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🎧 NEW ANTHEM: Pack It Out by ARRESTED DEVELOPMENT 🔥 Song Produced by Configa 🎶 Listen/Buy & watch the Video: Boom bap soul for grown-folk ears. Hard-hitting bars, meaningful music, classic sound. Album Adult Contemporary Hip-Hop drops 4 July (3 July on Bandcamp) — co-exec produced by Speech &...

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Dr Configa (PhD)

102,966 subscribers

21,204 Aufrufe • vor 1 Jahr •via X (Twitter)

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10 Kommentare

Profilbild von Gary Brumett
Gary Brumettvor 1 Jahr

@ADtheBand Love. That. Bass. Thank you.

Profilbild von Dr Configa (PhD)
Dr Configa (PhD)vor 1 Jahr

@ADtheBand Thanks too, Gary bro!! All about bass that bumps and snares that snap!! 🫡💯💯🔥🔥🔥 #figafiga

Profilbild von Tony Grant
Tony Grantvor 1 Jahr

@ADtheBand DOPE.🔥🔥🔥

Profilbild von Dr Configa (PhD)
Dr Configa (PhD)vor 1 Jahr

@ADtheBand Thanks Tony, fam!! 🫡✊✊💯💯🔥🔥🔥🔥

Profilbild von DJ Archive
DJ Archivevor 1 Jahr

@ADtheBand DAMN💎right up my street.

Profilbild von Dr Configa (PhD)
Dr Configa (PhD)vor 1 Jahr

@ADtheBand Hell Yeah!! Salute bro!! 💯💯🔥🔥🔥👊👊

Profilbild von I Support The Black Alabama Slammers
I Support The Black Alabama Slammersvor 1 Jahr

@ADtheBand Love it

Profilbild von Dr Configa (PhD)
Dr Configa (PhD)vor 1 Jahr

@ADtheBand Thanks so much, K!! Hope you are well!! 🙏❤️🙌🙌🔥🔥🔥

Profilbild von lord slums
lord slumsvor 1 Jahr

@ADtheBand Beat goes crazy, bars on point … love to see it ..🌬️💨💨💨🔥🔥🎙️

Profilbild von Dr Configa (PhD)
Dr Configa (PhD)vor 1 Jahr

@ADtheBand Thanks so much, brother!! LOVE the feedback!! 🙏🙌🙌💯💯🔥🔥🔥🔥🫡👊👊

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J

40,662 Aufrufe • vor 1 Jahr

If you have followed my journey as a solo artiste and even before, you will notice that I give people their due credit where necessary as I am a firm believer in team work; I know my strengths, where I need assistance or guidance I am not afraid to ask or work with those who are strong in the areas I am not; this includes the process of creating music, executing concepts and ideas etc. I will always give people their due credit for their contributions to my projects. Sometime in June 2022, I stumbled upon a producer based in Ghana named Vampire, and had my team and I also personally reached out to him via DM, that I liked his work and was interested in working with him. Before getting him to Lagos, I presented the idea of this producer to my twin brother and our team, getting their buy in before I got him flight tickets and flew him to Lagos. It was when he got into Lagos I asked if he would be open to working on P-SQUARE’s next album project, that the 5 songs I had penned down from my end to be presented to our A&R team for the album project these were: JAIYE, WINNING, FIND SOMEBODY, LEGENDARY, and ATTENTION, based on tracks he had produced. We started with my own 5 songs that needed to be submitted for PSQUARE's album, which he produced for me: The idea for WINNING came from one of his beats that I discovered. I came up with the idea of changing the chord progression from the original version to what it is today with my own producer Goldswarm who is the co-producer of the song WINNING. I had also engaged a songwriter known as CALYPSO who wrote and composed the song WINNING and sent it to me on the beats through a voice note. And we started working on the song. Mind you, he worked on some other songs that were to make the album as well, so my brother was aware of his input to the production as we were all in the studio during this period. Then when my twin brother heard the song WINNING, which we had already created the hook/chorus for, he then wanted to start creating a verse. Our agreed-on process for each song presented by us was: arrange the song, leave a verse for the other person, then we both harmonise the chorus and refrain bits together. He wasn’t supposed to until Calypso and I finished it as part of my own song submission to the LEGENDARY ALBUM. After that, we finished and shared verses among ourselves. I do not wish to get into details of why the album didn’t see the light of day till date but it takes a different level of psychosis for one to steal what is theirs already; as since the release of this song, I have been labeled and called all sorts online and they have even gone as far as asking for the song to be taken down on various platforms, to what end? It was never part of his 5, now 6 (according to him) songs for submission, yet when he felt I was not interested in making music because I chose my sanity over the constant berating and drama that seemed to come up over creative direction in the group. If it were his song, why do I have all the music data including initial conversations and picture/video evidence on the above-mentioned titles/songs? Which of his songs do I have its data in my possession in that case? All because he was hoping for me to quit music. Even when I learnt that he had removed my vocals on songs we did together, suggesting that he sing the entire songs including the ones that he planned to present for the album without my input (a very absurd idea as we both make up the duo not just the one), but we both perform them on stage, I begun to have a rethink of the entire situation. Let me leave this here. Maybe because I was not posting anything music related on my social media page for over 4 months. He believes I have lost interest in music. I took a breather to get my mind and head in the right space and when that was done, my epiphany was WINNING!
3:48

If you have followed my journey as a solo artiste and even before, you will notice that I give people their due credit where necessary as I am a firm believer in team work; I know my strengths, where I need assistance or guidance I am not afraid to ask or work with those who are strong in the areas I am not; this includes the process of creating music, executing concepts and ideas etc. I will always give people their due credit for their contributions to my projects. Sometime in June 2022, I stumbled upon a producer based in Ghana named Vampire, and had my team and I also personally reached out to him via DM, that I liked his work and was interested in working with him. Before getting him to Lagos, I presented the idea of this producer to my twin brother and our team, getting their buy in before I got him flight tickets and flew him to Lagos. It was when he got into Lagos I asked if he would be open to working on P-SQUARE’s next album project, that the 5 songs I had penned down from my end to be presented to our A&R team for the album project these were: JAIYE, WINNING, FIND SOMEBODY, LEGENDARY, and ATTENTION, based on tracks he had produced. We started with my own 5 songs that needed to be submitted for PSQUARE's album, which he produced for me: The idea for WINNING came from one of his beats that I discovered. I came up with the idea of changing the chord progression from the original version to what it is today with my own producer Goldswarm who is the co-producer of the song WINNING. I had also engaged a songwriter known as CALYPSO who wrote and composed the song WINNING and sent it to me on the beats through a voice note. And we started working on the song. Mind you, he worked on some other songs that were to make the album as well, so my brother was aware of his input to the production as we were all in the studio during this period. Then when my twin brother heard the song WINNING, which we had already created the hook/chorus for, he then wanted to start creating a verse. Our agreed-on process for each song presented by us was: arrange the song, leave a verse for the other person, then we both harmonise the chorus and refrain bits together. He wasn’t supposed to until Calypso and I finished it as part of my own song submission to the LEGENDARY ALBUM. After that, we finished and shared verses among ourselves. I do not wish to get into details of why the album didn’t see the light of day till date but it takes a different level of psychosis for one to steal what is theirs already; as since the release of this song, I have been labeled and called all sorts online and they have even gone as far as asking for the song to be taken down on various platforms, to what end? It was never part of his 5, now 6 (according to him) songs for submission, yet when he felt I was not interested in making music because I chose my sanity over the constant berating and drama that seemed to come up over creative direction in the group. If it were his song, why do I have all the music data including initial conversations and picture/video evidence on the above-mentioned titles/songs? Which of his songs do I have its data in my possession in that case? All because he was hoping for me to quit music. Even when I learnt that he had removed my vocals on songs we did together, suggesting that he sing the entire songs including the ones that he planned to present for the album without my input (a very absurd idea as we both make up the duo not just the one), but we both perform them on stage, I begun to have a rethink of the entire situation. Let me leave this here. Maybe because I was not posting anything music related on my social media page for over 4 months. He believes I have lost interest in music. I took a breather to get my mind and head in the right space and when that was done, my epiphany was WINNING!

