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🚗 Just remember: hands on yourself, not the wheel!!! ☀️Summer drive hits the bate checkpoint and Simon has zero hesitation…getting naked, enjoying his solo sex 😈 Never gets enough of watching a sexy guy build toward that ejaculation and final cumshot while you’re sperming the moment too🐷 Keep those...

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The more you invest in a woman, the more likely she is to cheat on you because it's in a woman's nature not to value and respect a man who overplays his role in her life. But men will never hear that because they believe money can buy a woman's loyalty, but at the end of the day, simps are bound to eat dust, which is the joy of nature. And as a man, always keep in mind that the process of cheating is too long to be a mistake. Before a woman cheats on you; • she thought about the deed • texted the guy for a while • spoke ill about you • sent him her nudes • used your money for tfare to his place • during the sex, his dick slipped out, and she put it back in with her hands, calling him daddy • after everything, he came inside of her to mark his territory After being caught, it's in a woman's nature that they use their crocodile tears to get you where they want you to be emotionally because emotional blackmail is their weapon. Always remember; She's not sorry because of the act but because she was caught in the act. She placed a bet against your love, trust, manliness, and self-respect, hoping her tears would make up for it if she eventually gets caught. The more reason you should never forgive a cheating woman.
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The more you invest in a woman, the more likely she is to cheat on you because it's in a woman's nature not to value and respect a man who overplays his role in her life. But men will never hear that because they believe money can buy a woman's loyalty, but at the end of the day, simps are bound to eat dust, which is the joy of nature. And as a man, always keep in mind that the process of cheating is too long to be a mistake. Before a woman cheats on you; • she thought about the deed • texted the guy for a while • spoke ill about you • sent him her nudes • used your money for tfare to his place • during the sex, his dick slipped out, and she put it back in with her hands, calling him daddy • after everything, he came inside of her to mark his territory After being caught, it's in a woman's nature that they use their crocodile tears to get you where they want you to be emotionally because emotional blackmail is their weapon. Always remember; She's not sorry because of the act but because she was caught in the act. She placed a bet against your love, trust, manliness, and self-respect, hoping her tears would make up for it if she eventually gets caught. The more reason you should never forgive a cheating woman.

KING CHIDI

428,730 Aufrufe • vor 1 Jahr

Loon Explains Why Drake Is Playing Right Into the Labels’ Hands by Moving in Isolation Loon’s point here is bigger than rap beef. He’s saying Drake is playing into the labels’ hands if he lets himself get isolated. The labels don’t need him to lose straight up — they just need him thinking alone, moving alone and carrying the burden alone. That’s how you mess up the recipe without ever touching the actual talent. And the current moment makes that point sharper: AP framed Iceman as a comeback test after the Kendrick fallout, while Pitchfork reported the album includes a Future reunion that puts the “strength in numbers” question right on the table. Loon takes a deeper angle on Drake here and says the real problem is not just the music — it is the mindset around the music. In this solo from It’s Up There Podcast, Loon argues that Drake is playing right into the labels’ hands if he lets himself get isolated. His point is that the labels do not even need Drake to lose the battle outright. If they can make him move alone, think alone, and create alone, then they have already captured something bigger than the moment — they have captured the recipe. That is what makes this clip hit. Loon is basically saying Drake’s real superpower was never just talent. It was the ability to move with force, make other artists hot, build with others, create moments bigger than himself, and expand his reach through numbers. So if the game can trick him into thinking helping others makes him look weak or “like he leeching,” then the labels have successfully turned one of his strengths into something he now doubts. That is why Loon keeps coming back to one idea: strength is in numbers. And the current context makes the argument feel even more relevant. AP framed Iceman as a major comeback test for Drake after the Kendrick Lamar fallout damaged his standing in hip-hop, while noting that visible collaborations and broader industry support still matter to whether he fully regains position. Pitchfork reported Drake dropped Iceman, Habibti, and Maid of Honour together on May 15, 2026, and Iceman includes a notable reunion with Future — the kind of move that directly touches the question of whether Drake is reconnecting with strength or still getting pulled toward isolation. This clip is about: why isolation is a trick bag, how labels can damage the formula without owning the artist, and why Drake’s real power may still be in numbers, not solo pride. #ItsUpTherePodcast #BigLoon
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Loon Explains Why Drake Is Playing Right Into the Labels’ Hands by Moving in Isolation Loon’s point here is bigger than rap beef. He’s saying Drake is playing into the labels’ hands if he lets himself get isolated. The labels don’t need him to lose straight up — they just need him thinking alone, moving alone and carrying the burden alone. That’s how you mess up the recipe without ever touching the actual talent. And the current moment makes that point sharper: AP framed Iceman as a comeback test after the Kendrick fallout, while Pitchfork reported the album includes a Future reunion that puts the “strength in numbers” question right on the table. Loon takes a deeper angle on Drake here and says the real problem is not just the music — it is the mindset around the music. In this solo from It’s Up There Podcast, Loon argues that Drake is playing right into the labels’ hands if he lets himself get isolated. His point is that the labels do not even need Drake to lose the battle outright. If they can make him move alone, think alone, and create alone, then they have already captured something bigger than the moment — they have captured the recipe. That is what makes this clip hit. Loon is basically saying Drake’s real superpower was never just talent. It was the ability to move with force, make other artists hot, build with others, create moments bigger than himself, and expand his reach through numbers. So if the game can trick him into thinking helping others makes him look weak or “like he leeching,” then the labels have successfully turned one of his strengths into something he now doubts. That is why Loon keeps coming back to one idea: strength is in numbers. And the current context makes the argument feel even more relevant. AP framed Iceman as a major comeback test for Drake after the Kendrick Lamar fallout damaged his standing in hip-hop, while noting that visible collaborations and broader industry support still matter to whether he fully regains position. Pitchfork reported Drake dropped Iceman, Habibti, and Maid of Honour together on May 15, 2026, and Iceman includes a notable reunion with Future — the kind of move that directly touches the question of whether Drake is reconnecting with strength or still getting pulled toward isolation. This clip is about: why isolation is a trick bag, how labels can damage the formula without owning the artist, and why Drake’s real power may still be in numbers, not solo pride. #ItsUpTherePodcast #BigLoon

Big Loon

302,030 Aufrufe • vor 3 Monaten

Jeff Bezos just told you where all of Earth’s factories are going. Off the planet. Bezos: “If we want to keep growing our civilization and using more energy per person, we’re eventually going to have to move all of our heavy industry off Earth.” Not a thought experiment. An engineering conclusion. One he has held since childhood. Decades on the same problem. The same answer every time. Earth is too small. Not too small for today. Too small for what today becomes. Every year the species consumes more energy. More compute. More materials. More of everything. The curve does not flatten. It never has. It never will. The planet has a hard ceiling. Fixed energy. Fixed land. Fixed resources. A closed system with a growing appetite. You do not solve that by shrinking the appetite. You solve it by expanding the system. Bezos: “We have unlimited energy in space and unlimited material resources in space.” Unlimited. Not abundant. Not plentiful. Unlimited. The Sun outputs more energy in one second than humanity could burn in a million years. The asteroid belt holds more raw material than every mine ever dug on Earth. The Moon alone carries enough helium-3 and rare earth minerals to fuel industries that do not yet have names. All of it sitting there. Untouched. While nations bleed each other over the scraps. Bezos: “We can start to build factories in space. We can start to build data centers in space.” Factories that produce zero pollution on Earth. Data centers that draw zero power from the grid. Heavy industry that generates zero waste in the atmosphere. Not because the waste disappears. Because the waste happens somewhere it does not matter. Bezos: “This planet is so beautiful and so unusual. This is the one that we’re going to want to protect. There’s no planet B.” The environmentalists and the industrialists have been fighting the same war for fifty years. Grow or protect. Build or conserve. Economy or ecology. Bezos is telling you the war was always false. You do not choose between growth and preservation. You move the growth off-world and the preservation happens automatically. Earth becomes the residential zone. The garden. The one place where biology gets to breathe. Space becomes the factory floor. The power plant. The data center. The refinery. Every smokestack. Every cooling tower. Every server farm drawing gigawatts from the grid. All of it belongs in the vacuum where energy is free and there is no ecosystem to damage. Bezos: “I don’t know how soon it will happen. It’s a job that I won’t finish. Probably my children’s children won’t finish.” He is building something he will never see completed. That is not a business plan. That is a cathedral. The kind of project that takes generations. Where the person who lays the foundation never stands in the finished building. Most founders build for an exit. Bezos is building for a timeline that outlives his grandchildren. The interviewer called it fantastical. Bezos had one response. Bezos: “Go back in time a hundred years and show somebody your iPhone.” Everything that exists today was once fantastical. Flight. Satellites. The internet. A phone carrying the sum of human knowledge in your pocket. Every single one was impossible until the year it was not. Orbital factories sound like science fiction the same way video calls sounded like science fiction in 1950. The pattern never changes. Someone describes the future. Everyone calls it crazy. Then it ships. Then no one can explain what came before. Bezos is not guessing. He is reading the same pattern that has held every single time. And betting his life that this one is no different.
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Jeff Bezos just told you where all of Earth’s factories are going. Off the planet. Bezos: “If we want to keep growing our civilization and using more energy per person, we’re eventually going to have to move all of our heavy industry off Earth.” Not a thought experiment. An engineering conclusion. One he has held since childhood. Decades on the same problem. The same answer every time. Earth is too small. Not too small for today. Too small for what today becomes. Every year the species consumes more energy. More compute. More materials. More of everything. The curve does not flatten. It never has. It never will. The planet has a hard ceiling. Fixed energy. Fixed land. Fixed resources. A closed system with a growing appetite. You do not solve that by shrinking the appetite. You solve it by expanding the system. Bezos: “We have unlimited energy in space and unlimited material resources in space.” Unlimited. Not abundant. Not plentiful. Unlimited. The Sun outputs more energy in one second than humanity could burn in a million years. The asteroid belt holds more raw material than every mine ever dug on Earth. The Moon alone carries enough helium-3 and rare earth minerals to fuel industries that do not yet have names. All of it sitting there. Untouched. While nations bleed each other over the scraps. Bezos: “We can start to build factories in space. We can start to build data centers in space.” Factories that produce zero pollution on Earth. Data centers that draw zero power from the grid. Heavy industry that generates zero waste in the atmosphere. Not because the waste disappears. Because the waste happens somewhere it does not matter. Bezos: “This planet is so beautiful and so unusual. This is the one that we’re going to want to protect. There’s no planet B.” The environmentalists and the industrialists have been fighting the same war for fifty years. Grow or protect. Build or conserve. Economy or ecology. Bezos is telling you the war was always false. You do not choose between growth and preservation. You move the growth off-world and the preservation happens automatically. Earth becomes the residential zone. The garden. The one place where biology gets to breathe. Space becomes the factory floor. The power plant. The data center. The refinery. Every smokestack. Every cooling tower. Every server farm drawing gigawatts from the grid. All of it belongs in the vacuum where energy is free and there is no ecosystem to damage. Bezos: “I don’t know how soon it will happen. It’s a job that I won’t finish. Probably my children’s children won’t finish.” He is building something he will never see completed. That is not a business plan. That is a cathedral. The kind of project that takes generations. Where the person who lays the foundation never stands in the finished building. Most founders build for an exit. Bezos is building for a timeline that outlives his grandchildren. The interviewer called it fantastical. Bezos had one response. Bezos: “Go back in time a hundred years and show somebody your iPhone.” Everything that exists today was once fantastical. Flight. Satellites. The internet. A phone carrying the sum of human knowledge in your pocket. Every single one was impossible until the year it was not. Orbital factories sound like science fiction the same way video calls sounded like science fiction in 1950. The pattern never changes. Someone describes the future. Everyone calls it crazy. Then it ships. Then no one can explain what came before. Bezos is not guessing. He is reading the same pattern that has held every single time. And betting his life that this one is no different.

