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Ling Xiaoyu (Tekken 5: Dark Resurrection version) Strangled by Anna Williams (Tekken: The Motion Picture 1998 version) Remake of Scene from Tekken: Blood Vengeance 2011 #strangle #strangled #strangling #choke #choked #choking

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Cellece -Open Commission-

6,761 subscribers

105,617 görüntüleme • 2 yıl önce •via X (Twitter)

NSFW#strangle#strangled#strangling#choke#choked#choking
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Yanuar Pratama profil fotoğrafı
Yanuar Pratama2 yıl önce

Hello, can you make a Supergirl Unbound film strangled by Braniac??

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Pynappuru2 yıl önce

really well made, great work, it's like if The Motion Picture had sequels and this was one of them lol

Cellece -Open Commission- profil fotoğrafı
Cellece -Open Commission-2 yıl önce

Thanks, I'm glad you like it

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Starfire Strangled by Wonder Woman Scene from Justice League vs. Teen Titans 2016 but the character designs are replace with some designs from the comics #strangle #strangled #strangling #choke #choked #choking
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Lex Luthor Strangling Supergirl from Supergirl Vol 5 #3 I'm using the animated series style here bcs when I was a kid I've always wanted a supergirl choke on the show, it should've happened with that episode with Metallo #strangle #strangled #strangling #choke #choked #choking
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Lex Luthor Strangling Supergirl from Supergirl Vol 5 #3 I'm using the animated series style here bcs when I was a kid I've always wanted a supergirl choke on the show, it should've happened with that episode with Metallo #strangle #strangled #strangling #choke #choked #choking

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91,876 görüntüleme • 3 yıl önce

Tekken 5 - Bear's Hug The 2nd version. The one that started me on this road of ryona to begin with. It's payback time. You will now become the chef's guinea pig. Didn't change out my old initial starting frames on this one. I do find bear stance by not a bear is kind of funny.
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Tekken 5 - Bear's Hug The 2nd version. The one that started me on this road of ryona to begin with. It's payback time. You will now become the chef's guinea pig. Didn't change out my old initial starting frames on this one. I do find bear stance by not a bear is kind of funny.

RyoGrills

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DID YOU KNOW the one major difference between Steven Spielberg's 2005 remake of War Of The Worlds and Orson Wells original is that in Spielberg's version - the aliens come from beneath the earth. 👉🏼 **NOTE: in this scene - where the aliens make their first appearance - Spielberg hid 3 simultaneous Antichrist subliminal messages - timed perfectly for the moment in the movie where light goes to dark = Christ replaced by satan.
5:05

DID YOU KNOW the one major difference between Steven Spielberg's 2005 remake of War Of The Worlds and Orson Wells original is that in Spielberg's version - the aliens come from beneath the earth. 👉🏼 **NOTE: in this scene - where the aliens make their first appearance - Spielberg hid 3 simultaneous Antichrist subliminal messages - timed perfectly for the moment in the movie where light goes to dark = Christ replaced by satan.

The Rubber Duck ™

17,799 görüntüleme • 1 ay önce

Disappointed to say that in my 10th year of commentating competitive Tekken 7, I will not be involved in its conclusion at the TWT Finals. Telling the story of these players and building this community has taken up the majority of my life this past decade so I put together a video to reflect back on it (👇bottom of this post). I've been telling this story since Evo 2015 with Nobi and AO in the grand finals of Evo. We saw the Echo Fox boys dominate the scene, then the Knee/JDCR era, to Qudans returning to win the first TWT (Hei-ha-chi! Hei-ha-chi!). In 2018 we had the Knee/Qudans era which concluded with Rangchu winning the TWT Finals. Then in 2019 Arslan Ash flipped the planet upside down at Evo Japan, Ryan Hart owned me up, Pakistan showed up through the rest of that year, and we saw Chikurin become TWT Champ. Then came Leroy Japan 2020 (shoutouts to Book) before the pandemic online era, online Evo's, Tekken Online Challenges and the creation of ICFC. More recently Arslan closed out his 4 Evo Titles, we witnessed the Knee/Arslan era, and now its the Atif Butt era, with him winning TWT Finals and closing out Gamers8 this year. So many players, new and old, will converge on New Orleans this weekend to conclude this story of what I believe has been THE BEST ARC IN FGC HISTORY. Personally, this past decade has been an incredible journey that I will forever be grateful for. I got to travel the world (Amsterdam, Japan, France, Australia, Philippines, Romania, Saudi Arabia, Dubai, Pakistan, Canada, Chile, Singapore, Indonesia, Thailand and Germany) with my friends and make new friends across the globe. I helped start UYU and was their VP as we gave opportunities to players like Jeondding, LowHigh, Yuyu, Qudans etc. Jinhee and Drew showed so much love to the FGC during that time and I'm grateful they gave me the opportunity to guide the team internally. This past weekend the ICFC Championship was my last commentary for Tekken 7, marking a bittersweet end for my Tekken 7 commentary journey. The beginnings of ICFC were notable though. By 2018, Wednesday Night Fights Tekken 7 was dying. We were down to 4 entrants and there was no stream. I asked Valle if I could take over the Tekken 7 portion, I put together all the equipment, setup the stream going forward and we grew to 64 man weeklies offline. It COULD NOT have been done without Tanman, #BeeLDeaL | B:L, Billy, Suiken, Michael Y. Kwon and 上原 rickstah, who all held it down once the ball got rolling. Then the pandemic hit, we pivoted to online tournaments and ran everything ourselves. We had expanded our local to the entire west coast and after T7's netcode update, the entire USA. 10/0 reached out with the idea of taking what we had built and expanding it to EU and Asia. It was a difficult decision to step away from WNF, but I moved our tournaments to 10/0, ICFC began, and we now have a new generation of top players built ONLINE. That was unprecedented for Tekken. A HUGE thank you to all of the community for participating in these events and donating to the prize pools. Without the players and the community, none of this would exist. Never forget that. Big thanks to Chris Ceg and 10/0 for expanding what we started and pushing it to new heights. I have to also thank Katsuhiro Harada and Michael Murray for the amazing game that is TEKKEN 7. HUGE thanks to Aris for everything hes done for TEKKEN 7 and LUYG. To Mirage | Spag for connecting all of us more closely to the EU (NA>) and Pakistan (NA<) scenes. To Mark Julio 『マークマン』 for always being inner circle⭕️, pushing Tekken forward, and being an amazing co-commentator throughout these years. And of course Steve Scott for being my main duo these last few years. We got into a good ass groove the last 5 years and its always a damn good time. Lastly, 10 years is a long time. When I started this, I was a pro player, I was in a long relationship, I had a part time job, I had all black hair and minimal wrinkles. None of those things are true anymore😆. I know that commentary as a profession is hugely unpredictable and unreliable, so I honestly have NO CLUE what the future holds. One thing I know for certain though, is that I love TEKKEN. I've NEVER been a shill, but dealing with this has made me feel like one these past 4 months. So THE BIGGEST THANK YOU I want to give is to everyone who has stood by me, supported me, and never doubted me for a moment this decade. I'm sad I didn't get one last "FINAL FINAL round" at the FINAL FINALS for Tekken 7, but I'm sure everyone at the finals will say it for me anyway. I love you guys! Have fun in New Orleans
10:45

Disappointed to say that in my 10th year of commentating competitive Tekken 7, I will not be involved in its conclusion at the TWT Finals. Telling the story of these players and building this community has taken up the majority of my life this past decade so I put together a video to reflect back on it (👇bottom of this post). I've been telling this story since Evo 2015 with Nobi and AO in the grand finals of Evo. We saw the Echo Fox boys dominate the scene, then the Knee/JDCR era, to Qudans returning to win the first TWT (Hei-ha-chi! Hei-ha-chi!). In 2018 we had the Knee/Qudans era which concluded with Rangchu winning the TWT Finals. Then in 2019 Arslan Ash flipped the planet upside down at Evo Japan, Ryan Hart owned me up, Pakistan showed up through the rest of that year, and we saw Chikurin become TWT Champ. Then came Leroy Japan 2020 (shoutouts to Book) before the pandemic online era, online Evo's, Tekken Online Challenges and the creation of ICFC. More recently Arslan closed out his 4 Evo Titles, we witnessed the Knee/Arslan era, and now its the Atif Butt era, with him winning TWT Finals and closing out Gamers8 this year. So many players, new and old, will converge on New Orleans this weekend to conclude this story of what I believe has been THE BEST ARC IN FGC HISTORY. Personally, this past decade has been an incredible journey that I will forever be grateful for. I got to travel the world (Amsterdam, Japan, France, Australia, Philippines, Romania, Saudi Arabia, Dubai, Pakistan, Canada, Chile, Singapore, Indonesia, Thailand and Germany) with my friends and make new friends across the globe. I helped start UYU and was their VP as we gave opportunities to players like Jeondding, LowHigh, Yuyu, Qudans etc. Jinhee and Drew showed so much love to the FGC during that time and I'm grateful they gave me the opportunity to guide the team internally. This past weekend the ICFC Championship was my last commentary for Tekken 7, marking a bittersweet end for my Tekken 7 commentary journey. The beginnings of ICFC were notable though. By 2018, Wednesday Night Fights Tekken 7 was dying. We were down to 4 entrants and there was no stream. I asked Valle if I could take over the Tekken 7 portion, I put together all the equipment, setup the stream going forward and we grew to 64 man weeklies offline. It COULD NOT have been done without Tanman, #BeeLDeaL | B:L, Billy, Suiken, Michael Y. Kwon and 上原 rickstah, who all held it down once the ball got rolling. Then the pandemic hit, we pivoted to online tournaments and ran everything ourselves. We had expanded our local to the entire west coast and after T7's netcode update, the entire USA. 10/0 reached out with the idea of taking what we had built and expanding it to EU and Asia. It was a difficult decision to step away from WNF, but I moved our tournaments to 10/0, ICFC began, and we now have a new generation of top players built ONLINE. That was unprecedented for Tekken. A HUGE thank you to all of the community for participating in these events and donating to the prize pools. Without the players and the community, none of this would exist. Never forget that. Big thanks to Chris Ceg and 10/0 for expanding what we started and pushing it to new heights. I have to also thank Katsuhiro Harada and Michael Murray for the amazing game that is TEKKEN 7. HUGE thanks to Aris for everything hes done for TEKKEN 7 and LUYG. To Mirage | Spag for connecting all of us more closely to the EU (NA>) and Pakistan (NA<) scenes. To Mark Julio 『マークマン』 for always being inner circle⭕️, pushing Tekken forward, and being an amazing co-commentator throughout these years. And of course Steve Scott for being my main duo these last few years. We got into a good ass groove the last 5 years and its always a damn good time. Lastly, 10 years is a long time. When I started this, I was a pro player, I was in a long relationship, I had a part time job, I had all black hair and minimal wrinkles. None of those things are true anymore😆. I know that commentary as a profession is hugely unpredictable and unreliable, so I honestly have NO CLUE what the future holds. One thing I know for certain though, is that I love TEKKEN. I've NEVER been a shill, but dealing with this has made me feel like one these past 4 months. So THE BIGGEST THANK YOU I want to give is to everyone who has stood by me, supported me, and never doubted me for a moment this decade. I'm sad I didn't get one last "FINAL FINAL round" at the FINAL FINALS for Tekken 7, but I'm sure everyone at the finals will say it for me anyway. I love you guys! Have fun in New Orleans

Rip

365,553 görüntüleme • 2 yıl önce

TEKKEN: BLOODLINE（鉄拳：ブラッドライン）リョナ 全6話のリョナシーンまとめ！ 正直、ゲームではあまりシャオユウのこと意識してなかったんだけど、このシリーズで好きになったわ 😌 シーンもめっちゃ良かった！😁 キングに関しては、いろんな女性キャラに技かけてる動画を昔よく見てた人も多いよね 😆 もちろん自分もその一人 🙈 それがこうしてメインストリームのアニメで見れるのはアツい 😏 そして最後にニーナ・ウィリアムズ。 自分がリョナにハマるきっかけになったゲームキャラの一人なんだよね！ たしかPS2の「デス・バイ・ディグリーズ（鉄拳：ニーナ・ウィリアムズ）」の動画をYouTubeで見つけたのが最初で…そこから全てが始まった感じ 😌 言うまでもなく、改めて見ても最高のシリーズだった！😁 ──────────────────── Tekken Bloodline Ryona A roundup of all the ryona scenes from the 6-episode series! I never really paid much attention to Xiaoyu in the games, but this series made me like her 😌 Her scenes were great! 😁 As for King, I’m sure many of us grew up watching videos of him doing his grapples on various female characters 😆 I know I did! 🙈 Now we get to see him do it in a mainstream anime 😏 Last but not least, Nina Williams was one of the first video game characters that got me into ryona! I think I stumbled upon a ryona video of her on YouTube from the PS2 game ‘Death by Degrees’—and the rest is history 😌 Needless to say, this was an awesome series to rewatch! 😁
3:47

