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Mime N Dash 3D || #Animation #b3d #Mizuno #Twins Mimes Twins commit acts involving slimes and dimes...and it's not their first time! (#cosplay) #Parody Original Idea Derpixon❤️(HIATUS) Music: Kettako ケッタコ

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M3lw

14,292 subscribers

42,731 views • 1 year ago •via X (Twitter)

Arts#Animation#b3d#Mizuno#Twins#cosplay#Parody
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SerpentStorm's profile picture
SerpentStorm1 year ago

They showed Harmony a real good time. Melody and Symphony look so good as mimes

Emmanuel Cotija's profile picture
Emmanuel Cotija1 year ago

@derpixon @Kettakon Haha, I saw this coming! So many are gonna be asking for the alternate version not knowing it's April Fools - Amazing animation :3

Jose Guadalupe Elguezabal Morales's profile picture
Jose Guadalupe Elguezabal Morales1 year ago

@derpixon @Kettakon NSFW version please?

ace/inferno's profile picture
ace/inferno1 year ago

@derpixon @Kettakon is this the alternative version? or i could be mistaken... because alternative version usually means theres more suggestive content in the alternative version than compared to the youtube version

VALLONETTA's profile picture
VALLONETTA1 year ago

@derpixon @Kettakon Wow, excelent reference 1000/10 please more of this please

Ω's profile picture
Ω1 year ago

@derpixon @Kettakon I love these girls so cute ❤️❤️❤️❤️

Arlin Aguilar's profile picture
Arlin Aguilar1 year ago

@derpixon @Kettakon There's no time, I'll do it with this.💦💦💦

AKANE's profile picture
AKANE1 year ago

@derpixon @Kettakon I was robbed😩😩😩

Eddie De La Rosa Antunez115's profile picture
Eddie De La Rosa Antunez1151 year ago

@derpixon @Kettakon

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8:29

Rick Rubin: "Make what you love, not what you think people will like" "If you want to live in a creative way, which will benefit everything in your life, be a better person in your family, do a better job starting a new business, it's all the same. I don't really know anything about music. It's more a way of looking at the world and wanting it to be the best it could possibly be. And doing whatever it takes to be the best it could possibly be." Rubin shares how his career happened: "From the beginning, I never thought any of the things I'm doing were possible or realistic. I just did things out of the love of them, thinking I would have real jobs. That my passion would be my hobby, and I'd have a job to support my hobby. And it just magically turned out different than that without me knowing it was possible." On why some things connect and others don't: "The stars line up at certain times for certain things to happen. Sometimes you can make something great, and it doesn't connect for whatever reason. Sometimes you make two things you think are the two best things you've ever made. One of them connects with the world. One of them doesn't. And it might not have anything to do with what's in the art. It might be that it came out the same day as something else. Or there was a bigger story at the time. There's so much to it that we don't understand." He continues: "All we can do is make something good and put it out and hope for the best. That's all there is. We never know why things work. Even if you make a piece of art and it works, you may not know why." On talent versus work ethic: "There are a lot of talented people who never make it because they don't have the work ethic. It's not just talent, talent's a piece. And you could argue for some people, the work ethic trumps the talent." Rubin explains what real collaboration is: "Having worked with a lot of bands, I see there's often this friction where people are trying to get their idea in. That's not a collaboration. A real collaboration is when everyone who's there is working together towards whatever is the best thing for the whole. Whether it's your idea or someone else's idea, it doesn't matter. If you're invested in the collaboration, you want the best idea to win. You don't want your idea to win." On what makes art great: "What makes it great is the personal. With all of its imperfections. With all of its quirkiness. That's what makes it great. How you see the world that's different from how everyone else sees the world. That's why you're an artist. That's your purpose in sharing your work with the world." He warns against being derivative: "There are these derivative voices where they're finding what they think other people want to hear, and they start saying it because they've heard other people say similar things that are now successful. Even if they have some short-term success doing that, it's not revolutionary. It doesn't change the world. It doesn't last. The people who you first see and you might not like that you come to like because you don't understand them at first, those are the ones that change the world. Those are the ones you dedicate your fandom to for life." Rubin shares his philosophy on taste: "You can't second-guess your own taste for what someone else is going to like. We're not smart enough to know what someone else is going to like. To make something thinking, 'Well, I don't really like it, but I think this group of people will like it,' it's a bad way to play the game of music or art. You have to do what's personal to you. Take it as far as you can go. Really push the boundaries. And people will resonate with it if they're supposed to resonate with it." He describes creativity as catching waves: "We're really talking about magic. The universe conspiring on our behalf if we let it. Being in this flow of catching these waves that anyone can catch. If you're trying to catch it, you're open to it, you see it coming, you take off on every chance you get. And sometimes the ride happens. It's remarkable how it happens. It doesn't come from preconception. It's not an idea. It's through the doing." Rubin explains how ideas exist in the universe: "Have you ever had that experience where you have an idea for something, you don't do it, and then six months later you see someone else has done it? It's not because they took your idea. It's that it's time for that, and you can act on it or not. The best artists are the ones who have the best antenna for this material that's available. It's coming through. The best comedians see the best jokes. They see them coming. We all live in the same world; the way you see it, you have the best joke because you see it best." He closes with how to stay open: "If we listen to what's going on around us, you can overhear a conversation in a coffee shop, and it is the setup for an idea you're working on. You hear a phrase you don't commonly use. My experience is: when you are open and looking for these clues in the world, they're happening all the time. And they're happening often right when you need them."

Jaynit

108,769 views • 3 months ago

✨ I'm getting very very close to the original vision I had for Photo AI when I started it 3 years ago which was essentially: [ 📸 Photography Simulator 2025 ] I wanted to 100% be able to simulate being a real photographer, and what that means is actually being able to move the camera around a subject I think I'm getting really close now by integrating World Labs, it lets me put real people into a 3d world that you can then move around in with WASD and your mouse Then my idea is you have a [ 📸 Take photo ] button there to turn that shot into a new photo with AI I'm not there yet but I'm getting close I think, one thing is that World Labs still suck at people and faces, although if I just ask the AI to take only the angle of the pic maybe that's not a problem so much I first used World Labs on Interior AI where it lets people move around in their re-styled interior design, I thought it'd be a gimmick maybe and few would use it, but now it's one of the most used features Anyway very exciting!!!! 😊
0:57

✨ I'm getting very very close to the original vision I had for Photo AI when I started it 3 years ago which was essentially: [ 📸 Photography Simulator 2025 ] I wanted to 100% be able to simulate being a real photographer, and what that means is actually being able to move the camera around a subject I think I'm getting really close now by integrating World Labs, it lets me put real people into a 3d world that you can then move around in with WASD and your mouse Then my idea is you have a [ 📸 Take photo ] button there to turn that shot into a new photo with AI I'm not there yet but I'm getting close I think, one thing is that World Labs still suck at people and faces, although if I just ask the AI to take only the angle of the pic maybe that's not a problem so much I first used World Labs on Interior AI where it lets people move around in their re-styled interior design, I thought it'd be a gimmick maybe and few would use it, but now it's one of the most used features Anyway very exciting!!!! 😊