Dustin

30,154 Aufrufe • vor 5 Monaten

Origins of a masterpiece, Comfortably Numb Initially titled as 'The Doctor', Comfortably Numb was released in 1979 within Pink Floyd's ground-breaking double and concept album The Wall. For many, it has the best guitar solo of all time and it was voted numerous times as the best by the listeners. For sure, the song has a lyrics background, too. Roger Waters wrote the lyrics. While many people thought the song was about drugs, Waters claims it is not. The lyrics are about what he felt like as a child when he was sick with a fever. As an adult, he got that feeling again sometimes, entering a state of delirium, where he felt detached from reality. He told Mojo magazine (December 2009) that the lines, "When I was a child I had a fever/My hands felt just like two balloons" were autobiographical. He explained: "I remember having the flu or something, an infection with a temperature of 105 and being delirious. It wasn't like the hands looked like balloons, but they looked way too big, frightening. A lot of people think those lines are about masturbation. God knows why." In a radio interview around 1980 with Jim Ladd from KLOS in Los Angeles, Waters said part of the song is about the time he got hepatitis but didn't know it. Pink Floyd had to do a show that night in Philadelphia, and the doctor Roger saw gave him a sedative to help the pain, thinking it was a stomach disorder. At the show, Roger's hands were numb "like two toy balloons." He was unable to focus, but also realized the fans didn't care because they were so busy screaming, hence "comfortably" numb. He said most of The Wall is about alienation between the audience and band. While it was an artistic high point for the band, the recording of “Comfortably Numb” marked the beginning of the end for Pink Floyd. As Gilmour later noted, the sessions represented “the last embers of mine and Roger’s ability to work collaboratively together.” By the time of the group’s next album, 1983’s “The Final Cut,” Waters had assumed control, with Gilmour effectively relegated to the role of session man. Waters would fold the band the following year, while Gilmour would resurrect Floyd without him in the late 1980s, much to the anger of his former writing partner. It would take the largest charity concert in history to bring the Waters-Gilmour-fronted Floyd back together. For Floydians, that one-off reunion for 2005’s Live 8 was a landmark moment; a fleeting glimpse of one of rock’s greatest legends. But, in true Floyd style, getting to the stage of the performance was hardly plain sailing. Opening old wounds, Waters and Gilmour reportedly bickered about the show’s setlist until the zero-hour. But, through all the back-and-forth, there was never any question about which song should end the set. Both knew that “Comfortably Numb” was Floyd’s greatest hit, and the only track to finish the story with Pink Floyd performing 'Comfortably Numb' live in 1980, after a year of its release.
6:54

Origins of a masterpiece, Comfortably Numb Initially titled as 'The Doctor', Comfortably Numb was released in 1979 within Pink Floyd's ground-breaking double and concept album The Wall. For many, it has the best guitar solo of all time and it was voted numerous times as the best by the listeners. For sure, the song has a lyrics background, too. Roger Waters wrote the lyrics. While many people thought the song was about drugs, Waters claims it is not. The lyrics are about what he felt like as a child when he was sick with a fever. As an adult, he got that feeling again sometimes, entering a state of delirium, where he felt detached from reality. He told Mojo magazine (December 2009) that the lines, "When I was a child I had a fever/My hands felt just like two balloons" were autobiographical. He explained: "I remember having the flu or something, an infection with a temperature of 105 and being delirious. It wasn't like the hands looked like balloons, but they looked way too big, frightening. A lot of people think those lines are about masturbation. God knows why." In a radio interview around 1980 with Jim Ladd from KLOS in Los Angeles, Waters said part of the song is about the time he got hepatitis but didn't know it. Pink Floyd had to do a show that night in Philadelphia, and the doctor Roger saw gave him a sedative to help the pain, thinking it was a stomach disorder. At the show, Roger's hands were numb "like two toy balloons." He was unable to focus, but also realized the fans didn't care because they were so busy screaming, hence "comfortably" numb. He said most of The Wall is about alienation between the audience and band. While it was an artistic high point for the band, the recording of “Comfortably Numb” marked the beginning of the end for Pink Floyd. As Gilmour later noted, the sessions represented “the last embers of mine and Roger’s ability to work collaboratively together.” By the time of the group’s next album, 1983’s “The Final Cut,” Waters had assumed control, with Gilmour effectively relegated to the role of session man. Waters would fold the band the following year, while Gilmour would resurrect Floyd without him in the late 1980s, much to the anger of his former writing partner. It would take the largest charity concert in history to bring the Waters-Gilmour-fronted Floyd back together. For Floydians, that one-off reunion for 2005’s Live 8 was a landmark moment; a fleeting glimpse of one of rock’s greatest legends. But, in true Floyd style, getting to the stage of the performance was hardly plain sailing. Opening old wounds, Waters and Gilmour reportedly bickered about the show’s setlist until the zero-hour. But, through all the back-and-forth, there was never any question about which song should end the set. Both knew that “Comfortably Numb” was Floyd’s greatest hit, and the only track to finish the story with Pink Floyd performing 'Comfortably Numb' live in 1980, after a year of its release.

Rock'n Roll of All

39,597 Aufrufe • vor 10 Monaten

From Engfa on Englot 4th Anniversary 🤍 I want to thank everyone. This place is the beginning of Englot hashtag. Without this, there might not be P Fa and Charlotte that you know. It's path that brought us to meet: one person living in Phuket and another living in various provinces. I'm glad that we've been through many things together, both sadness and happiness, understandings and misunderstandings. Since we're a big family, there're different wants and needs that sometimes the two of us couldn't accommodate all of those. I just want you to know that Englot has been really honest with fans throughout these 4 years and I think you all understand our nature. I just want you to know what we've done our best while we also want to remain honest to our fans too. I just want you to know that there's not a single day that I don't love you (fans). Although there might be times that some fans have crossed the line, are not very nice, never try to understand, and are biased against me, I've never felt angry or hated anyone. What I've been experienced during these 4 years isn't easy and there're things that I've to trade off, but it's worthwhile as we could make it to where we are now today and remain Englot family. I want you to thank yourself too for the trust that you have. Many of you show us pure and unconditional love: the kind of love that we understand each other without having to say a word. Just by looking at each other, we know that we love each other and we hold hands with trust. I believe that many things that happened are destined, be it sadness or happiness. Just remember that this too shall pass and remember that every cloud has a silver lining. I hope you stay healthy physically and mentally. I don't want to see people feel sad or cry. Please be strong. That's a strength of Englot and of Dang Waratin. So stay strong and try not to be drama queens. Be strong, keep going and keep this kind of energy with you. We'll always be here and there's never a single day that we, both of us, do not love our fans. We're just humans who have feelings and duties to do. We might have to face different things but the goal we share is to be quality artists who make you proud. One more thing, I want to thank Englot Home for the donations and projects for good causes and all these light boards. I also want to thank everyone, Engfa's Home and Charlotte's Home included for helping to solve all the issues. Please give yourselves a big applause. #EngfaWaraha #อิงฟ้ามหาชน Engfa Waraha (ตัวจริง)
4:05

From Engfa on Englot 4th Anniversary 🤍 I want to thank everyone. This place is the beginning of Englot hashtag. Without this, there might not be P Fa and Charlotte that you know. It's path that brought us to meet: one person living in Phuket and another living in various provinces. I'm glad that we've been through many things together, both sadness and happiness, understandings and misunderstandings. Since we're a big family, there're different wants and needs that sometimes the two of us couldn't accommodate all of those. I just want you to know that Englot has been really honest with fans throughout these 4 years and I think you all understand our nature. I just want you to know what we've done our best while we also want to remain honest to our fans too. I just want you to know that there's not a single day that I don't love you (fans). Although there might be times that some fans have crossed the line, are not very nice, never try to understand, and are biased against me, I've never felt angry or hated anyone. What I've been experienced during these 4 years isn't easy and there're things that I've to trade off, but it's worthwhile as we could make it to where we are now today and remain Englot family. I want you to thank yourself too for the trust that you have. Many of you show us pure and unconditional love: the kind of love that we understand each other without having to say a word. Just by looking at each other, we know that we love each other and we hold hands with trust. I believe that many things that happened are destined, be it sadness or happiness. Just remember that this too shall pass and remember that every cloud has a silver lining. I hope you stay healthy physically and mentally. I don't want to see people feel sad or cry. Please be strong. That's a strength of Englot and of Dang Waratin. So stay strong and try not to be drama queens. Be strong, keep going and keep this kind of energy with you. We'll always be here and there's never a single day that we, both of us, do not love our fans. We're just humans who have feelings and duties to do. We might have to face different things but the goal we share is to be quality artists who make you proud. One more thing, I want to thank Englot Home for the donations and projects for good causes and all these light boards. I also want to thank everyone, Engfa's Home and Charlotte's Home included for helping to solve all the issues. Please give yourselves a big applause. #EngfaWaraha #อิงฟ้ามหาชน Engfa Waraha (ตัวจริง)