TEKKEN: BLOODLINE（鉄拳：ブラッドライン）リョナ 全6話のリョナシーンまとめ！ 正直、ゲームではあまりシャオユウのこと意識してなかったんだけど、このシリーズで好きになったわ 😌 シーンもめっちゃ良かった！😁 キングに関しては、いろんな女性キャラに技かけてる動画を昔よく見てた人も多いよね 😆 もちろん自分もその一人 🙈 それがこうしてメインストリームのアニメで見れるのはアツい 😏 そして最後にニーナ・ウィリアムズ。 自分がリョナにハマるきっかけになったゲームキャラの一人なんだよね！ たしかPS2の「デス・バイ・ディグリーズ（鉄拳：ニーナ・ウィリアムズ）」の動画をYouTubeで見つけたのが最初で…そこから全てが始まった感じ 😌 言うまでもなく、改めて見ても最高のシリーズだった！😁 ──────────────────── Tekken Bloodline Ryona A roundup of all the ryona scenes from the 6-episode series! I never really paid much attention to Xiaoyu in the games, but this series made me like her 😌 Her scenes were great! 😁 As for King, I’m sure many of us grew up watching videos of him doing his grapples on various female characters 😆 I know I did! 🙈 Now we get to see him do it in a mainstream anime 😏 Last but not least, Nina Williams was one of the first video game characters that got me into ryona! I think I stumbled upon a ryona video of her on YouTube from the PS2 game ‘Death by Degrees’—and the rest is history 😌 Needless to say, this was an awesome series to rewatch! 😁

Ryona リョナ Archive

37,825 görüntüleme • 4 ay önce

Today marks the 100th anniversary of the premiere of Battleship Potemkin, which took place at the Bolshoi Theatre in Moscow on December 21, 1925. Sergei Eisenstein on the film's premiere: "APPLAUSE LIKE THE CRACKLE of rifle shots echoes through the semi-circular corridors of the Bolshoi Theater. I am in the corridor, nervous not only about the fate of Potemkin, but about its . . . spittle. For, indeed, its last reel revolved around spittle. Climbing higher and higher, from the orchestra to the dress circle, from the mezzanine to the balcony, driven upward by the growth of excitement, I hungrily and anxiously drink in every sound of the applause. Then, like a thunderclap, it bursts from the entire audience. One — that is the scene with the red flag. Two — that’s the one of the guns of the Potemkin firing at the generals' headquarters in reply to the Odessa massacre. I continue to wander through the empty concentric halls. Not a soul. Even the ushers have gone inside, a most unusual event: here, in the State Academic Bolshoi Theater, for the first time in its history — the showing of a film. Now it will come — the third burst of applause as the Potemkin passes through the admiral’s squadron “flying the victorious flag of freedom." I am suddenly in a cold sweat. All other sensations are shocked out of existence. Spittle! My God! Spittle! Spittle! In the last-minute rush in the cutting room we had forgotten to splice the final reel. The sequence of the meeting of the squadron was made up of extremely short cuts. To make sure they would not be lost or get mixed up, I stuck them together by licking them with my tongue, and gave the reel to the assistant to splice. Then I took a look at the first version. Tore it apart. Looked at the second. Tore and changed that one, too. Suddenly I remember that my assistant did not have the time to splice up the final version. And by now it is out of the can and being threaded for projection. Film cement has not been substituted for spittle. Yes — I can tell by the music — the last reel has already started! How can I prevent disaster? In utter confusion I race through the semicircular hallways and spiral down the corkscrew stairs, possessed by a single desire, to bury myself in the cellar, in the earth, in oblivion. The break will come at any moment now! Bits of film will come flying out of the projector. The finale of the picture will be choked off, murdered. But then . . . unbelievable . . . a miracle!! The spittle holds! The film races through to the very end! Back in the cutting room we couldn't believe our own eyes — in our hands the short cuts came apart without the slightest effort, and yet they had been held together by some magic force as they ran, in one whole piece, through the projector . . ." — "Immoral Memories: An Autobiography" by Sergei Eisenstein, translated by Herbert Marshall, published in 1983
2:12

Today marks the 100th anniversary of the premiere of Battleship Potemkin, which took place at the Bolshoi Theatre in Moscow on December 21, 1925. Sergei Eisenstein on the film's premiere: "APPLAUSE LIKE THE CRACKLE of rifle shots echoes through the semi-circular corridors of the Bolshoi Theater. I am in the corridor, nervous not only about the fate of Potemkin, but about its . . . spittle. For, indeed, its last reel revolved around spittle. Climbing higher and higher, from the orchestra to the dress circle, from the mezzanine to the balcony, driven upward by the growth of excitement, I hungrily and anxiously drink in every sound of the applause. Then, like a thunderclap, it bursts from the entire audience. One — that is the scene with the red flag. Two — that’s the one of the guns of the Potemkin firing at the generals' headquarters in reply to the Odessa massacre. I continue to wander through the empty concentric halls. Not a soul. Even the ushers have gone inside, a most unusual event: here, in the State Academic Bolshoi Theater, for the first time in its history — the showing of a film. Now it will come — the third burst of applause as the Potemkin passes through the admiral’s squadron “flying the victorious flag of freedom." I am suddenly in a cold sweat. All other sensations are shocked out of existence. Spittle! My God! Spittle! Spittle! In the last-minute rush in the cutting room we had forgotten to splice the final reel. The sequence of the meeting of the squadron was made up of extremely short cuts. To make sure they would not be lost or get mixed up, I stuck them together by licking them with my tongue, and gave the reel to the assistant to splice. Then I took a look at the first version. Tore it apart. Looked at the second. Tore and changed that one, too. Suddenly I remember that my assistant did not have the time to splice up the final version. And by now it is out of the can and being threaded for projection. Film cement has not been substituted for spittle. Yes — I can tell by the music — the last reel has already started! How can I prevent disaster? In utter confusion I race through the semicircular hallways and spiral down the corkscrew stairs, possessed by a single desire, to bury myself in the cellar, in the earth, in oblivion. The break will come at any moment now! Bits of film will come flying out of the projector. The finale of the picture will be choked off, murdered. But then . . . unbelievable . . . a miracle!! The spittle holds! The film races through to the very end! Back in the cutting room we couldn't believe our own eyes — in our hands the short cuts came apart without the slightest effort, and yet they had been held together by some magic force as they ran, in one whole piece, through the projector . . ." — "Immoral Memories: An Autobiography" by Sergei Eisenstein, translated by Herbert Marshall, published in 1983

RadiantFilm

15,754 görüntüleme • 7 ay önce

Sally Ann Howes as Truly Scrumptious singing “Doll on a Music Box” in Chitty Chitty Bang Bang (1968). “Doll on a Music Box” is a song originally from the 1968 musical film, Chitty Chitty Bang Bang. It was subsequently performed in the 2002/2005 stage musical Chitty Chitty Bang Bang as well. It is both a musical and lyrical counterpoint to the more free flowing, legato song, “Truly Scrumptious”. In the song, Truly is disguised as a wind up music box doll, metaphorically and actually on a pedestal. In the song, Truly sings about herself and her rigid nature, all behind the mask of the “doll” she is portraying. In the motion picture, the part of Truly was played by actress Sally Ann Howes. In the stage musical version, the part was re-created by 19-year-old London actress, Emma Williams. In 2005, the Broadway “Truly” was portrayed by actress Erin Dilly, who was nominated for a Tony Award that year for the role. Wardrobe Truly Scrumptious sports a dirndl in this sequence consisting of a forest green satin bodice (trimmed in black velvet and accented with stitched crisscrossed red ribbon straps down the front and gold buttons), white blouse (the sleeves are double puffed done in delicate white silk satin; there are three yellow ribbons stitched to the sleeves for added detail; the collar is also trimmed in lace), full, printed (in the shape of gold diamonds) cotton red skirt (a tea length petticoat) and white, cotton apron (with a German inspired floral motif). Truly also wore white tights and black pumps (with a silver buckle near the toe area) with a Tyrolean hairstyle incorporating both pigtails and braids. “Doll on a Music Box” was written by Robert B. Sherman & Richard M. Sherman.
1:24

Sally Ann Howes as Truly Scrumptious singing “Doll on a Music Box” in Chitty Chitty Bang Bang (1968). “Doll on a Music Box” is a song originally from the 1968 musical film, Chitty Chitty Bang Bang. It was subsequently performed in the 2002/2005 stage musical Chitty Chitty Bang Bang as well. It is both a musical and lyrical counterpoint to the more free flowing, legato song, “Truly Scrumptious”. In the song, Truly is disguised as a wind up music box doll, metaphorically and actually on a pedestal. In the song, Truly sings about herself and her rigid nature, all behind the mask of the “doll” she is portraying. In the motion picture, the part of Truly was played by actress Sally Ann Howes. In the stage musical version, the part was re-created by 19-year-old London actress, Emma Williams. In 2005, the Broadway “Truly” was portrayed by actress Erin Dilly, who was nominated for a Tony Award that year for the role. Wardrobe Truly Scrumptious sports a dirndl in this sequence consisting of a forest green satin bodice (trimmed in black velvet and accented with stitched crisscrossed red ribbon straps down the front and gold buttons), white blouse (the sleeves are double puffed done in delicate white silk satin; there are three yellow ribbons stitched to the sleeves for added detail; the collar is also trimmed in lace), full, printed (in the shape of gold diamonds) cotton red skirt (a tea length petticoat) and white, cotton apron (with a German inspired floral motif). Truly also wore white tights and black pumps (with a silver buckle near the toe area) with a Tyrolean hairstyle incorporating both pigtails and braids. “Doll on a Music Box” was written by Robert B. Sherman & Richard M. Sherman.

Hollywood Golden Age of Cinema

32,968 görüntüleme • 12 gün önce

DAVID BOWIE ‘HEROES’ - THE POWERFUL & EVOCATIVE FINAL SONG IN THE SERIES FINALE OF NETFLIX’S STRANGER THINGS ‘HEROES’ IS AVAILABLE TO STREAM NOW ON PARLOPHONE: WATCH THE HD REMASTERED 'HEROES' VIDEO: New Year’s Day saw the broadcast on Netflix of the final episode of the phenomenally successful and critically lauded stranger things . Ten years in the making, the final song of the entire series is ‘Heroes’ by David Bowie, one of music’s boldest innovators and most enduring visionaries. After the final scene of Series 5 Episode 8 plays, the show doesn’t jump to its typical credits sequence. Instead, it rolls into a nostalgic animated end-credits segment and lets Bowie’s “Heroes” play all the way through. The decision to end the show with the iconic track was suggested by actor Joe Keery, who plays Steve Harrington on the show and records music under the name Djo. Speaking to Netflix Tudum, the show’s co-creator Ross Duffer says, “Once Joe said that, we immediately knew that was the right song to end the show on because it is, in some ways, an anthem for Stranger Things. To use the original Bowie version just felt right and fitting for the conclusion.” Initially released in September 1977, ‘Heroes’ is the title track of the second instalment of Bowie’s hugely influential ‘Berlin Trilogy’ of albums produced by Bowie and Tony Visconti and featuring Brian Eno. Recorded at Hansa Studios in West Berlin, which was situated only 150 metres away from the Berlin Wall and co-written with Eno, the song references the East German soldiers that could be seen from the studio’s control room and a love affair between a couple kissing in the shadow of the Wall. The song, which has become an iconic anthem, was recorded by Bowie in English, German and French and has been covered by artists such as Oasis, Prince, Coldplay, Yungblud, Lady Gaga, Arcade Fire, Smashing Pumpkins, Depeche Mode, Blondie, Neil Finn, Peter Gabriel, King Crimson, Bon Jovi, Motorhead, Miley Cyrus, Aurora, Moby, David Byrne & St Vincent and The Wallflowers, who took it into the US top 10. A decade after the 1977 release of ‘Heroes’, Bowie brought his Glass Spider Tour to Berlin during the Summer of 1987. He performed as part of a series of shows at the Reichstag, a poignant symbol of the divided city just metres away from the Wall. The concert was held near the border, where many East Berliners crowded along to listen to music forbidden by the Soviet government, allowing the two halves of the city to hear the same show, with ‘Heroes’ as the emotional highlight for both sides. Bowie later remarked, “We kind of heard that a few of the East Berliners might actually get the chance to hear the thing, but we didn’t realise in what numbers they would. And there were thousands on the other side that had come close to the wall. So it was like a double concert where the wall was the division. And we would hear them cheering and singing along from the other side. God, even now I get choked up. It was breaking my heart. I’d never done anything like that in my life, and I guess I never will again.” During the shows, the East German authorities cracked down on the fans, attacking them with water cannons and arresting hundreds. The shows helped change the mood around the Wall, which had stood for over a quarter of a century, and was now seen with renewed anger. Within two years, the Wall came down, and it has long been believed that the Concerts For Berlin were a turning point in the East. When Bowie died in 2016, the German Foreign Office confirmed as much by posting a live version of ‘Heroes’ on social media and declaring, ‘Good-bye David Bowie. You are now among #Heroes. Thank you for helping bring down the #wall’ #StrangerThings #BowieHeroes
0:40

