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One Direction or WRONG Direction!? 🤣 Surprise performance by Donny Pangilinan, Kyle Echarri, Darren, Robi Domingo, and Edward Barber! ✨ #ASAPEngland #ASAP30

The Filipino Channel

59,739 subscribers

20,432 Aufrufe • vor 11 Monaten •via X (Twitter)

Musik Kunst #ASAPEngland #ASAP30

Anya Rossi• Live Now

Private livecam show

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the audacity to call THEE ni-ki as "a lazy ass himb0" and that he doesn't have any contribution in enhypen MF HE'S LITERALLY DOING UNPAID WORK BY BEING THE PERFORMANCE DIRECTOR OF ENHYPEN 😭😭 FYI, he took part in creating the choreography of BITE ME, BTHB, daydream, teeth, and pass the mic. their performance director always ask ni-ki to teach other members the dance even if their parts is in opposite direction compared to his parts. he always contributes ideas and direction for their dance breaks, and one of them is the paradoxx invasion dance break in coachella. the members always acknowledge him and are grateful to him for always guiding them when it comes to their performance. and yet ni-ki still remains humble. 🐥: "rather than saying i direct, i think of it as bringing out each member's individuality more. for example, if a member has talent or potential that feels underutilized, i don't "advise" them - i help them." this "lazy ass himb0" you're talking about is a huge part of why enhypen is known for having the best performance. SIT TF DOWN AND KEEP NI-KI OUT OF YOUR MOUTH.

the audacity to call THEE ni-ki as "a lazy ass himb0" and that he doesn't have any contribution in enhypen MF HE'S LITERALLY DOING UNPAID WORK BY BEING THE PERFORMANCE DIRECTOR OF ENHYPEN 😭😭 FYI, he took part in creating the choreography of BITE ME, BTHB, daydream, teeth, and pass the mic. their performance director always ask ni-ki to teach other members the dance even if their parts is in opposite direction compared to his parts. he always contributes ideas and direction for their dance breaks, and one of them is the paradoxx invasion dance break in coachella. the members always acknowledge him and are grateful to him for always guiding them when it comes to their performance. and yet ni-ki still remains humble. 🐥: "rather than saying i direct, i think of it as bringing out each member's individuality more. for example, if a member has talent or potential that feels underutilized, i don't "advise" them - i help them." this "lazy ass himb0" you're talking about is a huge part of why enhypen is known for having the best performance. SIT TF DOWN AND KEEP NI-KI OUT OF YOUR MOUTH.

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FIREBALL OVER WASHINGTON STATE MARCH 28th! This marks the 11th fireball event with 100+ observer reports across the USA in the month of March. Many other fireballs have flown in this month as well that have been also similar in brightness, duration, etc but were at really odd hours so weren't seen by too many people. Most of these fireballs are coming from the anti-solar direction and could be debris traveling in advance of other larger fragments or even a BIG ONE. The currently anti-solar direction is exactly towards the trajectory path of Interstellar #3IATLAS during its perihelion in Oct/November exactly along the ecliptic plane in-between the orbits of Earth and Mars.

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HUAWEI HarmonyOS 6.1’s liquid glass effect is indeed the closest implementation to iOS 26 among all current smartphone operating systems. It looks genuinely beautiful. This may be one of HarmonyOS’s advantages. At least in terms of visual rendering, dynamic blur, transparent materials, and layered depth, Huawei has clearly shown that it has the ability to create this kind of premium glass-like effect. I am not trying to argue whether it is right or wrong for Huawei to follow Apple’s design direction. My point is that the ability to actually achieve this effect is impressive in itself. By comparison, other Android-based OS skins have not yet shown the same level of execution. The Android camp still has work to do.

