something so large. I had VERY big feelings - just like Beaker gets (our golden) when she has so much joy. This time I got to experience it with my family AND see the joy and excitement across social media as so many people who had never witnessed them before, got a glimpse. We were all so very fortunate last night. BUT: What causes this? This cosmic spectacle is caused by a massive sunspot, a behemoth as wide as 17 Earths, hurling solar flares towards our planet. Imagine the sun as a giant celestial disco ball, occasionally sending out bursts of energy in the form of solar flares. When these flares reach Earth, they interact with our magnetic field, creating geomagnetic storms. Normally our magnetic field yeets these storms to the poles, eliminating all but the most extreme latitudes from viewing them. In Canada we consider it pay back for our long and brutal winters. This energy excites the gasses high in our atmosphere and depending on the gas, different colors are produced. Oxygen produces greens and reds. Nitrogen produces blue and purple. And if we are very very lucky, Helium and Hydrogen produces the white and pinks we saw last night. The recent storm escalated to Level 5 "extreme" conditions, creating a celestial dance of colors in the night sky. Even SpaceX's Starlink service experienced "degraded service," a reminder that while we marvel at the beauty of the Northern Lights, they also remind us of our reliance on technology vulnerable to these cosmic events. Our internet is powered by Starlink and we have NO SERVICE during the peak - and it has been knocked out at times yesterday and today. However, this isn't just a spectacle; it's a reminder of the power and unpredictability of our sun. This Level 5 geomagnetic storm is the first of its kind since 2003, where a much younger me stood dumbfounded at the side of a rural highway, looking up. There is talk that this Saturday night we might get a repeat performance. You can bet our family will have front row seats. You can’t miss this kind of cosmic show. It is just the universe telling us that while we are small , we are part of something so much bigger. We are in the universe, but the universe is also within us.