DAVID BOWIE ‘HEROES’ - THE POWERFUL & EVOCATIVE FINAL SONG IN THE SERIES FINALE OF NETFLIX’S STRANGER THINGS ‘HEROES’ IS AVAILABLE TO STREAM NOW ON PARLOPHONE: WATCH THE HD REMASTERED 'HEROES' VIDEO: New Year’s Day saw the broadcast on Netflix of the final episode of the phenomenally successful and critically lauded stranger things . Ten years in the making, the final song of the entire series is ‘Heroes’ by David Bowie, one of music’s boldest innovators and most enduring visionaries. After the final scene of Series 5 Episode 8 plays, the show doesn’t jump to its typical credits sequence. Instead, it rolls into a nostalgic animated end-credits segment and lets Bowie’s “Heroes” play all the way through. The decision to end the show with the iconic track was suggested by actor Joe Keery, who plays Steve Harrington on the show and records music under the name Djo. Speaking to Netflix Tudum, the show’s co-creator Ross Duffer says, “Once Joe said that, we immediately knew that was the right song to end the show on because it is, in some ways, an anthem for Stranger Things. To use the original Bowie version just felt right and fitting for the conclusion.” Initially released in September 1977, ‘Heroes’ is the title track of the second instalment of Bowie’s hugely influential ‘Berlin Trilogy’ of albums produced by Bowie and Tony Visconti and featuring Brian Eno. Recorded at Hansa Studios in West Berlin, which was situated only 150 metres away from the Berlin Wall and co-written with Eno, the song references the East German soldiers that could be seen from the studio’s control room and a love affair between a couple kissing in the shadow of the Wall. The song, which has become an iconic anthem, was recorded by Bowie in English, German and French and has been covered by artists such as Oasis, Prince, Coldplay, Yungblud, Lady Gaga, Arcade Fire, Smashing Pumpkins, Depeche Mode, Blondie, Neil Finn, Peter Gabriel, King Crimson, Bon Jovi, Motorhead, Miley Cyrus, Aurora, Moby, David Byrne & St Vincent and The Wallflowers, who took it into the US top 10. A decade after the 1977 release of ‘Heroes’, Bowie brought his Glass Spider Tour to Berlin during the Summer of 1987. He performed as part of a series of shows at the Reichstag, a poignant symbol of the divided city just metres away from the Wall. The concert was held near the border, where many East Berliners crowded along to listen to music forbidden by the Soviet government, allowing the two halves of the city to hear the same show, with ‘Heroes’ as the emotional highlight for both sides. Bowie later remarked, “We kind of heard that a few of the East Berliners might actually get the chance to hear the thing, but we didn’t realise in what numbers they would. And there were thousands on the other side that had come close to the wall. So it was like a double concert where the wall was the division. And we would hear them cheering and singing along from the other side. God, even now I get choked up. It was breaking my heart. I’d never done anything like that in my life, and I guess I never will again.” During the shows, the East German authorities cracked down on the fans, attacking them with water cannons and arresting hundreds. The shows helped change the mood around the Wall, which had stood for over a quarter of a century, and was now seen with renewed anger. Within two years, the Wall came down, and it has long been believed that the Concerts For Berlin were a turning point in the East. When Bowie died in 2016, the German Foreign Office confirmed as much by posting a live version of ‘Heroes’ on social media and declaring, ‘Good-bye David Bowie. You are now among #Heroes. Thank you for helping bring down the #wall’ #StrangerThings #BowieHeroes

David Bowie Official

88,316 görüntüleme • 6 ay önce

ALAN YENTOB’S CRACKED ACTOR FILM IS FIFTY TODAY “I’m just the space cadet...he’s the commander…” * Around this time on the evening of Sunday 26th January 1975, Bowie fans were recovering from the 10:15pm broadcast of Alan Yentob's fifty-minute BBC 1 Cracked Actor documentary, which was part of the Omnibus series. Fifty years later it's almost impossible to calculate just how important that screening was to Bowie-starved fans in the UK. In America, not only did followers of the man and his music have the Diamond Dogs/Philly Dogs tours, but they also enjoyed TV broadcasts of The 1980 Floor Show, Ziggy Stardust The Motion Picture and The Dick Cavett Show. After Bowie’s 70s TOTPs appearances and his first proper television interview on Russell Harty Plus in January 1973, there had been little to sate the appetite of the hungry Bowie fan on UK television. So Cracked Actor came as a very welcome oasis in an otherwise dry spell of Bowie TV. Filmed in California and Philadelphia during the legendary Diamond Dogs Tour of 1974, it captured Bowie at a transitional stage in his life, then again, weren’t they all? The BBC had unique access to the man on and off stage, in the recording studio and while travelling. This gave fans a rare glimpse of the private Bowie and it made for compelling viewing. As with the aforementioned UK TV appearances, Cracked Actor had a profound effect on fans. It was their first real glimpse of the incredible live presentations that never reached the UK and despite the all-access nature of the documentary, it only added to the Bowie mystique. Cracked Actor impressed some fans enough to write a book about it. Check out The Fly In The Milk by Susan Compo and Mark Wardel. You’ll recognise the title as a reference to one of the lines from the back of the limo in the film. Like much of the dialogue from The Man Who Fell To Earth the following year (coincidentally it was Cracked Actor that inspired Nicolas Roeg to approach Bowie for the film), many fans would learn parrot-fashion the majority of the one-liners that Bowie uttered throughout: “Bleedin’ wax museum in the middle of the desert...you'd think it would melt” and “I never wanted to be a rock ‘n’ roll star. Honest guv, I wasn‘t even there. But I was, you see, I was there.” And thank goodness he was there! In the unlikely event you’ve not seen this remarkable film yet, it’s easy to find online. Also, From the river to the sea, Palestine will be free has managed to edit together a full-length version of Cracked Actor from it for your enjoyment. Watch it here: David Bowie | Cracked Actor | Live at the Universal Amphitheatre | 5 September 1974 * Timeless quotation by Hannah Breschard from the film. #BowieCrackedActor #BowieCrackedActorLive1974 #NachoBowie
0:56

ALAN YENTOB’S CRACKED ACTOR FILM IS FIFTY TODAY “I’m just the space cadet...he’s the commander…” * Around this time on the evening of Sunday 26th January 1975, Bowie fans were recovering from the 10:15pm broadcast of Alan Yentob's fifty-minute BBC 1 Cracked Actor documentary, which was part of the Omnibus series. Fifty years later it's almost impossible to calculate just how important that screening was to Bowie-starved fans in the UK. In America, not only did followers of the man and his music have the Diamond Dogs/Philly Dogs tours, but they also enjoyed TV broadcasts of The 1980 Floor Show, Ziggy Stardust The Motion Picture and The Dick Cavett Show. After Bowie’s 70s TOTPs appearances and his first proper television interview on Russell Harty Plus in January 1973, there had been little to sate the appetite of the hungry Bowie fan on UK television. So Cracked Actor came as a very welcome oasis in an otherwise dry spell of Bowie TV. Filmed in California and Philadelphia during the legendary Diamond Dogs Tour of 1974, it captured Bowie at a transitional stage in his life, then again, weren’t they all? The BBC had unique access to the man on and off stage, in the recording studio and while travelling. This gave fans a rare glimpse of the private Bowie and it made for compelling viewing. As with the aforementioned UK TV appearances, Cracked Actor had a profound effect on fans. It was their first real glimpse of the incredible live presentations that never reached the UK and despite the all-access nature of the documentary, it only added to the Bowie mystique. Cracked Actor impressed some fans enough to write a book about it. Check out The Fly In The Milk by Susan Compo and Mark Wardel. You’ll recognise the title as a reference to one of the lines from the back of the limo in the film. Like much of the dialogue from The Man Who Fell To Earth the following year (coincidentally it was Cracked Actor that inspired Nicolas Roeg to approach Bowie for the film), many fans would learn parrot-fashion the majority of the one-liners that Bowie uttered throughout: “Bleedin’ wax museum in the middle of the desert...you'd think it would melt” and “I never wanted to be a rock ‘n’ roll star. Honest guv, I wasn‘t even there. But I was, you see, I was there.” And thank goodness he was there! In the unlikely event you’ve not seen this remarkable film yet, it’s easy to find online. Also, From the river to the sea, Palestine will be free has managed to edit together a full-length version of Cracked Actor from it for your enjoyment. Watch it here: David Bowie | Cracked Actor | Live at the Universal Amphitheatre | 5 September 1974 * Timeless quotation by Hannah Breschard from the film. #BowieCrackedActor #BowieCrackedActorLive1974 #NachoBowie

David Bowie Official

30,539 görüntüleme • 1 yıl önce

Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious spark—global cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forward—teasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decay—cyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point
1:34

Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious spark—global cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forward—teasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decay—cyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point

NFK

3,351,468 görüntüleme • 8 ay önce

Since y’all liked the first list so much, here are 99 more games with boob and/or butt jiggle… • Arc Rise Fantasia [WII] • Dragon’s Dogma: Dark Arisen [NSW] • Fist of the North Star: Ken’s Rage [PS3] • Haydee [PC] • No More Heroes 2: Desperate Struggle [WII] • Ryse: Son of Rome [XBO] • Super Smash Bros. Ultimate [NSW] • Astral Chain [NSW] • Dungeon Fighter Online [PC] • Fighter Maker 2 [PS2] • Honkai Impact 3rd [PC] • Mercenary Kings [NSW] • Samurai Shodown [PS4] • The 3rd Birthday [PSP] • Baldur’s Gate: Dark Alliance II [PS2] • Dungeon Siege III [PS3] • Fighting Angels [PS2] • GunZ 2: The Second Duel [PC] • Hunted: The Demon’s Forge [PS3] • Metro: Last Light [PC] • R: Racing Evolution [PS2] • Scarlet Blade [PC] • The King of Route 66 [PS2] • Yakuza 0 [PS4] • Baten Kaitos Origins [GC] • Cel Damage [XB] • Demolition Girl [PS2] • Sengoku 3 [AES] • Dynasty Warriors 8 Empires [PS4] • Fitness Boxing [NSW] • J-Stars Victory Vs+ [PS4] • Trails Through Daybreak [PS5] • Batman: Arkham Knight [XBO] • Devil May Cry 4 [PS3] • Evil Zone [PSX] • Half-Life [PC] • Muramasa Rebirth [PSV] • Phantom Breaker: Battle Grounds [PSV] • Ready 2 Rumble Boxing [DC] • Sengoku Basara: Samurai Heroes [PS3] • Time Crisis: Razing Storm [PS3] • Bayonetta [XB360] • Conan Exiles [PS4] • Girl Fight [PS3] • Killer is Dead [PS3] • NEKOPARA Vol. 1 [PC] • Playboy: The Mansion [PS2] • SiN [PC] • Tokyo Mirage Sessions FE [WIIU] • Black Desert Online [PC] • Cross Edge [PS3] • The House of the Dead: Overkill [WII] • Dissidia 012 Final Fantasy [PSP] • Eternal Champions: CftDS [SCD] • God Eater 3 [NSW] • Hatsune Miku: Project DIVA f [PS3] • Leisure Suit Larry: Magna Cum Laude [PC] • Neverwinter Nights [PC] • Pirates: The Legend of Black Kat [XB] • Red Dead Redemption [XB360] • Skullgirls [PS3] • Uppers [PC] • Blade & Soul [PC] • Dead Rising [XB360] • BlazBlue: Central Fiction Special Edition [NSW] • Dragon Star Varnir [NSW] • Fatal Fury 2 [AES] • Lost Ruins [NSW] • Smite [PC] • Reynatis [PS5] • Sonic Adventure 2 [DC] • Valkyria Chronicles [PS3] • Kingdom Hearts: Birth by Sleep [PSP] • Boo Party [NSW] • Dead or School [NSW] • Fate/EXTELLA Link [NSW] • Golden Axe: Beast Rider [PS3] • Mega Man X DiVE [MOB] • Nitroplus Blasterz: Heroines Infinite Duel [PS3] • Star Trek Online [PC] • Ōkami [PS2] • Ride to Hell: Retribution [PS3] • ArcheBlade [PC] • Super Galdelic Hour [PS2] • X-Men: Children of the Atom [SAT] • Indivisible [PS4] • Wuthering Waves [PC] • Guacamelee! [PS4] • Scott Pilgrim vs. The World: The Game [NSW] • Amazing Princess Sarah [PC] • The Witcher [PC] • Guns, Gore & Cannoli [XBO] • Spacelords [PC] • Darksiders II: Deathinitive Edition [NSW] • Street Fighter X Tekken [PS3] • Duke Nukem Forever [XB360] • PUBG: Battlegrounds [PC] • Ar tonelico Qoga: Knell of Ar Ciel [PS3] • Grand Theft Auto V [PS3] (Again, please note that the platform in brackets to the side indicates which version I’ve played or may prefer for one reason or another. That does not mean it’s the only platform to feature jiggle. Also this is not an exhaustive list. I’ve limited to just one entry per series, for instance.)
0:17