@levelsio

423,247 views • 7 months ago

repost from @thelegendsofmusic T. Rex performing “20th Century Boy” Live for Dutch Television “20th Century Boy” was constructed by Marc Bolan by constructing lyrics, which featured phrases assembled from quotes taken from notable celebrities such as Muhammad Ali. Evidence of this can be found in the inclusion of the phrase "sting like a bee", which is taken from one of Ali's speeches. This can be seen through the inclusion of the line "sting like a bee", which is taken from one of Ali's 1969 speeches. While the lyrics are ambiguous, many say that based on the multi-track recordings of "20th Century Boy”, the first of the song is “Friends say it's fine, friends say it's good/Everybody says it's just like Robin Hood” and not the "...just like rock 'n' roll." From a musical perspective, “20th Century Boy” was recorded at Toshiba Recording Studios in Tokyo, Japan on the 3rd of December 1972 and this session was produced by the one and only Tony Visconti. Backing vocals, hand claps, acoustic guitar and saxophones were recorded in England when T. Rex returned to the country after their tour. The original single version of the track fades out at three minutes and 39 seconds; however, the multi-track master reveals that the song ended in nearly a full three minutes' worth of jamming. You can listen to this version of the song on the compilation, “Bump ’n’ Grind” as a rough mix of the full-length version was released there. #Music #RockNRoll #GlamRock #MarcBolan #MickeyFinn #SteveCurrie #BillLegend #TonyVisconti iiii]; )'
2:00

repost from @thelegendsofmusic T. Rex performing “20th Century Boy” Live for Dutch Television “20th Century Boy” was constructed by Marc Bolan by constructing lyrics, which featured phrases assembled from quotes taken from notable celebrities such as Muhammad Ali. Evidence of this can be found in the inclusion of the phrase "sting like a bee", which is taken from one of Ali's speeches. This can be seen through the inclusion of the line "sting like a bee", which is taken from one of Ali's 1969 speeches. While the lyrics are ambiguous, many say that based on the multi-track recordings of "20th Century Boy”, the first of the song is “Friends say it's fine, friends say it's good/Everybody says it's just like Robin Hood” and not the "...just like rock 'n' roll." From a musical perspective, “20th Century Boy” was recorded at Toshiba Recording Studios in Tokyo, Japan on the 3rd of December 1972 and this session was produced by the one and only Tony Visconti. Backing vocals, hand claps, acoustic guitar and saxophones were recorded in England when T. Rex returned to the country after their tour. The original single version of the track fades out at three minutes and 39 seconds; however, the multi-track master reveals that the song ended in nearly a full three minutes' worth of jamming. You can listen to this version of the song on the compilation, “Bump ’n’ Grind” as a rough mix of the full-length version was released there. #Music #RockNRoll #GlamRock #MarcBolan #MickeyFinn #SteveCurrie #BillLegend #TonyVisconti iiii]; )'

Slash

48,583 views • 1 year ago

Disclaimer: This is my own translation of parts of #Flex1045xJossGawinConcert It's not a word for word translation, since the original conversation was quite long and JossGawin don't always speak in perfectly structured Thai. I've adjusted some wording and phrasing to make it flow more naturally and easier to understand in English. --------------------------------------------- 🎙: When did you first develop a passion for music? 🐧: I think I felt it from a very young age, back in elementary school. Before that, my mom had a guitar at home. She used to play it when she was in high school. 🐧: There was this guitar at our house, and as a kid I'd just strum it and mess around with it. I didn't really know how to play, but I liked experimenting with it. Then I came across some music-making apps on my phone. Back then they weren't touchscreens or anything, they had actual buttons. 🐧: I started seriously studying music when I was in elementary school, around Grade 3 or Grade 4. I also joined my school's marching band. That's when I began learning the trumpet. I stayed with it for a long time and really enjoyed it. I liked music so much that I even wanted to attend a music school. 🎙: Why did you choose the trumpet? 🐧: Honestly, at the time I didn't even know what a trumpet was. I joined a music class where everyone had to pick an instrument, but I had no idea what to choose. I didn't even know what a marching band was. They looked at me and basically decided, "Let's give this kid a trumpet." 🎙: So they chose it for you. You didn't choose it yourself. 🐧: Yeah, I didn't even choose it. I just started learning it from then on. After school, I'd continue with extra music lessons. I kept playing for years, and eventually I realized that I really liked it. 🎙: And your mom can play guitar too, right? 🐧: She can, to some extent. She knows chords and can sing while playing. She used to do that back when she played regularly. 🎙: Did your mom ever play with you or teach you? 🐧: When I was little, she taught me some basics, like what each string was and little things like that. But as I said, she hadn't played in a long time, so she had probably forgotten some things. Still, the guitar was always there. 🎙: So in a way, that guitar is something passed down from your mom to you. Do you still have it? 🐧: I do. But it probably needs some repairs because it's really, really old now.
2:19

Disclaimer: This is my own translation of parts of #Flex1045xJossGawinConcert It's not a word for word translation, since the original conversation was quite long and JossGawin don't always speak in perfectly structured Thai. I've adjusted some wording and phrasing to make it flow more naturally and easier to understand in English. --------------------------------------------- 🎙: When did you first develop a passion for music? 🐧: I think I felt it from a very young age, back in elementary school. Before that, my mom had a guitar at home. She used to play it when she was in high school. 🐧: There was this guitar at our house, and as a kid I'd just strum it and mess around with it. I didn't really know how to play, but I liked experimenting with it. Then I came across some music-making apps on my phone. Back then they weren't touchscreens or anything, they had actual buttons. 🐧: I started seriously studying music when I was in elementary school, around Grade 3 or Grade 4. I also joined my school's marching band. That's when I began learning the trumpet. I stayed with it for a long time and really enjoyed it. I liked music so much that I even wanted to attend a music school. 🎙: Why did you choose the trumpet? 🐧: Honestly, at the time I didn't even know what a trumpet was. I joined a music class where everyone had to pick an instrument, but I had no idea what to choose. I didn't even know what a marching band was. They looked at me and basically decided, "Let's give this kid a trumpet." 🎙: So they chose it for you. You didn't choose it yourself. 🐧: Yeah, I didn't even choose it. I just started learning it from then on. After school, I'd continue with extra music lessons. I kept playing for years, and eventually I realized that I really liked it. 🎙: And your mom can play guitar too, right? 🐧: She can, to some extent. She knows chords and can sing while playing. She used to do that back when she played regularly. 🎙: Did your mom ever play with you or teach you? 🐧: When I was little, she taught me some basics, like what each string was and little things like that. But as I said, she hadn't played in a long time, so she had probably forgotten some things. Still, the guitar was always there. 🎙: So in a way, that guitar is something passed down from your mom to you. Do you still have it? 🐧: I do. But it probably needs some repairs because it's really, really old now.

🌛โตไม่โต🌈

82,458 views • 1 month ago

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.
1:04

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.