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🚚✨ 𝐀𝐙 𝐎𝐍 𝐖𝐇𝐄𝐄𝐋𝐒! ✨🚚 Surprise #5 unlocked — and our last one! Our Solo LED Billboard Truck is hitting the road for 8 hours, looping a special 30-minute video — all for our Az! 🫶💜 🎞️ 𝐏𝐚𝐫𝐭 𝟏: AZ’s unforgettable PBB journey 🎞️ 𝐏𝐚𝐫𝐭 𝟐: AZ & AzVer’s TikTok moments — the clips that made us laugh, cry, and love her even more 🎞️ 𝐏𝐚𝐫𝐭 𝟑: AzVer memories with songs created by fans! If you spot the truck, snap a pic or take a video — let’s flood her with all our love and support on Big Night! 🥹💜 This wraps up our 5 big surprises — thank you for making this possible, AZpires! Let’s make her shine even brighter. 💜✨ BBS AZVER #AzMartinez | AZ Martinez

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$150,000. That's the price tag on a humanoid robot built to carry the same rifle a soldier carries — walk at almost 4 mph, haul 44+ pounds of gear, clear a building before any person steps through the door. A US startup called Foundation already holds $24 million in contracts with the Army, Navy, and Air Force. Their stated goal: 50,000 units manufactured by the end of 2027 — scaling from roughly 50 units this year to 10,000 next year alone. Here's the part people get wrong: nobody's building a robot that decides who to shoot. Current protocol requires a human to confirm before any automated system engages. What they're actually replacing is the soldier who has to be the first one through a door, the first one over a hilltop, the first one into a room nobody's checked yet. An Army general once floated the idea that robots could replace a quarter of combat soldiers by 2030. That prediction is now over a decade old and still hasn't happened — which tells you the timeline, not the direction, is what keeps being wrong. The honest version of this story isn't "robots are replacing soldiers." It's "the military just found a $150,000 way to stop sending a person first."

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There is so much that could be said about this week's giveaway. I will simply hit the main points: A man, Jordan Salinas, who seems to dig Splinter Cell went from live action role play to live action and likely saved many lives in Twin Falls, Idaho at the In-N-Out Burger® in doing so. We celebrate that in today's litigious culture this man chose to risk his life and his liberty by doing the righteous thing. He held to his convictions by going armed and by running towards the direction of gunfire, of imminent danger. Reports are that he rendered medical aid after the gunfire ceased, as well. In honor of this man and that masculine sacrificial heroic American spirit that runs, not away from conflict, but that fights for the opportunity to get between evil and goodness, and effectively, Rascal is proud to do a little LARPing himself. Today, dressed as Jordan, Rascal offers up an FN Five-seveN 5.7x28mm pistol with fde frame and black slide! We thank Summers Ridge Outdoors for sponsoring yet another giveaway! TO ENTER this week's festivities: FOLLOW us and Summers Ridge Outdoors , REPOST or QUOTE POST this post, and REPLY to this post. Let's share this one far and wide, my friends! Good Luck Godspeed Keep Going and Go Armed!

There is so much that could be said about this week's giveaway. I will simply hit the main points: A man, Jordan Salinas, who seems to dig Splinter Cell went from live action role play to live action and likely saved many lives in Twin Falls, Idaho at the In-N-Out Burger® in doing so. We celebrate that in today's litigious culture this man chose to risk his life and his liberty by doing the righteous thing. He held to his convictions by going armed and by running towards the direction of gunfire, of imminent danger. Reports are that he rendered medical aid after the gunfire ceased, as well. In honor of this man and that masculine sacrificial heroic American spirit that runs, not away from conflict, but that fights for the opportunity to get between evil and goodness, and effectively, Rascal is proud to do a little LARPing himself. Today, dressed as Jordan, Rascal offers up an FN Five-seveN 5.7x28mm pistol with fde frame and black slide! We thank Summers Ridge Outdoors for sponsoring yet another giveaway! TO ENTER this week's festivities: FOLLOW us and Summers Ridge Outdoors , REPOST or QUOTE POST this post, and REPLY to this post. Let's share this one far and wide, my friends! Good Luck Godspeed Keep Going and Go Armed!