Since y’all liked the first list so much, here are 99 more games with boob and/or butt jiggle… • Arc Rise Fantasia [WII] • Dragon’s Dogma: Dark Arisen [NSW] • Fist of the North Star: Ken’s Rage [PS3] • Haydee [PC] • No More Heroes 2: Desperate Struggle [WII] • Ryse: Son of Rome [XBO] • Super Smash Bros. Ultimate [NSW] • Astral Chain [NSW] • Dungeon Fighter Online [PC] • Fighter Maker 2 [PS2] • Honkai Impact 3rd [PC] • Mercenary Kings [NSW] • Samurai Shodown [PS4] • The 3rd Birthday [PSP] • Baldur’s Gate: Dark Alliance II [PS2] • Dungeon Siege III [PS3] • Fighting Angels [PS2] • GunZ 2: The Second Duel [PC] • Hunted: The Demon’s Forge [PS3] • Metro: Last Light [PC] • R: Racing Evolution [PS2] • Scarlet Blade [PC] • The King of Route 66 [PS2] • Yakuza 0 [PS4] • Baten Kaitos Origins [GC] • Cel Damage [XB] • Demolition Girl [PS2] • Sengoku 3 [AES] • Dynasty Warriors 8 Empires [PS4] • Fitness Boxing [NSW] • J-Stars Victory Vs+ [PS4] • Trails Through Daybreak [PS5] • Batman: Arkham Knight [XBO] • Devil May Cry 4 [PS3] • Evil Zone [PSX] • Half-Life [PC] • Muramasa Rebirth [PSV] • Phantom Breaker: Battle Grounds [PSV] • Ready 2 Rumble Boxing [DC] • Sengoku Basara: Samurai Heroes [PS3] • Time Crisis: Razing Storm [PS3] • Bayonetta [XB360] • Conan Exiles [PS4] • Girl Fight [PS3] • Killer is Dead [PS3] • NEKOPARA Vol. 1 [PC] • Playboy: The Mansion [PS2] • SiN [PC] • Tokyo Mirage Sessions FE [WIIU] • Black Desert Online [PC] • Cross Edge [PS3] • The House of the Dead: Overkill [WII] • Dissidia 012 Final Fantasy [PSP] • Eternal Champions: CftDS [SCD] • God Eater 3 [NSW] • Hatsune Miku: Project DIVA f [PS3] • Leisure Suit Larry: Magna Cum Laude [PC] • Neverwinter Nights [PC] • Pirates: The Legend of Black Kat [XB] • Red Dead Redemption [XB360] • Skullgirls [PS3] • Uppers [PC] • Blade & Soul [PC] • Dead Rising [XB360] • BlazBlue: Central Fiction Special Edition [NSW] • Dragon Star Varnir [NSW] • Fatal Fury 2 [AES] • Lost Ruins [NSW] • Smite [PC] • Reynatis [PS5] • Sonic Adventure 2 [DC] • Valkyria Chronicles [PS3] • Kingdom Hearts: Birth by Sleep [PSP] • Boo Party [NSW] • Dead or School [NSW] • Fate/EXTELLA Link [NSW] • Golden Axe: Beast Rider [PS3] • Mega Man X DiVE [MOB] • Nitroplus Blasterz: Heroines Infinite Duel [PS3] • Star Trek Online [PC] • Ōkami [PS2] • Ride to Hell: Retribution [PS3] • ArcheBlade [PC] • Super Galdelic Hour [PS2] • X-Men: Children of the Atom [SAT] • Indivisible [PS4] • Wuthering Waves [PC] • Guacamelee! [PS4] • Scott Pilgrim vs. The World: The Game [NSW] • Amazing Princess Sarah [PC] • The Witcher [PC] • Guns, Gore & Cannoli [XBO] • Spacelords [PC] • Darksiders II: Deathinitive Edition [NSW] • Street Fighter X Tekken [PS3] • Duke Nukem Forever [XB360] • PUBG: Battlegrounds [PC] • Ar tonelico Qoga: Knell of Ar Ciel [PS3] • Grand Theft Auto V [PS3] (Again, please note that the platform in brackets to the side indicates which version I’ve played or may prefer for one reason or another. That does not mean it’s the only platform to feature jiggle. Also this is not an exhaustive list. I’ve limited to just one entry per series, for instance.)

Joshua Michael French ジョシュア

58,244 görüntüleme • 2 yıl önce

🚨NEW: Hamas Weighs U.S. Ceasefire Proposal Under Intense Pressure, Wide-Eyed About “Deception Operation” Ceasefire negotiations are underway, but Hamas has only just received a written proposal—one insiders say is nearly identical to the U.S. draft it rejected in May. Speaking on Breaking Points, Drop Site’s jeremy scahill reported that Hamas is under massive pressure to accept the deal despite major shortcomings, including no guarantee that Israel will not resume its assault. A senior Hamas official told Scahill the new proposal is part of a “deception operation” designed to push them into a temporary truce while allowing Israel to restart the war. Additional Details: ➤ No Israeli Guarantee to End War The proposed deal includes a 60-day truce, but no language preventing Israel from resuming military operations afterward. This has long been a core demand from Hamas—and remains unmet. ➤ Trump Named as Personal Guarantor—But Vaguely The deal explicitly names Donald Trump in points 1 and 13, stating he “wants” the truce to lead to a resolution. But it stops short of a firm commitment to restrain Israel. ➤ Captive Release Timeline Slightly Changed Instead of 10 Israeli captives freed in week one (as in May), the new plan has Hamas releasing 8 by day 5 and the final 2 by day 50. Bodies of 18 deceased Israelis would be returned over the two-month span. ➤ No Terms on Palestinian Prisoner Release The deal includes no specifics on how many of the over 10,000 Palestinian prisoners will be freed—marking a notable break from prior frameworks. ➤ No Plan for Who Governs Gaza, Though U.S. and Israel Insist Hamas Must Go Hamas has previously offered to relinquish governing authority, and even put it in writing. But that pledge is missing from this version—just as it has been removed each time by the U.S. and Israel. The current proposal offers no clarity on who would take power if Hamas steps down. ➤ No Mention of Philadelphia Corridor Withdrawal The proposal says nothing about Israel’s hold over Gaza’s last gateway to the outside world via Egypt, a top concern for Hamas. ➤ Side Letters and Secret Deals Israeli media report Trump plans to give Netanyahu a secret “side letter” allowing Israel to resume war if Hamas refuses to disarm and relinquish power. Hamas may seek a side letter of its own to secure aid flow and prevent a new scorched-earth Israeli bombing campaign. ➤ Bottom-line: Scahill: Hamas May Accept Deal to Relieve Unbearable Suffering “Hamas is very seriously considering taking this deal, even though they don’t think it’s a good deal,” Scahill said. “They’re under a lot of pressure. The negotiators all have family members who’ve been killed. People are suffering immensely in Gaza, and there is unprecedented pressure—not in a hostile way, but in a desperate way: please make a deal.” He added, “Palestinians are in an unspeakable situation right now. The level of desperation is off the charts. The entire society is being slowly strangled to death.” Drop Site is continuing to track this closely. More details to follow.
13:18

🚨NEW: Hamas Weighs U.S. Ceasefire Proposal Under Intense Pressure, Wide-Eyed About “Deception Operation” Ceasefire negotiations are underway, but Hamas has only just received a written proposal—one insiders say is nearly identical to the U.S. draft it rejected in May. Speaking on Breaking Points, Drop Site’s jeremy scahill reported that Hamas is under massive pressure to accept the deal despite major shortcomings, including no guarantee that Israel will not resume its assault. A senior Hamas official told Scahill the new proposal is part of a “deception operation” designed to push them into a temporary truce while allowing Israel to restart the war. Additional Details: ➤ No Israeli Guarantee to End War The proposed deal includes a 60-day truce, but no language preventing Israel from resuming military operations afterward. This has long been a core demand from Hamas—and remains unmet. ➤ Trump Named as Personal Guarantor—But Vaguely The deal explicitly names Donald Trump in points 1 and 13, stating he “wants” the truce to lead to a resolution. But it stops short of a firm commitment to restrain Israel. ➤ Captive Release Timeline Slightly Changed Instead of 10 Israeli captives freed in week one (as in May), the new plan has Hamas releasing 8 by day 5 and the final 2 by day 50. Bodies of 18 deceased Israelis would be returned over the two-month span. ➤ No Terms on Palestinian Prisoner Release The deal includes no specifics on how many of the over 10,000 Palestinian prisoners will be freed—marking a notable break from prior frameworks. ➤ No Plan for Who Governs Gaza, Though U.S. and Israel Insist Hamas Must Go Hamas has previously offered to relinquish governing authority, and even put it in writing. But that pledge is missing from this version—just as it has been removed each time by the U.S. and Israel. The current proposal offers no clarity on who would take power if Hamas steps down. ➤ No Mention of Philadelphia Corridor Withdrawal The proposal says nothing about Israel’s hold over Gaza’s last gateway to the outside world via Egypt, a top concern for Hamas. ➤ Side Letters and Secret Deals Israeli media report Trump plans to give Netanyahu a secret “side letter” allowing Israel to resume war if Hamas refuses to disarm and relinquish power. Hamas may seek a side letter of its own to secure aid flow and prevent a new scorched-earth Israeli bombing campaign. ➤ Bottom-line: Scahill: Hamas May Accept Deal to Relieve Unbearable Suffering “Hamas is very seriously considering taking this deal, even though they don’t think it’s a good deal,” Scahill said. “They’re under a lot of pressure. The negotiators all have family members who’ve been killed. People are suffering immensely in Gaza, and there is unprecedented pressure—not in a hostile way, but in a desperate way: please make a deal.” He added, “Palestinians are in an unspeakable situation right now. The level of desperation is off the charts. The entire society is being slowly strangled to death.” Drop Site is continuing to track this closely. More details to follow.