Hugues Bruyère

65,393 views • 1 month ago

The ELITE have been MOCKING YOU right to YOUR FACE and TRAFFICKING CHILDREN for DECADES, and you never even NOTICED. This is how this Satanic group of elite child predators have been operating a global child trafficking operation right out in the open, through our own government, while opening front companies and NGOs and using them to steal your hard earned taxpayer dollars through these fronts and NGOs for themselves and to sell children all around the world. What makes this even worse is that most of these fronts, NGOs, and non-profits were set up and supposed to help children, like the Clinton Foundation, the Ratcliffe Foundation, or any one of Oprah's child foundations, etc., but, in fact, they all do the exact opposite and facilitate the trafficking and abuse of children to some of the most wealthy elite around the world. This is why the Epstein and the Diddy case are so important to the future of America and the rest of the world and to end child trafficking all together. Since 1996, the FBI logged on record, the first time "Pizza" has been used as a form of communication to signify child po*n, pedophil*a, or anything involving the sexual abuse of children. There are many other numerous symbols and words to specify the exact preferences of that particular person and what type of fetish and child that they are into. This is where the famous "PizzaGate" term stems from and the whole Comet Ping Pong incident with James Alefantis. Then come to find out that members of our own government at the time were using these same secret comms to communicate with each other including, The Podestas, Hillary Clinton, and even Barack Obama, who had a very strange email referring to $65,000 dollars worth of "Hot Dogs" which is also another preference word that signifies a child type and secret comm used that is well known. The fact is that the way these people operate and according to their occult practices and sick narcissistic ways, they have to and enjoy mocking you to your face while communicating with others at the same time. This is more than apparent through all types of media, music, cartoons, basically anything in the mainstream media. Just pay attention and you will see it everywhere. From Ellen at the 2014 Grammys handing out "Pizza," to the way her stage set for her now cancelled T.V. show, "Ellen," that resembled Epstein's island with the blue and white patterns like Epstein's temple and the palm trees was a 1 to 1 match of the horrific island of horrors. You can search almost any celebrity's social media, especially before many of them were called out, and you will see a strange amount of pictures and comments with children and pizza. The references to pizza and children is through the roof. Especially in the order and combination that they are using the words in. You literally have to be blind not to see that they are mocking you or communicating about sexually abusing children, or worse. Another reference that many do not talk about is the reference with Pizza representing children and the Pizza oven, which actually represents an alter to Baal or Moloch, which is a part of the Satanic ritualistic child sacrificial ceremonies that goes as far back as records show and are even included in the Bible. Archeologist are now finding more and more proof that child sexual abuse and child sacrifice has been going on for centuries and is linked to elite families and their ritual practices that formed societal classes throughout history with the elite abusing and sacrificing children to their gods, whether that be Baal, Moloch, or Lucifer himself. Now you see grooming and children being sexualized and even rap*d in their own schools. They are coming for your children and we need to stand up and stop it. Enough talking about it, it's time to act before we let this continue any longer. We need to actually start doing more to protect these kids. One question I will leave you with to ask yourself is, now that we know that they are definitely abusing and trafficking children, especially since RFK Jr. just confirmed that even the Biden/Harris Administration and their own HHS was involved in the trafficking of children, it's not why would they use a secret language or code words to communicate, the real question is, "Why wouldn't they?" There are no coincidences.
6:07

Sensitive content

The ELITE have been MOCKING YOU right to YOUR FACE and TRAFFICKING CHILDREN for DECADES, and you never even NOTICED. This is how this Satanic group of elite child predators have been operating a global child trafficking operation right out in the open, through our own government, while opening front companies and NGOs and using them to steal your hard earned taxpayer dollars through these fronts and NGOs for themselves and to sell children all around the world. What makes this even worse is that most of these fronts, NGOs, and non-profits were set up and supposed to help children, like the Clinton Foundation, the Ratcliffe Foundation, or any one of Oprah's child foundations, etc., but, in fact, they all do the exact opposite and facilitate the trafficking and abuse of children to some of the most wealthy elite around the world. This is why the Epstein and the Diddy case are so important to the future of America and the rest of the world and to end child trafficking all together. Since 1996, the FBI logged on record, the first time "Pizza" has been used as a form of communication to signify child po*n, pedophil*a, or anything involving the sexual abuse of children. There are many other numerous symbols and words to specify the exact preferences of that particular person and what type of fetish and child that they are into. This is where the famous "PizzaGate" term stems from and the whole Comet Ping Pong incident with James Alefantis. Then come to find out that members of our own government at the time were using these same secret comms to communicate with each other including, The Podestas, Hillary Clinton, and even Barack Obama, who had a very strange email referring to $65,000 dollars worth of "Hot Dogs" which is also another preference word that signifies a child type and secret comm used that is well known. The fact is that the way these people operate and according to their occult practices and sick narcissistic ways, they have to and enjoy mocking you to your face while communicating with others at the same time. This is more than apparent through all types of media, music, cartoons, basically anything in the mainstream media. Just pay attention and you will see it everywhere. From Ellen at the 2014 Grammys handing out "Pizza," to the way her stage set for her now cancelled T.V. show, "Ellen," that resembled Epstein's island with the blue and white patterns like Epstein's temple and the palm trees was a 1 to 1 match of the horrific island of horrors. You can search almost any celebrity's social media, especially before many of them were called out, and you will see a strange amount of pictures and comments with children and pizza. The references to pizza and children is through the roof. Especially in the order and combination that they are using the words in. You literally have to be blind not to see that they are mocking you or communicating about sexually abusing children, or worse. Another reference that many do not talk about is the reference with Pizza representing children and the Pizza oven, which actually represents an alter to Baal or Moloch, which is a part of the Satanic ritualistic child sacrificial ceremonies that goes as far back as records show and are even included in the Bible. Archeologist are now finding more and more proof that child sexual abuse and child sacrifice has been going on for centuries and is linked to elite families and their ritual practices that formed societal classes throughout history with the elite abusing and sacrificing children to their gods, whether that be Baal, Moloch, or Lucifer himself. Now you see grooming and children being sexualized and even rap*d in their own schools. They are coming for your children and we need to stand up and stop it. Enough talking about it, it's time to act before we let this continue any longer. We need to actually start doing more to protect these kids. One question I will leave you with to ask yourself is, now that we know that they are definitely abusing and trafficking children, especially since RFK Jr. just confirmed that even the Biden/Harris Administration and their own HHS was involved in the trafficking of children, it's not why would they use a secret language or code words to communicate, the real question is, "Why wouldn't they?" There are no coincidences.

The SCIF

52,066 views • 1 year ago

He said yes!!!! ❤️💍 I wanted to surprise him by being the one to propose - while visiting his best friends across the world in Hong Kong, playing his favorite game. Some backstory: When I first met Altay he was looking for a wife, but I couldn't commit. Four years have passed since then, and we've spoken almost every one of those days. I’ve literally never met another person I trust so completely. This man is something rare and mysterious: his easy comfort with life, patience, wisdom, dutifulness, and deep care. He humbles and heals me over and over. We have such different hobbies and interests and ways of being. For the longest time, I didn’t know how to make sense of that. I was so, so scared of choosing the wrong person. It took so long to finally click for me that there is no such thing as one right answer. There is no choice that guarantees a life without pain or disappointment - closing or opening any door is a risk, yet some risks are worth taking. My love is worth taking as seriously as my fear. One of my favorite shows is Black Mirror (spoilers ahead). There's an episode called Hang the DJ where single people are put in a strange walled compound and forced to date for set amounts of time in order to determine their perfect match. In the process, a couple becomes so attached that they decide to escape together. In doing, they learn that this was the test all along: who could you love and leave, and who could you not let go of no matter how hard you tried? I'll tell you that, for me, it's Altay, and here I am climbing the wall.
0:29

He said yes!!!! ❤️💍 I wanted to surprise him by being the one to propose - while visiting his best friends across the world in Hong Kong, playing his favorite game. Some backstory: When I first met Altay he was looking for a wife, but I couldn't commit. Four years have passed since then, and we've spoken almost every one of those days. I’ve literally never met another person I trust so completely. This man is something rare and mysterious: his easy comfort with life, patience, wisdom, dutifulness, and deep care. He humbles and heals me over and over. We have such different hobbies and interests and ways of being. For the longest time, I didn’t know how to make sense of that. I was so, so scared of choosing the wrong person. It took so long to finally click for me that there is no such thing as one right answer. There is no choice that guarantees a life without pain or disappointment - closing or opening any door is a risk, yet some risks are worth taking. My love is worth taking as seriously as my fear. One of my favorite shows is Black Mirror (spoilers ahead). There's an episode called Hang the DJ where single people are put in a strange walled compound and forced to date for set amounts of time in order to determine their perfect match. In the process, a couple becomes so attached that they decide to escape together. In doing, they learn that this was the test all along: who could you love and leave, and who could you not let go of no matter how hard you tried? I'll tell you that, for me, it's Altay, and here I am climbing the wall.