Mr Psquare

713,107 Aufrufe • vor 1 Jahr

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

88,798 Aufrufe • vor 8 Monaten

If any other auto company shipped what Tesla just put in my Cyberbeast this morning, it would be a MAJOR launch event, like with a stage set up, a 40-minute presentation with people flying in around the world to see how amazing this technology is. Tesla on the other hand just sent it to my truck overnight with an over-the-air software update. I downloaded FSD (Supervised) v14.3.8 this morning and made Grok do all of this while my Cyberbeast drove itself. Watch the video, if you think I’m lying. I had Grok: 1/ add a destination 2/ add a second stop 3/ start FSD (just had to press a button) 4/ turn my AC to 68 5/ turn the seat coolers on medium 6/ then change the seat cooler to high 7/ play a song 8/ change to a different song 9/ open the glovebox (had to enter my pin) 10/ close the glovebox 11/ tell me the weather 12/ play Elon’s song 13/ change my destination to San Francisco mid-drive 14/ pick a Supercharger bc I was almost out of battery ALL with my hands and feet off the steering wheel and pedals… Here’s exactly how it went. I said hey Grok, take me to the Pruneridge Golf Club closest to me, then the Starbucks near there. It set both. I started FSD with a press of a button. Then I just kept talking to it. It was kind of hot in my Cybertruck, so I asked Grok to set the temperature to 68 and cool. Done. Then I said put the seat coolers on medium… it turned it on. Then I said change the seat coolers to high… it bumped it up. I said to play a song from Future… it put a song on Spotify that wasn’t what I was looking for. So I changed it. I said to play a song from Lil Baby. That was the one. Then I asked Grok to open my glovebox. It wouldn’t do it until I put my PIN in on the screen, which I actually respect for safety. I typed in my PIN… it opened it. Then I said close the glovebox… it closed. I asked what the weather was… it said it was sunny in Santa Clara, high 85, low 64. Then I said play Don’t Doubt ur Vibe, I think that’s Elon… it pulled up Don’t Doubt ur Vibe by Elon “EDM” Musk on Spotify. Halfway there I changed my mind on where I wanted to go. I said actually take me to San Francisco first and that I might have to stop at a Supercharger bc I’m almost out of battery. Grok looked at my truck sitting at 14% battery life with 38 miles of range. And knowing San Francisco is 39 miles away it found a Tesla supercharger for me to charge along the way. I said thanks Grok. A Tesla is starting to feel like an AI on wheels that can drive, listen, understand what I want, control the cabin, change my plans, and solve problems for me in real time… almost like another person is there with me, except that intelligence is embodied in the car itself. And the wildest part is I didn’t buy anything new! I went to sleep with one Cyberbeast and woke up with a more capable one. That’s why I think people still underestimate what happens when Tesla combines FSD, Grok, its vehicles, and over-the-air software into one system. That car sitting in your driveway doesn’t stay the same car. It keeps gaining new abilities. It keeps getting smarter. And often, you literally wake up to a major release that changes what the car can do. Any other automaker would have put this on a stage. Tesla shipped it while I was sleeping. Mind blown…
4:39

If any other auto company shipped what Tesla just put in my Cyberbeast this morning, it would be a MAJOR launch event, like with a stage set up, a 40-minute presentation with people flying in around the world to see how amazing this technology is. Tesla on the other hand just sent it to my truck overnight with an over-the-air software update. I downloaded FSD (Supervised) v14.3.8 this morning and made Grok do all of this while my Cyberbeast drove itself. Watch the video, if you think I’m lying. I had Grok: 1/ add a destination 2/ add a second stop 3/ start FSD (just had to press a button) 4/ turn my AC to 68 5/ turn the seat coolers on medium 6/ then change the seat cooler to high 7/ play a song 8/ change to a different song 9/ open the glovebox (had to enter my pin) 10/ close the glovebox 11/ tell me the weather 12/ play Elon’s song 13/ change my destination to San Francisco mid-drive 14/ pick a Supercharger bc I was almost out of battery ALL with my hands and feet off the steering wheel and pedals… Here’s exactly how it went. I said hey Grok, take me to the Pruneridge Golf Club closest to me, then the Starbucks near there. It set both. I started FSD with a press of a button. Then I just kept talking to it. It was kind of hot in my Cybertruck, so I asked Grok to set the temperature to 68 and cool. Done. Then I said put the seat coolers on medium… it turned it on. Then I said change the seat coolers to high… it bumped it up. I said to play a song from Future… it put a song on Spotify that wasn’t what I was looking for. So I changed it. I said to play a song from Lil Baby. That was the one. Then I asked Grok to open my glovebox. It wouldn’t do it until I put my PIN in on the screen, which I actually respect for safety. I typed in my PIN… it opened it. Then I said close the glovebox… it closed. I asked what the weather was… it said it was sunny in Santa Clara, high 85, low 64. Then I said play Don’t Doubt ur Vibe, I think that’s Elon… it pulled up Don’t Doubt ur Vibe by Elon “EDM” Musk on Spotify. Halfway there I changed my mind on where I wanted to go. I said actually take me to San Francisco first and that I might have to stop at a Supercharger bc I’m almost out of battery. Grok looked at my truck sitting at 14% battery life with 38 miles of range. And knowing San Francisco is 39 miles away it found a Tesla supercharger for me to charge along the way. I said thanks Grok. A Tesla is starting to feel like an AI on wheels that can drive, listen, understand what I want, control the cabin, change my plans, and solve problems for me in real time… almost like another person is there with me, except that intelligence is embodied in the car itself. And the wildest part is I didn’t buy anything new! I went to sleep with one Cyberbeast and woke up with a more capable one. That’s why I think people still underestimate what happens when Tesla combines FSD, Grok, its vehicles, and over-the-air software into one system. That car sitting in your driveway doesn’t stay the same car. It keeps gaining new abilities. It keeps getting smarter. And often, you literally wake up to a major release that changes what the car can do. Any other automaker would have put this on a stage. Tesla shipped it while I was sleeping. Mind blown…

Teslaconomics

97,495 Aufrufe • vor 6 Tagen

Nas (and Large Professor) - “Number Man” (demo) A snippet. From a 1992 demo. And you just know Nas is gonna blow… No one could ever say that it was handed to Nas on a platter. He earned it. And it was Large Professor who gave Nas his most consequential first look on Main Source’s “Live at the Barbecue.” Large Professor followed this up with with helping Nas get the deal that lead to the recording of the classic Illmatic (arguably the best hip hop/Rap album of all time). But a demo in 1992? What the “Number Man” demo shows is a young artist transitioning from his influences into his own artist. While Nas was undoubtedly influenced by on number of the late ‘80s era rappers, he is by and large a disciple of Kool G Rap. On “Number Man,” we here Nas force tweaking his style, intentionally tooling with rhyme misdirection and slant rhymes in ways that enabled him to break away from G Rap and come into his own. This is a critical point to understand. Nas was clearly aware that he sounded like Kool G Rap early on. And Nas was aware of how his connection to the rhyme school of Kool G Rap could impact him. Despite stealing the show with a blistering debut verse on Main Source’s “Live at the BBQ,” it wasn’t an automatic that Nas was ever going to get his own deal. At least not right away. For instance, when Nas was shopping his demo, Def Jam records reportedly passed on Nas because Russell Simmons thought that Nas was nothing more than a low-budget Kool G Rap. Nas persevered. He continued to shop his demo. And fundamental to Nas’s perseverance was Large Professor. It was Large Professor who provided Nas with the beats that allowed Nas to woodshop his style, flow, and delivery. And it was Large Professor who adamantly encouraged Nas and went around town (New York) with Nas shopping his demo. As far as demos go, you can hear it. It’s all there. It was only a matter of time before Nas would breakout. The feeling at the time, among some but not all, was that Nas was gonna blow. Still, as smooth as Nas sounds on this beat, you can hear him working to differentiate himself, a feat every great artist achieves in order to stand on their own. Finally, the beat. What we hear on this Large Professor produced beat is some of the fundamental aesthetics of the beatmaking tradition as they were being established in 1992. Filtered bass lines, jazz horns, and hard hitting drums are all present on “Number Man.” By 1994, practically every standard aesthetic, method, and technique in hip hop’s beatmaking tradition would be established. And Large Professor was one of the chief pioneers among the handful collective of beatmakers (producers) who contributed greatly to the development of these standards…
0:57

Nas (and Large Professor) - “Number Man” (demo) A snippet. From a 1992 demo. And you just know Nas is gonna blow… No one could ever say that it was handed to Nas on a platter. He earned it. And it was Large Professor who gave Nas his most consequential first look on Main Source’s “Live at the Barbecue.” Large Professor followed this up with with helping Nas get the deal that lead to the recording of the classic Illmatic (arguably the best hip hop/Rap album of all time). But a demo in 1992? What the “Number Man” demo shows is a young artist transitioning from his influences into his own artist. While Nas was undoubtedly influenced by on number of the late ‘80s era rappers, he is by and large a disciple of Kool G Rap. On “Number Man,” we here Nas force tweaking his style, intentionally tooling with rhyme misdirection and slant rhymes in ways that enabled him to break away from G Rap and come into his own. This is a critical point to understand. Nas was clearly aware that he sounded like Kool G Rap early on. And Nas was aware of how his connection to the rhyme school of Kool G Rap could impact him. Despite stealing the show with a blistering debut verse on Main Source’s “Live at the BBQ,” it wasn’t an automatic that Nas was ever going to get his own deal. At least not right away. For instance, when Nas was shopping his demo, Def Jam records reportedly passed on Nas because Russell Simmons thought that Nas was nothing more than a low-budget Kool G Rap. Nas persevered. He continued to shop his demo. And fundamental to Nas’s perseverance was Large Professor. It was Large Professor who provided Nas with the beats that allowed Nas to woodshop his style, flow, and delivery. And it was Large Professor who adamantly encouraged Nas and went around town (New York) with Nas shopping his demo. As far as demos go, you can hear it. It’s all there. It was only a matter of time before Nas would breakout. The feeling at the time, among some but not all, was that Nas was gonna blow. Still, as smooth as Nas sounds on this beat, you can hear him working to differentiate himself, a feat every great artist achieves in order to stand on their own. Finally, the beat. What we hear on this Large Professor produced beat is some of the fundamental aesthetics of the beatmaking tradition as they were being established in 1992. Filtered bass lines, jazz horns, and hard hitting drums are all present on “Number Man.” By 1994, practically every standard aesthetic, method, and technique in hip hop’s beatmaking tradition would be established. And Large Professor was one of the chief pioneers among the handful collective of beatmakers (producers) who contributed greatly to the development of these standards…