Bunsen, Beaker, Bernoulli & Brix

42,050 görüntüleme • 2 yıl önce

Hey True Earthers... If you get tired of globers bitching about a model, or sunrise angles, or star trails, or sunlight, or eclipses, anyone can ALWAYS reference THIS MODEL The reason it is called "Shane's Mode;" is strictly so YOU can use it, and I can take all the criticism, insults, ridicule, jokes, attacks, etc. The general idea is that the community gets the considerable benefit of presenting an accurate model and using it to explain several normal phenomena at once. Then, only I get the drawbacks of all that will surely come from it, and everyone else will benefit. I planned it this way, because I largely don't care about what any of the globers piling the hate over here so we can press forward. Or.. you know, f*ck me for saying the word model, and for bendy light or for whatever. If that's the case, no hard feelings. One last thing, the smaller dome in the model simply represents the limit of an observers view, a spherical limit with a radius of 3959. The math that supports that is here... and here. The descriptions are entirely reworked, mostly spelling error free, and entirely plausible. So feel free to bring it up in debates, forums, streams, podcasts, or whatever you like. The model adequately emulates and explains all of these observations: Sunrise, Sunset, Moonrise, Moonset, Moon Phases, Moon's apparent rotation, Sun's position on Equinox, Seasons, some aspects of Solar and Lunar Eclipses, Star trails, 24 hours Day/Night at the North-pole and Antarctica, Celestial Poles, Why people south of the equator can see the same Stars rotate clockwise around a singe celestial pole at the same time at different continents [Southern Cross Observations] Cheers everyone! The FULL Description is below, and it is LONG. Sorry. The Model This model does not assume a physical Sun nor Moon which will show a collective convergence for every observer on Earth. It only matches their apparent positions as observed across the plane. The Bislin model acknowledges this and moves all celestial bodies to a nearly infinite distance away. This does nothing more than create a triangle large enough that you can mathematically abstract your way into the inverse of everything you experience. The truth is there is a limit to one's visual space. And this limit is necessarily geometrically spherical. Because one never observes objects in anything but their 'apparent location' within one's personal celestial sphere, there is no need to explain a tiny ball of heat mysteriously powering itself along at 3100 miles above the plane. This is not reality. We feel we only have to model the exact apparent position for each observer. We do not have to provide an explanation for what you think should be required. This model relays the apparent size and positions of Sun, Moon and star constellations. It depicts their paths as well as the day-night terminator. Simply by observing reality and plotting that data on a planar map we demonstrate that the Sun, Moon and stars can move beyond the limit of one's vision and become unresolvable by the naked eye. We show how this can be conflated with the assertion that objects ACTUALLY drop down below the horizon when, in reality, they are only apparently dipping below the horizon when exceed limit of your vision. It is elegantly simple and easy to understand without the bullshit. Sun/Moon tracks: In 24 hours, the fixed stars rotate about 1 degree more than 360 degrees so that, in 365.25 days, the star constellations return to the same place in the sky. This is seen by incrementally advancing DayOfYear (click the field and use Arrow Up or Down). The Dome grid will advance each day by about 1 degree. Advance the time in 24 hours steps and the Sun noticeably moves between the Solstice lines. The Sun will also trace a figure 8. This is caused by the Sun's Ecliptic plane at 23.44 degrees to the orbital plane. The paths of the Sun and Moon are visible against the fixed star background (Dome Grid) by checking the options Sun track and Moon track. For a description of the tracks, click the Eclipses button. They correspond to observable reality. The tracks are derived from the solar and lunar cycles and are absolutely not exclusive to either model. It would be extremely dishonest to claim anything else. Sorry, Walter. Retrograde Motion of the Moon's track: The Sun's path stays fixed on the Dome Grid. But, the Moon's path slowly rotates retrograde against the Dome Grid and rotates one full rotation in 6,798 days. This is due to the oscillation and intersection of the Moon's orbit caused by the distant Sun. Currently, the Moon Ecliptic is such that the path of the Moon extends the path of the Sun, North/South, by about five degrees. Approximately 3,400 days later, the path of the Moon moves inside the path of the Sun by about 5 degrees. This observation is simply translated to the planar model. Eclipses: The intersection points of the Sun and Moon's paths are called Knots. Two Knots are marked by a green dot. If the Sun and Moon are on two opposing Knots, a Lunar Eclipse occurs. The Sun and Moon on the same Knot will result in a Solar Eclipse (play Demo Eclipses from Step 6 on). This Flat Earth model can predict Solar and Lunar Eclipses. It can also absolutely predict the optical effect conflated with the Moon's alleged shadow on Earth during a Solar Eclipses or vice versa. It uses a ratio of the cycle that is based on the radius of a shadow, as postulated by Phillippe de La Hire, in the 1700s. It was first calculated for a Lunar Eclipse. But, the ratio applies to all future eclipses which belong to an appropriate series. This ratio is then applied to the predicted path to dynamically widen or shorten the path in order to accommodate the penumbral and umbral radial intersection as a visible sphere on the plane. We then apply this integer as a scalar to correctly approximate the size of the optical effects conflated with shadows. All of the maps onto which the eclipse can be projected use the same globular coordinate system, unfortunately. Now, it can be shown that heliocentrism cannot predict eclipses at all. They can only interpret the cycle data in the same way the ancients did and apply more refined mathematics. Moon Phases and Orientation: The model shows the Moon phases and the orientation of the Moon with respect to the Observer's horizon. The apparent rotation of the Moon during the day is due to the fact that the camera's up vector remains perpendicular to the surface of Earth while following the path of the Moon. This perfectly matches reality. Equinox: This model produces the correct apparent Sun positions during an Equinox. The Sun rises due East at 6:00 AM and sets due West at 6:00 PM. Poles: This model produces a 24 hour day and night on the North Pole and in Antarctica. Heliocentric Model: Simple observations mathematically translated to this planar projection perfectly map the paths of the Sun, Moon and stars (star trails) as they appear to the Observer inside their personal celestial sphere. As with all other celestial observations, the Equinox, the Solstice Knots and the Day-Night terminator can be derived from basic observation and data applied to the planar projection. No need for baseless assumption. The Heliocentric model utterly fails here. Newton's laws can be reduced to exclude mass and still manage to describe the same periodicity and, thusly, the same relationship. No need for an exclusivity claim here at all, is there, Walter? Shapes on the Dome: The shape of Sun, Moon and star constellations appear on the personal celestial sphere exactly as they do in reality, and when projected onto the globe. Again, because we invoke the same radius to describe the spherical limit of our celestial view, the very same observations become easily explainable when using all of the normal conventions, with no need to invent branches of physics and invert reality. All features of this model are derived only from observations of the sky. Observations of the sky have always been kinematically equivalent - equally applicable to geocentric and heliocentric model. This was rather the point of the invention of Special and General Relativity (nonsense). Problems with the Shane's Flat Earth Model Distances: Many people misunderstand distances on map projections. On the AE map, distances measured in an exactly North-South direction are correct. Other measurements are also proportionately correct. Data translation between projections is tied to the coordinates we use. The longitude and latitude we use in any of the appropriate 200 map projections will ensure the distances between those points remain accounted for, at scale. Please learn how map scaling works if this seems inadequate to you. Only an absolute moron would expect visual distance to be equal in an equal area, or equal distance, cartographic transformation. Right, Walter? Personal Celestial Sphere: The Sun and Moon trace specific paths across the celestial sphere. The paths of the celestial bodies are directly mapped from observation to the planar projection. They also follow the cycle of the Heavens, with no need for gravity, Newton, nor the very lackluster performance of gravity based predictions of systems with 2 or more bodies. It was jaw dropping to see that poor Walter actually wrote that gravity caused this. I assume it was because he knew he would never have to answer any challenges. Show me the math which uses the gravitation from all of the forces Walter listed and I will immediately remove this section. Moon Phases and Field Rotation: Moon phase and apparent orientation, as shown, perfectly represent what every observer on Earth sees, correct to their location. The 15 year solar cycle and the 18 (10/11) month lunar cycle have been understood for so long that people eventually forgot and are now incorrectly perceive their paths. Only in modernity do the vast majority of people wander about under their own personal clock without the ability to read it. How sad. The Day/Night Terminator: The shape that matches reality is a bit peculiar and it changes over the course of a year. The shape not only depends on the location of the Sun but its height and speed as well. Again, we know the Sun circles the plane at a 23.4 degree tilt. And this perfectly defines the terminator line. There is absolutely no reason to invoke bendy light in order to explain any of these observations. The model simply matches what we see. It represents reality. Missing The Third Dimension: We need to correct the inherent misunderstanding in the assumption of the physicality of any 'dome'. Modeled here is a personal celestial sphere. It uses a radius. It just so happens that Shane has been arguing this concept and this radius since the day he showed Walter Bislan's model as evidence, amid the jeers of the uneducated masses. As it turns out, the personal celestial sphere is a visual limit imposed on one's spherical view of the heavens. It most simply describes the particular visible slice of the heavens. And it moves that amount with you where ever you go. This is such an elegant, beautiful explanation to what had been perplexing the flat Earth community for years: how the stars work. The personal celestial sphere, once properly understood, is a perfect explanation for everything we see in the sky. It explains the curved nature of the arcs of summer and winter, the behaviors of the Sun and Moon, as well as the apparent non movement of the static stars in relation to each other. Every single stellar observation is explained as well as, if not better than, any Heliocentric explanation. Any person who incorrectly assumes a visual distance scale also assumes things to be visually identical in size and demonstrates a massive misunderstanding of proper distance scaling inherent in all map projections - particularly in the AE map. It's as if everyone has forgotten that the AE map is equal to the Globe map, which is also equal to 199 other map projections. The choice of projection does not matter. They are all the same. They all represent the same distances. We can make predictions based on cycles as well as the next guy. So, we wont need help there. As we keep saying, every observation in the sky is equal between geocentric and heliocentric perspectives. People seem to be INTENTIONALLY misunderstanding that, at this point. Light-Bending: absolutely not required in any way shape nor form. Observable reality matches the model in every way; I cannot imagine a better fit. To now try to invent a need for bendy light would only publicly highlight the ineptitude of a lower tier glober - and their inability to learn and adapt, a vital skill in these times. Our model perfectly represents azimuth and elevation of every celestial object in its apparent position. This is all that we ever see. There is no need to explain what has never been observed. The visualization of the South Pole in action is actually what brought Shane to the ultimate understanding of the celestial wheels. So, thank you again, Walter! Light Bending Over Night-Shadow: to match the 24 hour Daylight in Antarctica data from the light forms a shape congruent to a coffee cup caustic effect. Shadows Of Eclipses: although this model can predict the date of Eclipses, it was argued that it can be used for nothing else. Please check the provided links to review the absurdity of those claims. Conclusion Some observations, like the positions of the Sun, Moon and Star Constellations as well as Sun/Moon-rise/set can be explained by a Flat Earth Model - if we allow ourselves to adhere to the mathematical principle of equivalence. What a concession. Some final thoughts: 1) Distances on the AE Map are 100% 1:1 equivalent when you comprehend how to accordingly use the scale provided with the ruler which represents longitude. 2) LEARN ABOUT MAPS. Hopefully, the covariant scaling and lossless unlimited translations between the projections will teach you this valuable lesson. Equinox, Solstice, Azimuth, Elevation This model draws a perfectly circular orbit of the Earth around the Sun and a perfectly circular orbit of the Moon around the globe Earth. This is because the planar Earth has no moronic need for elipicity because they didn't back themselves into a logical corner by making shit up. This model chooses to match: Spring Equinox at 12:00 UT, March 20, 2017 Solar Eclipse at 18:00 UTC, August 21, 2017 Azimuth and Elevation of the Sun and Moon are also slightly inaccurate (according to the assumed Heliocentric requirement) due to the use of circular instead of elliptical orbits. This affects also Moon phase. Computing Day-Night Terminator The Day-Night terminator is derived from to match reality as follows: 1. A circle perpendicular to the Earth-Sun axis in the Sun coordinate system is computed depending on the Sun's position at a point in time relative to the intersection knot of the Equatorial plane of the Earth and the ecliptic plane of the Sun. This is entirely possible in both models. 2. This circle is then transformed to the globe Earth coordinate system. There is no way around using this coordinate system. If Walter Bislan comes asking for his source code, tell him thank again, from shane. Any questions can be sent to [email protected]