Ann Pierce

89,194 views • 6 months ago

Ronald Reagan is the prototypical hero to conservative Americans. But what if he was actually the villain? Reagan sold two critical falsehoods to Americans that rewrote our cultural identity & our literal DNA. He transformed how we see & think about ourselves. And this transformation enabled & facilitated the destruction of our nation through the destruction of our demographics. Whether it was intentional or simply misguided, I'll let you decide. The 2 Falsehoods: 1. That anyone from anywhere can come be an American. I debunked that in the thread quoted below. 2. That American freedom isn't inherited or passed on in the bloodstream to our kids. Let's unpack this one. What do we mean when we talk of "Freedom" in the American context? What did Reagan mean? He told us: it's the unique idea of liberty conceived by our Founders for the first time in history. He says we have to maintain it, fight for it, and teach the next generation about it. What this means is that he's referring not just to some abstract idea our Founders conceived, but also the system and its trappings that they constructed to foster, promote & preserve their conception. We call this the "American System." But as Reagan states in this video, this system, its ideas, this "Freedom"--it's all the product of a specific set of men, of a defined people. What people? Briefly, White, Christian Europeans--mostly Western & Northern European Protestants--forged by, and sifted through, the harsh exigencies of the untamed American wilderness. They were also seasoned by their common interests in having the liberty to worship God & live their lives how they saw fit, without tyrannical interference from authoritarians. These people, these Founders, were the seed population of America. Their descendants, and people like them who immigrated later, built America. It should be noted here that throughout the entirety of our American history up to now, the majority of the population--the dominant demographic--descends from that Founding era population. Even factoring all the "immigration" post-1790, about 70% of Americans in 1965 descended from pre-1790 founding Americans. So, no, America is not a "Nation of Immigrants." That's a lie invented by the ADL in 1958. What this means is that America was conceived, invented, built & maintained by a specific group of people. A people with a common history, heritage, blood, genetic lineage and shared evolutionary experience on the American continent. America is a people. The capacity to build America, to maintain it, and to help it grow naturally & flourish is literally passed on in the blood. It's our literal birthright inheritance. Pick any Indian tribe. Only Indians of that tribe can properly perpetuate that tribe. You could go live among them and learn their language & ways, but if their genetic legacy dies and you're all that's left, it's no longer their tribe. You can't carry it forward. It's gone. It's the same with America. A specific tribe of people, with a specific background, biology & shared experience are what an "American" is. Others may live here, but they cannot perpetuate what our ancestral tribe created and built. America literally is passed on in the blood. Our freedom--our system--can only be properly developed and maintained by us. That doesn't mean we'll always get it right or that we'll be faithful to the original vision, but it does mean only we have the capacity to take this country in the natural trajectory our Founding ancestors conceived. White, Christian, sovereign Americans are tribal Americans. The rest of y'all are just residents. I don't say this hatefully, it's just factual. Indian Hindus & Sikhs, Chinese Buddhists, Mexican Catholics, Arab Muslims, and even Black African Protestants cannot preserve or pass America on, anymore than a White Anglo Saxon Protestant could preserve and pass on the Australian aboriginal people or Japan. Ronald Reagan was wrong, and this attitude & belief are disintegrating the American tribe & killing off America.
1:11

Sensitive content

Ronald Reagan is the prototypical hero to conservative Americans. But what if he was actually the villain? Reagan sold two critical falsehoods to Americans that rewrote our cultural identity & our literal DNA. He transformed how we see & think about ourselves. And this transformation enabled & facilitated the destruction of our nation through the destruction of our demographics. Whether it was intentional or simply misguided, I'll let you decide. The 2 Falsehoods: 1. That anyone from anywhere can come be an American. I debunked that in the thread quoted below. 2. That American freedom isn't inherited or passed on in the bloodstream to our kids. Let's unpack this one. What do we mean when we talk of "Freedom" in the American context? What did Reagan mean? He told us: it's the unique idea of liberty conceived by our Founders for the first time in history. He says we have to maintain it, fight for it, and teach the next generation about it. What this means is that he's referring not just to some abstract idea our Founders conceived, but also the system and its trappings that they constructed to foster, promote & preserve their conception. We call this the "American System." But as Reagan states in this video, this system, its ideas, this "Freedom"--it's all the product of a specific set of men, of a defined people. What people? Briefly, White, Christian Europeans--mostly Western & Northern European Protestants--forged by, and sifted through, the harsh exigencies of the untamed American wilderness. They were also seasoned by their common interests in having the liberty to worship God & live their lives how they saw fit, without tyrannical interference from authoritarians. These people, these Founders, were the seed population of America. Their descendants, and people like them who immigrated later, built America. It should be noted here that throughout the entirety of our American history up to now, the majority of the population--the dominant demographic--descends from that Founding era population. Even factoring all the "immigration" post-1790, about 70% of Americans in 1965 descended from pre-1790 founding Americans. So, no, America is not a "Nation of Immigrants." That's a lie invented by the ADL in 1958. What this means is that America was conceived, invented, built & maintained by a specific group of people. A people with a common history, heritage, blood, genetic lineage and shared evolutionary experience on the American continent. America is a people. The capacity to build America, to maintain it, and to help it grow naturally & flourish is literally passed on in the blood. It's our literal birthright inheritance. Pick any Indian tribe. Only Indians of that tribe can properly perpetuate that tribe. You could go live among them and learn their language & ways, but if their genetic legacy dies and you're all that's left, it's no longer their tribe. You can't carry it forward. It's gone. It's the same with America. A specific tribe of people, with a specific background, biology & shared experience are what an "American" is. Others may live here, but they cannot perpetuate what our ancestral tribe created and built. America literally is passed on in the blood. Our freedom--our system--can only be properly developed and maintained by us. That doesn't mean we'll always get it right or that we'll be faithful to the original vision, but it does mean only we have the capacity to take this country in the natural trajectory our Founding ancestors conceived. White, Christian, sovereign Americans are tribal Americans. The rest of y'all are just residents. I don't say this hatefully, it's just factual. Indian Hindus & Sikhs, Chinese Buddhists, Mexican Catholics, Arab Muslims, and even Black African Protestants cannot preserve or pass America on, anymore than a White Anglo Saxon Protestant could preserve and pass on the Australian aboriginal people or Japan. Ronald Reagan was wrong, and this attitude & belief are disintegrating the American tribe & killing off America.