The Art of Sampling

21,476 Aufrufe • vor 6 Monaten

"Checkmate" is Jadakiss’s sharp 2005 diss track aimed at 50 Cent‼️ released as a promotional single on March 9, 2005 (Ruff Ryders/Interscope)‼️. It was a direct response to 50 Cent’s “Piggy Bank” from *The Massacre*‼️. It grew out of 50 Cent’s long-running war with Ja Rule and Murder Inc‼️. In 2004, Jadakiss and Fat Joe appeared on Ja Rule’s song “New York.” 50 Cent saw that as them supporting his enemy while he was trying to bury Ja Rule, so he targeted them on “Piggy Bank.”‼️ Key lines at Jadakiss included mocking him as local (“in New York, niggas like your vocals / But that’s only New York, dawg, yo’ ass is local”) and warning him not to mess with him‼️. 50 also referenced chess with “This is chess not checkers.”‼️ Jadakiss has said he wasn’t initially eager for the feud and felt media hype played a big role, but once people (including friends) kept asking if he’d heard “Piggy Bank” and planned to respond, he did‼️. The track itself was produced by The Alchemist, it flips the instrumental from Big Noyd’s “Air It Out” (a beat 50 had previously used for his own Murder Inc. diss “I’m an Animal”)‼️. The intro sarcastically congratulates 50 on *The Massacre*’s massive first-week sales (~1.1 million) before pivoting hard: “Screw a press conference‼️ Press this on your conscience‼️” Jadakiss goes after 50’s image and credibility with precise, personal bars: - Snitching allegations tied to “Ghetto Qur’an” and the arrest of Kenneth “Supreme” McGriff (“I heard you put a couple good niggas behind bars… I might never sell that much / But you can bet your last two quarters I’ll never tell that much”)‼️. - Mocking the nine-shot survival story that defined 50’s brand (“You had to get shot nine times to be rich”; “Since when has it become cool to get shot and not shoot back⁉️”; questioning what the next album would even be about)‼️. - Calling out Connecticut living vs. New York street claims, lack of originality, and more. - The chorus hammers the “rat/pig/snake… animal” theme‼️. The title itself is a chess response—claiming checkmate after 50’s “chess not checkers” line‼️. It got heavy hip-hop radio rotation and charted at **No. 56 on Billboard’s Hot R&B/Hip-Hop Songs* chart—impressive for a pure diss track‼️. Jadakiss later noted he made “a lot of money” from the whole situation, toured off the buzz, and viewed it positively as a different-era marketing boost while 50 was riding high with *The Massacre*‼️. It’s widely regarded as one of the stronger lyrical clapbacks of that era‼️. Fans and retrospectives often praise its precision, wordplay, and how Jadakiss came off studied and composed rather than chaotic‼️. It’s frequently cited among notable mid-2000s diss tracks (e.g., high placements on various “best diss tracks” lists)‼️. 50 and G-Unit responded with tracks like “I Run New York” (with Tony Yayo) and others, and Jadakiss dropped additional responses, but “Checkmate” is the standout from his side‼️. How it got resolved⁉️ The back-and-forth continued for a stretch in 2005, but it cooled relatively quickly compared to some of 50’s longer, more personal feuds‼️. Jadakiss has recounted that 50 Cent eventually pulled up to the D-Block/Yonkers area **alone** (no big entourage), came to the studio, and they sat and talked for a few hours (with Styles P also there in some accounts)‼️. 50 even had songs for them‼️. They’ve been good since‼️. Jadakiss has described it as never being *that* serious—more media-fueled and competitive, with mutual underlying respect (he noted 50 was a fan of theirs, and they had rooted for his underdog story)‼️. They later performed together (including at 50’s ThisIs50 Festival in 2009) and even collaborated years later‼️. In short: a classic mid-2000s New York lyrical clash sparked by association with Ja Rule, elevated by a tight, well-received Jadakiss response that actually charted, and ended maturely with a face-to-face talk rather than lasting bitterness‼️💯.
2:13

"Checkmate" is Jadakiss’s sharp 2005 diss track aimed at 50 Cent‼️ released as a promotional single on March 9, 2005 (Ruff Ryders/Interscope)‼️. It was a direct response to 50 Cent’s “Piggy Bank” from *The Massacre*‼️. It grew out of 50 Cent’s long-running war with Ja Rule and Murder Inc‼️. In 2004, Jadakiss and Fat Joe appeared on Ja Rule’s song “New York.” 50 Cent saw that as them supporting his enemy while he was trying to bury Ja Rule, so he targeted them on “Piggy Bank.”‼️ Key lines at Jadakiss included mocking him as local (“in New York, niggas like your vocals / But that’s only New York, dawg, yo’ ass is local”) and warning him not to mess with him‼️. 50 also referenced chess with “This is chess not checkers.”‼️ Jadakiss has said he wasn’t initially eager for the feud and felt media hype played a big role, but once people (including friends) kept asking if he’d heard “Piggy Bank” and planned to respond, he did‼️. The track itself was produced by The Alchemist, it flips the instrumental from Big Noyd’s “Air It Out” (a beat 50 had previously used for his own Murder Inc. diss “I’m an Animal”)‼️. The intro sarcastically congratulates 50 on *The Massacre*’s massive first-week sales (~1.1 million) before pivoting hard: “Screw a press conference‼️ Press this on your conscience‼️” Jadakiss goes after 50’s image and credibility with precise, personal bars: - Snitching allegations tied to “Ghetto Qur’an” and the arrest of Kenneth “Supreme” McGriff (“I heard you put a couple good niggas behind bars… I might never sell that much / But you can bet your last two quarters I’ll never tell that much”)‼️. - Mocking the nine-shot survival story that defined 50’s brand (“You had to get shot nine times to be rich”; “Since when has it become cool to get shot and not shoot back⁉️”; questioning what the next album would even be about)‼️. - Calling out Connecticut living vs. New York street claims, lack of originality, and more. - The chorus hammers the “rat/pig/snake… animal” theme‼️. The title itself is a chess response—claiming checkmate after 50’s “chess not checkers” line‼️. It got heavy hip-hop radio rotation and charted at **No. 56 on Billboard’s Hot R&B/Hip-Hop Songs* chart—impressive for a pure diss track‼️. Jadakiss later noted he made “a lot of money” from the whole situation, toured off the buzz, and viewed it positively as a different-era marketing boost while 50 was riding high with *The Massacre*‼️. It’s widely regarded as one of the stronger lyrical clapbacks of that era‼️. Fans and retrospectives often praise its precision, wordplay, and how Jadakiss came off studied and composed rather than chaotic‼️. It’s frequently cited among notable mid-2000s diss tracks (e.g., high placements on various “best diss tracks” lists)‼️. 50 and G-Unit responded with tracks like “I Run New York” (with Tony Yayo) and others, and Jadakiss dropped additional responses, but “Checkmate” is the standout from his side‼️. How it got resolved⁉️ The back-and-forth continued for a stretch in 2005, but it cooled relatively quickly compared to some of 50’s longer, more personal feuds‼️. Jadakiss has recounted that 50 Cent eventually pulled up to the D-Block/Yonkers area **alone** (no big entourage), came to the studio, and they sat and talked for a few hours (with Styles P also there in some accounts)‼️. 50 even had songs for them‼️. They’ve been good since‼️. Jadakiss has described it as never being *that* serious—more media-fueled and competitive, with mutual underlying respect (he noted 50 was a fan of theirs, and they had rooted for his underdog story)‼️. They later performed together (including at 50’s ThisIs50 Festival in 2009) and even collaborated years later‼️. In short: a classic mid-2000s New York lyrical clash sparked by association with Ja Rule, elevated by a tight, well-received Jadakiss response that actually charted, and ended maturely with a face-to-face talk rather than lasting bitterness‼️💯.

(st_ides)