Shane St Pierre

90,809 görüntüleme • 2 yıl önce

Yesterday, while the climax sequence of ‘Odyssey’ was playing on the giant screen at the IMAX theatre in Wadala, Mumbai, I received a WhatsApp from my close friend from school and college days who has been living in the Gulf (Doha, Qatar) for four decades: “Tell me how ‘Odyssey’ is. I really feel like watching it, but I didn’t like Dunkirk and Tenet… If you like it, I’ll watch it on Sunday.” After the film ended, while the end credits were rolling, I replied: “First reaction. Waste of time. It’s not as slow and boring as Dunkirk, but it’s a weak masala film that had to spend 800 crore rupees on marketing just to get audiences into theatres.” After leaving the theatre, I posted a review on Book My Show. I gave it 1 star out of 10 and wrote: “Third-class film. Artificially hyped up. Regret spending money on expensive tickets. No grandeur of IMAX. It feels like a film made for OTT platforms.” I then sent the screenshot of this review and the BMS link to my personal friend circle. In response, my friend from Kentucky, USA, wrote: “Just cancelled my tickets. Thank you!” I replied to him: “You showed wisdom in saving your money; I went ahead and wasted mine today!” My Mumbai friend wrote: “So this is another Dunkirk! Either Nolan himself is overrated or people have unnecessarily put him on a pedestal. I watched Dunkirk on OTT — couldn’t sit through more than 45 minutes. I even took an Apple TV subscription specially for ‘Oppenheimer’, but there wasn’t much power in that either.” (Then, sarcastically, he added) “Maybe we don’t have the intelligence to understand great cinema!” (By the way, this friend is a true cinephile and has deep knowledge of cinema). Another friend from Mumbai wrote: “Thanks, we were planning to go on Sunday…” A friend who lives in Mumbai but is currently on a holiday with friends in Kasauli read my review and said: “All other film reviewers should also write in such strong language and bring these people down from the skies to the ground… These big-budget films survive only on 90% promotion. In fact, this has become the hallmark of all superficial people.” I wrote back to him: “Just watch — all the pseudo-intellectuals are going to lift this film on their shoulders and dance with it.” A friend who was travelling from Kashmir to Leh-Ladakh wrote: “If you had waited two-four days, your money would have been saved!” A cinema-loving friend from Navsari wrote: “We won’t go now.” I feel that all my close friends who have cancelled their plans to watch ‘Odyssey’ should send me 10% of the money they had planned to spend, so that I can recover somewhat from the massive financial loss I suffered yesterday for the sake of public interest! #Odyssée #Odyssee #review