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Say hello to Boojum 👋: zkSync Era’s new high-performance proof system for radical decentralization. Boojum is an upgrade that will transition zkSync Era to a STARK-powered proof system, providing world-class performance on consumer-grade hardware. 💡 Learn more: TL;DR 👇 Boojum is the name of our Rust-based cryptographic library, which we use to implement the upgraded version of the ZK circuits for zkSync Era and the ZK Stack. The name Boojum was inspired by Lewis Carroll's poem "The Hunting of the Snark," where the Boojum represents the most fearsome kind of Snark. We intentionally designed zkSync Era in a way that cryptographic upgrades can be made without a regenesis, meaning that the Boojum upgrade won’t cause any user disruptions. Why Boojum❓ From day one, zkSync’s mission is to advance personal freedom for all — making digital self-ownership universally accessible by building a blockchain network that is trustless, secure, permissionless, affordable, easy to use, resilient and limitlessly scalable. Boojum plays an important role in advancing this mission by delivering: 1. World-class performance zkSync Era’s current SNARK-based proof system is effective today, but it won’t scale to the volume that we envision for hyperchains. zkSync Era’s sequencer can already process over 100 TPS; Boojum orders of magnitude improvements to performance complements this well. 2. Reduced hardware requirements for decentralization Our long-term goal is to enable user-powered, decentralized proof generation. Boojum represents a breakthrough in this direction — with the prover running on consumer-grade GPUs requiring only 16 GB GPU RAM. Boojum’s Journey to Mainnet 🚴🏽‍♀️ Boojum is now live on Mainnet, generating and verifying ‘shadow proofs’ today with real production data so that we can carefully test the system ahead of fully migrating. Today, we’re also open-sourcing the repo; if you’d like to take a look, you can find it here 👇 This is the first of a series of posts on Boojum. We will provide updates on our progress, including more details on implementation, security, and performance. Watch here for more, anon ∎

ZKsync

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CoinMarketCap AI Is Live: What Does It Really Change ? 🌱 In the fast paced world of crypto, information is power but its often scattered, delayed, or hard to trust. CoinMarketCap newly launched CMC AI aims to fix that by offering real time insights with no friction. ✨ Real Time Q&A on Coin Pages 🌱CMC AI is now integrated into major coin detail pages, generating automatic Q&As every 30 minutes. During periods of volatility, it updates dynamically, helping users understand price movements with short and structured explanations. No login required, no delays. 🌱However, while this speeds up the process, its not a substitute for deeper analysis. It answers the “what” and “why,” but not always the “what’s next.” ✨What’s Coming Next? 🌱CMC AI is just getting started. According to its roadmap, several new features are on the way • Homepage Integration: A quick view of market trends and opportunities, without clicking into individual coins. • Live Chart Analysis: AI will add context to price moves by linking them to news, sentiment, and social media. • Token Comparison Tool: Users will be able to compare tokens like BTC vs SOL across utility, performance, and tech specs. • Portfolio Insights: One click portfolio analysis with rebalancing suggestions and market outlooks. • Cross Device Continuity: Start an AI conversation on desktop and continue it seamlessly on mobile. ✨A Tool Not a Strategy 🌱 CMC AI brings speed and clarity, two things crypto investors often lack. But it’s still just a tool. It won’t make decisions for you. It helps guide your thinking not replace it. 🌱 The smartest way to use it? Treat it as a compass, not a map. It can point you in the right direction, but the journey is still yours. 🌱 CMC AI represents a step forward in how users interact with crypto data. It filters the noise, shortens research time, and brings useful context closer to the user. But like any shortcut, it works best when you already understand the long route.

CoinMarketCap AI Is Live: What Does It Really Change ? 🌱 In the fast paced world of crypto, information is power but its often scattered, delayed, or hard to trust. CoinMarketCap newly launched CMC AI aims to fix that by offering real time insights with no friction. ✨ Real Time Q&A on Coin Pages 🌱CMC AI is now integrated into major coin detail pages, generating automatic Q&As every 30 minutes. During periods of volatility, it updates dynamically, helping users understand price movements with short and structured explanations. No login required, no delays. 🌱However, while this speeds up the process, its not a substitute for deeper analysis. It answers the “what” and “why,” but not always the “what’s next.” ✨What’s Coming Next? 🌱CMC AI is just getting started. According to its roadmap, several new features are on the way • Homepage Integration: A quick view of market trends and opportunities, without clicking into individual coins. • Live Chart Analysis: AI will add context to price moves by linking them to news, sentiment, and social media. • Token Comparison Tool: Users will be able to compare tokens like BTC vs SOL across utility, performance, and tech specs. • Portfolio Insights: One click portfolio analysis with rebalancing suggestions and market outlooks. • Cross Device Continuity: Start an AI conversation on desktop and continue it seamlessly on mobile. ✨A Tool Not a Strategy 🌱 CMC AI brings speed and clarity, two things crypto investors often lack. But it’s still just a tool. It won’t make decisions for you. It helps guide your thinking not replace it. 🌱 The smartest way to use it? Treat it as a compass, not a map. It can point you in the right direction, but the journey is still yours. 🌱 CMC AI represents a step forward in how users interact with crypto data. It filters the noise, shortens research time, and brings useful context closer to the user. But like any shortcut, it works best when you already understand the long route.