13,491 Aufrufe • vor 8 Tagen

🧵 ASAP Rocky vs Drake — A DEEPER LOOK (Receipts, Not Revisionism) ASAP Rocky recently went on The Joe Budden Podcast and claimed the reason he dissed Drake on “Stole My Flow” and other songs on the (Don’t Be Dumb) project is because Drake has been “taking shots at him for years” while he stayed silent. That narrative doesn’t hold up when you look at the full history. This has been back and forth tension for nearly half a decade, with Rocky repeatedly firing first musically, visually, and symbolically and Drake responding in kind. 📌 The Real Starting Point (2021) •May 2021: ASAP Rocky & Rihanna confirm their relationship in GQ •June 2021: Rocky previews “D.M.B (Dat’s My B*tch)” in a Klarna ad •Extended version leaks shortly after •The intro and bars clearly frame Rihanna as a “prize won,” widely interpreted as a Drake sub •Video rollout goes viral with Rihanna as the love interest, doubling down on the flex September 3, 2021 •Drake drops Certified Lover Boy •Multiple bars are read as indirect responses to Rocky’s rollout September 13, 2021 •ASAP Rocky & Rihanna attend the Met Gala •Rocky wears a quilted blanket outfit, which many saw as a calculated visual jab toward Drake 2022 •Pregnancy announcement 4 months later first child is born •8 days later, Rocky officially drops the D.M.B video, once again starring Rihanna •Drake responds months later on Her Loss, continuing the subliminal exchange 📌 Escalation Era (2023) •Rihanna performs at the Super Bowl, visibly pregnant again •Shortly after: •ASAP Rocky previews “Stole My Flow” at Rolling Loud •The clip goes viral immediately •Rocky then drops “Riot”, another track interpreted as a Drake jab Drake Responds •October 6, 2023: Drake releases For All The Dogs •Tracks like “Fear of Heights” and “Another Late Night” contain clear subs •Drake even trolls Rocky’s Rolling Loud appearance by wearing colorful hair clips, mirroring Rocky’s look Rocky’s Counter •Puma x F1 partnership rollout featuring Rocky and Rihanna •Rocky positions himself as a fashion forward mogul while taking subtle cultural shots 📌 Diss Cycle Goes Public (2024) •Rocky jumps on Future & Metro Boomin’s Drake diss project •Track: “Show of Hands” •Drake fires back on “Family Matters”: “Rakim talkin’ shit again…” •Drake follows with 100 Gigs for Your Head Top •Rocky responds with “Tailor Swif” and “Hijack” •Drake answers again with: •No Face •SOD •Circadian Rhythm •Rocky doubles down with another Puma F1 campaign, leaning into optics instead of direct records 📌 Optics, Timing & Strategy (2025) •Rolling Loud: Rocky performs multiple Drake sub tracks like Helicopter •Met Gala 2025: •ASAP & Rihanna announce another pregnancy • Rocky does late night appearance with Anna wintour on Seth meyers •Rihanna drops a Smurfs soundtrack song produced by the same producer behind Drake’s “Nokia” •Lyrics hint at déjà vu 👀 Drake’s Response •Headlines Wireless Festival solo •Sends an unspoken message: I don’t need Rolling Loud or a stacked lineup •July 4, 2025: Drake drops “What Did I Miss?” •Same day: Rocky drops “Pray4DaGang” •July 25, 2025: Drake drops “Which One” viewed as a Rihanna centered response 📌 The Album Delay & Final Drop (2026) •Rocky teases Don’t Be Dumb for nearly three years •Avoids direct release windows where Drake might step on the moment •January 2026: •Rocky finally drops the album •Includes the same Drake diss tracks previewed years earlier •Then goes on podcasts claiming Drake dissed him “out of nowhere” 🎯 Final Take This wasn’t: ❌ sudden ❌ unprovoked ❌ one sided It was: ✔️ long term ✔️ strategic ✔️ mutually escalated ASAP Rocky has been sending shots through music, fashion, relationships, timing, and optics. Drake has been responding consistently and directly. That’s hip hop Trying to reframe it as“I stayed quiet and Drake attacked me”
0:19

🧵 ASAP Rocky vs Drake — A DEEPER LOOK (Receipts, Not Revisionism) ASAP Rocky recently went on The Joe Budden Podcast and claimed the reason he dissed Drake on “Stole My Flow” and other songs on the (Don’t Be Dumb) project is because Drake has been “taking shots at him for years” while he stayed silent. That narrative doesn’t hold up when you look at the full history. This has been back and forth tension for nearly half a decade, with Rocky repeatedly firing first musically, visually, and symbolically and Drake responding in kind. 📌 The Real Starting Point (2021) •May 2021: ASAP Rocky & Rihanna confirm their relationship in GQ •June 2021: Rocky previews “D.M.B (Dat’s My B*tch)” in a Klarna ad •Extended version leaks shortly after •The intro and bars clearly frame Rihanna as a “prize won,” widely interpreted as a Drake sub •Video rollout goes viral with Rihanna as the love interest, doubling down on the flex September 3, 2021 •Drake drops Certified Lover Boy •Multiple bars are read as indirect responses to Rocky’s rollout September 13, 2021 •ASAP Rocky & Rihanna attend the Met Gala •Rocky wears a quilted blanket outfit, which many saw as a calculated visual jab toward Drake 2022 •Pregnancy announcement 4 months later first child is born •8 days later, Rocky officially drops the D.M.B video, once again starring Rihanna •Drake responds months later on Her Loss, continuing the subliminal exchange 📌 Escalation Era (2023) •Rihanna performs at the Super Bowl, visibly pregnant again •Shortly after: •ASAP Rocky previews “Stole My Flow” at Rolling Loud •The clip goes viral immediately •Rocky then drops “Riot”, another track interpreted as a Drake jab Drake Responds •October 6, 2023: Drake releases For All The Dogs •Tracks like “Fear of Heights” and “Another Late Night” contain clear subs •Drake even trolls Rocky’s Rolling Loud appearance by wearing colorful hair clips, mirroring Rocky’s look Rocky’s Counter •Puma x F1 partnership rollout featuring Rocky and Rihanna •Rocky positions himself as a fashion forward mogul while taking subtle cultural shots 📌 Diss Cycle Goes Public (2024) •Rocky jumps on Future & Metro Boomin’s Drake diss project •Track: “Show of Hands” •Drake fires back on “Family Matters”: “Rakim talkin’ shit again…” •Drake follows with 100 Gigs for Your Head Top •Rocky responds with “Tailor Swif” and “Hijack” •Drake answers again with: •No Face •SOD •Circadian Rhythm •Rocky doubles down with another Puma F1 campaign, leaning into optics instead of direct records 📌 Optics, Timing & Strategy (2025) •Rolling Loud: Rocky performs multiple Drake sub tracks like Helicopter •Met Gala 2025: •ASAP & Rihanna announce another pregnancy • Rocky does late night appearance with Anna wintour on Seth meyers •Rihanna drops a Smurfs soundtrack song produced by the same producer behind Drake’s “Nokia” •Lyrics hint at déjà vu 👀 Drake’s Response •Headlines Wireless Festival solo •Sends an unspoken message: I don’t need Rolling Loud or a stacked lineup •July 4, 2025: Drake drops “What Did I Miss?” •Same day: Rocky drops “Pray4DaGang” •July 25, 2025: Drake drops “Which One” viewed as a Rihanna centered response 📌 The Album Delay & Final Drop (2026) •Rocky teases Don’t Be Dumb for nearly three years •Avoids direct release windows where Drake might step on the moment •January 2026: •Rocky finally drops the album •Includes the same Drake diss tracks previewed years earlier •Then goes on podcasts claiming Drake dissed him “out of nowhere” 🎯 Final Take This wasn’t: ❌ sudden ❌ unprovoked ❌ one sided It was: ✔️ long term ✔️ strategic ✔️ mutually escalated ASAP Rocky has been sending shots through music, fashion, relationships, timing, and optics. Drake has been responding consistently and directly. That’s hip hop Trying to reframe it as“I stayed quiet and Drake attacked me”

Cousin Tino ™️

42,850 Aufrufe • vor 7 Monaten

EXCLUSIVE: The hidden $250K machine of 9 paid vendors behind the 'flagship' #NoKings protest in St. Paul, Minnesota I followed the money behind the No Kings protest in St. Paul, Minn., and uncovered an estimated $250,000 paid to 9 vendors to produce an event that was about the size of a Def Leppard concert. Sources said that the Democratic nonprofit Indivisible paid the bill. It didn't respond to numerous requests for comment. How did I piece this together? Well, I have a rule when reporting on the protest industry: be the first there and one of the last to leave. That’s how I met Slamhammer Sound & Roadcase Co. production manager Matt Svobodny, one of the very nice hard-working members of the production crew behind the scenes in St. Paul, as they were breaking down the set for the No Kings protest, long after Bruce Springsteen and most of the anti-Trump protesters had left. He was straightforward, candid and matter-of-fact about what it takes to throw a protest and, a few days later, guided me -- and you -- through the warehouse where Slamhammer stores the equipment it pulled out for the protest. He provided the kind of transparency that the secretive nonprofits behind the protests should actually be providing to citizens and the media. See for yourself: ➡️ the mobile stage ➡️ the speakers ➡️ nearly a mile of heavy-duty feeder cable used to distribute electricity throughout the rally site and the ballistic ➡️ bullet-resistant barriers that shielded the Bruce Springsteen, Jane Fonda, Joan Baez, TIm Walz, Ilhan Omar, Randi Weingarten and the day's other bold-faced names WATCH the video that I recorded ⬇️ Thank you to Fox News Digital's Hannah Brennan for her work editing the video. In our new Fox News Digital exclusive, I lay out how the "flagship" protest in St. Paul wasn’t spontaneous, like most of the media reported. It was professionally engineered. And that raises a bigger question: When protests look like productions…who’s really behind the curtain? I answer that question in the article and the thread below 🧵👇 A former Obama and Biden administration political strategist and campaign operative Roger Fisk takes credit for being the "Senior Advisor to the #NoKings flagship event," fine-tuning the "art and science" of throwing the St. Paul protest, along with two other "No Kings" protests last year. Fisk didn't respond to a request for comment. The protests have parroted Chinese government propaganda, demonizing America as a "fascist" nation and Trump as a "king." Partners in the protests were pro-communist groups funded by Neville Roy Singham, a tech tycoon living in Shanghai. DataRepublican (small r), You'll want to read this. READ: Behind the scenes, I identified 9 vendors that were paid an estimated $250,000 to construct the protest: ➡️ Slamhammer Sound & Roadcase Co. — mobile stage, 100-speaker sound system, lighting, 1,700 ft cable, ballistic barriers → estimated $100,000 ➡️ Fire Up Video — 4 jumbo screens → estimated $20,000 ➡️ Algorithm, an AV company — 2 jumbo screens → estimated $25,000 ➡️ Common World Productions — 2 LED stage screens → estimated $10,000 ➡️ Warning Lites of Minnesota — bike-rack barricades → estimated $15,000 ➡️ E5 Energy — generators, electrical distribution → estimated $15,000 ➡️ Ultimate Events — tents, chairs, tables → estimated $30,000 ➡️ On Site Companies — ~300 porta-toilets → estimated $25,000 ➡️ Fast Kat Connects — high-speed internet → estimated $10,000 Total: an estimated $250,000. This wasn’t a rally that just “popped up,” as CNN reported. It was built, truck by truck, cable by cable, screen by screen. 🧵 with how it worked.
4:50