Me_Myself_and_I

31,233 Aufrufe • vor 5 Monaten

When Glen Campbell Sat Down and Silenced a Room Full of Legends Glen Campbell sat with his acoustic guitar and began “Gentle on My Mind” with a quiet, unforced confidence. He simply sang and played, without any dramatic gestures. His voice was warm, the guitar clear and steady. In a room full of some of the finest musicians in the business, he stayed completely at ease in his own rhythm. That calm came from a lifetime spent inside music. Long before he became a star, Glen had played on hundreds of records for other major artists. That deep experience showed in the way he sat on the Ryman Auditorium stage in 1999. He had nothing left to prove. He simply let the song move through his voice and his hands. This particular song had changed his life in an unusual way. In 1967, while still working as a session musician in Los Angeles, Glen heard John Hartford’s original version on the radio and was immediately drawn to it. He gathered a few fellow players and went into the studio to cut a quick demo. Between lines he gave spoken directions to the musicians—telling them the feel he wanted. He assumed it was only a rough take that would later be refined. The producer listened to the unfinished recording and loved it. He edited out Glen’s talking, left the vocal and guitar as they were, and released the demo as the single without telling him. Glen later admitted he hadn’t particularly liked his own singing on that version because it felt too casual, not polished enough. Yet that very casualness matched the spirit of the song—light, free, and unforced. The track became a major hit and opened an entirely new chapter in his career. When the solo arrived on the Ryman stage, the guitar grew clearer and more expressive. There was no flash, no strain. The notes seemed to continue the story the lyrics had begun. Listeners could feel the gentle freedom the song describes—a love without chains, memories that remain soft and present. The solo never stepped outside the song. It simply carried the emotion forward. The people sitting around him were not ordinary audience members. They were peers—Roy Clark, Willie Nelson, Chet Atkins, and other country greats. When Glen began the solo, their attention locked in. The quiet focus and the smiles of those who had reached the same heights became the clearest form of recognition. In music, the silent attention of equals often means more than any spoken praise. Years later the moment still holds its power. There are no effects, no showmanship. Just a man with a guitar, singing a quiet song and allowing its feeling to come through completely. In a room filled with people who had stood at the top of the profession, he simply sat down and played—and that was enough to create something lasting. When the final note faded, what remained was the image of a man with an acoustic guitar, delivering a gentle song that made the best in the business stop and listen. A recording that began almost by accident had become one of the deepest marks of his career—and it still reaches listeners today.
2:48

When Glen Campbell Sat Down and Silenced a Room Full of Legends Glen Campbell sat with his acoustic guitar and began “Gentle on My Mind” with a quiet, unforced confidence. He simply sang and played, without any dramatic gestures. His voice was warm, the guitar clear and steady. In a room full of some of the finest musicians in the business, he stayed completely at ease in his own rhythm. That calm came from a lifetime spent inside music. Long before he became a star, Glen had played on hundreds of records for other major artists. That deep experience showed in the way he sat on the Ryman Auditorium stage in 1999. He had nothing left to prove. He simply let the song move through his voice and his hands. This particular song had changed his life in an unusual way. In 1967, while still working as a session musician in Los Angeles, Glen heard John Hartford’s original version on the radio and was immediately drawn to it. He gathered a few fellow players and went into the studio to cut a quick demo. Between lines he gave spoken directions to the musicians—telling them the feel he wanted. He assumed it was only a rough take that would later be refined. The producer listened to the unfinished recording and loved it. He edited out Glen’s talking, left the vocal and guitar as they were, and released the demo as the single without telling him. Glen later admitted he hadn’t particularly liked his own singing on that version because it felt too casual, not polished enough. Yet that very casualness matched the spirit of the song—light, free, and unforced. The track became a major hit and opened an entirely new chapter in his career. When the solo arrived on the Ryman stage, the guitar grew clearer and more expressive. There was no flash, no strain. The notes seemed to continue the story the lyrics had begun. Listeners could feel the gentle freedom the song describes—a love without chains, memories that remain soft and present. The solo never stepped outside the song. It simply carried the emotion forward. The people sitting around him were not ordinary audience members. They were peers—Roy Clark, Willie Nelson, Chet Atkins, and other country greats. When Glen began the solo, their attention locked in. The quiet focus and the smiles of those who had reached the same heights became the clearest form of recognition. In music, the silent attention of equals often means more than any spoken praise. Years later the moment still holds its power. There are no effects, no showmanship. Just a man with a guitar, singing a quiet song and allowing its feeling to come through completely. In a room filled with people who had stood at the top of the profession, he simply sat down and played—and that was enough to create something lasting. When the final note faded, what remained was the image of a man with an acoustic guitar, delivering a gentle song that made the best in the business stop and listen. A recording that began almost by accident had become one of the deepest marks of his career—and it still reaches listeners today.

Music over time🎻

53,132 Aufrufe • vor 21 Tagen

Elon Musk just told you what Tesla was actually built for. It was never cars. Musk: “If successful, Optimus will be the biggest product ever.” The automobile reshaped civilization. The smartphone rewired human behavior. He’s saying Optimus dwarfs both. Then he ranked it against everything else he’s building. Musk: “It might be more of my mental cycles than anything else, any other single thing, on Optimus.” The man building the world’s most valuable car company, landing rockets on drone ships, and racing toward superintelligence spends most of his thinking on the robot. Musk: “It will have the manual dexterity of a human, an AI mind that can navigate and comprehend reality, and be made in very high volume.” Human hands. A mind that comprehends the physical world. Volume manufacturing. Three problems no one has solved. He’s going after all three at once, in the same machine. Musk: “None of the actuators in Optimus are available from an existing supply chain. We have to recreate it from scratch.” No existing parts. No existing suppliers. No existing industry. He’s building the entire manufacturing base from nothing. Then putting a robot on top of it. This is the pattern people keep missing. He didn’t build an electric car. He built Gigafactories, a global charging network, and a battery supply chain that made EVs inevitable. The car was the output. He didn’t build a rocket. He built the engines, the factory, and the landing systems until reusable launch became routine. The rocket was the output. Then the machine handed him a second business. Global satellite internet had been impossible for decades, not technically but financially, because nobody could afford to launch thousands of satellites. Once the rockets came back and flew again, that cost collapsed. Starlink wasn’t a new bet. It was leftover capacity. Same play. Every time. Build the machine that builds the machine. Then the thing becomes unstoppable. Optimus is that play at a scale that makes everything before it look small. Every product in human history extended a single human capability. The hammer extended the fist. The telescope extended the eye. The computer extended the mind. Optimus doesn’t extend one capability. It replicates all of them. At volume. Every economy, every government, every career path, every border ever drawn was organized around one scarcity. Human hands and human hours. Optimus is what happens when that scarcity disappears. For ten thousand years, human worth was measured by output. What you could build. What you could carry. What you could produce. Every one of those years was spent building tools to escape that measurement. Not once did we stop to ask what’s waiting on the other side. We’re approaching the moment the measurement breaks. Not a new product. Not a new industry. The first real test of whether we can define ourselves by anything other than our labor. And the man forcing that question just told you it takes more of his mind than cars, rockets, and superintelligence combined.
1:51

Elon Musk just told you what Tesla was actually built for. It was never cars. Musk: “If successful, Optimus will be the biggest product ever.” The automobile reshaped civilization. The smartphone rewired human behavior. He’s saying Optimus dwarfs both. Then he ranked it against everything else he’s building. Musk: “It might be more of my mental cycles than anything else, any other single thing, on Optimus.” The man building the world’s most valuable car company, landing rockets on drone ships, and racing toward superintelligence spends most of his thinking on the robot. Musk: “It will have the manual dexterity of a human, an AI mind that can navigate and comprehend reality, and be made in very high volume.” Human hands. A mind that comprehends the physical world. Volume manufacturing. Three problems no one has solved. He’s going after all three at once, in the same machine. Musk: “None of the actuators in Optimus are available from an existing supply chain. We have to recreate it from scratch.” No existing parts. No existing suppliers. No existing industry. He’s building the entire manufacturing base from nothing. Then putting a robot on top of it. This is the pattern people keep missing. He didn’t build an electric car. He built Gigafactories, a global charging network, and a battery supply chain that made EVs inevitable. The car was the output. He didn’t build a rocket. He built the engines, the factory, and the landing systems until reusable launch became routine. The rocket was the output. Then the machine handed him a second business. Global satellite internet had been impossible for decades, not technically but financially, because nobody could afford to launch thousands of satellites. Once the rockets came back and flew again, that cost collapsed. Starlink wasn’t a new bet. It was leftover capacity. Same play. Every time. Build the machine that builds the machine. Then the thing becomes unstoppable. Optimus is that play at a scale that makes everything before it look small. Every product in human history extended a single human capability. The hammer extended the fist. The telescope extended the eye. The computer extended the mind. Optimus doesn’t extend one capability. It replicates all of them. At volume. Every economy, every government, every career path, every border ever drawn was organized around one scarcity. Human hands and human hours. Optimus is what happens when that scarcity disappears. For ten thousand years, human worth was measured by output. What you could build. What you could carry. What you could produce. Every one of those years was spent building tools to escape that measurement. Not once did we stop to ask what’s waiting on the other side. We’re approaching the moment the measurement breaks. Not a new product. Not a new industry. The first real test of whether we can define ourselves by anything other than our labor. And the man forcing that question just told you it takes more of his mind than cars, rockets, and superintelligence combined.

Dustin

277,312 Aufrufe • vor 1 Monat

🚨LAND BANK’S BLACK ANC LOOTING MACHINE IS SYSTEMATICALLY DESTROYING WHITE FARMERS AND STEALING THEIR LAND FOR THE CONNECTED ELITE‼️ The rotten, ANC-controlled Land Bank has been running a full-blown liquidation mafia against white commercial farmers for years‼️ That is not exaggeration, that is the lived experience of farming families who have been targeted, stripped and crushed by a state bank that pretends to exist for agriculture while acting like a political weapon‼️ Over 150 commercial farms have already been liquidated. Multi-generational family operations spanning tens of thousands of hectares have been dismantled. Assets worth R14 million have been auctioned off for R6 million🔥 Thousands of farm workers and their families have been thrown into the street and the same small circle of attorneys, liquidators and auctioneers keep getting the appointments, keep appointing themselves as auctioneers and keep walking away with the spoils‼️ This is not debt recovery, it is organised plunder. The lending agreements were often signed with intermediaries, not directly with the Land Bank. When challenged in court, the Bank has repeatedly failed to produce the actual cession agreements that would give it legal standing🔥 Yet the liquidations continued. An independent Adams & Adams report delivered in 2024 already exposed the “outrageous liquidation practices” unlawfully procured legal services, misrepresented legal standing, intimidation and victimisation of farming families‼️ The Land Bank ignored it and the liquidations continued. Now the Democratic Alliance has finally forced the issue into the Land Bank’s own boardroom this week, demanding an immediate halt to aggressive liquidations, a forensic investigation into the appointment of attorneys and liquidators and the release of the still-secret SIU report on the liquidation industry that has been sitting on the President’s desk since 2023🔥 Let’s stop pretending this is just “bad administration.” This is the predictable outcome of an ANC state institution that has been captured by racial ideology and personal greed‼️ White commercial farmers are treated as soft targets, productive, asset-rich and politically expendable. The land, the machinery, the livestock and the equity get stripped and sold off cheaply to the connected, while the families who built those farms over generations are left broken🔥 Food security is being sacrificed on the altar of ANC cadre enrichment and racial score-settling. Productive white farmers are being liquidated so that politically connected operators can feast on the carcasses🔥 This is theft with a government letterhead. Every Afrikaner farmer under the Land Bank’s boot needs to understand what is happening: they are not dealing with a normal bank. They are dealing with a politically weaponised institution that has shown zero hesitation in destroying families, livelihoods and food production when it serves the interests of those who control it‼️ The request for a halt is a start but it is not nearly enough. The entire network of attorneys, liquidators, auctioneers and Land Bank officials who enriched themselves through this scheme must be forensically investigated, prosecuted where evidence exists and permanently removed🔥 The secret SIU report must be released and the principle that a state bank can liquidate productive farms on contested legal standing must be buried once and for all. South Africa cannot feed itself if its best commercial farmers are being hunted by the very institution that is supposed to support agriculture‼️ The ANC’s Land Bank has blood on its hands, not only the blood of destroyed families, but the future food security of this country🔥 🚨PS-It is time this rotten syndicate got dug up, exposed and destroyed. the Broad-Based Black Economic Empowerment mafia “ANC” and Landbank can never be trusted or successfully financially secure commercial black farmers in South Africa ‼️
2:03