saurabh shah 🇮🇳

210,129 görüntüleme • 1 ay önce

I WENT TO THE GAME ALONE. 🏴󠁧󠁢󠁥󠁮󠁧󠁿⚽️ Here’s my experience: Because of my job, I’m lucky enough to be used to travelling by myself, so buying a single ticket and flying down to Miami didn’t feel that daunting. But I was still cautious. The 02:45 alarm call on Saturday wasn’t much fun and then I managed to miss the exit off the highway to the airport as I was singing ‘It’s Coming Home’ at the top of my voice in the car and had to rush to get through security to the gate! ☺️ I was surprised to have found a direct flight to Miami from Tulsa that got me in at 09:00, so it was an Uber to the Hyatt Place hotel at the airport who kindly let me have breakfast and get in a room at 11:00 to shower and get ready. Flawless. That’s the word I’d use for the organisation of transportation and logistics in Miami. Just flawless. A $15 Uber ride took me to the Martin Luther King train station (one of 4 pick-up points) where lines and lines of yellow school buses stood, each taking 50 or so ticketed fans the 11 miles to the game. Of course England and Norway shirts dominated, but it really felt like a carnival of football with tops from various countries and clubs to be seen here and there. And, man, was it hot!! As we jumped off the bus, in front of us hydration stations had been set up. Complete with electrolyte powder to mix with the iced water from huge tanks. And did I sweat a lot in the next 8 hours! So having downed a few litres of water it was a half mile walk to the stadium. Police everywhere, roads closed, huge energy, fantastic atmosphere. (Lots of locals stood at the end of the driveway with huge signs trying to sell their drive as a parking space for the night. What entrepreneurs!) I didn’t touch alcohol due to the heat - but the bars and food outlets were packed outside the stadium as a carnival atmosphere prevailed. Before heading to my seat I was able to meet a few Albion fans (Sam Harte, Ian Harte, Nick Blanco, Derek Chapman et al) which was brilliant. There we all were, 3500 miles from the AMEX! 💙🤍 I’d only bought a seat on Thursday and had a huge stoke of luck when I found it was bang in the middle of the England end. And what a fantastic group. Everyone introducing themselves to each other and sharing stories of the footballing summer so far. Passionate. Knowledgable. And just salt of the earth characters. As for the game? Well, the chanting was incessant, orchestrated by the England drummer and trumpeter how stood just a few rows behind me. We were together. We were united. And, call me old-fashioned, but it felt very healthy; it felt special. And I felt so lucky to be part of it. The game happened, you’ve seen it, no need for me to linger on that. But at the end there was a lad who was just in tears of joy. Must’ve been in his early 20s and it was clear how much England meant to him. He just couldn’t stop! It was pretty moving to witness. I manage to grab a couple of England jerseys on the way out (only XXXL left, but that’s what Mrs Bard asked for anyway as seems the fashion) and then it was a walk back to the buses in the oppressive heat and under the blinding floodlights of the walkways as random England chants erupted from various pockets of the 1000s of us walking from the stadium. The atmosphere was electric. It was a 90 min wait for a bus but the stewards did a great job and I was back in my hotel to watch the last few minutes of Argentina beating the Swiss in extra time. You know, I’m not a fan of FIFA, and despite football playing a huge part in my life, I was a little cynical about the World Cup in the build up. But as I left the stadium last night, the world felt a better place. It’s been an amazing tournament, but not because of the FIFA suits, but because of the fans. It occurred to me that, just for a while, because of football, division and politics has been replaced with humanity and wholesomeness. And that’s just what the world needs right now. ⚽️❤️

TheBrightonBard

66,728 görüntüleme • 1 ay önce

Anyone recognise this woman? Yesterday at 5:10pm in Humberstone park in Leicester, England, whilst taking my family’s dogs for a walk, I was subject to what the police have called a racist attack, whilst I was with my little sister During this attack, an old lady - who thought her age gave her a free pass to be a vile bigot - made racist remarks about my origins, hit me to try and stop me from recording her antics, and shoved me in the chest. This started over a disagreement about our dogs I could sense she was getting agitated, and I had no interest in shouting at a pensioner, so I told her to go her way and we’ll go our way She argued back and proceeded to call me indecent “You’re not decent” I could sense subtle undertones of racism in the way she said this, but wanted confirmation before jumping to conclusions, so I probed her and asked “What do you mean by that?” She replied: “you’re not decent, none of you are, you’re not decent, just like the rest of them” At this point I’m thinking “i know exactly what sort of Facebook posts you’re liking and who you’re gonna vote for” So i probe again, “what do you mean by that?” she says “like the rest of you, *where you come from*” I wasn’t able to record these initial racist remarks as I don’t exactly expect to be racially abused when taking the 2 family dogs for a walk, so I didn’t have the camera rolling at the time I was actually just going to leave the park at that point, but thought to myself “Naah you can’t let them get away with this” people should not just be able to racially abuse you in public and go back home to their beans on toast and coronation street. This has happened to me before but the last times I kept quiet and didn’t say anything back but this time was infront of my sister and I wasn’t about to set the precedent for her that you should just let people racially abuse you free from consequence So I took out my phone and started recording the aftermath where: - I told her to say it again - she hit and shoved me Needless to say when the camera came out, the vile bigot started to: 1) wind her neck in because now she was on tape. Didn’t stop her from commenting on my origins again though, or from hitting me twice. 2) play the victim 3) try to provoke me into being the “big bad foreigner” she so desperately wanted me to be 4) accuse me of intimidating her as if she hadn’t just racially insulted me and hit me At this point my sister is holding onto my arm sobbing saying she just wants to go home, and I didn’t want things to escalate so we go our separate ways We then end up crossing paths with her at the park exit where she starts recording me and my sister. I tell her to leave my sister out of it if she has a problem with me, because my sister was crying, she was still in her school uniform and had no involvement. She proceeds to mock my sister for crying I then told the woman “she’s just a child, leave her alone” The woman responds “and what about me? Leave me alone, I’m an old woman, you have no respect for the elderly” I tell her that if she wants to be respected she should be respectful, and that being old doesn’t give her a free pass to be racist or to hit people She then says oh of course you’re gonna play the racism card, that’s all you people ever do I said it’s not playing the racism card if you’re actually being racist There were witnesses to this, but at the time my concern was getting my sister home so I didn’t think to stop and ask the people in the park I have had my initial consultation/interview with the police I know most English people are lovely, half my family are white and English after all, but these racists are getting too comfortable with and open about their hatred of people who are a couple shades too dark for their liking. They’ll have no issue ordering a curry though :)