EXCLUSIVE: The hidden $250K machine of 9 paid vendors behind the 'flagship' #NoKings protest in St. Paul, Minnesota I followed the money behind the No Kings protest in St. Paul, Minn., and uncovered an estimated $250,000 paid to 9 vendors to produce an event that was about the size of a Def Leppard concert. Sources said that the Democratic nonprofit Indivisible paid the bill. It didn't respond to numerous requests for comment. How did I piece this together? Well, I have a rule when reporting on the protest industry: be the first there and one of the last to leave. That’s how I met Slamhammer Sound & Roadcase Co. production manager Matt Svobodny, one of the very nice hard-working members of the production crew behind the scenes in St. Paul, as they were breaking down the set for the No Kings protest, long after Bruce Springsteen and most of the anti-Trump protesters had left. He was straightforward, candid and matter-of-fact about what it takes to throw a protest and, a few days later, guided me -- and you -- through the warehouse where Slamhammer stores the equipment it pulled out for the protest. He provided the kind of transparency that the secretive nonprofits behind the protests should actually be providing to citizens and the media. See for yourself: ➡️ the mobile stage ➡️ the speakers ➡️ nearly a mile of heavy-duty feeder cable used to distribute electricity throughout the rally site and the ballistic ➡️ bullet-resistant barriers that shielded the Bruce Springsteen, Jane Fonda, Joan Baez, TIm Walz, Ilhan Omar, Randi Weingarten and the day's other bold-faced names WATCH the video that I recorded ⬇️ Thank you to Fox News Digital's Hannah Brennan for her work editing the video. In our new Fox News Digital exclusive, I lay out how the "flagship" protest in St. Paul wasn’t spontaneous, like most of the media reported. It was professionally engineered. And that raises a bigger question: When protests look like productions…who’s really behind the curtain? I answer that question in the article and the thread below 🧵👇 A former Obama and Biden administration political strategist and campaign operative Roger Fisk takes credit for being the "Senior Advisor to the #NoKings flagship event," fine-tuning the "art and science" of throwing the St. Paul protest, along with two other "No Kings" protests last year. Fisk didn't respond to a request for comment. The protests have parroted Chinese government propaganda, demonizing America as a "fascist" nation and Trump as a "king." Partners in the protests were pro-communist groups funded by Neville Roy Singham, a tech tycoon living in Shanghai. DataRepublican (small r), You'll want to read this. READ: Behind the scenes, I identified 9 vendors that were paid an estimated $250,000 to construct the protest: ➡️ Slamhammer Sound & Roadcase Co. — mobile stage, 100-speaker sound system, lighting, 1,700 ft cable, ballistic barriers → estimated $100,000 ➡️ Fire Up Video — 4 jumbo screens → estimated $20,000 ➡️ Algorithm, an AV company — 2 jumbo screens → estimated $25,000 ➡️ Common World Productions — 2 LED stage screens → estimated $10,000 ➡️ Warning Lites of Minnesota — bike-rack barricades → estimated $15,000 ➡️ E5 Energy — generators, electrical distribution → estimated $15,000 ➡️ Ultimate Events — tents, chairs, tables → estimated $30,000 ➡️ On Site Companies — ~300 porta-toilets → estimated $25,000 ➡️ Fast Kat Connects — high-speed internet → estimated $10,000 Total: an estimated $250,000. This wasn’t a rally that just “popped up,” as CNN reported. It was built, truck by truck, cable by cable, screen by screen. 🧵 with how it worked.

Asra Nomani

881,725 Aufrufe • vor 4 Monaten

To further enunciate our plans for the Murtala Mohammed International Airport (MMI) in Lagos, let me further clarify the approval we secured from the Federal Executive Council Meeting last week. 1. There are two international terminals in Lagos. Terminal One is that old building directly facing the long stretch of road leading to the airport built & commissioned in 1979 by the Obasanjo-led Military regime. It has two wings known as WING D and WING E. Terminal Two is the new building on the right-hand side as you drive into the airport, started by President Jonathan’s govt. with a Chinese loan, completed during President Buhari’s govt (with the loan) & made operational during President Tinubu’s first one month in office. 2. Due to years of neglect & because the traffic over time quadrupled beyond its capacity, the building & facilities at Terminal One became totally decrepit. We have been engaged in some patch jobs over the years just to make it a bit presentable. Now, shorn of all the rhetoric, what we simply want to do is to totally strip down that building, including the entire roof (leaving only the carcass), then re-design/reconfigure it & build a brand-new airport for the nation to meet modern, international standards that can also cater for the increased traffic. Both wings D and E would be affected. 3. As for the new Terminal (Two), we got approval to expand the building and the Apron (where aircraft park for boarding and disembarkation) in order to accommodate more aircraft, including wide-body aircraft. That is not all; we are constructing two new independent ring roads in and out of the airport (one for departure and one for arrival) and a bridge that will take travellers directly to the upper floor of Terminal Two Departure lounge, instead of lifting our luggage up the escalators when we are departing. It is a design error we intend to correct. 4. We have also introduced smart solutions to the new designs in order to deliver a smart airport to Nigerians that can compete with any airport in the world. 5. In all, Nigerians will be proud of what we are going to deliver. And take note, this will not be done by a loan from anywhere, but by the Renewed Hope infrastructure Development Fund, which is one of the gains made from the removal of subsidies. 6. As the work progresses, we will be inviting the Press, Civil Society groups, members of the National Assembly and interested Nigerians on regular tours of the facility to monitor the extent and quality of work. It is part of our national heritage and we should all rightly be interested in the final outcome. 7. I will also encourage our compatriots to simply google the cost of most modern airports built around the world in the last few years (including those in Africa like Angola, etc) and you will agree with me that the Bureau for Public Procurement that scrutinised and fixed the final cost of this project did a fantastic job for the nation. 7. And as a final word, it is important to tell Nigerians that we also have brand new Terminals in Kano, Abuja & Port-Harcourt. However, presently, they are all underutilised due to the traffic that is less than thirty percent of their capacities. 8. For further explanation and transparency, we have produced a video (which I attach hereunder) that graphically explains the proposed works upon which we are embarking. I hope you find it useful. Thank you.
2:22

To further enunciate our plans for the Murtala Mohammed International Airport (MMI) in Lagos, let me further clarify the approval we secured from the Federal Executive Council Meeting last week. 1. There are two international terminals in Lagos. Terminal One is that old building directly facing the long stretch of road leading to the airport built & commissioned in 1979 by the Obasanjo-led Military regime. It has two wings known as WING D and WING E. Terminal Two is the new building on the right-hand side as you drive into the airport, started by President Jonathan’s govt. with a Chinese loan, completed during President Buhari’s govt (with the loan) & made operational during President Tinubu’s first one month in office. 2. Due to years of neglect & because the traffic over time quadrupled beyond its capacity, the building & facilities at Terminal One became totally decrepit. We have been engaged in some patch jobs over the years just to make it a bit presentable. Now, shorn of all the rhetoric, what we simply want to do is to totally strip down that building, including the entire roof (leaving only the carcass), then re-design/reconfigure it & build a brand-new airport for the nation to meet modern, international standards that can also cater for the increased traffic. Both wings D and E would be affected. 3. As for the new Terminal (Two), we got approval to expand the building and the Apron (where aircraft park for boarding and disembarkation) in order to accommodate more aircraft, including wide-body aircraft. That is not all; we are constructing two new independent ring roads in and out of the airport (one for departure and one for arrival) and a bridge that will take travellers directly to the upper floor of Terminal Two Departure lounge, instead of lifting our luggage up the escalators when we are departing. It is a design error we intend to correct. 4. We have also introduced smart solutions to the new designs in order to deliver a smart airport to Nigerians that can compete with any airport in the world. 5. In all, Nigerians will be proud of what we are going to deliver. And take note, this will not be done by a loan from anywhere, but by the Renewed Hope infrastructure Development Fund, which is one of the gains made from the removal of subsidies. 6. As the work progresses, we will be inviting the Press, Civil Society groups, members of the National Assembly and interested Nigerians on regular tours of the facility to monitor the extent and quality of work. It is part of our national heritage and we should all rightly be interested in the final outcome. 7. I will also encourage our compatriots to simply google the cost of most modern airports built around the world in the last few years (including those in Africa like Angola, etc) and you will agree with me that the Bureau for Public Procurement that scrutinised and fixed the final cost of this project did a fantastic job for the nation. 7. And as a final word, it is important to tell Nigerians that we also have brand new Terminals in Kano, Abuja & Port-Harcourt. However, presently, they are all underutilised due to the traffic that is less than thirty percent of their capacities. 8. For further explanation and transparency, we have produced a video (which I attach hereunder) that graphically explains the proposed works upon which we are embarking. I hope you find it useful. Thank you.