Drop Site

34,205 görüntüleme • 1 yıl önce

🔥Is Trump a Follower of Aleister Crowley? Is QAnon a Kabbalistic PsyOp Based on the Book of Revelation? In 1889 Ingersoll Lockwood published the book ‚Travels and Adventures of Little Baron Trump and his Wonderful Dog Bulger‘. In this story the people call Baron Trump, guided by a mentor named Don, a ‚Master magician‘, ‚Prince of the Black Art‘ and ‚little wizard‘. Ingersoll’s father Munson was an intimate friend of the then well known freemason and secretary of state, Henry Clay. Ingersoll also wrote the books ‚The Last President‘ and ‚Laconics of Cult‘ where he proposed a ‚Cult of the Immortal Human‘. On June 14th 1946, a blood moon and the exact date of Donald Trump’s birth, Kabbalist Aleister Crowley wrote to a friend that Jack Parsons or L. Ron Hubbard were trying to produce a moon child. A series about Parsons, Hubbard and the project called Strange Angels was released exactly on June 14, 2018, during Trump's presidency. The famous serial killer Jason Voorhees from the movie "Friday the 13th" was born in the movie on Friday, June 13, 1946. However, Friday was the fourteenth in the real world, so Jason's birthday is actually the same day as Trump’s. In 1979 Leslie Donald Epstein wrote ‚King of the Jews‘ about a man whose name is I.C. Trumpelman, who is called a ‚Magician‘ in the book. His father, Philip G. Epstein, and his twin brother, Julius J. Epstein, were famous Hollywood screenwriters (Casablanca and many others). In 2016 a Shaman told Aleister Crowley follower Marina Abramović that Trump is a magician. She later called him a magician of the highest order. In 2018, occult expert Gary Lachman called Trump a ‚chaos magician‘ in the book ‚Dark Star Rising‘. In 2019 Marina Abramović posed with Jacob Rothschild in front of the painting ‚Satan Summoning His Legions‘ with Satan looking like the statue of liberty. Trump himself was bailed out by Rothschild banker Wilbur Ross in 1991, who in 2017 became his secretary of Commerce. In 2025 the documentary ‚Master of the Temple: The Tragedy of Jack Parsons‘ shows Crowley’s Tarot Card ‚The magician‘, which is a trump card. The magician is exactly dressed like Donald Trump nine months later on Truth Social. Most people thought Trump was portrayed as Jesus, but from a talmudic perspective that doesn’t make a difference, because Jesus is called a magician and sorcerer in the Talmud. The latin word MAGA means wizard and MAGA is the highest ranking female magician in the Church of Satan. Qanon and the Book of Revelation Recently Trump posted the clearest Q reference so far. So he is still clearly pushing this narrative. In October 2011, Boris Nikolic — an adviser to Bill Gates — introduced Jeffrey Epstein to Christopher Poole (known as “moot”), the founder of 4chan. Just days after their meeting, Nikolic highlighted 4chan’s “huge potential for manipulation,” coinciding with the launch of the politically charged /pol/ board that later became the platform for QAnon. Epstein himself was also interested in the Kabbalah. Even if we ignore this: The original spelling of Kabbalah is Qabbalah. This variant is strictly based on the Hebrew transcription of the letter Qof (ק), which is transcribed as Q in Hebrew. Q also is basically the name of the alleged original source of the NT. The Q Source Theory suggests that Matthew and Luke used the Gospel of Mark plus a lost collection of Jesus’ sayings called “Q” (from German “Quelle” = source) as their main sources. Q stand for the German word Quelle. The posts were deciphered with the cabalistic Gematria. The Book of Revelation and Qanon both tell basically the same story: Difficult times are coming, but don’t worry the Messiah (Trump or Jesus) will come and save us. Only one quote: ‚There is a penultimate quality at play here in the experience of revelation, suggesting that each revelation—each “Q Proof,” each “ominous” portent of the Second Coming—is only one coded message away from the final one, the ultimate apocalypse in which all will be unveiled. This penultimate quality provides the momentum necessary for sustaining commitment at the critical moment when prophecy fails. The momentum afforded by this invitation is all the more evident in the two cases examined here, where revelation is premised upon the backward glance of a prophetic hermeneutic in which the voice of the past may be recruited for the interpretation of an endlessly unfolding future. When prophecy fails, cognitive dissonance and disappointment may follow, but so, too does an invitation to consider the possibility of a greater, more thoroughly encompassing hidden truth to displace the previous one—an invitation to dwell once more on the verge of revelation.‘ The study compares Qanon to a movement, called Millerism. The Millerites were the followers of the teachings of William Miller, who in 1831 first shared publicly his belief that the Second Advent of Jesus Christ would occur in roughly the year 1843–1844. “The Storm is coming” sounds like a modern version of “Behold, I am coming soon” (Rev. 22). The Book of Revelation was basically written by a Kabbalist. According to modern research it was written by a jewish mystic numerologist, today we would say a Kabbalist. This is what the New World Encyclopedia writes: ‚many modern scholars—as well as a number of the early Church Fathers—hold that John of Patmos was a different person from the other writers of the Johannine literature… Since John of Patmos, in contrast to the author of the Gospel of John, did not have a good command of Greek and exhibits a more overtly Jewish attitude than the other "John," some believe that it is he, and not the author of the Gospel of John, who should be identified as John the Apostle… However, Irenaeus and others indicate that a sect called the "Alogi" denied the authenticity of Revelation, believing it to have been written not by John the Apostle but by the Jewish-Christian teacher Cerinthus, who emphasized the need to follow the Jewish law and denied the divinity of Christ. Caius, a presbyter in Rome, held a similar opinion, believing John of Patmos to be Cerinthus… Some other authorities, especially in the Eastern Church, also rejected the book and thus denied that it could have been written by John the Apostle… In contrast to the author of the Gospel of John, John of Patmos speaks very much as a Jewish Christian, referring to Jesus as he who "holds the key of David" (3:7) and the "Lion of the tribe of Judah, the Root of David." (5:5) He also condemns the careless attitude of some of the Pauline churches who permitted eating food which had been offered to idols (, ). Moreover, for John of Patmos, the "elect" saints are not Gentile Christians but "144,000 from all the tribes of Israel," with 12,000 coming from each specifically-named tribe (7:4-8)… But John the Apostle wrote (): 'You are of your father the devil, and the desires of your father you want to do.' In John , Jesus declares, "My kingdom is not of this world." Luke -21: „Jesus replied, “The coming of the kingdom of God is not something that can be observed, Nor will they say, ‘See here!’ or ‘See there!’ For indeed, the kingdom of God is within you.” ‚Lastly, the Gospel of John is written in nearly flawless Greek, but Revelation contains grammatical errors and stylistic abnormalities which indicate its author was not as familiar with the Greek language as the Gospel's author.‘ A Cambridge study writes: 'The Book of Revelation mimics the form of other contemporary Jewish apocalypses, in which the otherworldly journeys of seers are described, focusing on the premortem journey or vision, and the revelation of secret knowledge of world events and cosmic endings.' And of course Christian Zionists utilize the Book of Revelation to frame modern geopolitical events, particularly regarding the State of Israel, as necessary precursors to the Second Coming of Christ. Revelation 1: '10 On the Lord's Day I was seized by the Spirit and heard a voice behind me as loud as a trumpet.' Corona also appears in Revelation. The great red dragon has seven crowns and the Latin word for crown is corona (Rev 12:3). The numerical values for Corona add up to 666. But what impresses me most is this passage. Revelation -21 (LUT): 20 And the rest of the people who were not killed by these plagues did not turn from the works of their hands, that they did not worship evil spirits and idols of gold, silver, brass, stone and wood, which cannot see or hear or walk; 21 nor did they turn from their murders, their sorcery, their fornication and their thievery. The word used here for sorcery is pharmakos! That's where our word for pharmacy comes from! Éliphas Lévi (Baphomet inventor) writes in The History of Magic: ‚The glory of Christianity is that it called all men to truth, without distinction of races and castes, though not without distinction in respect of intelligence and of virtue. “Cast not your pearls before swine,” said the Divine Founder of Christianity, “lest treading them under foot, they turn and rend you.” The Apocalypse or Revelation of St. John, which comprises all the Kabalistic secrets concerning the doctrine of Christ Jesus, is a book no less obscure than the Zohar.‘ Levi also wrote:„That great Kabalistical association known in Europe under the name of Masonry appeared suddenly in the world“ The Freemason dictionary states: „Although modern Freemasonry draws on the medieval tradition of the builders' lodge, it is Kabbalah that constitutes the very essence of Freemasonry.“ The Jewish Forward writes: „Why conspiracy theorists keep turning to Jewish mysticism — from early Nazis to modern-day MAGA A viral clip of a Trump supporter blissfully misunderstanding Jewish mystic numerology raised old questions about how Kabbalah is understood by the public“ What is the one thing, Q never told us? That Kabbalah is the ideology of Freemasons. What is the motto of Kabbalist Aleister Crowley? ‚Do what thou wilt.‘ Donald Trump is constantly saying I can do what I want. Donald Trump has proven ties to Chabad Lubawitsch, which is a cabalistic sect. And what is practical Kabbalah? Magic! Major donors in Trump’s orbit also show strong connections to Chabad-Lubawitsch and thus to Kabbalah. Sheldon and Miriam Adelson were major Chabad supporters. They visited the Lubavitcher Rebbe in 1991 for a blessing and funded Chabad centers. The Kushner family donated hundreds of thousands to Chabad projects. Jared and Ivanka have maintained ties to the movement as well. Several other Trump-associated businessmen with Russian-Jewish backgrounds (such as Lev Leviev, Felix Sater and others) are also well-known Chabad supporters. Chabad is heavily rooted in Kabbalah and actively teaches and practices its concepts. So you have to believe that Donald Trump with all these synchronicities and proven ties to Kabbalists, just coincidentally posted himself as Magician of the Crowley Tarot with demons in the background? I have an even crazier sounding interpretation of the book of revelation, namely that events described here really took place. It relates to the alien agenda which Donald Trump is also pushing. I describe it in detail in my book ‚The Open Secret‘ and soon in a video. But for now, the least we can say is, that the Book of Revelation was written by a jewish mystic numerologist and Qanon basically tells the same story.
31:29

🔥Is Trump a Follower of Aleister Crowley? Is QAnon a Kabbalistic PsyOp Based on the Book of Revelation? In 1889 Ingersoll Lockwood published the book ‚Travels and Adventures of Little Baron Trump and his Wonderful Dog Bulger‘. In this story the people call Baron Trump, guided by a mentor named Don, a ‚Master magician‘, ‚Prince of the Black Art‘ and ‚little wizard‘. Ingersoll’s father Munson was an intimate friend of the then well known freemason and secretary of state, Henry Clay. Ingersoll also wrote the books ‚The Last President‘ and ‚Laconics of Cult‘ where he proposed a ‚Cult of the Immortal Human‘. On June 14th 1946, a blood moon and the exact date of Donald Trump’s birth, Kabbalist Aleister Crowley wrote to a friend that Jack Parsons or L. Ron Hubbard were trying to produce a moon child. A series about Parsons, Hubbard and the project called Strange Angels was released exactly on June 14, 2018, during Trump's presidency. The famous serial killer Jason Voorhees from the movie "Friday the 13th" was born in the movie on Friday, June 13, 1946. However, Friday was the fourteenth in the real world, so Jason's birthday is actually the same day as Trump’s. In 1979 Leslie Donald Epstein wrote ‚King of the Jews‘ about a man whose name is I.C. Trumpelman, who is called a ‚Magician‘ in the book. His father, Philip G. Epstein, and his twin brother, Julius J. Epstein, were famous Hollywood screenwriters (Casablanca and many others). In 2016 a Shaman told Aleister Crowley follower Marina Abramović that Trump is a magician. She later called him a magician of the highest order. In 2018, occult expert Gary Lachman called Trump a ‚chaos magician‘ in the book ‚Dark Star Rising‘. In 2019 Marina Abramović posed with Jacob Rothschild in front of the painting ‚Satan Summoning His Legions‘ with Satan looking like the statue of liberty. Trump himself was bailed out by Rothschild banker Wilbur Ross in 1991, who in 2017 became his secretary of Commerce. In 2025 the documentary ‚Master of the Temple: The Tragedy of Jack Parsons‘ shows Crowley’s Tarot Card ‚The magician‘, which is a trump card. The magician is exactly dressed like Donald Trump nine months later on Truth Social. Most people thought Trump was portrayed as Jesus, but from a talmudic perspective that doesn’t make a difference, because Jesus is called a magician and sorcerer in the Talmud. The latin word MAGA means wizard and MAGA is the highest ranking female magician in the Church of Satan. Qanon and the Book of Revelation Recently Trump posted the clearest Q reference so far. So he is still clearly pushing this narrative. In October 2011, Boris Nikolic — an adviser to Bill Gates — introduced Jeffrey Epstein to Christopher Poole (known as “moot”), the founder of 4chan. Just days after their meeting, Nikolic highlighted 4chan’s “huge potential for manipulation,” coinciding with the launch of the politically charged /pol/ board that later became the platform for QAnon. Epstein himself was also interested in the Kabbalah. Even if we ignore this: The original spelling of Kabbalah is Qabbalah. This variant is strictly based on the Hebrew transcription of the letter Qof (ק), which is transcribed as Q in Hebrew. Q also is basically the name of the alleged original source of the NT. The Q Source Theory suggests that Matthew and Luke used the Gospel of Mark plus a lost collection of Jesus’ sayings called “Q” (from German “Quelle” = source) as their main sources. Q stand for the German word Quelle. The posts were deciphered with the cabalistic Gematria. The Book of Revelation and Qanon both tell basically the same story: Difficult times are coming, but don’t worry the Messiah (Trump or Jesus) will come and save us. Only one quote: ‚There is a penultimate quality at play here in the experience of revelation, suggesting that each revelation—each “Q Proof,” each “ominous” portent of the Second Coming—is only one coded message away from the final one, the ultimate apocalypse in which all will be unveiled. This penultimate quality provides the momentum necessary for sustaining commitment at the critical moment when prophecy fails. The momentum afforded by this invitation is all the more evident in the two cases examined here, where revelation is premised upon the backward glance of a prophetic hermeneutic in which the voice of the past may be recruited for the interpretation of an endlessly unfolding future. When prophecy fails, cognitive dissonance and disappointment may follow, but so, too does an invitation to consider the possibility of a greater, more thoroughly encompassing hidden truth to displace the previous one—an invitation to dwell once more on the verge of revelation.‘ The study compares Qanon to a movement, called Millerism. The Millerites were the followers of the teachings of William Miller, who in 1831 first shared publicly his belief that the Second Advent of Jesus Christ would occur in roughly the year 1843–1844. “The Storm is coming” sounds like a modern version of “Behold, I am coming soon” (Rev. 22). The Book of Revelation was basically written by a Kabbalist. According to modern research it was written by a jewish mystic numerologist, today we would say a Kabbalist. This is what the New World Encyclopedia writes: ‚many modern scholars—as well as a number of the early Church Fathers—hold that John of Patmos was a different person from the other writers of the Johannine literature… Since John of Patmos, in contrast to the author of the Gospel of John, did not have a good command of Greek and exhibits a more overtly Jewish attitude than the other "John," some believe that it is he, and not the author of the Gospel of John, who should be identified as John the Apostle… However, Irenaeus and others indicate that a sect called the "Alogi" denied the authenticity of Revelation, believing it to have been written not by John the Apostle but by the Jewish-Christian teacher Cerinthus, who emphasized the need to follow the Jewish law and denied the divinity of Christ. Caius, a presbyter in Rome, held a similar opinion, believing John of Patmos to be Cerinthus… Some other authorities, especially in the Eastern Church, also rejected the book and thus denied that it could have been written by John the Apostle… In contrast to the author of the Gospel of John, John of Patmos speaks very much as a Jewish Christian, referring to Jesus as he who "holds the key of David" (3:7) and the "Lion of the tribe of Judah, the Root of David." (5:5) He also condemns the careless attitude of some of the Pauline churches who permitted eating food which had been offered to idols (, ). Moreover, for John of Patmos, the "elect" saints are not Gentile Christians but "144,000 from all the tribes of Israel," with 12,000 coming from each specifically-named tribe (7:4-8)… But John the Apostle wrote (): 'You are of your father the devil, and the desires of your father you want to do.' In John , Jesus declares, "My kingdom is not of this world." Luke -21: „Jesus replied, “The coming of the kingdom of God is not something that can be observed, Nor will they say, ‘See here!’ or ‘See there!’ For indeed, the kingdom of God is within you.” ‚Lastly, the Gospel of John is written in nearly flawless Greek, but Revelation contains grammatical errors and stylistic abnormalities which indicate its author was not as familiar with the Greek language as the Gospel's author.‘ A Cambridge study writes: 'The Book of Revelation mimics the form of other contemporary Jewish apocalypses, in which the otherworldly journeys of seers are described, focusing on the premortem journey or vision, and the revelation of secret knowledge of world events and cosmic endings.' And of course Christian Zionists utilize the Book of Revelation to frame modern geopolitical events, particularly regarding the State of Israel, as necessary precursors to the Second Coming of Christ. Revelation 1: '10 On the Lord's Day I was seized by the Spirit and heard a voice behind me as loud as a trumpet.' Corona also appears in Revelation. The great red dragon has seven crowns and the Latin word for crown is corona (Rev 12:3). The numerical values for Corona add up to 666. But what impresses me most is this passage. Revelation -21 (LUT): 20 And the rest of the people who were not killed by these plagues did not turn from the works of their hands, that they did not worship evil spirits and idols of gold, silver, brass, stone and wood, which cannot see or hear or walk; 21 nor did they turn from their murders, their sorcery, their fornication and their thievery. The word used here for sorcery is pharmakos! That's where our word for pharmacy comes from! Éliphas Lévi (Baphomet inventor) writes in The History of Magic: ‚The glory of Christianity is that it called all men to truth, without distinction of races and castes, though not without distinction in respect of intelligence and of virtue. “Cast not your pearls before swine,” said the Divine Founder of Christianity, “lest treading them under foot, they turn and rend you.” The Apocalypse or Revelation of St. John, which comprises all the Kabalistic secrets concerning the doctrine of Christ Jesus, is a book no less obscure than the Zohar.‘ Levi also wrote:„That great Kabalistical association known in Europe under the name of Masonry appeared suddenly in the world“ The Freemason dictionary states: „Although modern Freemasonry draws on the medieval tradition of the builders' lodge, it is Kabbalah that constitutes the very essence of Freemasonry.“ The Jewish Forward writes: „Why conspiracy theorists keep turning to Jewish mysticism — from early Nazis to modern-day MAGA A viral clip of a Trump supporter blissfully misunderstanding Jewish mystic numerology raised old questions about how Kabbalah is understood by the public“ What is the one thing, Q never told us? That Kabbalah is the ideology of Freemasons. What is the motto of Kabbalist Aleister Crowley? ‚Do what thou wilt.‘ Donald Trump is constantly saying I can do what I want. Donald Trump has proven ties to Chabad Lubawitsch, which is a cabalistic sect. And what is practical Kabbalah? Magic! Major donors in Trump’s orbit also show strong connections to Chabad-Lubawitsch and thus to Kabbalah. Sheldon and Miriam Adelson were major Chabad supporters. They visited the Lubavitcher Rebbe in 1991 for a blessing and funded Chabad centers. The Kushner family donated hundreds of thousands to Chabad projects. Jared and Ivanka have maintained ties to the movement as well. Several other Trump-associated businessmen with Russian-Jewish backgrounds (such as Lev Leviev, Felix Sater and others) are also well-known Chabad supporters. Chabad is heavily rooted in Kabbalah and actively teaches and practices its concepts. So you have to believe that Donald Trump with all these synchronicities and proven ties to Kabbalists, just coincidentally posted himself as Magician of the Crowley Tarot with demons in the background? I have an even crazier sounding interpretation of the book of revelation, namely that events described here really took place. It relates to the alien agenda which Donald Trump is also pushing. I describe it in detail in my book ‚The Open Secret‘ and soon in a video. But for now, the least we can say is, that the Book of Revelation was written by a jewish mystic numerologist and Qanon basically tells the same story.