Loji

37,459 Aufrufe • vor 1 Jahr

“Everyone wants to win — until they realize how many losses it takes.” October has been one of the toughest months for me (and likely for some of you), especially when comparing LoD stops based sizing swing traders vs. % stops based sizing position traders. I’ve had 16 straight losses — but each one was small, contained, and the streak was fully within the expected variance range of a 30% win rate. While it can be challenging for some of us, the key to navigating this, both mentally and emotionally, lies in accepting uncertainty through predefined risk management, where every trade has a clearly defined pain threshold. Your dollar-value tolerance should never trigger emotional reactions or push you off your intended plan. By acknowledging that losses are part of the process, we enter each trade with humility — assuming we may be wrong until proven right. The market must prove and continue to prove the validity of our thesis. Start small, and let your risk grow only as your consistency and performance justify it. I always advocate using a fixed % risk relative to your latest net realized equity. Don’t increase risk just because you’ve had a few good trades — risk should only expand when it’s truly earned from realized profitable performance. Avoid the illusion that everyone wins in trading. The real objective is not just to make gains, but to preserve them. True risk management goes far beyond setting stop losses — it means being proactive enough to cut size when the market proves you wrong. In the end, the trader who manages losses best will always outlast the rest. “The best loser is the long-term winner.” - Phantom of the Pit

“Everyone wants to win — until they realize how many losses it takes.” October has been one of the toughest months for me (and likely for some of you), especially when comparing LoD stops based sizing swing traders vs. % stops based sizing position traders. I’ve had 16 straight losses — but each one was small, contained, and the streak was fully within the expected variance range of a 30% win rate. While it can be challenging for some of us, the key to navigating this, both mentally and emotionally, lies in accepting uncertainty through predefined risk management, where every trade has a clearly defined pain threshold. Your dollar-value tolerance should never trigger emotional reactions or push you off your intended plan. By acknowledging that losses are part of the process, we enter each trade with humility — assuming we may be wrong until proven right. The market must prove and continue to prove the validity of our thesis. Start small, and let your risk grow only as your consistency and performance justify it. I always advocate using a fixed % risk relative to your latest net realized equity. Don’t increase risk just because you’ve had a few good trades — risk should only expand when it’s truly earned from realized profitable performance. Avoid the illusion that everyone wins in trading. The real objective is not just to make gains, but to preserve them. True risk management goes far beyond setting stop losses — it means being proactive enough to cut size when the market proves you wrong. In the end, the trader who manages losses best will always outlast the rest. “The best loser is the long-term winner.” - Phantom of the Pit

Jeff Sun, CFTe

109,311 Aufrufe • vor 9 Monaten

🚨🎙️GIANNI INFANTINO ISSUES EMOTIONAL APOLOGY AFTER FIFA ABANDONS PRIVATE INVESTMENT PLAN “Over the last few days, I have listened carefully to the concerns raised by confederations, federations, clubs, players and supporters from around the world. When this proposal was first discussed, our intention was never to divide football or compromise the values of the game. We believed we were exploring a unique opportunity that could help football grow and create long-term benefits for future generations. However, after hearing the feedback and seeing the reaction across the football community, it became clear that we underestimated the concerns surrounding these plans. We underestimated how many people would view this as a step in the wrong direction, and for that, I take responsibility. To everyone who felt disappointed, betrayed or that FIFA had broken their trust, I sincerely apologize. That was never our intention. The World Cup means far more than any business proposal, and when something creates this level of division within football, it is our duty to stop, listen and rethink our position. We have done exactly that. After careful reflection, we concluded that this was not the right path for the game. No financial opportunity is worth risking the unity of the football family. Football belongs to its supporters, its players and its communities, and their voices have been heard. Today, we move forward together. We have listened, we have learned, and we will work to rebuild the trust of everyone who felt let down by this process. For that reason, the proposal will not proceed, and our focus returns to protecting the future of football and the values that make this sport special.” “We Underestimated The Concerns, And For That I Apologize” No financial opportunity is worth dividing the football family. We have listened, reflected and decided not to proceed. Football belongs to its fans, and today we are choosing unity over disagreement. We have learned from this experience, and we will work hard to rebuild the trust of everyone who felt let down by these plans.” (Skysport)