Xavier

486,761 görüntüleme • 4 ay önce

1968, The Moody Blues, and the Moment Everything Changed The studio lights of the 1960s flick on, the colorful geometric backdrop comes alive, and The Moody Blues dive straight into “Ride My See-Saw” with an energy that catches me completely off guard. Those clear, bright harmonies ring out, the rhythm pulls me in, and within seconds I’m fully immersed in the free-spirited, joyful atmosphere of 1968. “Ride My See-Saw” is the song that opened a new era for The Moody Blues. Written by bassist John Lodge, it appears on the 1968 album In Search of the Lost Chord. The album is a concept piece centered on the theme of quest and discovery. On the record, the track is preceded by Graeme Edge’s spoken-word piece “Departure,” creating the feeling of stepping into a brand-new world. Released as a single in October 1968, it reached number 42 in the UK and number 61 on the Billboard Hot 100 in the US. It was also one of the first singles recorded on 8-track multi-track tape, reflecting the technical advances of the time. The story of how it was written is pretty interesting. Justin Hayward recalls that it began as a studio jam. Graeme Edge laid down that distinctive snare pattern, a guitar riff locked in, and the band sat with it for a while until John Lodge returned with the lyrics and the basic structure of the song. The words talk about leaving school, stepping out into the world, and realizing that life is bigger and more complicated than what you were taught. The “see-saw” metaphor stands for the ups and downs of life—the constant rising and falling—and the need to find balance. John Lodge has said the song is about growing up, carrying the tools you learned in school but having to discover reality for yourself. Before that, The Moody Blues had been an R&B band with the 1964 hit “Go Now.” In 1966, after some members left, Justin Hayward and John Lodge joined. There’s a great story behind their transformation: during a cabaret gig, an angry audience member told them they were the worst band he’d ever seen and that they’d ruined the entire evening. On the drive home, Graeme Edge admitted the guy was right. They decided to ditch the blue suits, stop doing R&B covers, and play only their own material. The 1967 album Days of Future Passed marked the real turning point with its rich Mellotron textures and layered harmonies. In Search of the Lost Chord and “Ride My See-Saw” continued to solidify their inventive progressive-rock sound, blending driving rock energy with a sense of wonder. Watching the video, I’m drawn in by the perfect blend of melody and harmony. Close-ups of their faces while singing and the way they glance at each other reveal genuine joy. This isn’t a big-stage concert—it’s a television studio performance—yet it still radiates the vibrant energy of 1960s rock. I always think of that golden era as a special time. Music was expanding its boundaries, moving from psychedelic into progressive territory. The Moody Blues stood at the forefront, using multi-layered harmonies and storytelling melodies to take listeners on inner journeys. “Ride My See-Saw” has a lively, foot-tapping groove, but underneath it carries a quiet reflection on life. That’s why it became one of the band’s most beloved live songs, often saved for the encore with an extended instrumental section before the full group comes back onstage. My own feeling when I rewatch this video is a mix of nostalgia and pure excitement. You can see the camaraderie in the way they look at each other and smile while singing. The melody isn’t complicated, yet it has real pull; the lyrics are simple but touch something universal. Those 1960s TV performances still captivate because they feel so authentic—no heavy effects, just the music, the colorful lights, and the human energy. For me, “Ride My See-Saw” isn’t just a fun rock song. It marks the moment The Moody Blues truly found their own identity, moving from their R&B years into a new era of exploration. This video feels like a small window into that world, where melody and image together tell a story that still holds up all these years later.

Music over time🎻

30,908 görüntüleme • 7 gün önce

3 years ago, during this exact time, i quit my job. i worked for a company that had the worst environment possible. it was a place that truly did not value people i was exploited… making way below minum wage, they paid me $500 a week, 9 hour days, no lunch break, no lunch with coworkers, working weekends with no overtime pay… i remember they would send me on work trips, and i had to pay for everything. i would get 1 day of vacation per month worked, with MAX 3 sick days a year… on top of that, they would constantly criticize my physic, bully me, ask me why i even applied for the job if i couldnt properly "write", that how was it possible that i considered myself a "spanish speaking person" if i write it without mistakes... i would go as far to say i was abused mentally. they were extremely old school, i dont want to sound like a cry baby, but i was geniunely exploited. emotionally. but why did i stay? i was young. i thought i needed to learn life the hard way. i wanted to be “successful”, i thought suffering was part of becoming somebody… its not. some people are just plain mean, rude and bitter. And no job, no "opportunity," no paycheck is worth your health, your mental sanity, your time. well, why am i venting now? because that place closed its doors this week. the same week i left 3 yearws ago. the timing is ironic, but honestly? it’s immaculate. that place was a representation of the system that was put in place to keep us depressed, stressed, tired… anxious.. that place did teach me to stand up for myself, i wish younger me had learned that in a different environment, but it is what it is. glad that hell hole is closed. so to anyone staying somewhere that's breaking you, you don't have to earn your worth by suffering. just LEAVE. Trust yourself. Build something better. I did. And I'd do it again. enjoy a random day of what the environment was like. and the video of me cleaning out things and leaving it behind. a picture of one of my colleagues who got hives from how anxious she got one day from the way they spoke to her.