Sam Parker 🇺🇸🧯

52,614 views • 1 year ago

It's finally time for the massive update I know EVERYONE has been eagerly waiting for... Presenting to you over 6 straight minutes of spliced footage directly captured from my actual physical Sega Dreamcast... RUNNING THE LATEST BUILD OF OUR SONIC MANIA PORT!!! I can't even begin to describe to you how polished and fantastic it's starting to feel... as though it belonged on the Dreamcast all-along... Thanks to the hard work of jnmartin, sonicfreak94, and a few others, not only is the Dreamcast port nearing completion, but... wait for it... THE 3D STAGES THAT STRUGGLED ON EVERY UNOFFICIAL PORT ARE NOW ALL RUNNING FULLSPEED!!!! Trust me when I say that this took an absolutely ENORMOUS amount of effort from jnmartin and the crew to pull off, considering the low-end for this game was the original Nintendo Switch, and ports running on consoles with twice our processing power struggled to run these levels fullspeed. The first and most obvious thing is that the 3D software renderer was ditched and all rendering was done natively with our PowerVR GPU... which actually wasn't as simple as it sounds. The tilemaps for these levels have had to be tessellated into a bajillion PVR quads and transformed and rendered as individual polygons to look correct and run faster than a slideshow. Mr anonymous Ocarina of Time chad developer came up with a pretty slick LoD scheme for drawing tiles closest to the player at 1x1 pixel sizes with sizes increasing with distance up to 2x2 and 4x4 pixels, allowing them to reduce the overall number of tile vertices that have to be transformed by the SH4 CPU and submitted to the PVR GPU, by strategically keeping the majority of the polygon detail closest to the camera, with detail decreasing as the tiles get further away. Next, the 3D geometry was preprocessed and converted from being triangle-based to being triangle-strip based, drastically reducing the number of vertices per model that our 200Mhz SH4 CPU had to transform (with plain integer arithmetic and no FPU vectorization, since this is all slow-ass fixed-point integer math)! Finally, it was discovered that the lighting was a disproportionately significant contributor to the TnL load on the SH4 for processing vertices. Jnmartin came to the realization that 99% of the time only the Y axis direction is considered for lighting equation intensity with just a white color. So this simplified lighting model got baked into the renderer, which gave another round of gainz. So in the end, after all of this work came together, a draw distance of 75% the distance of the retail Sonic Mania versions was achieved for the decorations, plus the character models have their full geometry count and have not been simplified on a freaking Sega Dreamcast with a 200Mhz SH4 CPU and only 16MB of RAM! 🔥
6:32

It's finally time for the massive update I know EVERYONE has been eagerly waiting for... Presenting to you over 6 straight minutes of spliced footage directly captured from my actual physical Sega Dreamcast... RUNNING THE LATEST BUILD OF OUR SONIC MANIA PORT!!! I can't even begin to describe to you how polished and fantastic it's starting to feel... as though it belonged on the Dreamcast all-along... Thanks to the hard work of jnmartin, sonicfreak94, and a few others, not only is the Dreamcast port nearing completion, but... wait for it... THE 3D STAGES THAT STRUGGLED ON EVERY UNOFFICIAL PORT ARE NOW ALL RUNNING FULLSPEED!!!! Trust me when I say that this took an absolutely ENORMOUS amount of effort from jnmartin and the crew to pull off, considering the low-end for this game was the original Nintendo Switch, and ports running on consoles with twice our processing power struggled to run these levels fullspeed. The first and most obvious thing is that the 3D software renderer was ditched and all rendering was done natively with our PowerVR GPU... which actually wasn't as simple as it sounds. The tilemaps for these levels have had to be tessellated into a bajillion PVR quads and transformed and rendered as individual polygons to look correct and run faster than a slideshow. Mr anonymous Ocarina of Time chad developer came up with a pretty slick LoD scheme for drawing tiles closest to the player at 1x1 pixel sizes with sizes increasing with distance up to 2x2 and 4x4 pixels, allowing them to reduce the overall number of tile vertices that have to be transformed by the SH4 CPU and submitted to the PVR GPU, by strategically keeping the majority of the polygon detail closest to the camera, with detail decreasing as the tiles get further away. Next, the 3D geometry was preprocessed and converted from being triangle-based to being triangle-strip based, drastically reducing the number of vertices per model that our 200Mhz SH4 CPU had to transform (with plain integer arithmetic and no FPU vectorization, since this is all slow-ass fixed-point integer math)! Finally, it was discovered that the lighting was a disproportionately significant contributor to the TnL load on the SH4 for processing vertices. Jnmartin came to the realization that 99% of the time only the Y axis direction is considered for lighting equation intensity with just a white color. So this simplified lighting model got baked into the renderer, which gave another round of gainz. So in the end, after all of this work came together, a draw distance of 75% the distance of the retail Sonic Mania versions was achieved for the decorations, plus the character models have their full geometry count and have not been simplified on a freaking Sega Dreamcast with a 200Mhz SH4 CPU and only 16MB of RAM! 🔥

Falco Girgis

87,939 views • 4 months ago

Jack Dorsey on becoming a better storyteller: "I found myself very early on thinking about something like thinking about this early idea for Twitter and saying to myself, I could build this awesome. You have those shower-like moments, or you're walking at midnight in some town in New York City, and you've got these amazing brand ideas. And then you start thinking, well, I could really start doing this if only X and if I had this person or if this technology existed or if this happened or this happened. And what I realized was that I was constantly making excuses for not working on it. And then the window had passed, and then I couldn't do anything. So I think it's really, really important to write it out or to draw it out or to code it. But you need to get it out of your head. And the reason you have to get it out of your head is that you need to be able to see it on a surface that is not in your mind. And once you can see it, and once you can step back from it, then you can also decide this passes my filter, my constraints, so maybe I can show it and share it with some other people. And then they will be like that's the stupidest idea ever and or that's somewhat interesting, but maybe this and this and this. So the sooner you can do that, then you have a lot of momentum around it, and you can really decide if you want to commit to it and work on it more or put it on the shelf for a later date. And the realization that I think everyone needs to have about that latter option, putting it on the shelf, is that you can come back to it and it will surface back up in another piece of work or another idea at some point in your life. So having that ability to close off a chapter and move on is really, really important. You can't have all these open threads, and that's what I realized I was doing. And that also encouraged me to really write more and to really think about what's the story? How are people coming to this? And like when I show my friends this, how are they going to react and I would write it down. I would actually treat it like a play. And when I realized that I was writing plays, I read a lot more plays for style and for substance and for technique and I think it's really good. I think there is another company that I have always looked towards for inspiration and I know a number of people in this room probably have a similar company in mind, which is Apple. Apple, I think, is run like a theater company. It has a great sense of pacing, has a great sense of story and has a great sense of execution and it's all about event-driven, it's all stage-driven, the stage being a billboard or the stage being a keynote or the stage being a product launch. All of it has a very, very cohesive end-to-end story. I mean you think about what happened when Steve Jobs came back to the company. The first thing he did was kill every product line the company was working on. And for two years,rs they had no product on the market whatsoever. All they had were a bunch of posters all around the world with Steve Jobs' heroes, and it said, think different. And it was just focused on bringing up the brand and making people aware of the brand again and how the brand is aligning to this particular feeling and story. And then they came out with the iMac and then built iTunes and then the iPod, and they realized that, wait a minute, people are carrying music on their phones now, so we better build a phone, an iPhone. And so this unfolding of the plot and the epic story has been very, very interesting to watch, especially if you look back to that time when he came back to the company. So I've learned a lot from that company and other companies that operate in a similar fashion."
4:07