Festus Keyamo, SAN, CON, FCIArb (UK)

231,315 Aufrufe • vor 1 Jahr

ANTHROPIC'S PRODUCT CHIEF HAS USED CLAUDE FABLE 5 FOR MONTHS BEFORE ANYONE ELSE. HERE'S WHAT HE LEARNED ABOUT THE MOST POWERFUL MODEL YET Mike Krieger co-founded Instagram and now runs product at Anthropic. He's had Claude Fable 5 for two months before the public, and his takeaway is that it changes how you have to work, not just how much you get done. Here's what stood out, and what to actually do with it 1. It holds the whole project, so stop chopping tasks small. The old habit was breaking work into model-sized pieces and stitching them. Fable keeps the whole thing in context. What to do: stop pre-slicing your prompts into tiny steps. Hand it the full goal and the intent behind it, the way you'd brief a senior engineer, and let it sequence the work itself 2. Delegate big, async, and overnight. He sets it on a hard task at night and wakes to it finished, including the model getting itself unstuck when a service died, scaffolding a workaround, and documenting it. What to do: stop babysitting one prompt at a time. Kick off long jobs and walk away. Run several sessions at once instead of one you watch 3. The skill is planning now, not typing. His day moved to long architecture conversations up front, then execution in chunks. What to do: spend your first prompts planning, not building. Then ask it to output an HTML page or markdown doc of the plan so your team aligns before any code is written. That early alignment is the new leverage 4. Match the effort level to the task. Fable's range is wide, so a heavy reasoning pass on a tiny UI tweak is overkill (and pricey). What to do: dial effort down for small jobs, save the deep thinking for hard ones. And don't use your most expensive model for quick questions, keep a fast model for those 5. Verification is the real bottleneck now. The hard part isn't getting output, it's trusting it. What to do: make every change ship with proof. Have Claude attach a screenshot or video of what it built, so you can see the result instead of reading the diff. Then stand behind the decisions yourself before you merge 6. Cost is per-result, not per-turn. Fable is expensive per call but often one-shots what other models need ten turns to get right. What to do: judge cost by what it takes to finish the task to your satisfaction, not the price of a single message. Give it a real task and see how far it gets before you jump in His bigger point: software engineering isn't over, it's different. The craft moved from writing code to owning intent, taste, and what actually ships. The floor rose so anyone can build, and the ceiling rose so experts go further than before Bookmark this
52:06

ANTHROPIC'S PRODUCT CHIEF HAS USED CLAUDE FABLE 5 FOR MONTHS BEFORE ANYONE ELSE. HERE'S WHAT HE LEARNED ABOUT THE MOST POWERFUL MODEL YET Mike Krieger co-founded Instagram and now runs product at Anthropic. He's had Claude Fable 5 for two months before the public, and his takeaway is that it changes how you have to work, not just how much you get done. Here's what stood out, and what to actually do with it 1. It holds the whole project, so stop chopping tasks small. The old habit was breaking work into model-sized pieces and stitching them. Fable keeps the whole thing in context. What to do: stop pre-slicing your prompts into tiny steps. Hand it the full goal and the intent behind it, the way you'd brief a senior engineer, and let it sequence the work itself 2. Delegate big, async, and overnight. He sets it on a hard task at night and wakes to it finished, including the model getting itself unstuck when a service died, scaffolding a workaround, and documenting it. What to do: stop babysitting one prompt at a time. Kick off long jobs and walk away. Run several sessions at once instead of one you watch 3. The skill is planning now, not typing. His day moved to long architecture conversations up front, then execution in chunks. What to do: spend your first prompts planning, not building. Then ask it to output an HTML page or markdown doc of the plan so your team aligns before any code is written. That early alignment is the new leverage 4. Match the effort level to the task. Fable's range is wide, so a heavy reasoning pass on a tiny UI tweak is overkill (and pricey). What to do: dial effort down for small jobs, save the deep thinking for hard ones. And don't use your most expensive model for quick questions, keep a fast model for those 5. Verification is the real bottleneck now. The hard part isn't getting output, it's trusting it. What to do: make every change ship with proof. Have Claude attach a screenshot or video of what it built, so you can see the result instead of reading the diff. Then stand behind the decisions yourself before you merge 6. Cost is per-result, not per-turn. Fable is expensive per call but often one-shots what other models need ten turns to get right. What to do: judge cost by what it takes to finish the task to your satisfaction, not the price of a single message. Give it a real task and see how far it gets before you jump in His bigger point: software engineering isn't over, it's different. The craft moved from writing code to owning intent, taste, and what actually ships. The floor rose so anyone can build, and the ceiling rose so experts go further than before Bookmark this

Yarchi

30,958 Aufrufe • vor 2 Monaten

🔥A Resident Evil 3 Remake mod bringing back the original game is gaining attention — here’s what we learned. Resident Evil 3: Last Escape isn’t just another gameplay or difficulty mod. Its creator aims to transform Resident Evil 3 Remake into a much more faithful recreation of the original game. 👀The story behind the project is just as interesting. The creator isn’t a game developer, he’s a professional chef. Like many Resident Evil fans, he was disappointed by the remake’s short length and how much content from the 1999 original was left out. That disappointment inspired him to begin learning how to mod the game. He spent nearly a year and a half studying tutorials, documentation, and forum guides before finally starting work on the project. He understood that another Resident Evil 3 Remake was unlikely to happen within his lifetime, so instead of waiting for something that would probably never come, he decided to build his own vision. ❗️What makes Resident Evil 3: Last Escape stand out is the sheer scale of the project. The mod is expected to expand Resident Evil 3 Remake by more than 60%, largely through new playable locations. During development, the creator learned how to import virtually any location from any RE Engine game and make it fully functional with lighting, collision, doors, locks, items, resources, puzzles, enemies, and music. The project will also introduce new Nemesis encounters and boss fights, redesigned item placement and progression, brand-new puzzles and gameplay mechanics, and a reworked crafting system featuring multiple new gunpowder types. Everything has already been successfully implemented and confirmed to work reliably. 🧐He also learned how to create completely original locations that don’t exist in any RE Engine title. This will allow him to recreate several streets from the original Resident Evil 3 by transforming its classic pre-rendered backgrounds into fully explorable 3D environments. Everything described above has already been tested and confirmed to work. The long-term goal is to restore much of the original game's storyline through new cutscenes recreating events from Resident Evil 3 (1999). Confirmed additions include the fully playable Uptown, Clock Tower, Park, Cemetery, Dead Factory, and R.P.D., along with a working Ink Ribbon save system and other content cut from the remake. 👍One detail many fans will appreciate is that Resident Evil 3: Last Escape is planned to be released completely free of charge. The growing interest in the project once again shows how many fans remain dissatisfied with Resident Evil 3 Remake. Each new YouTube update draws thousands of views, while the comments are filled with fans supporting the creator and praising the project's vision. ❤️For many fans, it remains their favorite game in the series, and they continue to hope that one day it will receive the faithful, ambitious remake they believe it deserves. If Resident Evil 3 Remake were ever given a more faithful and ambitious reimagining on the level of Resident Evil 2 and Resident Evil 4, many players would likely be happy to buy it again. The next major development update is expected in about a week, with a new YouTube video showcasing the project's latest progress.
2:43

🔥A Resident Evil 3 Remake mod bringing back the original game is gaining attention — here’s what we learned. Resident Evil 3: Last Escape isn’t just another gameplay or difficulty mod. Its creator aims to transform Resident Evil 3 Remake into a much more faithful recreation of the original game. 👀The story behind the project is just as interesting. The creator isn’t a game developer, he’s a professional chef. Like many Resident Evil fans, he was disappointed by the remake’s short length and how much content from the 1999 original was left out. That disappointment inspired him to begin learning how to mod the game. He spent nearly a year and a half studying tutorials, documentation, and forum guides before finally starting work on the project. He understood that another Resident Evil 3 Remake was unlikely to happen within his lifetime, so instead of waiting for something that would probably never come, he decided to build his own vision. ❗️What makes Resident Evil 3: Last Escape stand out is the sheer scale of the project. The mod is expected to expand Resident Evil 3 Remake by more than 60%, largely through new playable locations. During development, the creator learned how to import virtually any location from any RE Engine game and make it fully functional with lighting, collision, doors, locks, items, resources, puzzles, enemies, and music. The project will also introduce new Nemesis encounters and boss fights, redesigned item placement and progression, brand-new puzzles and gameplay mechanics, and a reworked crafting system featuring multiple new gunpowder types. Everything has already been successfully implemented and confirmed to work reliably. 🧐He also learned how to create completely original locations that don’t exist in any RE Engine title. This will allow him to recreate several streets from the original Resident Evil 3 by transforming its classic pre-rendered backgrounds into fully explorable 3D environments. Everything described above has already been tested and confirmed to work. The long-term goal is to restore much of the original game's storyline through new cutscenes recreating events from Resident Evil 3 (1999). Confirmed additions include the fully playable Uptown, Clock Tower, Park, Cemetery, Dead Factory, and R.P.D., along with a working Ink Ribbon save system and other content cut from the remake. 👍One detail many fans will appreciate is that Resident Evil 3: Last Escape is planned to be released completely free of charge. The growing interest in the project once again shows how many fans remain dissatisfied with Resident Evil 3 Remake. Each new YouTube update draws thousands of views, while the comments are filled with fans supporting the creator and praising the project's vision. ❤️For many fans, it remains their favorite game in the series, and they continue to hope that one day it will receive the faithful, ambitious remake they believe it deserves. If Resident Evil 3 Remake were ever given a more faithful and ambitious reimagining on the level of Resident Evil 2 and Resident Evil 4, many players would likely be happy to buy it again. The next major development update is expected in about a week, with a new YouTube video showcasing the project's latest progress.