isa⚡️

22,810 görüntüleme • 4 ay önce

Min Hee-jin (NewJeans Producer) NHK Music Interview 🔗 “Meticulously planned debut ‘Attention’” 🧢: When I was preparing to launch NewJeans, I really struggled with deciding what our first piece of content should be. I thought about it for a long time and considered many possibilities. It was a project that came with high expectations, and for me personally, it was also my first opportunity to prove myself. So how I presented it mattered enormously. Even down to the smallest details… like the impression the very first released photo might give, or what kind of impact we could make at launch. I thought hard about what kind of content would be the most effective… should it be a video or a photo? What time of day would be most effective to release it? I consider things like that very carefully. For example, the way a person experiences content at night versus during the day can feel quite different emotionally. So I even thought about those subtle aspects. Eventually, the conclusion I reached was: “Let’s make the most of our situation.” At the time, the members hadn’t been revealed, and no one knew how many of them there were or what kind of group this would be. So I wanted to maximize that curiosity. You know how the more something is concealed, the more curious people become? I wanted to build that curiosity to a peak and then release everything all at once. That’s why we decided not to release a teaser and instead go straight into a full music video. (This was actually inspired by Hyein suggesting we skip teasers.) I didn’t think still images or photos would be enough to fully convey the feeling I wanted to express. I felt that video and music together would evoke the emotional response I was looking for because people experience things synesthetically. When sound, image, and feeling come together, the emotional impact is stronger. I believed the best way to present the members’ images was through music and a moving picture… that’s why we led with a music video. In the debut music video, “Attention,” there’s a scene where the members act out a little drama. I paid very close attention to that moment and created music that would fit it precisely. For me, I don’t just make content… I design the entire process of how it should be shown for the greatest effect. And I believe that’s incredibly important. That first feeling someone gets when they encounter something… that emotion, that spark… is so important to me. I’m very detail-oriented, but I also value fun deeply. So rather than just releasing content, I want to enjoy the process leading up to it. Even when we released our second album, since we shot the entire music video across the country, the sequence of how we released the videos was critical for me. It’s hard to explain all this simply in an interview, but maybe some people noticed: the first content we released that time was actually a teaser for the last track, “ASAP,” and then we followed that with the full music video for “New Jeans,” which was the first track. That order was a carefully calculated strategy. It was designed to guide the audience’s emotional journey. Seeing the audience react just as I had hoped—that whole process was honestly so fun and thrilling for me. I think I really enjoy that kind of thing. ——— “How 'Ditto' was born” 🧢: People often praise the music of NewJeans, and I hear a lot of talk about genres. But actually, I don’t feel bound by genre at all. I love a wide variety of music. I’m not the type to insist on only one particular genre. What I love are songs that blend genres cleverly… those are my personal favorites. So going forward, my focus is not on genre but on whether something feels fresh and whether it can create an emotional moment. I don’t want to define what kind of music we make. And I think you have to experience the flow of the times to really understand what’s meaningful in a given moment. For instance, the song “Ditto” was chosen because it delivered emotion. It matched perfectly with the winter album concept I had envisioned, both in terms of timing and mood. When I hear a song, I tend to trust my gut. I have a pretty strong intuition for which songs will resonate. It’s not about objectively predicting what will be a “hit,” but about whether a song moves your heart… you can just feel it. Of course, my own taste plays a big role. But I think that’s actually my strength as a producer, not as a composer. When I hear a song, I can immediately picture the visual… what kind of story, what kind of vibe it could carry. That allows me to work faster. For example, when expressing something like school uniforms, there are so many possible variations. But I always like to start from the basics… what’s the original idea of a school uniform? I try to return to that. So with “Ditto,” I wanted to tap into something primal… the pure, basic feeling of liking someone. That kind of emotion is universal. Everyone has it; it’s wired into us. When I saw Director Shin Woo-seok’s interpretation of it, I thought, “Yes, that’s it.” That’s the kind of complete interpretation I look for. I believe the completion of a project comes from every person involved thinking about their part down to the final detail… the maximum quality they can bring out. My role is to unify and refine all of that. I draw out the essence of each person’s creativity, trimming away anything unnecessary. So the final product is something that’s polished and high-quality, just the way I envisioned it. That’s my working style. So it’s not like I’m fixated on retro or stuck in a particular style. I don’t think human taste has changed all that much. Things people liked in the past are the same things we like now. It’s just the form of expression that changes with time. I don’t feel bound by “past” or “present.” I don’t even think in those boundaries. To me, it’s all just good taste. You know how kids sometimes have their own little treasure boxes when they’re young? I think my work is kind of like that. I want to make things that never feel dated—that are timelessly enjoyable. ——— “Dance Expression and 'Hype Boy'” 🧢: I had a vision of what kind of girl group I wanted to create. That’s why I chose a song like “Hype Boy.” And to bring out that feeling, we created four different versions of the music video. Every choice had a purpose, everything was designed to maximize the experience of the song. “Hype Boy” is such a unique song. It has this strange, piercing melody that gives people chills in a good way. To emphasize that tingling feeling, I had to break away from the standard K-pop choreography format… you know, the kind where everyone is in perfect formation, doing synchronized moves. But our songs don’t suit that kind of choreography. Our dances are much harder. They require the body to move very naturally with the groove of the melody and beat. So I think our members are incredible. It’s not easy to express naturalness with your body, and you have to really enjoy it to make it look effortless. But they pulled it off so well. They’re still young, but they’re so talented. And through it all, I wanted to avoid making them look like they were performing just for business. I wanted them to show the pure joy and bright spirit that’s natural for people their age… genuine, carefree, radiant. ——— “The difference between NewJeans and conventional K-POP” 🧢: Ah, for me, it’s all about naturalness. And honestly, naturalness isn’t something you can produce or direct into existence. It comes from how I interact with the NewJeans members on a daily basis… what kind of environment they practice in, how they live and work. There are so many things that don’t appear on camera, but those unseen aspects have to be in place in order for true naturalness to come through. That’s why I wanted to create that kind of environment for the girls. And also, I wanted to shape my own working environment in that way too. Only then can something truly natural, something unforced and not overly stimulating, really come out. To begin with, I don’t believe anyone can be completely natural in front of a camera or under the gaze of others. It’s human nature to become self-conscious. That’s why I think naturalness is our strength, but it can’t be our concept. If you try to turn “naturalness” into a concept, it actually becomes incredibly artificial. So why do I place so much importance on naturalness? It’s because the girls are still so young. While other kids their age are going through school and having a wide range of life experiences, these members are living very different lives. Before they officially debuted, I told them, “This is like studying together with me.” Our standard contract is seven years, which is about the same length as going through high school and college in Korea: three years of high school and four years of university. So I told them, “We’re going to school together. We’re learning together.” And in that sense, I want to be a good teacher to them. They’re also surrounded by an incredibly professional team, people they’d never meet even in a traditional school setting. I’ve never really liked the word idol. These days, that word is used more like a job title, something manufactured by the industry, and it’s far from its original meaning. To me, the term idol feels misplaced. It doesn’t really reflect who these artists are or what they represent. And I’m not the kind of person who clings to labels or terminology. In fact, what I really want is to break the stereotypes and preconceptions that come with the idol industry. I want us to show people something different… to challenge those assumptions and redefine what this can look like. That’s the kind of mindset I have. ——— “Isn't it difficult for the members to express "naturalness"?” 🧢: There were a lot of things I considered when forming the group. First and foremost, I think it was important that the members shared a similar vibe… like how I prefer working with staff who align with my taste. It’s important for the crew to be on the same wavelength. And by that, I mean more than just getting along… it also extends to shared values. Of course, people won’t all share identical values, but when we’re facing in a similar direction, everything becomes easier. It’s also just more efficient to work with people who have overlapping tastes. Now, when it comes to our members, they each have their own individual tastes, but those preferences are still in development. Just like we all went through as kids, they’re still growing, still discovering themselves. They’re not in a finished state. So we didn’t cast them based on some complete or polished version of themselves. It wasn’t like, “This person is fully formed, let’s pick her.” It was more like, “Ah, she has potential, there’s something there.” That sense of a spark… those were the kinds of subtleties I paid attention to. I didn’t cast anyone just because they were pretty or could sing well. I don’t work like that. I really value those finer, more delicate aspects. Even the design of the light stick wasn’t something that came from a long strategic planning session… it was actually a spontaneous idea. I didn’t sit down and think, “Let’s make a light stick like this.” NewJeans didn’t have a fixed logo, but I felt we still needed a unifying symbol. So one night, just before going to sleep, I kept thinking about it. Right before dozing off, I started sketching and it turned into a rabbit’s face. When I drew it out, the shape just continued and turned into a bunny. To me, the NewJeans members are like little bunnies… playful, innocent. Their visuals also resemble rabbits in a way. And rabbits symbolize abundance. That made me think: “Ah, maybe our fans will multiply like rabbits. That would be great.” So that bunny face became both a symbol for the members and the fans. The image came to me all at once, and I imagined a venue completely filled with bunny light sticks. That vision led to the creation of the light stick itself. Since I always prioritize fun in everything I do, the next idea that came to mind was making the light stick customizable. I thought, “Wouldn’t it be great if fans could personalize their bunny?” That way, each rabbit would represent a different person’s character. So we included accessories, allowing everyone to customize their own bunny. It’s symbolic of all these different bunnies coming together and enjoying a good time as one. Our light stick has a big head, so when it’s used in a concert hall, it lights up in heart shapes that are very visible. That was the image I really wanted. And that bunny face… it’s also a heart. It represents both the face of NewJeans and our hearts. It’s the love we’re showing to our fans, and the love we want to receive in return. Every time I see it, I feel deeply moved. It’s very emotional for me because it’s a perfect realization of what I envisioned. As someone with a background in creative direction, there’s nothing more satisfying than seeing an idea materialize exactly the way you imagined it. That kind of work holds deep meaning for me. ⸻ 🧢: Looking back, I think in 2023 we were able to achieve almost everything we had hoped for. I’m so incredibly grateful for that. Of course, this is an ongoing challenge… and the better things go, the more pressure there is. That’s why I always try to return to my original mindset. Just like I tell the members, I try to remind myself of the beginning and keep things fun. Back then, when we were first putting out content, planning the music, and working on visuals, I felt this thrill… this rush of excitement. I don’t want to forget that feeling. So I try hard to engrave that emotion into every album we release. I’m constantly working to rediscover the joy in all of it. So for 2024, I hope everyone can look forward to us with fresh anticipation. And even if we come out with something completely new, I hope people will receive it warmly and with excitement. That’s really my deepest wish. 🙏