🚨🎙️GIANNI INFANTINO ISSUES EMOTIONAL APOLOGY AFTER FIFA ABANDONS PRIVATE INVESTMENT PLAN “Over the last few days, I have listened carefully to the concerns raised by confederations, federations, clubs, players and supporters from around the world. When this proposal was first discussed, our intention was never to divide football or compromise the values of the game. We believed we were exploring a unique opportunity that could help football grow and create long-term benefits for future generations. However, after hearing the feedback and seeing the reaction across the football community, it became clear that we underestimated the concerns surrounding these plans. We underestimated how many people would view this as a step in the wrong direction, and for that, I take responsibility. To everyone who felt disappointed, betrayed or that FIFA had broken their trust, I sincerely apologize. That was never our intention. The World Cup means far more than any business proposal, and when something creates this level of division within football, it is our duty to stop, listen and rethink our position. We have done exactly that. After careful reflection, we concluded that this was not the right path for the game. No financial opportunity is worth risking the unity of the football family. Football belongs to its supporters, its players and its communities, and their voices have been heard. Today, we move forward together. We have listened, we have learned, and we will work to rebuild the trust of everyone who felt let down by this process. For that reason, the proposal will not proceed, and our focus returns to protecting the future of football and the values that make this sport special.” “We Underestimated The Concerns, And For That I Apologize” No financial opportunity is worth dividing the football family. We have listened, reflected and decided not to proceed. Football belongs to its fans, and today we are choosing unity over disagreement. We have learned from this experience, and we will work hard to rebuild the trust of everyone who felt let down by these plans.” (Skysport)

MatchReport

86,333 Aufrufe • vor 19 Tagen

Dear Invictus Games Foundation, You say the foundation exists to support the recovery and rehabilitation of wounded, injured, and sick service personnel. Everyone agrees with that mission. No one is questioning the courage, sacrifice, or experiences of the veterans who compete. They deserve respect, recognition and the spotlight. But your statement tries to blur an important distinction. Questioning the direction, leadership, or public image of the Games is not the same as diminishing the experiences of injured veterans. Criticism of how Invictus is being presented is not criticism of the men and women who served. By suggesting that questioning anything around the Games is “disrespectful,” you effectively shield the organizers and the celebrity figures attached to it from scrutiny while placing veterans in front as a moral barrier. If the focus truly belongs on courage, recovery and camaraderie, then the spotlight should remain firmly on the competitors themselves. Yet increasingly the public narrative around Invictus revolves around Prince Harry and especially Meghan Markle, who is neither a veteran nor a participant in the Games. When coverage of an event meant to honor wounded service personnel becomes dominated by Meghan Markle’s appearances, wardrobe and personal publicity moments, it is fair for people to ask why. Especially when she does not even wear Invictus merchandise to promote the Games while reportedly spending lavishly on personal presentation during the events. If Invictus truly believes the focus should remain on those who served, then the simplest solution is obvious. Put the veterans back at the center and stop allowing the Games to become a stage for the attention whore Meghan Markle.

Dear Invictus Games Foundation, You say the foundation exists to support the recovery and rehabilitation of wounded, injured, and sick service personnel. Everyone agrees with that mission. No one is questioning the courage, sacrifice, or experiences of the veterans who compete. They deserve respect, recognition and the spotlight. But your statement tries to blur an important distinction. Questioning the direction, leadership, or public image of the Games is not the same as diminishing the experiences of injured veterans. Criticism of how Invictus is being presented is not criticism of the men and women who served. By suggesting that questioning anything around the Games is “disrespectful,” you effectively shield the organizers and the celebrity figures attached to it from scrutiny while placing veterans in front as a moral barrier. If the focus truly belongs on courage, recovery and camaraderie, then the spotlight should remain firmly on the competitors themselves. Yet increasingly the public narrative around Invictus revolves around Prince Harry and especially Meghan Markle, who is neither a veteran nor a participant in the Games. When coverage of an event meant to honor wounded service personnel becomes dominated by Meghan Markle’s appearances, wardrobe and personal publicity moments, it is fair for people to ask why. Especially when she does not even wear Invictus merchandise to promote the Games while reportedly spending lavishly on personal presentation during the events. If Invictus truly believes the focus should remain on those who served, then the simplest solution is obvious. Put the veterans back at the center and stop allowing the Games to become a stage for the attention whore Meghan Markle.