Jack Dorsey on becoming a better storyteller: "I found myself very early on thinking about something like thinking about this early idea for Twitter and saying to myself, I could build this awesome. You have those shower-like moments, or you're walking at midnight in some town in New York City, and you've got these amazing brand ideas. And then you start thinking, well, I could really start doing this if only X and if I had this person or if this technology existed or if this happened or this happened. And what I realized was that I was constantly making excuses for not working on it. And then the window had passed, and then I couldn't do anything. So I think it's really, really important to write it out or to draw it out or to code it. But you need to get it out of your head. And the reason you have to get it out of your head is that you need to be able to see it on a surface that is not in your mind. And once you can see it, and once you can step back from it, then you can also decide this passes my filter, my constraints, so maybe I can show it and share it with some other people. And then they will be like that's the stupidest idea ever and or that's somewhat interesting, but maybe this and this and this. So the sooner you can do that, then you have a lot of momentum around it, and you can really decide if you want to commit to it and work on it more or put it on the shelf for a later date. And the realization that I think everyone needs to have about that latter option, putting it on the shelf, is that you can come back to it and it will surface back up in another piece of work or another idea at some point in your life. So having that ability to close off a chapter and move on is really, really important. You can't have all these open threads, and that's what I realized I was doing. And that also encouraged me to really write more and to really think about what's the story? How are people coming to this? And like when I show my friends this, how are they going to react and I would write it down. I would actually treat it like a play. And when I realized that I was writing plays, I read a lot more plays for style and for substance and for technique and I think it's really good. I think there is another company that I have always looked towards for inspiration and I know a number of people in this room probably have a similar company in mind, which is Apple. Apple, I think, is run like a theater company. It has a great sense of pacing, has a great sense of story and has a great sense of execution and it's all about event-driven, it's all stage-driven, the stage being a billboard or the stage being a keynote or the stage being a product launch. All of it has a very, very cohesive end-to-end story. I mean you think about what happened when Steve Jobs came back to the company. The first thing he did was kill every product line the company was working on. And for two years,rs they had no product on the market whatsoever. All they had were a bunch of posters all around the world with Steve Jobs' heroes, and it said, think different. And it was just focused on bringing up the brand and making people aware of the brand again and how the brand is aligning to this particular feeling and story. And then they came out with the iMac and then built iTunes and then the iPod, and they realized that, wait a minute, people are carrying music on their phones now, so we better build a phone, an iPhone. And so this unfolding of the plot and the epic story has been very, very interesting to watch, especially if you look back to that time when he came back to the company. So I've learned a lot from that company and other companies that operate in a similar fashion."

Founder Mode

107,213 views • 6 months ago

Steve Jobs on why Pixar's commitment to story excellence means stopping production no matter the cost: Steve starts by contrasting how live-action films get made: "In a live action movie, the director goes out and shoots lots of film, typically between 10 and 100 times more footage than will end up on the screen and then they take it all into the editing room and they build their movie in the editing room." This is why, Steve says, you sometimes walk out of a theater thinking a movie stunk. The filmmakers usually knew too: "They knew it in the editing room and they go, 'Oh Jesus.' And by the time they knew it, the actors were gone, the sets were down, they ran out of money, and they had what they had. They made the best movie they could. Um well, or not." Animation doesn't offer that luxury. It's far too expensive to fix mistakes after the fact. So how do you uphold excellence? Walt Disney solved this problem decades ago. "He said, 'We have to edit our film before we make it, not after.'" The method: build the entire movie first out of storyboards, film them, and add scratch voices and music. Suddenly, you can watch your movie before you've made it. Pixar still does this today, just with video instead of film. And Steve says the results are humbling: "Invariably what you think is going to work crashes and burns when you see it in the reels and you iterate on these reels thousands of times. And only when it works in the reels do you then go animate it and actually produce it." Hollywood loves to say "story is king," but Steve argues that most studios don't actually live by it when excellence becomes inconvenient: "When push comes to shove, when a movie's in production and there's a lot of mouths to feed and they're waiting for stuff to make and the story's not working, almost everybody says, 'Well, we just have to make the movie.'" Pixar does the opposite. And Steve says this is what he's proudest of: "We have a story crisis on every movie and production's rolling and there's mouths to feed and something's just not working and we stop. We stop and we fix the story." He credits John Lasseter, one of Pixar's founders, for instilling this culture. And Lasseter has a saying that captures the whole philosophy: "No amount of technology will turn a bad story into a good story." Even at the most technologically advanced studio in the world, excellence is defined by the story, not the tools. The technology serves the work. Never the other way around.
2:58

Steve Jobs on why Pixar's commitment to story excellence means stopping production no matter the cost: Steve starts by contrasting how live-action films get made: "In a live action movie, the director goes out and shoots lots of film, typically between 10 and 100 times more footage than will end up on the screen and then they take it all into the editing room and they build their movie in the editing room." This is why, Steve says, you sometimes walk out of a theater thinking a movie stunk. The filmmakers usually knew too: "They knew it in the editing room and they go, 'Oh Jesus.' And by the time they knew it, the actors were gone, the sets were down, they ran out of money, and they had what they had. They made the best movie they could. Um well, or not." Animation doesn't offer that luxury. It's far too expensive to fix mistakes after the fact. So how do you uphold excellence? Walt Disney solved this problem decades ago. "He said, 'We have to edit our film before we make it, not after.'" The method: build the entire movie first out of storyboards, film them, and add scratch voices and music. Suddenly, you can watch your movie before you've made it. Pixar still does this today, just with video instead of film. And Steve says the results are humbling: "Invariably what you think is going to work crashes and burns when you see it in the reels and you iterate on these reels thousands of times. And only when it works in the reels do you then go animate it and actually produce it." Hollywood loves to say "story is king," but Steve argues that most studios don't actually live by it when excellence becomes inconvenient: "When push comes to shove, when a movie's in production and there's a lot of mouths to feed and they're waiting for stuff to make and the story's not working, almost everybody says, 'Well, we just have to make the movie.'" Pixar does the opposite. And Steve says this is what he's proudest of: "We have a story crisis on every movie and production's rolling and there's mouths to feed and something's just not working and we stop. We stop and we fix the story." He credits John Lasseter, one of Pixar's founders, for instilling this culture. And Lasseter has a saying that captures the whole philosophy: "No amount of technology will turn a bad story into a good story." Even at the most technologically advanced studio in the world, excellence is defined by the story, not the tools. The technology serves the work. Never the other way around.