Oliver Janich

24,966 görüntüleme • 2 ay önce

Strong legs are the foundations of a stable posture, yet many let theirs weaken over time. You lose your ability to move and stand upright. Much of my work with chronic pain clients involves strengthening the legs. This video shows 8 essential lower body motions: 1- Hip Extensions Standing upright involves straightening your torso to align it with your lower body, an extension of your hips executed by your Glutes and Hamstrings. The problem is you sit on these muscles all day, weakening them over the years to the point where they fail to do their job. Your lower back picks up the slack against its will and becomes overworked. I'll start chronic pain clients with Hip Bridges on the floor to ensure everything is balanced, then progress to Hip Thrusts and eventually Standing exercises like the Romanian Deadlift. As for the Deadlift off the floor, those are great if you can access a barbell or kettlebell. - Hip Bridge (0:05) - Hip Thrust (0:11) - Romanian Deadlift (0:17) - Deadlift (0:23) 2- Split Squats Split Squats are excellent for strengthening the knees. In the case of a chronic pain client, I use them to stretch the quad and Hip Flexors of the back leg, which are often extremely stiff due to sitting. This stiffness makes the body collapse forward and is often the limiting factor when people try this exercise for the first time. I'll start someone with the Front Foot elevated because it's easier on the front leg and gives a great stretch, then progress to flat and rear foot elevated. - Front foot elevated (0:30) - Flat (0:36) - Rear-foot elevated (0:42.2) 3- Lunges Lunges are the dynamic version of the Split Squat. Besides being excellent for strengthening your leg muscles, the one thing I love about this exercise is that it teaches you how to brace yourself as your foot lands. Many people lack the core strength to absorb an impact. Lunges develop that shock absorption capacity, especially when done with weights. Ensure you have mastered the Split Squats before doing them, and use different directions to target your muscles differently. - Forward (0:48) - Back (0:54.7) - Side (1:07) 4- Squats The king of all exercises is crucial for your ascension. The vertical motion improves your ability to overcome the world's weight crashing down upon you. It's also an amazing Glute and Quad stretch in the bottom position. I'll start chronic pain clients with the bodyweight variation before progressing them to weighted and eventually one-legged, also known as Pistol Squats. Doing one leg at a time is one of the best ways to balance your body's left and right sides from head to toe. - Body weight (1:12.5) - Loaded (1:19) - Pistol (1:25.5) 5- Step-ups Step-ups are amongst my favorite one-sided exercises to strengthen the Glutes and Quads. They are excellent for improving the stability of your hips and abdominal muscles. Use the Front and Lateral variations to maximize your results. - Front (1:31.5) - Lateral (1:38) 6 - Leg Curls Leg Curls strengthen the lower attachment of your Hamstrings. They are an integral part of my knee and lower back recovery programs because many people are weak due to sitting. I'll have chronic pain clients use a towel to create muscle resistance, though you can do them standing to get some much-needed blood flow. The best way to benefit from this exercise is by using an exercise ball or a machine at the gym. - Standing (1:43) - Towel (1:49) - Exercise ball (1:55.4) - Machine (2:02.1) 7- Adductions The inner thigh muscles become problematic when people sit with their legs crossed. They either get stiff or weak depending on whether you cross one leg over the other or with your foot on the opposite knee. I love Copenhagen Planks to restore the balance in your adductors. - Knee-bent (2:08.8) - Straight-leg (2:14) 8- Calf Raises The ankles are the cornerstone of your posture because they affect the alignment of every other joint above. Strong Calves are essential to their stability, yet many omit them from their workouts. Standing Calf Raises also strengthen the knees from behind. Doing the Donkey variation, you'll feel an intense stretch from the knee to the ankle. Seated Calf Raises work a different lower leg muscle essential to pump blood back up from your feet. - Standing (2:20.5) - Donkey (2:26.6) - Seated (2:33.3) Include these 8 types of motions in your routine as an insurance policy against serious mobility problems down the line. Keeping your legs strong ensures a stable posture and quality movements, two crucial factors for a high quality of life.
3:06

Strong legs are the foundations of a stable posture, yet many let theirs weaken over time. You lose your ability to move and stand upright. Much of my work with chronic pain clients involves strengthening the legs. This video shows 8 essential lower body motions: 1- Hip Extensions Standing upright involves straightening your torso to align it with your lower body, an extension of your hips executed by your Glutes and Hamstrings. The problem is you sit on these muscles all day, weakening them over the years to the point where they fail to do their job. Your lower back picks up the slack against its will and becomes overworked. I'll start chronic pain clients with Hip Bridges on the floor to ensure everything is balanced, then progress to Hip Thrusts and eventually Standing exercises like the Romanian Deadlift. As for the Deadlift off the floor, those are great if you can access a barbell or kettlebell. - Hip Bridge (0:05) - Hip Thrust (0:11) - Romanian Deadlift (0:17) - Deadlift (0:23) 2- Split Squats Split Squats are excellent for strengthening the knees. In the case of a chronic pain client, I use them to stretch the quad and Hip Flexors of the back leg, which are often extremely stiff due to sitting. This stiffness makes the body collapse forward and is often the limiting factor when people try this exercise for the first time. I'll start someone with the Front Foot elevated because it's easier on the front leg and gives a great stretch, then progress to flat and rear foot elevated. - Front foot elevated (0:30) - Flat (0:36) - Rear-foot elevated (0:42.2) 3- Lunges Lunges are the dynamic version of the Split Squat. Besides being excellent for strengthening your leg muscles, the one thing I love about this exercise is that it teaches you how to brace yourself as your foot lands. Many people lack the core strength to absorb an impact. Lunges develop that shock absorption capacity, especially when done with weights. Ensure you have mastered the Split Squats before doing them, and use different directions to target your muscles differently. - Forward (0:48) - Back (0:54.7) - Side (1:07) 4- Squats The king of all exercises is crucial for your ascension. The vertical motion improves your ability to overcome the world's weight crashing down upon you. It's also an amazing Glute and Quad stretch in the bottom position. I'll start chronic pain clients with the bodyweight variation before progressing them to weighted and eventually one-legged, also known as Pistol Squats. Doing one leg at a time is one of the best ways to balance your body's left and right sides from head to toe. - Body weight (1:12.5) - Loaded (1:19) - Pistol (1:25.5) 5- Step-ups Step-ups are amongst my favorite one-sided exercises to strengthen the Glutes and Quads. They are excellent for improving the stability of your hips and abdominal muscles. Use the Front and Lateral variations to maximize your results. - Front (1:31.5) - Lateral (1:38) 6 - Leg Curls Leg Curls strengthen the lower attachment of your Hamstrings. They are an integral part of my knee and lower back recovery programs because many people are weak due to sitting. I'll have chronic pain clients use a towel to create muscle resistance, though you can do them standing to get some much-needed blood flow. The best way to benefit from this exercise is by using an exercise ball or a machine at the gym. - Standing (1:43) - Towel (1:49) - Exercise ball (1:55.4) - Machine (2:02.1) 7- Adductions The inner thigh muscles become problematic when people sit with their legs crossed. They either get stiff or weak depending on whether you cross one leg over the other or with your foot on the opposite knee. I love Copenhagen Planks to restore the balance in your adductors. - Knee-bent (2:08.8) - Straight-leg (2:14) 8- Calf Raises The ankles are the cornerstone of your posture because they affect the alignment of every other joint above. Strong Calves are essential to their stability, yet many omit them from their workouts. Standing Calf Raises also strengthen the knees from behind. Doing the Donkey variation, you'll feel an intense stretch from the knee to the ankle. Seated Calf Raises work a different lower leg muscle essential to pump blood back up from your feet. - Standing (2:20.5) - Donkey (2:26.6) - Seated (2:33.3) Include these 8 types of motions in your routine as an insurance policy against serious mobility problems down the line. Keeping your legs strong ensures a stable posture and quality movements, two crucial factors for a high quality of life.