RENEWS

600,023 Aufrufe • vor 1 Monat

After Elon Musk reposted my Grok Bot guide, my friend Ryan used it to run his strip club. 7 days ago, he replaced his entire middle management with 8 Grok agents ($200/mo). Last week alone, he saved $10,000 in salaries and missed leads. Not because the club magically got better, but because he killed the middle layer that was eating his margin. Before that, the setup was classic and expensive. Back-of-house sat on 6 people: > 1 recruiter > 1 person on applications > 1 cashier > 2 shift managers > 1 person on after-close requests That layer cost about $8,400–$9,200 a week once you counted base pay, cuts, “bonuses,” and money that never made the report. The recruiter took $50–$150 per new girl. The cashier spent 1.5–2 hours closing a shift. On Friday the managers generated 80–120 messages on the schedule alone. The after-shift person held 10–15 requests in his head and lost 2–3 of them every week simply because someone did not answer in time. Ryan saw the formula fast. Those people almost never made hard decisions. They moved data. • An application came in → a person opened a chat. • A girl wrote “I can do Friday” → a person typed a row into a spreadsheet. • A client left a request → a person relayed it to a manager. • The manager opened the schedule → and texted the girl. • The shift ended → the cashier counted a stack and entered a number by hand. Every handoff leaked time and money. Applications. A live staffer used to review 40–60 incoming files a week. One file took 8–12 minutes. Total: 7–10 hours of raw review, plus another 3–4 hours on “send a reminder,” “send more,” “when can you work.” Out of 50 applications, 6–8 made it to a shift. Conversion was weak not because of the room, but because half the threads went cold for 24–48 hours. Scheduling. Friday looked like this: 12 people want on, 8 slots. 1 can start only after 21:00. 1 will not work after 00:00. 1 drops out with 40 minutes left. 1 wants a swap. A manager already promised the slot to a fifth person. One change created 5 new messages. One substitution cycle took 20–40 minutes. By the end of the night there were 3–5 holes in the grid. Money. That was the dirtiest part. By morning the count was off by $180–$400 on average. Sometimes $70. Sometimes $600. The explanations were always human: tips booked to the wrong place, a commission forgotten, a number rounded, an envelope put in the wrong pile, a shift closed from memory. The cashier was not an analyst. He was a loss point. After-shift requests. The old chain took 25–45 minutes: client → manager → spreadsheet → message to the girl → wait → reply to the client. Out of 12 requests, 2–3 died in transit. Not because of a refusal. Because of human lag. 7 days ago Ryan cut that layer and hung it on Grok. The application flow dropped into one funnel with statuses: NEW → REVIEW → APPROVED → SCHEDULED → ACTIVE → INACTIVE The bot sent the first packet itself, collected the fields, and closed the gaps. If data was missing → it asked. If there was silence for 48 hours → it nudged. Ryan no longer opened 50 chats. He opened one feed. He touched only REVIEW and exceptions by hand. First-pass review fell from 8–12 minutes per application to 30–90 seconds of control. In a week, 53 applications went through the funnel. 11 made it to a shift. That was no longer “we got lucky.” That was because no application rotted in a manager’s DMs. The schedule became a rule, not a group chat. A girl marked available slots. The system saw 8 seats, not “we’ll figure it out.” Overbook went to a waitlist. A drop with 40 minutes left no longer spawned a 5-chat mess: the slot jumped to the next person in line in 10–20 seconds. Friday noise fell from 80–120 messages to 10–15 exceptions. Shift manager as a job title became unnecessary. The register stopped being a notebook. Every operation was written immediately. Shift close produced one summary: - floor revenue - tips - commissions - payouts - adjustments - variance If the total did not match, the system did not say “error somewhere.” It pointed at the exact operation. Over 7 days, variance stayed in the $0–$25 range instead of the old $180–$400. The weekly difference was about $1,200–$2,500 on “it didn’t add up” alone. The client loop collapsed from 4 human nodes into 1 route. A request entered the bot. The bot pulled the standard fields, checked availability, pinged the girl, and after 2 confirmations closed both sides with a notification. Cycle time fell from 25–45 minutes to 2–4 minutes on a standard request. Burned requests for the week: 0. Before that, it was 2–3 lost checks every week. Ryan’s role got narrow and hard. The bot closed the rule. He closed the exception. Morning looked like a panel, not a meeting: > 3 new applications in NEW > 1 card in REVIEW > 2 shift cancellations > 1 operation for manual review > 47 automated messages already sent without him The only living parts left were him and the girls on the floor. Plus anyone who took an after-shift call. The middle layer: sourcing, screening, schedule, requests, counting → sat on a $200 subscription. In numbers, the week looked like this. Old model: > 6 people in the management loop > $8,400–$9,200 for that layer > 7–10 hours on applications > 80–120 messages on one heavy Friday > $180–$400 holes in the cash > 2–3 lost requests > 25–45 minutes per client cycle New model: > 1 person > $200 for the tool > 30–90 seconds of standard application control > 10–15 exceptions instead of a whole-floor chat storm > $0–$25 on the register > 0 lost standard requests > 2–4 minutes per standard cycle That is where the ~$10,000 in 7 days came from. Not “floor magic.” A removed human tax: - pay for 6 people - recruiter cuts - cash holes - burned requests - hours spent moving the same row from a chat into a spreadsheet In this system, those people were not the “soul of the club.” They were latency and leak. Every extra node added delay. Every live data handoff added error. Every notebook added a gap for rounding. Ryan removed the nodes. He left rules, statuses, a ledger, and one escalation point. So after 7 days the model already counted as a delta, not an experiment. $200 on top. About $10,000 in the plus. And the proof was short: the club ran. The middle-layer staff did not. Their job was done by the bot. bookmark this.
0:35

After Elon Musk reposted my Grok Bot guide, my friend Ryan used it to run his strip club. 7 days ago, he replaced his entire middle management with 8 Grok agents ($200/mo). Last week alone, he saved $10,000 in salaries and missed leads. Not because the club magically got better, but because he killed the middle layer that was eating his margin. Before that, the setup was classic and expensive. Back-of-house sat on 6 people: > 1 recruiter > 1 person on applications > 1 cashier > 2 shift managers > 1 person on after-close requests That layer cost about $8,400–$9,200 a week once you counted base pay, cuts, “bonuses,” and money that never made the report. The recruiter took $50–$150 per new girl. The cashier spent 1.5–2 hours closing a shift. On Friday the managers generated 80–120 messages on the schedule alone. The after-shift person held 10–15 requests in his head and lost 2–3 of them every week simply because someone did not answer in time. Ryan saw the formula fast. Those people almost never made hard decisions. They moved data. • An application came in → a person opened a chat. • A girl wrote “I can do Friday” → a person typed a row into a spreadsheet. • A client left a request → a person relayed it to a manager. • The manager opened the schedule → and texted the girl. • The shift ended → the cashier counted a stack and entered a number by hand. Every handoff leaked time and money. Applications. A live staffer used to review 40–60 incoming files a week. One file took 8–12 minutes. Total: 7–10 hours of raw review, plus another 3–4 hours on “send a reminder,” “send more,” “when can you work.” Out of 50 applications, 6–8 made it to a shift. Conversion was weak not because of the room, but because half the threads went cold for 24–48 hours. Scheduling. Friday looked like this: 12 people want on, 8 slots. 1 can start only after 21:00. 1 will not work after 00:00. 1 drops out with 40 minutes left. 1 wants a swap. A manager already promised the slot to a fifth person. One change created 5 new messages. One substitution cycle took 20–40 minutes. By the end of the night there were 3–5 holes in the grid. Money. That was the dirtiest part. By morning the count was off by $180–$400 on average. Sometimes $70. Sometimes $600. The explanations were always human: tips booked to the wrong place, a commission forgotten, a number rounded, an envelope put in the wrong pile, a shift closed from memory. The cashier was not an analyst. He was a loss point. After-shift requests. The old chain took 25–45 minutes: client → manager → spreadsheet → message to the girl → wait → reply to the client. Out of 12 requests, 2–3 died in transit. Not because of a refusal. Because of human lag. 7 days ago Ryan cut that layer and hung it on Grok. The application flow dropped into one funnel with statuses: NEW → REVIEW → APPROVED → SCHEDULED → ACTIVE → INACTIVE The bot sent the first packet itself, collected the fields, and closed the gaps. If data was missing → it asked. If there was silence for 48 hours → it nudged. Ryan no longer opened 50 chats. He opened one feed. He touched only REVIEW and exceptions by hand. First-pass review fell from 8–12 minutes per application to 30–90 seconds of control. In a week, 53 applications went through the funnel. 11 made it to a shift. That was no longer “we got lucky.” That was because no application rotted in a manager’s DMs. The schedule became a rule, not a group chat. A girl marked available slots. The system saw 8 seats, not “we’ll figure it out.” Overbook went to a waitlist. A drop with 40 minutes left no longer spawned a 5-chat mess: the slot jumped to the next person in line in 10–20 seconds. Friday noise fell from 80–120 messages to 10–15 exceptions. Shift manager as a job title became unnecessary. The register stopped being a notebook. Every operation was written immediately. Shift close produced one summary: - floor revenue - tips - commissions - payouts - adjustments - variance If the total did not match, the system did not say “error somewhere.” It pointed at the exact operation. Over 7 days, variance stayed in the $0–$25 range instead of the old $180–$400. The weekly difference was about $1,200–$2,500 on “it didn’t add up” alone. The client loop collapsed from 4 human nodes into 1 route. A request entered the bot. The bot pulled the standard fields, checked availability, pinged the girl, and after 2 confirmations closed both sides with a notification. Cycle time fell from 25–45 minutes to 2–4 minutes on a standard request. Burned requests for the week: 0. Before that, it was 2–3 lost checks every week. Ryan’s role got narrow and hard. The bot closed the rule. He closed the exception. Morning looked like a panel, not a meeting: > 3 new applications in NEW > 1 card in REVIEW > 2 shift cancellations > 1 operation for manual review > 47 automated messages already sent without him The only living parts left were him and the girls on the floor. Plus anyone who took an after-shift call. The middle layer: sourcing, screening, schedule, requests, counting → sat on a $200 subscription. In numbers, the week looked like this. Old model: > 6 people in the management loop > $8,400–$9,200 for that layer > 7–10 hours on applications > 80–120 messages on one heavy Friday > $180–$400 holes in the cash > 2–3 lost requests > 25–45 minutes per client cycle New model: > 1 person > $200 for the tool > 30–90 seconds of standard application control > 10–15 exceptions instead of a whole-floor chat storm > $0–$25 on the register > 0 lost standard requests > 2–4 minutes per standard cycle That is where the ~$10,000 in 7 days came from. Not “floor magic.” A removed human tax: - pay for 6 people - recruiter cuts - cash holes - burned requests - hours spent moving the same row from a chat into a spreadsheet In this system, those people were not the “soul of the club.” They were latency and leak. Every extra node added delay. Every live data handoff added error. Every notebook added a gap for rounding. Ryan removed the nodes. He left rules, statuses, a ledger, and one escalation point. So after 7 days the model already counted as a delta, not an experiment. $200 on top. About $10,000 in the plus. And the proof was short: the club ran. The middle-layer staff did not. Their job was done by the bot. bookmark this.