Queen Esther

56,207 Aufrufe • vor 5 Monaten

Crafted this one by turning a movement sheet as a reference to animate the dance using ChatGPT Image 2.0 and Seedance 2.0 on Yapper GPT Image 2 Prompt; K-Pop Dance 16-Step Instruction Sheet (4×4 Grid) [VISUAL STYLE] High-end K-pop choreography guide in monochrome grayscale Crisp, studio-lit composition with strong contrast Modern, editorial + performance aesthetic Clean white background, no distractions [GRID LAYOUT, STRICT] 4×4 grid (16 equal panels) Thin black divider lines Each panel clearly numbered 1–16 Top-left: Step number + short title Bottom-left: 3–4 short instruction lines Overlay: arrows + motion guides (curved, straight, circular) [CHARACTER] Korean female dancer (K-pop idol look) Slim, athletic build Long styled hair (soft waves or straight, dynamic movement) Confident, expressive K-pop performance energy Same character across all 16 panels (consistent face and proportions) [WARDROBE K-POP STYLE] Fitted crop top (stylish, performance-ready) High-waisted loose-fit jeans (street dance vibe) Sneakers Outfit should feel trendy, idol-stage inspired Fabric reacts naturally to motion (subtle folds, movement) 🔢 [16 DANCE STEPS, SEQUENCE FLOW] Starting Pose Step Touch Right Step Touch Left Hip Sway Combo Body Roll Down Back Step Sweep Quarter Turn Pivot Hair Flip & Pose Side Step Drag Cross Behind Unwind Body Wave Up Hip Circle Step Lock Step Arm Sweep Pose Chest Pop & Hit Final Pose [PANEL STRUCTURE, EACH FRAME] Center: full-body pose (clear choreography position) Bottom-left: short bullet instructions (clean typography) Motion arrows showing direction, spins, and flow Emphasize rhythm, weight shift, and sharp K-pop accents [MOTION STYLE] Mix of sharp hits + smooth transitions (K-pop signature) Clean isolations (hips, chest, arms) Expressive poses with attitude [RENDER QUALITY] Ultra-detailed, high-resolution Sharp anatomy and pose clarity Smooth grayscale shading No blur, no distortion, no clutter [RESTRICTIONS] No background elements No extra characters No color (strict grayscale) Maintain clean instructional aesthetic

Crafted this one by turning a movement sheet as a reference to animate the dance using ChatGPT Image 2.0 and Seedance 2.0 on Yapper GPT Image 2 Prompt; K-Pop Dance 16-Step Instruction Sheet (4×4 Grid) [VISUAL STYLE] High-end K-pop choreography guide in monochrome grayscale Crisp, studio-lit composition with strong contrast Modern, editorial + performance aesthetic Clean white background, no distractions [GRID LAYOUT, STRICT] 4×4 grid (16 equal panels) Thin black divider lines Each panel clearly numbered 1–16 Top-left: Step number + short title Bottom-left: 3–4 short instruction lines Overlay: arrows + motion guides (curved, straight, circular) [CHARACTER] Korean female dancer (K-pop idol look) Slim, athletic build Long styled hair (soft waves or straight, dynamic movement) Confident, expressive K-pop performance energy Same character across all 16 panels (consistent face and proportions) [WARDROBE K-POP STYLE] Fitted crop top (stylish, performance-ready) High-waisted loose-fit jeans (street dance vibe) Sneakers Outfit should feel trendy, idol-stage inspired Fabric reacts naturally to motion (subtle folds, movement) 🔢 [16 DANCE STEPS, SEQUENCE FLOW] Starting Pose Step Touch Right Step Touch Left Hip Sway Combo Body Roll Down Back Step Sweep Quarter Turn Pivot Hair Flip & Pose Side Step Drag Cross Behind Unwind Body Wave Up Hip Circle Step Lock Step Arm Sweep Pose Chest Pop & Hit Final Pose [PANEL STRUCTURE, EACH FRAME] Center: full-body pose (clear choreography position) Bottom-left: short bullet instructions (clean typography) Motion arrows showing direction, spins, and flow Emphasize rhythm, weight shift, and sharp K-pop accents [MOTION STYLE] Mix of sharp hits + smooth transitions (K-pop signature) Clean isolations (hips, chest, arms) Expressive poses with attitude [RENDER QUALITY] Ultra-detailed, high-resolution Sharp anatomy and pose clarity Smooth grayscale shading No blur, no distortion, no clutter [RESTRICTIONS] No background elements No extra characters No color (strict grayscale) Maintain clean instructional aesthetic