🚨LAND BANK’S BLACK ANC LOOTING MACHINE IS SYSTEMATICALLY DESTROYING WHITE FARMERS AND STEALING THEIR LAND FOR THE CONNECTED ELITE‼️ The rotten, ANC-controlled Land Bank has been running a full-blown liquidation mafia against white commercial farmers for years‼️ That is not exaggeration, that is the lived experience of farming families who have been targeted, stripped and crushed by a state bank that pretends to exist for agriculture while acting like a political weapon‼️ Over 150 commercial farms have already been liquidated. Multi-generational family operations spanning tens of thousands of hectares have been dismantled. Assets worth R14 million have been auctioned off for R6 million🔥 Thousands of farm workers and their families have been thrown into the street and the same small circle of attorneys, liquidators and auctioneers keep getting the appointments, keep appointing themselves as auctioneers and keep walking away with the spoils‼️ This is not debt recovery, it is organised plunder. The lending agreements were often signed with intermediaries, not directly with the Land Bank. When challenged in court, the Bank has repeatedly failed to produce the actual cession agreements that would give it legal standing🔥 Yet the liquidations continued. An independent Adams & Adams report delivered in 2024 already exposed the “outrageous liquidation practices” unlawfully procured legal services, misrepresented legal standing, intimidation and victimisation of farming families‼️ The Land Bank ignored it and the liquidations continued. Now the Democratic Alliance has finally forced the issue into the Land Bank’s own boardroom this week, demanding an immediate halt to aggressive liquidations, a forensic investigation into the appointment of attorneys and liquidators and the release of the still-secret SIU report on the liquidation industry that has been sitting on the President’s desk since 2023🔥 Let’s stop pretending this is just “bad administration.” This is the predictable outcome of an ANC state institution that has been captured by racial ideology and personal greed‼️ White commercial farmers are treated as soft targets, productive, asset-rich and politically expendable. The land, the machinery, the livestock and the equity get stripped and sold off cheaply to the connected, while the families who built those farms over generations are left broken🔥 Food security is being sacrificed on the altar of ANC cadre enrichment and racial score-settling. Productive white farmers are being liquidated so that politically connected operators can feast on the carcasses🔥 This is theft with a government letterhead. Every Afrikaner farmer under the Land Bank’s boot needs to understand what is happening: they are not dealing with a normal bank. They are dealing with a politically weaponised institution that has shown zero hesitation in destroying families, livelihoods and food production when it serves the interests of those who control it‼️ The request for a halt is a start but it is not nearly enough. The entire network of attorneys, liquidators, auctioneers and Land Bank officials who enriched themselves through this scheme must be forensically investigated, prosecuted where evidence exists and permanently removed🔥 The secret SIU report must be released and the principle that a state bank can liquidate productive farms on contested legal standing must be buried once and for all. South Africa cannot feed itself if its best commercial farmers are being hunted by the very institution that is supposed to support agriculture‼️ The ANC’s Land Bank has blood on its hands, not only the blood of destroyed families, but the future food security of this country🔥 🚨PS-It is time this rotten syndicate got dug up, exposed and destroyed. the Broad-Based Black Economic Empowerment mafia “ANC” and Landbank can never be trusted or successfully financially secure commercial black farmers in South Africa ‼️

RaiZel

18,222 Aufrufe • vor 1 Monat

A guy with sexy ENERGY is far more captivating to a girl than a guy who just looks good or is rich or tall. Girls CHASE this guy. But girls are terrible at describing what it actually is that is attracting them to a guy like this. So, let me lay out the formula for you for understanding it. We can go back to the Year 2000 movie THE TAO OF STEVE for the answer. The movie (based on a real life guy) is about an overweight male kindergarten teacher who smashes a ton of women by using this magic ‘sexy energy’ formula: 1️⃣ BE DESIRELESS. Unlike the average guy, who approaches a woman needing or wanting something, a guy with Tao of Steve energy wants NOTHING from her. He is simply just there to socialize, shoot the breeze, and have a good time. Rather than want anything from her, he is actually OFFERING something: good vibes. There is nothing from her he wants or needs. 2️⃣ BE EXCELLENT. No girl wants a guy who is average at EVERYTHING. Whatever you are NOT average at, find a way to showcase that around women. The guy from Tao of Steve expounds on philosophical concepts that he finds interesting. He gives women new insights and things to think about (this is actually not very hard if you study philosophy a bit. All women find it interesting, but few women study it deeply). If you have great social skills, showcase them. If you have athletic skills or artistic skills, showcase them. Find what’s excellent about you and SHOW IT. 3️⃣ BE GONE. Finally, Duncan North (the Tao of Steve guy) never hangs around too long. He never overstays his welcome. You know how if you hang out with someone too long, you start to get that feeling of, “Okay, well, something should happen, it’s getting kind of stale/awkward now?” You simply leave BEFORE you reach that point. Exit on a high point. Leave her wanting MORE from you. You’re the guy who’s excellent and who needs/wants nothing from her whatsoever. And now you’re leaving. But she doesn’t want you to go! The next time she sees you, she is going to work even harder to keep you around! That’s the Tao of Steve. If you do THAT with girls, you will run circles around the good-looking guys and tall guys with them. No, you do not have to be clownishly energetic. No, you do not have to be Mr. Funny Jokes or The Entertainer. Those guys are NEEDY. They NEED something (her attention, her approval). They violate the first tenet of the Tao of Steve. You just need to be the cool, excellent guy who doesn’t actually need anything from her, just drops whatever value he has to drop, then gets gone before she’s had her fill. Women WILL chase you when you are this guy. They will value you far more highly than the guy whose only value is his chiseled jaw line or his 6-figure income.
1:43

A guy with sexy ENERGY is far more captivating to a girl than a guy who just looks good or is rich or tall. Girls CHASE this guy. But girls are terrible at describing what it actually is that is attracting them to a guy like this. So, let me lay out the formula for you for understanding it. We can go back to the Year 2000 movie THE TAO OF STEVE for the answer. The movie (based on a real life guy) is about an overweight male kindergarten teacher who smashes a ton of women by using this magic ‘sexy energy’ formula: 1️⃣ BE DESIRELESS. Unlike the average guy, who approaches a woman needing or wanting something, a guy with Tao of Steve energy wants NOTHING from her. He is simply just there to socialize, shoot the breeze, and have a good time. Rather than want anything from her, he is actually OFFERING something: good vibes. There is nothing from her he wants or needs. 2️⃣ BE EXCELLENT. No girl wants a guy who is average at EVERYTHING. Whatever you are NOT average at, find a way to showcase that around women. The guy from Tao of Steve expounds on philosophical concepts that he finds interesting. He gives women new insights and things to think about (this is actually not very hard if you study philosophy a bit. All women find it interesting, but few women study it deeply). If you have great social skills, showcase them. If you have athletic skills or artistic skills, showcase them. Find what’s excellent about you and SHOW IT. 3️⃣ BE GONE. Finally, Duncan North (the Tao of Steve guy) never hangs around too long. He never overstays his welcome. You know how if you hang out with someone too long, you start to get that feeling of, “Okay, well, something should happen, it’s getting kind of stale/awkward now?” You simply leave BEFORE you reach that point. Exit on a high point. Leave her wanting MORE from you. You’re the guy who’s excellent and who needs/wants nothing from her whatsoever. And now you’re leaving. But she doesn’t want you to go! The next time she sees you, she is going to work even harder to keep you around! That’s the Tao of Steve. If you do THAT with girls, you will run circles around the good-looking guys and tall guys with them. No, you do not have to be clownishly energetic. No, you do not have to be Mr. Funny Jokes or The Entertainer. Those guys are NEEDY. They NEED something (her attention, her approval). They violate the first tenet of the Tao of Steve. You just need to be the cool, excellent guy who doesn’t actually need anything from her, just drops whatever value he has to drop, then gets gone before she’s had her fill. Women WILL chase you when you are this guy. They will value you far more highly than the guy whose only value is his chiseled jaw line or his 6-figure income.