1tokki

17,635 görüntüleme • 1 yıl önce

Thermodynamic computing is here There is a new computing paradigm emerging from the noise, and its arrival may be as significant as the dawn of deep learning or the advent of cloud virtualization. A new company, Extropic, has just launched its first thermodynamic computer, a device they call a TSU, or Thermal Sampling Unit. While the web is already filling with deep technical dives, what’s more important for most of us is building a clear intuition for what this technology is, how it’s fundamentally different from anything that’s come before, and why it’s generating so much excitement. This isn’t just another chip; it’s a new way to think about computation itself. Seeing is Believing: Solving Puzzles in One Shot To understand what a TSU does, let’s look at two classic, notoriously difficult computer science problems: Sudoku and the Eight Queens problem. When you or I solve a Sudoku, we use a process of sequential logic, guess-and-check, and backtracking. We make an assumption, follow its logical conclusion, and if we hit a dead end, we erase and try again. A classical computer does the same, just much faster. A TSU, however, approaches this in a completely different way. Using a TSU simulator, one can “program” the problem by first clamping the known values—the clues already on the board. Then, you program in the constraints: no duplicate numbers in any row, column, or 3x3 square. With the problem thus defined, the TSU doesn’t “search” for a solution; it anneals one. In a single computational step, the solution simply emerges, backfilling all the empty squares correctly. The same principle applies to the Eight Queens problem, a challenge to place eight queens on a chessboard so that none can attack any other. This is a complex combinatorial problem with 92 distinct solutions. A classical computer would have to iteratively search for these. A TSU, by contrast, can be programmed with the constraints (the “anti-affinity” between queens on the same row, column, or diagonal) and then set to sample the “solution space.” In this context, a valid solution is one with a “problem energy” of zero. The TSU’s physical nature allows it to naturally find these zero-energy states. A simulation of this process shows the TSU discovering all 92 unique solutions, demonstrating its ability to not just find an answer, but to explore the entire landscape of all correct answers. This is a fundamentally new approach, one that bypasses the brute-force, iterative methods we’ve relied on for decades. The Physics of Computation: Using Noise, Not Fighting It This new power comes from a radical design philosophy. For the last 70 years, computing has been about one thing: order. We build chips that are deterministic, logical, and precise. The great enemy has always been noise, heat, and randomness. We spend billions on cooling and error correction to eliminate these very things. Quantum computing, in many ways, is the ultimate expression of this, requiring temperatures near absolute zero to eliminate all thermal noise and achieve quantum coherence. Thermodynamic computing is the polar opposite. It doesn’t fight the noise; it uses it. The TSU is built on the understanding that the natural, stochastic noise from “leaky” transistors—the very randomness we’ve tried to engineer out of existence—is itself a powerful computational resource. Think of it this way: a GPU, which is central to today’s AI, has to simulate noise. When a generative AI model creates a new image or sentence, it’s using complex algorithms to fake randomness. The TSU doesn’t need to fake it; it harnesses the actual physical randomness of thermodynamics. It is a piece of hardware that directly computes with probability. This makes it a hybrid, sitting somewhere between a purely analog computer (which might use light or sound waves to compute) and a digital GPU. It’s a physical device that leverages the laws of physics itself to find solutions, rather than just using logic gates to simulate them. From a Lost Hiker to a Million Bouncy Balls Perhaps the best way to build intuition is with a metaphor. Imagine that solving a complex optimization problem is like trying to find the lowest point of altitude in a 100-square-mile mountainous landscape. Classical computing, using an algorithm like gradient descent, is like being a single hiker dropped into this landscape at night. You have no map or satellite view. All you have is an altimeter and the sensation of the slope under your feet. You can only take one step at a time, always walking downhill, hoping you don’t get stuck in a small local valley when the true, lowest canyon is miles away. Thermodynamic computing is a completely different approach. It’s like having a million bouncy balls and a helicopter. You drop all million balls simultaneously across the entire 100-square-mile landscape. Then, you “turn on an earthquake,” shaking the entire system. The balls bounce and jostle, but as the shaking (the “annealing”) subsides, where do they all end up? They naturally settle into the lowest points. The balls that collect in the deepest valley represent the optimal solution. The TSU is, in essence, a physical device for dropping those million balls at once and letting the laws of thermodynamics find the lowest “energy” state for you, all at the same time. Beyond Puzzles: The Real-World Impact This is far more than just a clever way to solve brain teasers. This ability to instantly find the lowest energy state for a complex, constrained system has staggering real-world applications. One of the most immediate is protein folding. Companies like Google’s DeepMind have made incredible progress with AI like AlphaFold, which predicts protein structures. But this is still a predictive model trained on existing data. A TSU could potentially solve the folding problem directly, treating the protein as a system of atomic affinities and repulsions and finding its most stable, lowest-energy configuration almost instantaneously. This could revolutionize drug discovery and materials science. An even more profound possibility lies in nuclear fusion. One of the greatest engineering challenges in history is controlling the superheated plasma within a tokamak reactor. This requires shaping unimaginably complex magnetic containment fields in real-time to prevent the plasma from touching the reactor walls. This is a real-time optimization problem so complex it’s currently beyond our capabilities. A TSU, however, could be fast enough. Its ability to compute with electricity itself, rather than abstracting the problem through layers of software, might allow it to update the magnetic fields fast enough to stabilize the fusion reaction. One could even imagine a future where thermodynamic computing elements are built directly into the tokamak’s walls, allowing the reactor to physically and intelligently react to the plasma’s state in real time. A ‘GPT-2 Moment’ for a New Era It’s easy to become numb to hype, but what we are witnessing with the TSU feels different. This is what you might call a “GPT-2 moment.” For those who were there, GPT-2 was the first generative AI model that wasn’t just a toy; it was the first time you could play with it at home and see the spark of true generative intelligence. It was the precursor that pointed directly to the GPT-3 and ChatGPT revolution that has since changed the world. This TSU has that same feel. It’s the “SDK” for a new computing paradigm. This technology is as different from classical computing as quantum computing is, but with a critical difference: a team of 15 built this in two years, and it runs at room temperature on your desk. Quantum computing has seen decades of work and billions in funding, and it still hasn’t produced a commercially viable, scalable machine. The TSU is here now. Based on a two-decade-long career at the cutting edge of technology—from seeing the obvious future of virtualization in 2007 to an early conviction in deep learning and GPT—this has all the same hallmarks of a fundamental, world-changing shift. We are not just building faster calculators; we are learning to compute with the universe itself. Pay close attention to this. This is the next big thing.