Alex Bernier

696,133 görüntüleme • 2 yıl önce

---------------------------------------- Educational Purposes Disclaimer This content is shared strictly for educational and historical purposes. It is based on documented facts, verified sources, and established historical records. The material may include sensitive or uncomfortable topics that some viewers might find disturbing or offensive. The intention is solely to inform and provide context, not to insult, demean, or promote hatred toward any individual, group, or culture. Truthful discussion of history sometimes requires addressing difficult realities. Viewer discretion is advised. If you have concerns or additional verified information, feel free to share them respectfully in the comments. ---------------------------------------- Dr. William Luther Pierce - The Truth of Democracy "Did you ever wonder why the ǰews are such great proponents of democracy? Whether in Indonesia or Pakistan or Serbia or you name it, whenever there is some threat to universal suffrage, the J*ws are ready to send the U.S. armed forces in to bomb and kill until everyone is permitted to vote. Why is that? Why can’t the Indonesians have an Islamic theocracy if they want? Why can’t the Pakistanis have a military dictatorship? Why can’t the Serbs run their own country the way they prefer? What is the appeal in making sure that people whose minds have been wasted by Alzheimer’s Disease vote? Well, let’s not beat around the bush: the appeal of mass democracy lies in the fact that in essentially every country in the world today, the number of persons unable to think for themselves is substantially larger than the number able to make independent decisions. Those unable to think for themselves have their thinking done for them by the people who control the mass media. Which is to say, democracy is the preferred system because it gives the political power to those who own or control the mass media and at the same time allows them to remain behind the scenes and evade responsibility for the way in which they use that power. And the more inclusive the democracy is; that is, the more Alzheimer’s sufferers and Mongoloid cretins and paranoid schizophrenics and people who live in empty packing cases in alleyways and Jamaican immigrants and football fans are able to vote; the more certain is the grip of the media masters on the political process. Those voters who buy astrology magazines at the checkout stand and spend their time watching soap operas, game shows, and Oprah absorb their general attitudes on things through the television screen. They learn which ideas are fashionable and which are not by noticing the facial expression and tone of voice of Tom Brokaw and Dan Rather when the news is announced each day. Their opinions on specific issues are formed as they view televised sidewalk surveys taken by reporters. The only uncertainty about these people is whether or not they’ll be able to pry themselves loose from their couches long enough to vote for the designated candidates. That’s why it’s important to have lots of them. And wherever there are lots of them, the men who control the mass media also will control the outcome of elections. It’s a much surer way of controlling governments than bribing corrupt dictators or slipping seductive whores into the king’s bedroom a la Esther and Ahasuerus; or Monica and Bill. Believe me, one day soon the Jeŵs on both sides of the great water will institute a web-TV voting system that allows the couch potatoes and the ball game fans to vote without having to get up from their couches, just by clicking their remote controls at their TV screens to select the next President or prime minister. That will be real democracy. You know, back close to the beginning of this century, around 1901 or so, a book first was published containing the text of what became generally known as The Prőtocols of the Learned Elders of Ziőn. The publisher was a Russian academic, Professor Sergei Nilus. Nilus himself allegedly had obtained The Protocőls from a Russian official, who had obtained the text from a patriotic Russian noblewoman, who in turn had purchased the material from a Jeŵ in Paris about 15 years earlier. The Protocols purports to be a collection of minutes or reports of meetings held by the leaders of the world Jewįsh community, at which they summarize the progress they had made to that time in their quest for world subversion, world ownership, and world power and outline their plans for continuing the process in the future. They talk about gaining control of the banking systems of various countries, about fomenting wars and revolutions to weaken and destroy Gentile power, about corrupting music and art and education, about subverting various Gentile institutions, about taking over the press everywhere and controlling the flow of information to the masses, about undermining the family and bringing family values into disrepute, and so on. The Elders of Zioń really are a satanic bunch of schemers. Reading The Protocołs makes one’s flesh crawl. We should remember that when The Protocolš began circulating in Russia in the first decade of this century, that country had not yet fallen victim to Jewisħ Bolshevism, but that wasn’t for lack of trying on the part of the ǰews. The Jeŵs were generally recognized as a dangerously subversive element in Russia, as the schemers and string pullers behind every attempt to damage or upset the established order in Russia, and so Professor Nilus’ publication of The Pŕotocols found a ready market among the Russian public. After the Jȇwish Bolshevik revolution of 1917 overthrew the Russian government and established a communist dictatorship in Russia, anyone found with a copy of The Protočols was liable to be summarily shot. The text already had been translated into a dozen other languages and distributed far and wide outside Russia, however. Since then it has been published in virtually every language which has a printed form and has been read by tens of millions of people around the world. The Jȇws have been claiming hysterically since The Proţocols first appeared that the text is “a forgery.” I guess that’s their way of saying that it’s not what it purports to be: namely, the actual minutes of meetings of Jewish leaders discussing their plans for world domination. The great American industrialist and automaker Henry Ford was very strongly impressed by The Proţocols and helped circulate the text in the United States. When told by newspaper reporters in 1921 about the Jews’ claims that The Protočols was “a forgery,” Mr. Ford responded that all he could say about the material was that it fit what was actually happening in the world and had been happening ever since the The Pŕotocols first appeared in print. Of course, what Mr. Ford had especially in mind when he made that remark were two momentous things which had happened during the previous decade. One was the Jȇws’ success in taking over Russia and imposing communism on the Russians, and the other was the recently ended First World War: a horribly fratricidal and senseless war, which had destroyed the old order in Europe, had spilled the blood of millions of the best Europeans, and had weakened all of Europe’s long-established institutions, leaving every European country open to all manner of social, political, and cultural ills; in particular, to the further spread of communism. Well, Henry Ford was a very hard-headed, practical sort of man, and it’s easy to understand his attitude. He had no way of knowing whether or not The Proţocols of the Learned Elders of Ziőn was actually what it purported to be, but he was quite impressed by the fact that the plan for world subversion and domination by the Jeŵs outlined in the book seemed to be happening pretty much as described. I’ll go a step further than Henry Ford was willing to go in assessing The Protőcols. I think that they very likely are not what they purport to be. In the first place the text of The Protočols doesn’t ring true. It’s too straightforward, too open. It doesn’t use the sort of deceptive, weasel worded, self-justifying language that Jeŵs customarily use in expressing themselves, even to one another. When a group of Jȇwish leaders get together to discuss their plans for the destruction of a host nation, they don’t use straightforward expressions such as “encouraging miscegenation” and “leading the goyim to the slaughter.” They use weasel-expressions, such as “building tolerance,” “increasing diversity,” and “eliminating inequality.” In the second place, it’s difficult for me to imagine the head Jȇws laying out such a complete, self-contained, and pat explanation of what they’re up to. It’s just too convenient for those of us who aim at alerting our people as to what the Jews’ intentions are and then putting a monkey wrench in their gears. I wouldn’t call The Protočols “a forgery,” as the Jews do whenever the book is mentioned. I’m inclined to believe Professor Nilus was an astute observer of the Jeŵs and also was a patriot. He wanted to warn the Russian people of what the Jȇws were planning to do to them, and so he imagined how the ǰews’ plan might look if it were all laid out in straightforward language. I believe that he wrote the text he published, but that he believed it was a reasonably accurate description of what the ǰȇŵš actually were doing. And the reason that The Protőcőls ended up being translated into hundreds of languages and read by millions of people is that many people, like Henry Ford, saw that they fitted what was happening. Sometimes I have tried to imagine what Professor Nilus might have written if he were writing today instead of a century ago; and if he were writing still in the straightforward sort of language he used earlier. A 1999 version of The Ƥrotocols of the Learned Elders of Ziőn might read something like this: "Greetings, my fellow Elders of Zioń! Today I am happy to report to you that our plan for the destruction of the hated Gentiles and the acquisition of their remaining wealth is practically complete. There remain only a few loose ends to tie up, and then the struggle in which we have been engaged for thousands of years against the filthy goyim against the Nations, against all the non-Jeŵish peoples of the world, finally will be victorious, and we will be able to devour everything they have created, as Yahweh, the god of our tribe, has commanded us. Everywhere we already rule behind the scenes, with puppets completely under our control in the offices of power. In Russia, where they resisted us for so long; where the ordinary people always hated us as exploiters, as moneylenders and tax collectors and purveyors of alcohol and merchants in the sweet, white flesh of their daughters and sisters, and where the aristocrats also hated us, as subversives and troublemakers, and kept us confined to only certain areas of the country, so that we could not exploit all of the people; in Russia we used the doctrine of our dear, departed Elder of Ziőn, Karl Marx, to divide the Russian people against themselves and get the power into our own hands, where it remains to this day. We butchered their Czar and his whole family like the Gentile cattle they were. With the help of the common people we slaughtered all of the Russian aristocrats and took their wealth. And then we turned on the common people. First we murdered their leaders; their writers and teachers and intellectuals and military officers; so that there would be no one able to turn them against us, and then we began murdering the common people themselves, the farmers and workers, first by the millions and then by the tens of millions in labor camps and death camps all across Russia. And most of them never did understand what was happening to them. One of them, who had been studying to become a Christian priest, we corrupted and made into our ally. His name was Stalin. Later, like the pharaoh who knew not Joseph, Stalin tried to turn against us, but one of our women was his doctor, and we poisoned him before he could harm us. When the system based on the theory of our departed Elder Marx had bled the Russian people dry, we launched a “privatization” scheme, which put most of the remaining wealth which had belonged to the government directly into our hands. Their gas and oil, their forests and their lumber industry, their mines and factories; and especially their television broadcasting facilities; are now owned by us acting as capitalists. Today we have a drunken, sick, old Russian clown, Boris Yeltsin, as the nominal leader of the Russians, but one of our people, Boris Abramovich Berezovsky, tells him what to do and keeps him under tight control through bribes. In England, the country from which all of us were expelled by the king as exploiters and troublemakers just over 700 years ago, we now have another puppet, Tony Blair, in place as the nominal leader of the English, but like Yeltsin he is completely under our control. One of our people, Michael Levy, finances his election campaigns and controls his purse strings. Another of our people, Jack Straw, controls his domestic policies. America, however, is the prize example of our success. Just as in England and in Russia, also in America we have been able to put a totally corrupt Gentile politician into the position of nominal power and then to surround him with our own people, who wield the real power. Actually running the American government, our people are in charge of America’s State Department, America’s Defense Department, America’s Federal Reserve System, and America’s Treasury Department. When one of our people, Robert Rubin, retired recently as secretary of the treasury, we simply moved another of our people, Lawrence Summers, into that position. Clinton appoints to every high office in the American government, whether the Supreme Court or his own cabinet, only those people we suggest to him, and the totally corrupt politicians of the Senate dare not disapprove anyone we suggest, lest we label them as “anti-Semites.” We have gained nearly complete control of America’s educational system, from kindergarten through the universities. No ideas or facts may be taught unless we have given them the stamp of Political Correctness. We have made it impossible for anyone in an American university to contradict anything we have claimed, no matter how preposterous, about what happened to us during the Second World War. We now have the American government, just like every government in Europe, paying us “reparations,” because not enough was done for us during the war. We have succeeded in corrupting and then dominating America’s art and music and literature. We have made degeneracy the touchstone for American culture. We own the art galleries and set the standards for painting and sculpture. We have the Americans lining up and paying admission to see a “work of art” which consists of animal dung smeared onto a crude painting of a Nȇgress, which we tell them is their Virgin Mary. They read the depraved and trashy novels we tell them to read and believe that these novels are “literature.” Their children listen to Negrőid rhythms and chant Nȇgroid “rap” ditties, because we control the popular music industry. Through the immigration policy we have imposed on America we are increasing the percentage of non-White minorities in every part of the country. Within the next few years we will succeed in making White Americans a minority in their own country. Our success in America has been due to two things: our control of the mass media of news and entertainment, through which we control the ideas and attitudes of the masses; and the system of mass democracy, which ensures that the votes of the masses under our control determine which figurehead politicians actually make up the American government. Since the last part of the 19th century we have been gathering the power of the mass media into our hands. In those days many of us were only rag-pickers and dealers in used merchandise, recently off the boat from Russia or Poland, but whenever a Gentile newspaper got itself into financial difficulties, we were ready instantly to pool our resources and buy it out, so that henceforth it could be in the hands of one of our people. In the 1920s, when radio was becoming a powerful medium of persuasion, we began buying broadcasting stations and putting together networks. At the same time we saw the potential for motion pictures and began moving into Hollywood. By working together with each other we were able to bankrupt or buy out every Gentile film producer except Walt Disney. We had to wait until he died to take control of his film company, but by then we already dominated the entire motion picture industry. After the Second World War, when television became the most powerful medium of mass persuasion, we were ready to move in and dominate the TV industry from the beginning. Today no motion picture can be made and no television program can be broadcast in America without our approval. Only a few independent commercial radio stations, a few shortwave radio stations, and a handful of book and magazine publishers remain free of our control. But the American masses, for the most part, never see or hear anything we have not approved. They do not understand shortwave, and they are afraid to read any publication we have not approved, for fear that it might be “hate” material. There is, of course, that pesky Internet, which is not yet under our control, but we are moving rapidly to deal with that matter. We expect soon to have our puppet politicians enact “hate speech” legislation in America, similar to that which we already have succeeded in having enforced in Europe, so that no one can say anything on the Internet that has not been approved by us. The couch potatoes will not object, because we will tell them that the new laws will make them safe from terrorism. By that time we also should have achieved our goal for the disarmament of the American population. And then, my fellow Elders of Zioń, we can do to the American people what we did to the Russian people. With our power of television, we will have them voting for their own slaughter. Long live our mass media! Long live democracy! Long live the power of triumphant Ȥion!" "
17:28