Girls Chase 🏃‍♀️💨

88,439 Aufrufe • vor 7 Monaten

Elon Musk just described the end of money. Not a recession. Not a policy shift. The complete erasure of scarcity from human civilization. Musk: “If you’ve got an AI robotics economy that is anywhere close to a million times the size of the current Earth economy, literally any need you possibly want can be met. If you can think of it, you can have it.” A million times. Global GDP sits at roughly $100 trillion. Multiply that by a million and you get a number that stops being economics and becomes something closer to physics. Every price falls to zero. Every dollar in every account on Earth becomes an artifact of a species that used to need things. Musk: “I think things will just be free in the future.” Ten words. Possibly the most radical economic statement any living person has ever made. Money is not just currency. Money is the language civilizations invented to negotiate survival. It is how humanity decides who eats, who gets shelter, who receives medicine, who gets to dream. Remove that language and you do not reform the economy. You dissolve the foundation every human system was built on. Government exists to distribute scarcity. Politics is the fight over who gets what. Law is the codification of ownership. War is what happens when the negotiation collapses. Every one of those systems stands on the same invisible assumption. There is not enough. Musk is saying there will be. For everyone. For everything. Permanently. Musk: “Anyone could have a trip to Saturn. It won’t be just a few people. If you want it, you can have it.” He referenced Iain Banks and the Culture series. That reference landed harder than most people realized. Banks did not just imagine a post-scarcity civilization. He spent an entire body of work examining the one thing abundance could never provide. Purpose. The Culture had unlimited energy. Unlimited material. Ships the size of worlds. Lives measured in centuries. And the question running beneath every novel was always the same. What do you do when there is nothing left to need? Banks understood something at the center of this entire conversation. Scarcity is not just an obstacle. It is the engine behind every meaningful thing humans have ever built. Every cathedral was raised by hands that were hungry. Every symphony was composed by a mind trying to outrun something. Every invention, every company, every act of defiance in the entire human record grew from the same soil. The space between what someone had and what they wanted. That space is where all of human meaning lives. Wanting is not a flaw in the design. It is the design. It is the gravity that holds identity together. The reason consciousness feels like it has weight. Musk is not just building toward abundance. He is steering the species toward the deepest question it has ever had to face. Not whether we can build a world where no one needs anything. Whether we can still recognize ourselves inside it.
0:43

Elon Musk just described the end of money. Not a recession. Not a policy shift. The complete erasure of scarcity from human civilization. Musk: “If you’ve got an AI robotics economy that is anywhere close to a million times the size of the current Earth economy, literally any need you possibly want can be met. If you can think of it, you can have it.” A million times. Global GDP sits at roughly $100 trillion. Multiply that by a million and you get a number that stops being economics and becomes something closer to physics. Every price falls to zero. Every dollar in every account on Earth becomes an artifact of a species that used to need things. Musk: “I think things will just be free in the future.” Ten words. Possibly the most radical economic statement any living person has ever made. Money is not just currency. Money is the language civilizations invented to negotiate survival. It is how humanity decides who eats, who gets shelter, who receives medicine, who gets to dream. Remove that language and you do not reform the economy. You dissolve the foundation every human system was built on. Government exists to distribute scarcity. Politics is the fight over who gets what. Law is the codification of ownership. War is what happens when the negotiation collapses. Every one of those systems stands on the same invisible assumption. There is not enough. Musk is saying there will be. For everyone. For everything. Permanently. Musk: “Anyone could have a trip to Saturn. It won’t be just a few people. If you want it, you can have it.” He referenced Iain Banks and the Culture series. That reference landed harder than most people realized. Banks did not just imagine a post-scarcity civilization. He spent an entire body of work examining the one thing abundance could never provide. Purpose. The Culture had unlimited energy. Unlimited material. Ships the size of worlds. Lives measured in centuries. And the question running beneath every novel was always the same. What do you do when there is nothing left to need? Banks understood something at the center of this entire conversation. Scarcity is not just an obstacle. It is the engine behind every meaningful thing humans have ever built. Every cathedral was raised by hands that were hungry. Every symphony was composed by a mind trying to outrun something. Every invention, every company, every act of defiance in the entire human record grew from the same soil. The space between what someone had and what they wanted. That space is where all of human meaning lives. Wanting is not a flaw in the design. It is the design. It is the gravity that holds identity together. The reason consciousness feels like it has weight. Musk is not just building toward abundance. He is steering the species toward the deepest question it has ever had to face. Not whether we can build a world where no one needs anything. Whether we can still recognize ourselves inside it.

Dustin

58,572 Aufrufe • vor 3 Monaten

I’ve watched this so many times, and they’re still absolutely amazing. ❤️❤️❤️ Not the big lifts. Not the fast footwork. Not even the moments that make the audience react. Look at what happens when her feet touch the floor after a spin. His hand is already there, almost before she needs it, and that tiny detail tells you more about their partnership than any difficult move could. At first, you simply see two dancers moving across a wooden floor under bright competition lights. He leads with energy and a little mischief. She answers with speed, control, and remarkable precision. They move quickly, but there is never a sense of panic. Their bodies don't fight for space. They seem to know exactly where the other person will be. Look a little closer and the real performance starts to appear in the small things. His direction changes and her body responds almost immediately. She drops her weight and his arm adjusts without becoming rigid. A hand briefly touches a sleeve. A glance lasts less than a second. Sometimes they smile at exactly the same moment. None of these details would win the competition by themselves, but together they create something much harder to fake: trust. And then you remember that these aren't young dancers just discovering what their bodies can do. Years have passed. Their faces show it. Their movements aren't driven by the restless energy of teenagers. Yet they are still doing lifts, spins, splits, and rapid changes of direction with an ease that makes you forget how difficult any of it should be. That's what makes the performance interesting to me. They may have lost some of the raw speed of youth, but they seem to have gained something more valuable — an understanding of each other's timing. Near the end, there is a moment that isn't completely perfect. He drops into a deep split while they are still connected, and for a brief second the position looks almost too human. She ends up on the floor looking at him, and instead of hiding the moment, they smile. He keeps the connection and grins. Technically, it may not be the most impressive second of the routine. But it might be the one I remember. Because perfection shows what dancers can do. A moment like that shows who they are together. After enough years, two people can reach a point where they don't have to consciously think about every adjustment. One moves, the other responds. One loses balance slightly, the other is already making room. The countless hours of practice become something that looks almost effortless from the outside. Maybe that is what long partnerships really give us. Not a life without mistakes, but someone who has learned how to move with you when the mistake happens. We often think lasting relationships are built from big promises and memorable gestures. Watching these two dance makes that idea feel a little too simple. Perhaps the deeper work happens in all those tiny moments when one person notices the other and adjusts without being asked. The music changes. The bodies change. The years keep moving. But somehow, they keep finding the same rhythm. And maybe that is the most beautiful part of dancing together for so long: not staying exactly the same, but learning how to keep moving together as everything else changes. What do you think matters more in a long partnership — passion, trust, or simply learning each other's rhythm?
2:14

I’ve watched this so many times, and they’re still absolutely amazing. ❤️❤️❤️ Not the big lifts. Not the fast footwork. Not even the moments that make the audience react. Look at what happens when her feet touch the floor after a spin. His hand is already there, almost before she needs it, and that tiny detail tells you more about their partnership than any difficult move could. At first, you simply see two dancers moving across a wooden floor under bright competition lights. He leads with energy and a little mischief. She answers with speed, control, and remarkable precision. They move quickly, but there is never a sense of panic. Their bodies don't fight for space. They seem to know exactly where the other person will be. Look a little closer and the real performance starts to appear in the small things. His direction changes and her body responds almost immediately. She drops her weight and his arm adjusts without becoming rigid. A hand briefly touches a sleeve. A glance lasts less than a second. Sometimes they smile at exactly the same moment. None of these details would win the competition by themselves, but together they create something much harder to fake: trust. And then you remember that these aren't young dancers just discovering what their bodies can do. Years have passed. Their faces show it. Their movements aren't driven by the restless energy of teenagers. Yet they are still doing lifts, spins, splits, and rapid changes of direction with an ease that makes you forget how difficult any of it should be. That's what makes the performance interesting to me. They may have lost some of the raw speed of youth, but they seem to have gained something more valuable — an understanding of each other's timing. Near the end, there is a moment that isn't completely perfect. He drops into a deep split while they are still connected, and for a brief second the position looks almost too human. She ends up on the floor looking at him, and instead of hiding the moment, they smile. He keeps the connection and grins. Technically, it may not be the most impressive second of the routine. But it might be the one I remember. Because perfection shows what dancers can do. A moment like that shows who they are together. After enough years, two people can reach a point where they don't have to consciously think about every adjustment. One moves, the other responds. One loses balance slightly, the other is already making room. The countless hours of practice become something that looks almost effortless from the outside. Maybe that is what long partnerships really give us. Not a life without mistakes, but someone who has learned how to move with you when the mistake happens. We often think lasting relationships are built from big promises and memorable gestures. Watching these two dance makes that idea feel a little too simple. Perhaps the deeper work happens in all those tiny moments when one person notices the other and adjusts without being asked. The music changes. The bodies change. The years keep moving. But somehow, they keep finding the same rhythm. And maybe that is the most beautiful part of dancing together for so long: not staying exactly the same, but learning how to keep moving together as everything else changes. What do you think matters more in a long partnership — passion, trust, or simply learning each other's rhythm?

Emotion & Music

110,992 Aufrufe • vor 21 Tagen

The Fastest Growing Quant Repo On GitHub: Build Your Own Army Of Autonomous AI Trading Agents getting your hands on the fastest growing trading repository on github is like finding the keys to a vault that never stops printing. most people think they need a math degree to build these things but i am going to show you how a kid from a bedroom can build an empire of autonomous agents the repo was private for months while i perfected the internal logic and now it is back for anyone who wants to stop getting liquidated. you have to wonder why someone would give away the exact code that runs their entire trading business for free but the answer is simpler than you might think i believe code is the great equalizer and if we all have the tools we can finally beat the institutions at their own game. once you realize that the institutions are just using better code than you then the path forward becomes very clear the core of this system is an army of specialized ai agents that handle every single aspect of a professional trading desk. we have a strategy agent that executes the main logic while the risk agent sits over its shoulder to make sure you never lose more than you planned most traders think one bot is enough but the real secret to 2026 trading is having an entire team of ai agents that talk to each other. what happens when your sentiment agent sees a crash coming but your strategy agent is still trying to go long is where most people get wrecked that is exactly where the focus agent and the compliance agent come in to keep the whole system from blowing up your account. by separating these duties into different files you create a system that is robust enough to handle the wildest market conditions imaginable i have been testing every major model from claude to deepseek to see which one actually understands the nuances of the crypto markets. grock is the newest addition to the models folder because the performance we are seeing is finally starting to match the hype you might be wondering how you can possibly manage all these files if you have never written a line of python in your life. there is a specific way to use these models that allows you to vibe code your way to a functional trading desk without a computer science degree if you can copy a folder structure and follow a basic readme then you already have everything you need to start building. the barrier to entry has officially been destroyed by ai and now the only thing left is your willingness to iterate everything lives inside the src folder because organization is the difference between a bot that prints and a bot that crashes. the models folder is where we swap out the brains of the operation whenever a newer and faster llm hits the market to keep us ahead of the curve there is a hidden danger in just copying code without understanding the underlying risk agent logic. if you do not understand how the base agent connects to the exchange then you are just one api error away from a zero balance or a failed execution checking the env example and setting up your keys correctly is the first step to making sure your agents actually have the power to execute. this setup phase is the foundation that everything else is built upon so you cannot afford to be lazy here we have specific agents for every niche including whale watching and sentiment analysis to give you an edge that manual traders can never have. the listing arbitrage agent and the funding agent are there to capture those small inefficiencies that add up over time these agents are not just pieces of code they are employees that never sleep and never let their emotions get in the way of a trade. i spent hundreds of thousands on developers before i realized i could just build these systems myself with the help of ai code is the only thing that does not panic when the market starts dropping or get greedy when things are going up. once you automate your first strategy and see it execute without you being there you will finally understand what true freedom looks like i challenge you to pull this code and start building your own agents because the infrastructure is already there for you to use. you do not need to be a pro coder to start but you do need to be a builder who is ready to ship and iterate every single day the world is changing fast and the people who embrace autonomous trading agents are the ones who will be left standing when the dust settles. i will keep updating the github and shipping new features because the mission is to make sure every trader has the chance to automate their success if you want to join this revolution then go ahead and star the repo so you can follow along as we build out the future of finance. we are just getting started and the agents are only going to get smarter and more efficient from here on out
5:00