David Shapiro (L/0)

83,649 görüntüleme • 9 ay önce

Carlos Estévez on why Shohei Ohtani is an Android built on discipline and raw talent; (Written and translated by Master Flip) He’s a robot. Straight up, that guy’s a robot. He’s in a league of his own. His routine, the way he prepares from the moment he steps on the field, the discipline it takes to be ready for a 2 p.m. first pitch, it’s not easy. But that discipline is incredible. And it’s where the whole talent vs. hard work debate gets real. I’m a firm believer in hard work. I’m the kind of guy who was made through grind, I don’t have natural gifts like that. I’ve always said hard work beats talent when talent slacks off. But Ohtani? He’s the rare combination of both. That’s how you end up with an Android. As a hitter, he barely needs BP on the field. He heads straight to the cage, does a drill going the other way, and that’s it. Hitting is hard, everyone knows it, but this guy does minimal tuning and still turns into a beast at the plate. Pitching, though? That’s where he puts in the real work. He comes out, throws weighted balls, drills his mechanics, grinds on every detail. Maybe it’s because pitching is the side where he’s humanely made, but he’s naturally a hitter, that’s the way I see it. Either way, his ability is unreal. One time, he made an out against Michael King’s sinker and immediately asked, “What was that? A sinker? How do you grip it?” The very next day in the bullpen, he’s out there throwing sinkers. The day before he pitches, he’ll throw maybe 10–15 pitches in the pen. Then, three pitches into his start the next day, boom, a sinker! I’m sitting there thinking, How?! I’ve spent a thousand years trying to perfect a nasty slider, and he just picks up something new and drops it in game like it’s nothing. The lifestyle that level of player lives is tough. Guys like Trout are the same way, they have to stay low key because everyone knows them. At the ’23 All-Star Game, I flew with Ohtani, hung out with him the whole time until we got to the hotel. Once we arrived, it was straight to the back entrance for him, different access. I just said, goodbye Charlie, I’ll see you later, and went off with the regular mortals. But we bonded over the little things. I play video games, watch anime and read manga, he does too. That’s how we became close. This year at the All Star Game, he was repping the NL and I was on the AL side. He waited for me. My oldest daughter yelled “Ohtani!” and he recognized her right away, so he held up just to talk to me. That’s who he is, he’s a superstar among superstars. All the other MLB stars want pics with him. He’s the only one on that level. I’m not exaggerating. There’s that famous video from the ’23 All Star Game where he was about to take a selfie and the phone almost dropped. It was with me, he was coming over to snap a pic, but I yanked him out of the swarm. Everyone was crowding him with, “Let’s take a pic! Let’s take a pic!” I yelled, “Ohtani, let’s take a pic!” and he ran straight to me. He took the selfie, the phone nearly slipped, that’s the clip that went viral. When we got inside, he looked at me and said, “Thank you.” He noticed right away. He’s not gonna call anyone out or act rude, he just handles it with class.” 🎥 Abriendo Sports

Master Flip 🇩🇴

104,086 görüntüleme • 6 ay önce