Big Brain Business

23,576 views • 3 months ago

Why Bach’s Violin Concerto No. 1, BWV 1041 Creates the Sense of a Harmonious and Ordered World Among the treasures of Western classical music, few works create such a profound sense of clarity, balance, and depth as Johann Sebastian Bach’s Violin Concerto No. 1 in A Minor, BWV 1041. Listeners are often captivated by the beauty of the violin’s singing tone, the agility of the orchestra, and the refined technique the concerto demands of its performers. Yet the enduring power of this work lies in something far deeper than elegance or virtuosity. Its deeper source lies in one of Bach’s most remarkable musical principles: From a single, modest idea, he builds an expansive musical world in which every part is connected within a unified whole. It is the beauty of growth without losing one's origin. A musical idea can be transformed in countless ways, multiple melodic lines can unfold simultaneously, and different emotions can emerge, yet all continue to grow from the same shared foundation. It is this principle that gives Bach’s music its distinctive sense of natural order: there is movement without chaos, freedom without instability, and richness within a firmly constructed architecture. From the opening measures of the first movement, Allegro moderato, Bach immediately reveals how he creates beauty. He does not begin with a long, memorable melody designed to make an immediate impression. Instead, he introduces short, clearly defined musical ideas, like seeds carefully planted into fertile ground. From these small seeds, the entire movement gradually unfolds. A motif first heard in the orchestra is taken up by the solo violin. A phrase that has just been introduced becomes the foundation for another. A subtle movement in one voice reshapes the entire musical texture. Bach does not construct his music by placing beautiful passages side by side. He allows each idea to grow naturally from what came before while preparing the way for what follows. As a result, listeners do not experience a collection of isolated sounds. Instead, they hear a continuous musical current that seems to develop organically from within. One of the defining features of Bach's musical language is his mastery of counterpoint. In many musical traditions, the principal melody occupies center stage while the accompanying parts exist primarily to support it. In Bach's world, however, every musical line possesses its own independent life. The violin does not merely stand before the orchestra to display technical brilliance. It enters into conversation with it. A phrase introduced by the violin may continue in the accompanying strings. A musical idea may reappear in different voices under new forms. Rather than competing for attention, the individual lines support and enrich one another within a larger structure. The remarkable achievement is this: Each voice preserves its own identity, yet none becomes separated from the whole. This reflects an important principle of classical Western aesthetics: harmony does not arise because everything becomes the same, but because differences discover their proper place within a greater order. The ritornello structure of the first movement illustrates this principle with particular clarity. The orchestra’s principal theme returns repeatedly after episodes of development by the solo violin. From a technical perspective, this is a characteristic Baroque compositional form. From the listener’s perspective, however, these returns create something much deeper. The music travels outward. It explores. It expands. Yet it never loses its relationship with its point of origin. Freedom never destroys the foundation. Development never abandons its source. Each return of the principal theme is not simply a repetition of what came before. By the time it reappears, both the music and the listener have passed through a new journey. The theme now carries greater richness and deeper meaning. If the first movement is defined by movement and dialogue, the second movement, Andante, opens an entirely different landscape. Here Bach creates a slower, more contemplative current. The violin sings above the orchestra’s steady harmonic foundation like an individual voice seeking balance within a vast and tranquil space. The strength of this movement does not lie in outward drama. It lies in its ability to give meaning to the smallest gestures. A slight change in the melody. A subtle shift in harmony. A sustained tone allowed to bloom. Each contributes to an emotional depth that grows quietly rather than dramatically. Bach shows that profundity does not necessarily emerge from external complexity. It can arise from exploring the simplest things with extraordinary care. By the third movement, Allegro assai, the concerto bursts once again into vibrant energy. Its lively rhythms, agile violin writing, and animated exchanges among the instrumental voices create the feeling of an elegant dance. Yet even in this brilliance, Bach never abandons his original principle. Joy does not arise from disorder. It arises from freedom existing within a clear and intelligible order. Just as a great dancer is not one who rejects every rule, but one who achieves naturalness through a profound understanding of those rules. The same principle appears in everyday life. An old family home passed down through generations offers a beautiful example. Such a house preserves its value not by refusing all change. Over time, its roof may be repaired, its rooms lovingly restored, and each new generation may leave its own mark. Yet its true spirit remains: the original foundation, the architecture shaped by those who came before, and the memories accumulated through the years. If each generation were to demolish everything and build something entirely unrelated, the connection with the past would disappear. Yet if nothing were ever renewed or cared for, the house would gradually lose its vitality. The beauty of continuity lies in balancing these two realities: preserving one's roots while allowing the original values to continue living in new circumstances. Bach's music embodies this same principle. The foundation is never replaced. It becomes the ground from which new possibilities emerge. A musical theme may evolve into countless forms, yet every transformation still carries traces of its origin. Growth does not come from rejecting what already exists. It comes from understanding it more deeply and allowing its original possibilities to unfold more fully. Perhaps it is because Bach expresses this principle with such remarkable clarity that Violin Concerto No. 1, BWV 1041 continues to speak to listeners after so many centuries. He did not simply compose a concerto for violin and orchestra. He created a musical image of harmony. Many voices exist together. Many movements unfold simultaneously. Yet all remain connected through a deeper and enduring order.
15:25

Why Bach’s Violin Concerto No. 1, BWV 1041 Creates the Sense of a Harmonious and Ordered World Among the treasures of Western classical music, few works create such a profound sense of clarity, balance, and depth as Johann Sebastian Bach’s Violin Concerto No. 1 in A Minor, BWV 1041. Listeners are often captivated by the beauty of the violin’s singing tone, the agility of the orchestra, and the refined technique the concerto demands of its performers. Yet the enduring power of this work lies in something far deeper than elegance or virtuosity. Its deeper source lies in one of Bach’s most remarkable musical principles: From a single, modest idea, he builds an expansive musical world in which every part is connected within a unified whole. It is the beauty of growth without losing one's origin. A musical idea can be transformed in countless ways, multiple melodic lines can unfold simultaneously, and different emotions can emerge, yet all continue to grow from the same shared foundation. It is this principle that gives Bach’s music its distinctive sense of natural order: there is movement without chaos, freedom without instability, and richness within a firmly constructed architecture. From the opening measures of the first movement, Allegro moderato, Bach immediately reveals how he creates beauty. He does not begin with a long, memorable melody designed to make an immediate impression. Instead, he introduces short, clearly defined musical ideas, like seeds carefully planted into fertile ground. From these small seeds, the entire movement gradually unfolds. A motif first heard in the orchestra is taken up by the solo violin. A phrase that has just been introduced becomes the foundation for another. A subtle movement in one voice reshapes the entire musical texture. Bach does not construct his music by placing beautiful passages side by side. He allows each idea to grow naturally from what came before while preparing the way for what follows. As a result, listeners do not experience a collection of isolated sounds. Instead, they hear a continuous musical current that seems to develop organically from within. One of the defining features of Bach's musical language is his mastery of counterpoint. In many musical traditions, the principal melody occupies center stage while the accompanying parts exist primarily to support it. In Bach's world, however, every musical line possesses its own independent life. The violin does not merely stand before the orchestra to display technical brilliance. It enters into conversation with it. A phrase introduced by the violin may continue in the accompanying strings. A musical idea may reappear in different voices under new forms. Rather than competing for attention, the individual lines support and enrich one another within a larger structure. The remarkable achievement is this: Each voice preserves its own identity, yet none becomes separated from the whole. This reflects an important principle of classical Western aesthetics: harmony does not arise because everything becomes the same, but because differences discover their proper place within a greater order. The ritornello structure of the first movement illustrates this principle with particular clarity. The orchestra’s principal theme returns repeatedly after episodes of development by the solo violin. From a technical perspective, this is a characteristic Baroque compositional form. From the listener’s perspective, however, these returns create something much deeper. The music travels outward. It explores. It expands. Yet it never loses its relationship with its point of origin. Freedom never destroys the foundation. Development never abandons its source. Each return of the principal theme is not simply a repetition of what came before. By the time it reappears, both the music and the listener have passed through a new journey. The theme now carries greater richness and deeper meaning. If the first movement is defined by movement and dialogue, the second movement, Andante, opens an entirely different landscape. Here Bach creates a slower, more contemplative current. The violin sings above the orchestra’s steady harmonic foundation like an individual voice seeking balance within a vast and tranquil space. The strength of this movement does not lie in outward drama. It lies in its ability to give meaning to the smallest gestures. A slight change in the melody. A subtle shift in harmony. A sustained tone allowed to bloom. Each contributes to an emotional depth that grows quietly rather than dramatically. Bach shows that profundity does not necessarily emerge from external complexity. It can arise from exploring the simplest things with extraordinary care. By the third movement, Allegro assai, the concerto bursts once again into vibrant energy. Its lively rhythms, agile violin writing, and animated exchanges among the instrumental voices create the feeling of an elegant dance. Yet even in this brilliance, Bach never abandons his original principle. Joy does not arise from disorder. It arises from freedom existing within a clear and intelligible order. Just as a great dancer is not one who rejects every rule, but one who achieves naturalness through a profound understanding of those rules. The same principle appears in everyday life. An old family home passed down through generations offers a beautiful example. Such a house preserves its value not by refusing all change. Over time, its roof may be repaired, its rooms lovingly restored, and each new generation may leave its own mark. Yet its true spirit remains: the original foundation, the architecture shaped by those who came before, and the memories accumulated through the years. If each generation were to demolish everything and build something entirely unrelated, the connection with the past would disappear. Yet if nothing were ever renewed or cared for, the house would gradually lose its vitality. The beauty of continuity lies in balancing these two realities: preserving one's roots while allowing the original values to continue living in new circumstances. Bach's music embodies this same principle. The foundation is never replaced. It becomes the ground from which new possibilities emerge. A musical theme may evolve into countless forms, yet every transformation still carries traces of its origin. Growth does not come from rejecting what already exists. It comes from understanding it more deeply and allowing its original possibilities to unfold more fully. Perhaps it is because Bach expresses this principle with such remarkable clarity that Violin Concerto No. 1, BWV 1041 continues to speak to listeners after so many centuries. He did not simply compose a concerto for violin and orchestra. He created a musical image of harmony. Many voices exist together. Many movements unfold simultaneously. Yet all remain connected through a deeper and enduring order.