Ridark

178,263 Aufrufe • vor 2 Tagen

$MONG OVERVIEW Intro: $MONG was the first meme community created by anti-crypto US Congressman Brad Sherman in one of the funniest speeches of all time. $MONG represents a meme-centric, pro-crypto movement in direct irony with Brad’s views. History: The MONG community formed in late 2021 after Brad’s hilarious congressional speech. The community grew exponentially and drew tons of attention across the web3 industry. Around this time, an established NFT company called META COLLECT decided to get involved and released MONGS NFT. The NFTs were an instant success, minting out in 16 minutes. Unfortunately, the original token the community rallied around was rugged by an anonymous dev who has since done the same to hundreds of other tokens. Instead of completely disbanding, the community rallied around Meta Collect and the NFTs. Meta Collect continued to work through the crypto bear market in 2022 & 2023 to bring value to holders, with plans to re-launch $MONG, this time supported by a doxed and reputable team. In mid-2023 they launched $MONG, which was an immediate success running up to a $240 million mc, second to only $PEPE in a mini-bull market. Bear market conditions followed market-wide, but the team and community kept working despite the usual fud due to prices decreasing. Over the past few months, significant development has occurred and $MONG is primed for a massive run in the next major bull market. Mongs NFTs(MONGS NFT): The NFTs were released nearly two years ago and have done over 2,300 ETH in volume on OpenSea. The release was a resounding success as they were minted out in 16 minutes in an extremely fair launch. Everyone who wanted to participate could – no gas wars, no doing backflips for a whitelist spot, and a low mint price. The NFTs pair perfectly with the MONG meme, including; crypto coins, hamsters, cobras, mongress backgrounds, and much more. They are genuinely on-theme and are a collector's dream with numerous, recognizable rare traits. The NFTs are a vital part of the MONG ecosystem and will be incorporated into Kudoe (KDOE) web3 game. There have also been multiple coin claims for NFT holders with plenty more coming. Credit to Jon Trafford for the excellent artwork on these! Mong Ordinals: The team was ahead of the curve on Bitcoin Ordinals and inscribed a collection of 420 Royal Mongs under 100k inscriptions! Check them out here: MONG X Spaces: Run by the best spacehost in web3 Rep. Ryan. Every week multiple official and non-official spaces drive excellent community engagement, especially considering we’re still in somewhat of a bear market. There’s a weekly AMA space where all updates are discussed and anyone can ask questions with @toolegitcypto, one of the founders. There are also numerous collab spaces with other exciting projects. Meta Collect: The team behind the entire MONG ecosystem, check them out here: They have an awesome IRL NFT art gallery. MONG Swap – powered by $COBRA: Safe and easy DEX, especially for those new to web3. Only well-intentioned projects are hard-coded into the swap. No more copying/pasting complicated contract addresses. Check it out here: MONG Pairs: The mong community is filled with talented individuals capable of starting their own projects paired with MONG. They are all easily acquired via Mong Swap. More projects will be added soon; here’s a brief list of current pairs/partners. $COBRA – Utility token for Mong Swap $HAMSTR – Degeneracy, community, NFTs $CONG – MONG community coin and DAO with a pro-crypto mission $CMON – Web 3 Casino, poker events. $KDOE – Web 3 Gaming $MING – Staking, scaling, NFTs MONG Anthem: Incredible meme anthem created by the talented 1MPROV. Over 10,000 streams to date on Spotify. View on YouTube here: IRL MONG Events: See highlights of the most recent event here; I’m loving the giant mural of a dope Mong NFT at the event by Toyinvades: Mong Tools: Everything useful in the mong ecosystem, created by Mongalorian – check it out here: Mong Army: Website created by $JUICErocket🚀🚀🚀🔥🔥 to track everything mong related: Letters to Brad: National Attention: Brad has shouted us out in his famous congressional hearing and then again this year on CNBC: Jedi Mongs: OG Mongs recently gave away awesome signet rings to dedicated community members: Support from OG Crypto Legend Crypto Bitlord Illumongati coming soon… #MONGLIFE
0:51

$MONG OVERVIEW Intro: $MONG was the first meme community created by anti-crypto US Congressman Brad Sherman in one of the funniest speeches of all time. $MONG represents a meme-centric, pro-crypto movement in direct irony with Brad’s views. History: The MONG community formed in late 2021 after Brad’s hilarious congressional speech. The community grew exponentially and drew tons of attention across the web3 industry. Around this time, an established NFT company called META COLLECT decided to get involved and released MONGS NFT. The NFTs were an instant success, minting out in 16 minutes. Unfortunately, the original token the community rallied around was rugged by an anonymous dev who has since done the same to hundreds of other tokens. Instead of completely disbanding, the community rallied around Meta Collect and the NFTs. Meta Collect continued to work through the crypto bear market in 2022 & 2023 to bring value to holders, with plans to re-launch $MONG, this time supported by a doxed and reputable team. In mid-2023 they launched $MONG, which was an immediate success running up to a $240 million mc, second to only $PEPE in a mini-bull market. Bear market conditions followed market-wide, but the team and community kept working despite the usual fud due to prices decreasing. Over the past few months, significant development has occurred and $MONG is primed for a massive run in the next major bull market. Mongs NFTs(MONGS NFT): The NFTs were released nearly two years ago and have done over 2,300 ETH in volume on OpenSea. The release was a resounding success as they were minted out in 16 minutes in an extremely fair launch. Everyone who wanted to participate could – no gas wars, no doing backflips for a whitelist spot, and a low mint price. The NFTs pair perfectly with the MONG meme, including; crypto coins, hamsters, cobras, mongress backgrounds, and much more. They are genuinely on-theme and are a collector's dream with numerous, recognizable rare traits. The NFTs are a vital part of the MONG ecosystem and will be incorporated into Kudoe (KDOE) web3 game. There have also been multiple coin claims for NFT holders with plenty more coming. Credit to Jon Trafford for the excellent artwork on these! Mong Ordinals: The team was ahead of the curve on Bitcoin Ordinals and inscribed a collection of 420 Royal Mongs under 100k inscriptions! Check them out here: MONG X Spaces: Run by the best spacehost in web3 Rep. Ryan. Every week multiple official and non-official spaces drive excellent community engagement, especially considering we’re still in somewhat of a bear market. There’s a weekly AMA space where all updates are discussed and anyone can ask questions with @toolegitcypto, one of the founders. There are also numerous collab spaces with other exciting projects. Meta Collect: The team behind the entire MONG ecosystem, check them out here: They have an awesome IRL NFT art gallery. MONG Swap – powered by $COBRA: Safe and easy DEX, especially for those new to web3. Only well-intentioned projects are hard-coded into the swap. No more copying/pasting complicated contract addresses. Check it out here: MONG Pairs: The mong community is filled with talented individuals capable of starting their own projects paired with MONG. They are all easily acquired via Mong Swap. More projects will be added soon; here’s a brief list of current pairs/partners. $COBRA – Utility token for Mong Swap $HAMSTR – Degeneracy, community, NFTs $CONG – MONG community coin and DAO with a pro-crypto mission $CMON – Web 3 Casino, poker events. $KDOE – Web 3 Gaming $MING – Staking, scaling, NFTs MONG Anthem: Incredible meme anthem created by the talented 1MPROV. Over 10,000 streams to date on Spotify. View on YouTube here: IRL MONG Events: See highlights of the most recent event here; I’m loving the giant mural of a dope Mong NFT at the event by Toyinvades: Mong Tools: Everything useful in the mong ecosystem, created by Mongalorian – check it out here: Mong Army: Website created by $JUICErocket🚀🚀🚀🔥🔥 to track everything mong related: Letters to Brad: National Attention: Brad has shouted us out in his famous congressional hearing and then again this year on CNBC: Jedi Mongs: OG Mongs recently gave away awesome signet rings to dedicated community members: Support from OG Crypto Legend Crypto Bitlord Illumongati coming soon… #MONGLIFE

Representative Mongo

29,619 Aufrufe • vor 2 Jahren