The Fastest Growing Quant Repo On GitHub: Build Your Own Army Of Autonomous AI Trading Agents getting your hands on the fastest growing trading repository on github is like finding the keys to a vault that never stops printing. most people think they need a math degree to build these things but i am going to show you how a kid from a bedroom can build an empire of autonomous agents the repo was private for months while i perfected the internal logic and now it is back for anyone who wants to stop getting liquidated. you have to wonder why someone would give away the exact code that runs their entire trading business for free but the answer is simpler than you might think i believe code is the great equalizer and if we all have the tools we can finally beat the institutions at their own game. once you realize that the institutions are just using better code than you then the path forward becomes very clear the core of this system is an army of specialized ai agents that handle every single aspect of a professional trading desk. we have a strategy agent that executes the main logic while the risk agent sits over its shoulder to make sure you never lose more than you planned most traders think one bot is enough but the real secret to 2026 trading is having an entire team of ai agents that talk to each other. what happens when your sentiment agent sees a crash coming but your strategy agent is still trying to go long is where most people get wrecked that is exactly where the focus agent and the compliance agent come in to keep the whole system from blowing up your account. by separating these duties into different files you create a system that is robust enough to handle the wildest market conditions imaginable i have been testing every major model from claude to deepseek to see which one actually understands the nuances of the crypto markets. grock is the newest addition to the models folder because the performance we are seeing is finally starting to match the hype you might be wondering how you can possibly manage all these files if you have never written a line of python in your life. there is a specific way to use these models that allows you to vibe code your way to a functional trading desk without a computer science degree if you can copy a folder structure and follow a basic readme then you already have everything you need to start building. the barrier to entry has officially been destroyed by ai and now the only thing left is your willingness to iterate everything lives inside the src folder because organization is the difference between a bot that prints and a bot that crashes. the models folder is where we swap out the brains of the operation whenever a newer and faster llm hits the market to keep us ahead of the curve there is a hidden danger in just copying code without understanding the underlying risk agent logic. if you do not understand how the base agent connects to the exchange then you are just one api error away from a zero balance or a failed execution checking the env example and setting up your keys correctly is the first step to making sure your agents actually have the power to execute. this setup phase is the foundation that everything else is built upon so you cannot afford to be lazy here we have specific agents for every niche including whale watching and sentiment analysis to give you an edge that manual traders can never have. the listing arbitrage agent and the funding agent are there to capture those small inefficiencies that add up over time these agents are not just pieces of code they are employees that never sleep and never let their emotions get in the way of a trade. i spent hundreds of thousands on developers before i realized i could just build these systems myself with the help of ai code is the only thing that does not panic when the market starts dropping or get greedy when things are going up. once you automate your first strategy and see it execute without you being there you will finally understand what true freedom looks like i challenge you to pull this code and start building your own agents because the infrastructure is already there for you to use. you do not need to be a pro coder to start but you do need to be a builder who is ready to ship and iterate every single day the world is changing fast and the people who embrace autonomous trading agents are the ones who will be left standing when the dust settles. i will keep updating the github and shipping new features because the mission is to make sure every trader has the chance to automate their success if you want to join this revolution then go ahead and star the repo so you can follow along as we build out the future of finance. we are just getting started and the agents are only going to get smarter and more efficient from here on out

Moon Dev

24,312 Aufrufe • vor 7 Monaten

A guy who's built companies for 25 years just went on Diary of a CEO and said plumbers will earn more than lawyers within the next 2 years. Sounds insane. But the numbers actually back it up: Last week alone, $280 BILLION was wiped off the value of legal and data companies. Thomson Reuters crashed. LegalZoom got hammered. The entire knowledge economy felt the shockwave in real time. Why? Because AI just proved it can do what a $500/hour lawyer does for $20 a month. Daniel Priestley went on the show and explained how he recently had a legal case that was quoted at $60,000 by a law firm. Instead of paying, his team used Claude. The AI gave them a full coaching session on how to handle the case, mapped out multiple decision tree pathways, generated every document they needed, and even built a spreadsheet breaking down exactly what to say and what not to say in the negotiation. Total cost: $20 a month. They resolved the case without a lawyer. Now multiply that by every business in the world that's paying legal fees they no longer need to pay. The entire financial model of knowledge work is collapsing in real time. Meanwhile, ask yourself this: Can AI fix your toilet? Can it rewire your house? Lay your foundation? Replace your roof? It can't. And it won't be able to for decades. Here's where the supply and demand crisis gets ugly... Governments spent 20 years pushing every young person into university. Get a degree or you'll never get a job. So an entire generation that should've become plumbers, electricians, and builders went and got master's degrees in subjects nobody was hiring for. They came out with $60-80K in debt and ZERO marketable skills. That created a massive shortage of tradespeople. And now AI is about to flood the market with unemployed knowledge workers while the demand for people who work with their hands explodes. The math is simple: Too many lawyers, not enough plumbers. AI makes the lawyer surplus worse every single month. Priestley called this the most important economic shift of our LIFETIME. For 30 years, blue collar work has been devalued. Everyone wanted to sit behind a screen. White collar was the "smart" path. That era just ended. The pendulum is swinging back hard. And the people who positioned themselves in physical, hands-on work that AI cannot touch are about to be the highest earners in the economy. For anyone building a business right now, the lesson is clear: Stop chasing what's "prestigious." Chase what's SCARCE. AI can write your contracts, build your website, run your ads, and draft your emails. But it cannot show up to your client's office, shake their hand, and solve a physical problem. The winners of the next decade won't be the most technically skilled. They'll be the ones who bet on what machines can't do.
1:26

A guy who's built companies for 25 years just went on Diary of a CEO and said plumbers will earn more than lawyers within the next 2 years. Sounds insane. But the numbers actually back it up: Last week alone, $280 BILLION was wiped off the value of legal and data companies. Thomson Reuters crashed. LegalZoom got hammered. The entire knowledge economy felt the shockwave in real time. Why? Because AI just proved it can do what a $500/hour lawyer does for $20 a month. Daniel Priestley went on the show and explained how he recently had a legal case that was quoted at $60,000 by a law firm. Instead of paying, his team used Claude. The AI gave them a full coaching session on how to handle the case, mapped out multiple decision tree pathways, generated every document they needed, and even built a spreadsheet breaking down exactly what to say and what not to say in the negotiation. Total cost: $20 a month. They resolved the case without a lawyer. Now multiply that by every business in the world that's paying legal fees they no longer need to pay. The entire financial model of knowledge work is collapsing in real time. Meanwhile, ask yourself this: Can AI fix your toilet? Can it rewire your house? Lay your foundation? Replace your roof? It can't. And it won't be able to for decades. Here's where the supply and demand crisis gets ugly... Governments spent 20 years pushing every young person into university. Get a degree or you'll never get a job. So an entire generation that should've become plumbers, electricians, and builders went and got master's degrees in subjects nobody was hiring for. They came out with $60-80K in debt and ZERO marketable skills. That created a massive shortage of tradespeople. And now AI is about to flood the market with unemployed knowledge workers while the demand for people who work with their hands explodes. The math is simple: Too many lawyers, not enough plumbers. AI makes the lawyer surplus worse every single month. Priestley called this the most important economic shift of our LIFETIME. For 30 years, blue collar work has been devalued. Everyone wanted to sit behind a screen. White collar was the "smart" path. That era just ended. The pendulum is swinging back hard. And the people who positioned themselves in physical, hands-on work that AI cannot touch are about to be the highest earners in the economy. For anyone building a business right now, the lesson is clear: Stop chasing what's "prestigious." Chase what's SCARCE. AI can write your contracts, build your website, run your ads, and draft your emails. But it cannot show up to your client's office, shake their hand, and solve a physical problem. The winners of the next decade won't be the most technically skilled. They'll be the ones who bet on what machines can't do.