🎼🌺Music Love♥️

14,010 views • 7 days ago

Why I have loved STAR TREK since I was 13 years old. This is your TL;DR warning. I didn't fall for TOS, even though I'd seen it a lot in UHF re-runs. I didn't even fall for Wrath of Khan, though I saw it first-run in the theater in 1982—and it's still widely regarded as the best Trek movie for very good reasons. I fell for The Search For Spock. And not because of the contrived way they undid the tragic beauty of the second film's ending. But for the notion of Starfleet as presented on film. Something about the gliding return to Spacedock. Rand standing there shaking her head at the repaired damage to the hull. Kirk, Scotty, and Sulu remarking on the Excelsior. And then (of course) Kirk's ballsy decision to choose loyalty above duty. The theft of the Enterprise. That scene in particular. I never don't get chills with that scene. It still moves me in ways I cannot sufficiently put to words. Anyway, right movie, right moment in my life. I re-watched it endlessly on VHS, then backed up and re-watched Khan and also The Motion Picture. And fell for them in different ways, for different reasons. Have seen all three countless times. Love the original crew mated to 1980s quality film special effects. Love the NCC-1701 refit. And consider it peak Enterprise after all these years. And I went back and rented almost all of TOS from Blockbuster when they had it in VHS. Appreciated the true standout episodes like "The Doomsday Machine" and "Balance of Terror." All of this was hugely impactful on my adolescence. Leaving a mark that's lasted all the way to now. Some people seem to love the idea of the UFP. Especially people on the Leftward side of American politics. Who insist that it's a Socialist utopia. I found it attractive when I was young, for most of the same reasons the Lefties do, but as I got older I realized it was just wishcasting. Especially those TNG scripts with all the snobby, "Your primitive planet is not ready for us evolved and superior Feddies, dear prole!" episodes. Side note: part of what makes Quark great is Quark is the perfect foil taking the air out of the Federation's tires during DS9's run. Some very good writing (and on-the-nose reflection) in those scripts. But Starfleet itself? Remained a wonderful representation of a space navy. I have never not been enamored with it. Yes, some folks consider it too goody-two-shoes for their taste. I can see why. But Starfleet—and especially the TOS crew at motion picture scale—made me want to *BE* on the Enterprise. They could make me a fobbit POG who never does a single away mission and I wouldn't care. Just being aboard. Being part of that. That's what ignited my 13 year old brain. And kept me going into successive films, and also TNG, and then DS9, and then VOY. The fascination with Starfleet never left me. And while 23+ years of IRL military service has shown me all the mistakes and misguided notions—especially that moronic "Starfleet is not a military!" stuff certain script people tried desperately to shoe-horn into the plots—I've never lost my admiration for the idea: a fleet of ships, crewed with the finest the galaxy has to offer, exploring and patrolling the far reaches of interstellar space. Armed for war, they nevertheless go in peace. To seek out and catalogue new solar systems, new planets, new species, new civilizations, Boldly Go, and so forth. What a wonderful idea. It doesn't get old. Not to me. And maybe that's why I get so damned unhappy with Nu Trek Product™? It cheapens the characters, their service, even the very conceit. Turns it into a gimmick, a parody, or just downright vandalizes Starfleet. I don't hold with that. I refuse it, in fact. And I remember. I remember what it was like to be young, and feel the magic. Ever since Captain Styles pressed the button on his arm rest and said, "Kirk, you do this you'll never sit in the captain's chair again." And Kirk, unblinking, orders, "Warp speed." 🖖
2:17

Why I have loved STAR TREK since I was 13 years old. This is your TL;DR warning. I didn't fall for TOS, even though I'd seen it a lot in UHF re-runs. I didn't even fall for Wrath of Khan, though I saw it first-run in the theater in 1982—and it's still widely regarded as the best Trek movie for very good reasons. I fell for The Search For Spock. And not because of the contrived way they undid the tragic beauty of the second film's ending. But for the notion of Starfleet as presented on film. Something about the gliding return to Spacedock. Rand standing there shaking her head at the repaired damage to the hull. Kirk, Scotty, and Sulu remarking on the Excelsior. And then (of course) Kirk's ballsy decision to choose loyalty above duty. The theft of the Enterprise. That scene in particular. I never don't get chills with that scene. It still moves me in ways I cannot sufficiently put to words. Anyway, right movie, right moment in my life. I re-watched it endlessly on VHS, then backed up and re-watched Khan and also The Motion Picture. And fell for them in different ways, for different reasons. Have seen all three countless times. Love the original crew mated to 1980s quality film special effects. Love the NCC-1701 refit. And consider it peak Enterprise after all these years. And I went back and rented almost all of TOS from Blockbuster when they had it in VHS. Appreciated the true standout episodes like "The Doomsday Machine" and "Balance of Terror." All of this was hugely impactful on my adolescence. Leaving a mark that's lasted all the way to now. Some people seem to love the idea of the UFP. Especially people on the Leftward side of American politics. Who insist that it's a Socialist utopia. I found it attractive when I was young, for most of the same reasons the Lefties do, but as I got older I realized it was just wishcasting. Especially those TNG scripts with all the snobby, "Your primitive planet is not ready for us evolved and superior Feddies, dear prole!" episodes. Side note: part of what makes Quark great is Quark is the perfect foil taking the air out of the Federation's tires during DS9's run. Some very good writing (and on-the-nose reflection) in those scripts. But Starfleet itself? Remained a wonderful representation of a space navy. I have never not been enamored with it. Yes, some folks consider it too goody-two-shoes for their taste. I can see why. But Starfleet—and especially the TOS crew at motion picture scale—made me want to *BE* on the Enterprise. They could make me a fobbit POG who never does a single away mission and I wouldn't care. Just being aboard. Being part of that. That's what ignited my 13 year old brain. And kept me going into successive films, and also TNG, and then DS9, and then VOY. The fascination with Starfleet never left me. And while 23+ years of IRL military service has shown me all the mistakes and misguided notions—especially that moronic "Starfleet is not a military!" stuff certain script people tried desperately to shoe-horn into the plots—I've never lost my admiration for the idea: a fleet of ships, crewed with the finest the galaxy has to offer, exploring and patrolling the far reaches of interstellar space. Armed for war, they nevertheless go in peace. To seek out and catalogue new solar systems, new planets, new species, new civilizations, Boldly Go, and so forth. What a wonderful idea. It doesn't get old. Not to me. And maybe that's why I get so damned unhappy with Nu Trek Product™? It cheapens the characters, their service, even the very conceit. Turns it into a gimmick, a parody, or just downright vandalizes Starfleet. I don't hold with that. I refuse it, in fact. And I remember. I remember what it was like to be young, and feel the magic. Ever since Captain Styles pressed the button on his arm rest and said, "Kirk, you do this you'll never sit in the captain's chair again." And Kirk, unblinking, orders, "Warp speed." 🖖

Brad R. Torgersen

92,424 views • 6 months ago