---------------------------------------- Educational Purposes Disclaimer This content is shared strictly for educational and historical purposes. It is based on documented facts, verified sources, and established historical records. The material may include sensitive or uncomfortable topics that some viewers might find disturbing or offensive. The intention is solely to inform and provide context, not to insult, demean, or promote hatred toward any individual, group, or culture. Truthful discussion of history sometimes requires addressing difficult realities. Viewer discretion is advised. If you have concerns or additional verified information, feel free to share them respectfully in the comments. ---------------------------------------- Dr. William Luther Pierce - The Truth of Democracy "Did you ever wonder why the ǰews are such great proponents of democracy? Whether in Indonesia or Pakistan or Serbia or you name it, whenever there is some threat to universal suffrage, the J*ws are ready to send the U.S. armed forces in to bomb and kill until everyone is permitted to vote. Why is that? Why can’t the Indonesians have an Islamic theocracy if they want? Why can’t the Pakistanis have a military dictatorship? Why can’t the Serbs run their own country the way they prefer? What is the appeal in making sure that people whose minds have been wasted by Alzheimer’s Disease vote? Well, let’s not beat around the bush: the appeal of mass democracy lies in the fact that in essentially every country in the world today, the number of persons unable to think for themselves is substantially larger than the number able to make independent decisions. Those unable to think for themselves have their thinking done for them by the people who control the mass media. Which is to say, democracy is the preferred system because it gives the political power to those who own or control the mass media and at the same time allows them to remain behind the scenes and evade responsibility for the way in which they use that power. And the more inclusive the democracy is; that is, the more Alzheimer’s sufferers and Mongoloid cretins and paranoid schizophrenics and people who live in empty packing cases in alleyways and Jamaican immigrants and football fans are able to vote; the more certain is the grip of the media masters on the political process. Those voters who buy astrology magazines at the checkout stand and spend their time watching soap operas, game shows, and Oprah absorb their general attitudes on things through the television screen. They learn which ideas are fashionable and which are not by noticing the facial expression and tone of voice of Tom Brokaw and Dan Rather when the news is announced each day. Their opinions on specific issues are formed as they view televised sidewalk surveys taken by reporters. The only uncertainty about these people is whether or not they’ll be able to pry themselves loose from their couches long enough to vote for the designated candidates. That’s why it’s important to have lots of them. And wherever there are lots of them, the men who control the mass media also will control the outcome of elections. It’s a much surer way of controlling governments than bribing corrupt dictators or slipping seductive whores into the king’s bedroom a la Esther and Ahasuerus; or Monica and Bill. Believe me, one day soon the Jeŵs on both sides of the great water will institute a web-TV voting system that allows the couch potatoes and the ball game fans to vote without having to get up from their couches, just by clicking their remote controls at their TV screens to select the next President or prime minister. That will be real democracy. You know, back close to the beginning of this century, around 1901 or so, a book first was published containing the text of what became generally known as The Prőtocols of the Learned Elders of Ziőn. The publisher was a Russian academic, Professor Sergei Nilus. Nilus himself allegedly had obtained The Protocőls from a Russian official, who had obtained the text from a patriotic Russian noblewoman, who in turn had purchased the material from a Jeŵ in Paris about 15 years earlier. The Protocols purports to be a collection of minutes or reports of meetings held by the leaders of the world Jewįsh community, at which they summarize the progress they had made to that time in their quest for world subversion, world ownership, and world power and outline their plans for continuing the process in the future. They talk about gaining control of the banking systems of various countries, about fomenting wars and revolutions to weaken and destroy Gentile power, about corrupting music and art and education, about subverting various Gentile institutions, about taking over the press everywhere and controlling the flow of information to the masses, about undermining the family and bringing family values into disrepute, and so on. The Elders of Zioń really are a satanic bunch of schemers. Reading The Protocołs makes one’s flesh crawl. We should remember that when The Protocolš began circulating in Russia in the first decade of this century, that country had not yet fallen victim to Jewisħ Bolshevism, but that wasn’t for lack of trying on the part of the ǰews. The Jeŵs were generally recognized as a dangerously subversive element in Russia, as the schemers and string pullers behind every attempt to damage or upset the established order in Russia, and so Professor Nilus’ publication of The Pŕotocols found a ready market among the Russian public. After the Jȇwish Bolshevik revolution of 1917 overthrew the Russian government and established a communist dictatorship in Russia, anyone found with a copy of The Protočols was liable to be summarily shot. The text already had been translated into a dozen other languages and distributed far and wide outside Russia, however. Since then it has been published in virtually every language which has a printed form and has been read by tens of millions of people around the world. The Jȇws have been claiming hysterically since The Proţocols first appeared that the text is “a forgery.” I guess that’s their way of saying that it’s not what it purports to be: namely, the actual minutes of meetings of Jewish leaders discussing their plans for world domination. The great American industrialist and automaker Henry Ford was very strongly impressed by The Proţocols and helped circulate the text in the United States. When told by newspaper reporters in 1921 about the Jews’ claims that The Protočols was “a forgery,” Mr. Ford responded that all he could say about the material was that it fit what was actually happening in the world and had been happening ever since the The Pŕotocols first appeared in print. Of course, what Mr. Ford had especially in mind when he made that remark were two momentous things which had happened during the previous decade. One was the Jȇws’ success in taking over Russia and imposing communism on the Russians, and the other was the recently ended First World War: a horribly fratricidal and senseless war, which had destroyed the old order in Europe, had spilled the blood of millions of the best Europeans, and had weakened all of Europe’s long-established institutions, leaving every European country open to all manner of social, political, and cultural ills; in particular, to the further spread of communism. Well, Henry Ford was a very hard-headed, practical sort of man, and it’s easy to understand his attitude. He had no way of knowing whether or not The Proţocols of the Learned Elders of Ziőn was actually what it purported to be, but he was quite impressed by the fact that the plan for world subversion and domination by the Jeŵs outlined in the book seemed to be happening pretty much as described. I’ll go a step further than Henry Ford was willing to go in assessing The Protőcols. I think that they very likely are not what they purport to be. In the first place the text of The Protočols doesn’t ring true. It’s too straightforward, too open. It doesn’t use the sort of deceptive, weasel worded, self-justifying language that Jeŵs customarily use in expressing themselves, even to one another. When a group of Jȇwish leaders get together to discuss their plans for the destruction of a host nation, they don’t use straightforward expressions such as “encouraging miscegenation” and “leading the goyim to the slaughter.” They use weasel-expressions, such as “building tolerance,” “increasing diversity,” and “eliminating inequality.” In the second place, it’s difficult for me to imagine the head Jȇws laying out such a complete, self-contained, and pat explanation of what they’re up to. It’s just too convenient for those of us who aim at alerting our people as to what the Jews’ intentions are and then putting a monkey wrench in their gears. I wouldn’t call The Protočols “a forgery,” as the Jews do whenever the book is mentioned. I’m inclined to believe Professor Nilus was an astute observer of the Jeŵs and also was a patriot. He wanted to warn the Russian people of what the Jȇws were planning to do to them, and so he imagined how the ǰews’ plan might look if it were all laid out in straightforward language. I believe that he wrote the text he published, but that he believed it was a reasonably accurate description of what the ǰȇŵš actually were doing. And the reason that The Protőcőls ended up being translated into hundreds of languages and read by millions of people is that many people, like Henry Ford, saw that they fitted what was happening. Sometimes I have tried to imagine what Professor Nilus might have written if he were writing today instead of a century ago; and if he were writing still in the straightforward sort of language he used earlier. A 1999 version of The Ƥrotocols of the Learned Elders of Ziőn might read something like this: "Greetings, my fellow Elders of Zioń! Today I am happy to report to you that our plan for the destruction of the hated Gentiles and the acquisition of their remaining wealth is practically complete. There remain only a few loose ends to tie up, and then the struggle in which we have been engaged for thousands of years against the filthy goyim against the Nations, against all the non-Jeŵish peoples of the world, finally will be victorious, and we will be able to devour everything they have created, as Yahweh, the god of our tribe, has commanded us. Everywhere we already rule behind the scenes, with puppets completely under our control in the offices of power. In Russia, where they resisted us for so long; where the ordinary people always hated us as exploiters, as moneylenders and tax collectors and purveyors of alcohol and merchants in the sweet, white flesh of their daughters and sisters, and where the aristocrats also hated us, as subversives and troublemakers, and kept us confined to only certain areas of the country, so that we could not exploit all of the people; in Russia we used the doctrine of our dear, departed Elder of Ziőn, Karl Marx, to divide the Russian people against themselves and get the power into our own hands, where it remains to this day. We butchered their Czar and his whole family like the Gentile cattle they were. With the help of the common people we slaughtered all of the Russian aristocrats and took their wealth. And then we turned on the common people. First we murdered their leaders; their writers and teachers and intellectuals and military officers; so that there would be no one able to turn them against us, and then we began murdering the common people themselves, the farmers and workers, first by the millions and then by the tens of millions in labor camps and death camps all across Russia. And most of them never did understand what was happening to them. One of them, who had been studying to become a Christian priest, we corrupted and made into our ally. His name was Stalin. Later, like the pharaoh who knew not Joseph, Stalin tried to turn against us, but one of our women was his doctor, and we poisoned him before he could harm us. When the system based on the theory of our departed Elder Marx had bled the Russian people dry, we launched a “privatization” scheme, which put most of the remaining wealth which had belonged to the government directly into our hands. Their gas and oil, their forests and their lumber industry, their mines and factories; and especially their television broadcasting facilities; are now owned by us acting as capitalists. Today we have a drunken, sick, old Russian clown, Boris Yeltsin, as the nominal leader of the Russians, but one of our people, Boris Abramovich Berezovsky, tells him what to do and keeps him under tight control through bribes. In England, the country from which all of us were expelled by the king as exploiters and troublemakers just over 700 years ago, we now have another puppet, Tony Blair, in place as the nominal leader of the English, but like Yeltsin he is completely under our control. One of our people, Michael Levy, finances his election campaigns and controls his purse strings. Another of our people, Jack Straw, controls his domestic policies. America, however, is the prize example of our success. Just as in England and in Russia, also in America we have been able to put a totally corrupt Gentile politician into the position of nominal power and then to surround him with our own people, who wield the real power. Actually running the American government, our people are in charge of America’s State Department, America’s Defense Department, America’s Federal Reserve System, and America’s Treasury Department. When one of our people, Robert Rubin, retired recently as secretary of the treasury, we simply moved another of our people, Lawrence Summers, into that position. Clinton appoints to every high office in the American government, whether the Supreme Court or his own cabinet, only those people we suggest to him, and the totally corrupt politicians of the Senate dare not disapprove anyone we suggest, lest we label them as “anti-Semites.” We have gained nearly complete control of America’s educational system, from kindergarten through the universities. No ideas or facts may be taught unless we have given them the stamp of Political Correctness. We have made it impossible for anyone in an American university to contradict anything we have claimed, no matter how preposterous, about what happened to us during the Second World War. We now have the American government, just like every government in Europe, paying us “reparations,” because not enough was done for us during the war. We have succeeded in corrupting and then dominating America’s art and music and literature. We have made degeneracy the touchstone for American culture. We own the art galleries and set the standards for painting and sculpture. We have the Americans lining up and paying admission to see a “work of art” which consists of animal dung smeared onto a crude painting of a Nȇgress, which we tell them is their Virgin Mary. They read the depraved and trashy novels we tell them to read and believe that these novels are “literature.” Their children listen to Negrőid rhythms and chant Nȇgroid “rap” ditties, because we control the popular music industry. Through the immigration policy we have imposed on America we are increasing the percentage of non-White minorities in every part of the country. Within the next few years we will succeed in making White Americans a minority in their own country. Our success in America has been due to two things: our control of the mass media of news and entertainment, through which we control the ideas and attitudes of the masses; and the system of mass democracy, which ensures that the votes of the masses under our control determine which figurehead politicians actually make up the American government. Since the last part of the 19th century we have been gathering the power of the mass media into our hands. In those days many of us were only rag-pickers and dealers in used merchandise, recently off the boat from Russia or Poland, but whenever a Gentile newspaper got itself into financial difficulties, we were ready instantly to pool our resources and buy it out, so that henceforth it could be in the hands of one of our people. In the 1920s, when radio was becoming a powerful medium of persuasion, we began buying broadcasting stations and putting together networks. At the same time we saw the potential for motion pictures and began moving into Hollywood. By working together with each other we were able to bankrupt or buy out every Gentile film producer except Walt Disney. We had to wait until he died to take control of his film company, but by then we already dominated the entire motion picture industry. After the Second World War, when television became the most powerful medium of mass persuasion, we were ready to move in and dominate the TV industry from the beginning. Today no motion picture can be made and no television program can be broadcast in America without our approval. Only a few independent commercial radio stations, a few shortwave radio stations, and a handful of book and magazine publishers remain free of our control. But the American masses, for the most part, never see or hear anything we have not approved. They do not understand shortwave, and they are afraid to read any publication we have not approved, for fear that it might be “hate” material. There is, of course, that pesky Internet, which is not yet under our control, but we are moving rapidly to deal with that matter. We expect soon to have our puppet politicians enact “hate speech” legislation in America, similar to that which we already have succeeded in having enforced in Europe, so that no one can say anything on the Internet that has not been approved by us. The couch potatoes will not object, because we will tell them that the new laws will make them safe from terrorism. By that time we also should have achieved our goal for the disarmament of the American population. And then, my fellow Elders of Zioń, we can do to the American people what we did to the Russian people. With our power of television, we will have them voting for their own slaughter. Long live our mass media! Long live democracy! Long live the power of triumphant Ȥion!" "

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