Ricardo

846,833 Aufrufe • vor 5 Monaten

You finally get to see the scene that was never supposed to exist. 👀 Made with Pollo AI 365 days of unlimited MiniMax H3. No extra credits, no limits just create. Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. IMPORTANT CHARACTER AND POV LOCK: The vlogger is ALWAYS >>. The vlogger is a man, and he remains the same person throughout the entire video. He is the person physically holding and operating the single camera. He is NEVER replaced by any other reference character. Reference images used in individual scenes describe ONLY the people or animals appearing in that specific scene, unless explicitly stated otherwise. The vlogger’s phone IS the camera — it never appears on screen, and he never holds a second phone or any other device. When the front camera is active, the viewer sees the vlogger himself in selfie view. When the rear camera is active, the viewer sees ONLY the environment and subjects in front of him from his physical walking POV. The phone itself is NEVER visible. This is a continuous real-world camera transition, not a cut. 0:00–0:05 — FRONT CAMERA / SELFIE POV: The vlogger >> films himself at arm’s length while walking down the sidewalk. His face is a touch overexposed by daylight. He starts excitedly: “Guys! I just—” Behind his shoulder, a couple walking the opposite way passes right beside him. A beat later, the guy >> stops and turns back, head over his shoulder, staring straight at the vlogger — matching the reference pose. His girlfriend >>, still gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau. His stare reads odd and unreadable, NOT flirty. The vlogger sees them in his own selfie frame, cuts himself off mid-word and reacts instantly without breaking stride: “…What was that?” He keeps walking. 0:05–0:09 — FLIP TO REAR CAMERA / VLOGGER’S PHYSICAL POV: WITHOUT CUTTING, the vlogger physically flips the phone from front camera to rear camera. The camera itself is never visible. The image transitions naturally from selfie view into the rear-camera view of exactly what is in front of him. He immediately WHIPS the rear camera to the RIGHT toward a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, with a small speaker beside him looping a soft instrumental backing. He leans toward the microphone, takes a breath to sing the first line — and suddenly bursts out laughing instead, turning away and covering his mouth. He waves it off, then resets toward the microphone. The vlogger laughs quietly behind the camera. 0:09–0:13 — REAR CAMERA / CONTINUOUS POV: WITHOUT CUTTING, the vlogger continues physically panning RIGHT along the same café terrace. At one table, a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in and holds her back. The camera then makes a QUICK PUNCH-IN DIGITAL ZOOM toward the opposite table. The cat >> sits upright behind a plate of salad, perfectly calm and completely unimpressed by the chaos. Autofocus hunts for a split second during the zoom. The vlogger continues walking. 0:13–0:17 — REAR CAMERA / FIRST SHOW THE MAN, THEN FOLLOW HIS GAZE UP: WITHOUT CUTTING, the camera moves slightly farther along the sidewalk and FIRST frames the man >> standing on the street near the building. IMPORTANT: The man >> is NOT the vlogger. He is a separate person standing in the environment. He is NOT holding the camera, NOT filming himself, and NEVER becomes the POV character. The camera clearly shows his full upper body as he stands below the building, looking UP toward the second floor. His head is tilted upward and his eyes are visibly directed toward something above him. The vlogger notices what the man is looking at and physically follows his gaze. The camera then TILTS UP from the man’s position toward the brick facade directly above the café awning, naturally following the man’s line of sight. The movement must clearly communicate: MAN LOOKS UP → CAMERA FOLLOWS HIS GAZE → WINDOW ABOVE. A second-floor open window comes into view, with a fire escape beside it. The dog >> is sitting in that window with its eyes closed, chin lifted, peacefully soaking up the warm golden sunlight hitting the facade. IMPORTANT: >> is ONLY the DOG. The dog is inside the upper window. It is NOT the vlogger and NOT a human character. The camera performs a QUICK DIGITAL ZOOM toward the dog. The image becomes slightly softer and shakier from the digital zoom. Hold only long enough to clearly reveal the dog enjoying the sunlight. The vlogger reacts behind the camera: “Awww, look at him…” 0:17–0:21 — REAR CAMERA / RETURN TO STREET LEVEL: WITHOUT CUTTING, the camera tilts back DOWN from the dog and window to street level, returning to the same sidewalk. The camera then swings FORWARD toward a few steps ahead on the same sidewalk, where the man from >> is standing. IMPORTANT: >> is a SEPARATE STREET CHARACTER. He is NOT the vlogger. He does NOT hold the camera. He does NOT interact physically with the vlogger. The vlogger is only observing him from behind the camera while walking past. The man wears the black leather jacket and black pants shown in the reference. He is standing on the sidewalk making an exaggerated “thinking / knowledge” gesture with his index finger touching or pointing toward his temple, matching the reference pose. He is NOT standing together with the vlogger. Maintain visible physical distance between the vlogger and this man. The vlogger walks past him while keeping the rear camera briefly trained on him and half-laughs: “What is going on?” 0:21–0:24 — REAR CAMERA / WHIP LEFT ACROSS THE ROAD: WITHOUT CUTTING, the vlogger whips the rear camera to the LEFT, across the two-lane road, toward a sedan parked at the opposite curb. Shaky digital zoom toward the driver’s window. A man >> sits behind the wheel, one hand draped over the top of the steering wheel. He stares directly into the rear-camera lens with a heavy, unblinking, suspicious expression. His eyes slowly track the vlogger as the vlogger walks past. The vlogger says flatly from behind the camera: “…What is his problem?” 0:24–0:30 — REAR CAMERA → FRONT CAMERA → REAR CAMERA: WITHOUT CUTTING, the camera swings back FORWARD toward the corner of the block. Ahead, a child >> is sitting sideways near the roadside, holding a coffee cup and looking toward the camera. The child is a completely separate background character and is NOT the vlogger. The vlogger continues WALKING TOWARD the child. As he gets closer, he performs a QUICK DIGITAL ZOOM. The child looks toward the camera, casually raises the coffee cup and takes a small SIP while looking at the camera. Keep the child as the only visual focus. Natural spontaneous behavior. Immediately after the child's sip, the vlogger physically FLIPS the phone from rear camera to FRONT CAMERA. This is a real camera flip, not a cinematic cut. The phone itself remains invisible. Says: “I can’t believe this”. The take ends naturally mid-walk, still handheld, still continuous, with NO CUT and NO EDIT.
0:30

You finally get to see the scene that was never supposed to exist. 👀 Made with Pollo AI 365 days of unlimited MiniMax H3. No extra credits, no limits just create. Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. IMPORTANT CHARACTER AND POV LOCK: The vlogger is ALWAYS >>. The vlogger is a man, and he remains the same person throughout the entire video. He is the person physically holding and operating the single camera. He is NEVER replaced by any other reference character. Reference images used in individual scenes describe ONLY the people or animals appearing in that specific scene, unless explicitly stated otherwise. The vlogger’s phone IS the camera — it never appears on screen, and he never holds a second phone or any other device. When the front camera is active, the viewer sees the vlogger himself in selfie view. When the rear camera is active, the viewer sees ONLY the environment and subjects in front of him from his physical walking POV. The phone itself is NEVER visible. This is a continuous real-world camera transition, not a cut. 0:00–0:05 — FRONT CAMERA / SELFIE POV: The vlogger >> films himself at arm’s length while walking down the sidewalk. His face is a touch overexposed by daylight. He starts excitedly: “Guys! I just—” Behind his shoulder, a couple walking the opposite way passes right beside him. A beat later, the guy >> stops and turns back, head over his shoulder, staring straight at the vlogger — matching the reference pose. His girlfriend >>, still gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau. His stare reads odd and unreadable, NOT flirty. The vlogger sees them in his own selfie frame, cuts himself off mid-word and reacts instantly without breaking stride: “…What was that?” He keeps walking. 0:05–0:09 — FLIP TO REAR CAMERA / VLOGGER’S PHYSICAL POV: WITHOUT CUTTING, the vlogger physically flips the phone from front camera to rear camera. The camera itself is never visible. The image transitions naturally from selfie view into the rear-camera view of exactly what is in front of him. He immediately WHIPS the rear camera to the RIGHT toward a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, with a small speaker beside him looping a soft instrumental backing. He leans toward the microphone, takes a breath to sing the first line — and suddenly bursts out laughing instead, turning away and covering his mouth. He waves it off, then resets toward the microphone. The vlogger laughs quietly behind the camera. 0:09–0:13 — REAR CAMERA / CONTINUOUS POV: WITHOUT CUTTING, the vlogger continues physically panning RIGHT along the same café terrace. At one table, a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in and holds her back. The camera then makes a QUICK PUNCH-IN DIGITAL ZOOM toward the opposite table. The cat >> sits upright behind a plate of salad, perfectly calm and completely unimpressed by the chaos. Autofocus hunts for a split second during the zoom. The vlogger continues walking. 0:13–0:17 — REAR CAMERA / FIRST SHOW THE MAN, THEN FOLLOW HIS GAZE UP: WITHOUT CUTTING, the camera moves slightly farther along the sidewalk and FIRST frames the man >> standing on the street near the building. IMPORTANT: The man >> is NOT the vlogger. He is a separate person standing in the environment. He is NOT holding the camera, NOT filming himself, and NEVER becomes the POV character. The camera clearly shows his full upper body as he stands below the building, looking UP toward the second floor. His head is tilted upward and his eyes are visibly directed toward something above him. The vlogger notices what the man is looking at and physically follows his gaze. The camera then TILTS UP from the man’s position toward the brick facade directly above the café awning, naturally following the man’s line of sight. The movement must clearly communicate: MAN LOOKS UP → CAMERA FOLLOWS HIS GAZE → WINDOW ABOVE. A second-floor open window comes into view, with a fire escape beside it. The dog >> is sitting in that window with its eyes closed, chin lifted, peacefully soaking up the warm golden sunlight hitting the facade. IMPORTANT: >> is ONLY the DOG. The dog is inside the upper window. It is NOT the vlogger and NOT a human character. The camera performs a QUICK DIGITAL ZOOM toward the dog. The image becomes slightly softer and shakier from the digital zoom. Hold only long enough to clearly reveal the dog enjoying the sunlight. The vlogger reacts behind the camera: “Awww, look at him…” 0:17–0:21 — REAR CAMERA / RETURN TO STREET LEVEL: WITHOUT CUTTING, the camera tilts back DOWN from the dog and window to street level, returning to the same sidewalk. The camera then swings FORWARD toward a few steps ahead on the same sidewalk, where the man from >> is standing. IMPORTANT: >> is a SEPARATE STREET CHARACTER. He is NOT the vlogger. He does NOT hold the camera. He does NOT interact physically with the vlogger. The vlogger is only observing him from behind the camera while walking past. The man wears the black leather jacket and black pants shown in the reference. He is standing on the sidewalk making an exaggerated “thinking / knowledge” gesture with his index finger touching or pointing toward his temple, matching the reference pose. He is NOT standing together with the vlogger. Maintain visible physical distance between the vlogger and this man. The vlogger walks past him while keeping the rear camera briefly trained on him and half-laughs: “What is going on?” 0:21–0:24 — REAR CAMERA / WHIP LEFT ACROSS THE ROAD: WITHOUT CUTTING, the vlogger whips the rear camera to the LEFT, across the two-lane road, toward a sedan parked at the opposite curb. Shaky digital zoom toward the driver’s window. A man >> sits behind the wheel, one hand draped over the top of the steering wheel. He stares directly into the rear-camera lens with a heavy, unblinking, suspicious expression. His eyes slowly track the vlogger as the vlogger walks past. The vlogger says flatly from behind the camera: “…What is his problem?” 0:24–0:30 — REAR CAMERA → FRONT CAMERA → REAR CAMERA: WITHOUT CUTTING, the camera swings back FORWARD toward the corner of the block. Ahead, a child >> is sitting sideways near the roadside, holding a coffee cup and looking toward the camera. The child is a completely separate background character and is NOT the vlogger. The vlogger continues WALKING TOWARD the child. As he gets closer, he performs a QUICK DIGITAL ZOOM. The child looks toward the camera, casually raises the coffee cup and takes a small SIP while looking at the camera. Keep the child as the only visual focus. Natural spontaneous behavior. Immediately after the child's sip, the vlogger physically FLIPS the phone from rear camera to FRONT CAMERA. This is a real camera flip, not a cinematic cut. The phone itself remains invisible. Says: “I can’t believe this”. The take ends naturally mid-walk, still handheld, still continuous, with NO CUT and NO EDIT.

Kashberg

17,892 Aufrufe • vor 8 Tagen

1B Tanner Thach (UNCW Baseball) is another college bat to keep close tabs on this season. Thach was drafted by the Giants in the 18th round of the 2022 draft but decided to honor his commitment to the Seahawks. Thach made a significant impact in his first year on campus and posted a .290/.356/.544 slash line with 11 2B, 15 HR—a UNCW single-season freshman record—and 68 RBIs. He outdid himself in 2024 and hit .324/.406/.700 with 11 2B, a UNCW single-season record 27 HR and 75 RBIs in 61 games. Thach’s production didn’t end there, though, as he was named a Cape League all-star, hitting .275/.367/.493 with 6 doubles, 8 HR and 25 RBIs. Thach has a strong, physical build at 6’4” and 220-lbs. He has a crouched stance in the box with an open front side and a medium-high handset. It’s a bit of a noisy load in which he drops and drifts his hands, but Thach does possess plenty of bat speed. He has a steep, uphill swing path, and it’s a violent operation that is geared towards getting the ball up in the air and doing damage. However, it can get long at times. Thach’s carrying tool is undoubtedly his immense power. He has established a now-lengthy track record of power production with both metal and wood, and he has zero issue tapping into it on a game-to-game basis. Thach has home run power to all fields, though his highest quality of contact comes to the pull side. He gets the ball up in the air on a consistent basis, and when he catches the baseball on the sweet spot, it flies. Thach posted maximum exit velocities during the spring and summer of 113.5 mph and 103.1 mph, respectively. At the start of the summer, he would sometimes unnecessarily sell out to get to his power which caused him to top-spin line drives to the pull side, but as the season progressed he was able to break that habit. Thach has plus in-game power to all fields. The biggest key going forward for Thach is for him to continue to make enough contact to get to his power on a regular basis. His bat-to-ball skills are fringy, though he did post a 90% in-zone contact rate against all fastballs. Like a lot of hitters, the root of Thach’s contact struggles are secondary offerings. He’ll have difficulty at times picking up spin out of the hand which leads to both miss and chase. Thach will also tend to whiff and chase against heaters that are either elevated or on the outer-half of the plate. However, he does handle velocity well and last season he hit .533/.588/1.033 against all fastballs 92+. While Thach feasts on righthanded pitching, he hit just .246/.321/.551 last season against lefties. Thach’s power is tremendous, but he’ll need to add a coat or two of polish to his hit-ability as he transitions into professional baseball. First base isn’t the flashiest defensive profile, but Thach moves well around the bag and is a strong athlete at the position. He’s not afraid to range into the four-hole and he is a reassuring anchor on the right side of the infield. Thach has an advanced baseball sense, a trait that shines on a game-to-game basis. While he won’t pitch professionally, expect Thach to log some innings this spring for UNCW. His fastball tops out in the low 90s and flashes some hop in the top of the zone, but he’ll also mix in a mid-70s curveball and a low-80s changeup. The cherry on top with Thach is his makeup, both on and off the field. It’s impossible to stick a grade on it because it’s a 90 on the 20-80 scale. Would have him as a 2nd-early 3rd round type this July. (🎥: UNCW Baseball, Cotuit Kettleers)
0:36

1B Tanner Thach (UNCW Baseball) is another college bat to keep close tabs on this season. Thach was drafted by the Giants in the 18th round of the 2022 draft but decided to honor his commitment to the Seahawks. Thach made a significant impact in his first year on campus and posted a .290/.356/.544 slash line with 11 2B, 15 HR—a UNCW single-season freshman record—and 68 RBIs. He outdid himself in 2024 and hit .324/.406/.700 with 11 2B, a UNCW single-season record 27 HR and 75 RBIs in 61 games. Thach’s production didn’t end there, though, as he was named a Cape League all-star, hitting .275/.367/.493 with 6 doubles, 8 HR and 25 RBIs. Thach has a strong, physical build at 6’4” and 220-lbs. He has a crouched stance in the box with an open front side and a medium-high handset. It’s a bit of a noisy load in which he drops and drifts his hands, but Thach does possess plenty of bat speed. He has a steep, uphill swing path, and it’s a violent operation that is geared towards getting the ball up in the air and doing damage. However, it can get long at times. Thach’s carrying tool is undoubtedly his immense power. He has established a now-lengthy track record of power production with both metal and wood, and he has zero issue tapping into it on a game-to-game basis. Thach has home run power to all fields, though his highest quality of contact comes to the pull side. He gets the ball up in the air on a consistent basis, and when he catches the baseball on the sweet spot, it flies. Thach posted maximum exit velocities during the spring and summer of 113.5 mph and 103.1 mph, respectively. At the start of the summer, he would sometimes unnecessarily sell out to get to his power which caused him to top-spin line drives to the pull side, but as the season progressed he was able to break that habit. Thach has plus in-game power to all fields. The biggest key going forward for Thach is for him to continue to make enough contact to get to his power on a regular basis. His bat-to-ball skills are fringy, though he did post a 90% in-zone contact rate against all fastballs. Like a lot of hitters, the root of Thach’s contact struggles are secondary offerings. He’ll have difficulty at times picking up spin out of the hand which leads to both miss and chase. Thach will also tend to whiff and chase against heaters that are either elevated or on the outer-half of the plate. However, he does handle velocity well and last season he hit .533/.588/1.033 against all fastballs 92+. While Thach feasts on righthanded pitching, he hit just .246/.321/.551 last season against lefties. Thach’s power is tremendous, but he’ll need to add a coat or two of polish to his hit-ability as he transitions into professional baseball. First base isn’t the flashiest defensive profile, but Thach moves well around the bag and is a strong athlete at the position. He’s not afraid to range into the four-hole and he is a reassuring anchor on the right side of the infield. Thach has an advanced baseball sense, a trait that shines on a game-to-game basis. While he won’t pitch professionally, expect Thach to log some innings this spring for UNCW. His fastball tops out in the low 90s and flashes some hop in the top of the zone, but he’ll also mix in a mid-70s curveball and a low-80s changeup. The cherry on top with Thach is his makeup, both on and off the field. It’s impossible to stick a grade on it because it’s a 90 on the 20-80 scale. Would have him as a 2nd-early 3rd round type this July. (🎥: UNCW Baseball, Cotuit Kettleers)

Peter Flaherty III

42,659 Aufrufe • vor 1 Jahr

🚨THE KRIEL CADAVER: DISGUSTING WHITE TRAITOR EXPOSED‼️ Once the name Kriel stood for blood, sacrifice and real loyalty to the Boer people. Dominee Abraham Kriel pulled war orphans from the ashes of the Anglo-Boer concentration camps and gave them a home. Then the 21st century spat out Pieter Kriel, the soft, fluffy-haired end of that bloodline. A 21-year-old TikTok-to-X activist whose whole purpose seems to be screaming that he’s nothing like “those” Kriels, especially Kallie from AfriForum. He hates his own skin more than anyone else and loves lecturing South Africans on how “racist” we are for noticing farm murders, collapsing cities and the ANC’s total mess‼️ His failures are plain embarrassingand has built nothing real. Zero followers who matter and zero results🔥 Even the hard-left crowd he worships treats him like a joke. When activist Gillian Schutte tore into him in an open letter, she called him out as a rich kid with nothing but quick ChatGPT lines about “white privilege” and Black pain. He sells out his own people for views and gets laughed at in return. A total flop who changes nothing. His so-called political knowledge is laughable. This boy who has never faced real South African hardship lectures the whole country on “reality."‼️He denies the farm murder stats, calls white genocide talk a myth, pretends the flood of illegal immigrants isn’t happening, and tells Afrikaners they’re the problem for wanting safety‼️ While load-shedding blacks out the country, cities rot and graves keep filling, he sits safe behind a ring light pushing university Marxist nonsense that has zero connection to daily life here and he irritates the hell out of every South African. On X his feed is pure poison, endless smug rants that trigger everyone. Whites see a self-hating traitor selling his volk for cheap clout‼️ Blacks and leftists see a pampered white kid playing pretend revolutionary. Normal people just want him to shut up while the country falls apart around us. In real life he’s the same unwanted voice nobody asked for, the soft TikTok warrior who would crumble the moment real pressure hits. Pieter Kriel is not an activist. He is a pathetic white traitor and a living warning of what happens when you raise children without roots or reality. We expose him and laugh at his weakness. And we tell every parent, never let your child turn into this embarrassment‼️ PS - He was a bully in school apparently he targeted poor girls who’s parents wasn’t rich in school making fun of them of the area they stayed in‼️
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🚨THE KRIEL CADAVER: DISGUSTING WHITE TRAITOR EXPOSED‼️ Once the name Kriel stood for blood, sacrifice and real loyalty to the Boer people. Dominee Abraham Kriel pulled war orphans from the ashes of the Anglo-Boer concentration camps and gave them a home. Then the 21st century spat out Pieter Kriel, the soft, fluffy-haired end of that bloodline. A 21-year-old TikTok-to-X activist whose whole purpose seems to be screaming that he’s nothing like “those” Kriels, especially Kallie from AfriForum. He hates his own skin more than anyone else and loves lecturing South Africans on how “racist” we are for noticing farm murders, collapsing cities and the ANC’s total mess‼️ His failures are plain embarrassingand has built nothing real. Zero followers who matter and zero results🔥 Even the hard-left crowd he worships treats him like a joke. When activist Gillian Schutte tore into him in an open letter, she called him out as a rich kid with nothing but quick ChatGPT lines about “white privilege” and Black pain. He sells out his own people for views and gets laughed at in return. A total flop who changes nothing. His so-called political knowledge is laughable. This boy who has never faced real South African hardship lectures the whole country on “reality."‼️He denies the farm murder stats, calls white genocide talk a myth, pretends the flood of illegal immigrants isn’t happening, and tells Afrikaners they’re the problem for wanting safety‼️ While load-shedding blacks out the country, cities rot and graves keep filling, he sits safe behind a ring light pushing university Marxist nonsense that has zero connection to daily life here and he irritates the hell out of every South African. On X his feed is pure poison, endless smug rants that trigger everyone. Whites see a self-hating traitor selling his volk for cheap clout‼️ Blacks and leftists see a pampered white kid playing pretend revolutionary. Normal people just want him to shut up while the country falls apart around us. In real life he’s the same unwanted voice nobody asked for, the soft TikTok warrior who would crumble the moment real pressure hits. Pieter Kriel is not an activist. He is a pathetic white traitor and a living warning of what happens when you raise children without roots or reality. We expose him and laugh at his weakness. And we tell every parent, never let your child turn into this embarrassment‼️ PS - He was a bully in school apparently he targeted poor girls who’s parents wasn’t rich in school making fun of them of the area they stayed in‼️

RaiZel

21,367 Aufrufe • vor 4 Monaten