Johnn

21,403 Aufrufe • vor 3 Monaten

Powwow dances are beautiful expressions of Indigenous spirituality, history and culture. There are a variety of regional dance styles performed by men, women and children across North America. For all dancers, spiritual centre of a powwow is always the Circle — a revered area blessed by a spiritual leader. Dancers must only enter Circle from east, as they walk in direction of sun. In addition, powwow dances, drum music and singers and regalia are sacred elements of celebration, meant not only to entertain, but also to tell important stories about personal and cultural history. Term “powwow” derives from Pau Wau, meaning “medicine man” in Narrtick, a language spoken by Algonquian peoples in Massachusetts. English settlers began misusing word to refer to meetings of Indigenous medicine men and later to any kind of American Indian gathering. American Indians have since reclaimed term. Although powwows are said to originate with Plains Indigenous peoples, cross-cultural exchanges have produced various regional variations to powwow dances. Most well-known of Northern styles (originating from northern Great Lakes and Great Plains regions) include men’s and women’s Northern Traditional Dances. Most well-known Southern styles (originating from central and western areas of Oklahoma and southern Plains peoples, including Kiowa, Comanche, Pawnee, Ponca), include men’s Southern Straight Dance and women’s Southern Cloth Dance. Some dances, namely men’s and women’s Fancy Dances, women’s Jingle Dance and men’s Grass Dance, are less geographically specific in modern times because they have been adapted in different ways by both Northern and Southern communities. There are also dances that are specific to certain First Nations, or that commemorate certain events or elements of nature. For example, Chicken Dance (Northern Plains), Crow Hop (Crow of Montana) and Rabbit Dance (Sioux) are regional dances that originate from observations of nature and animals. Sneak-Up Dance (Plains) and Smoke Dance (Haudenosaunee) are warrior dances. Hoop Dance (Anishinaabe) incorporates anywhere from one to 30 hoops in a story-telling dance. There are many other types of regional and ceremonial dances performed by various First Nations at some powwows. Most powwow dances are performed by individuals. There are dances for couples as well, such as Owl Dance (Northern Plains). Friendship Dances or Round Dances (Anishinaabe/Northern Plains) are intertribal dances that are open to general public, allowing both Indigenous and non-Indigenous peoples to celebrate together in song and dance. During Round Dance, all participants join hands and circle dance area, facing centre of circle. At times, Métis dancers (often performing the traditional jigging dance), Inuit dancers and dancers from Indigenous nations outside Canada and United States, such as Mexico, Australia, New Zealand, among others, are asked to perform at powwow celebrations. In this way, powwows can be a forum for cultural exchanges. Powwows can be defined as traditional or competitive. Traditional powwows are held in local communities, and do not have dance and drum group competitions. Competitive powwows have dance categories for women, men and children. Dancers who score the highest in their category receive awards or cash prizes. At contest powwows, dance categories can be gender- and age-specific. For example, jingle dress dance is typically performed by women, while Smoke Dance was historically performed by men. However, with resurgence of two-spirit traditions, and progression of women’s rights movements in 20th Century, some powwow organizers and First Nations allow dancers of opposite sex to participate in traditionally male or female specific dances. Most dances are also categorized by age: adult, teenager/youth and “tiny tot” (children). Panel of judges evaluating the competitive dances scores performers based on dance category as well as regalia and dancing abilities. #archaeohistories

Powwow dances are beautiful expressions of Indigenous spirituality, history and culture. There are a variety of regional dance styles performed by men, women and children across North America. For all dancers, spiritual centre of a powwow is always the Circle — a revered area blessed by a spiritual leader. Dancers must only enter Circle from east, as they walk in direction of sun. In addition, powwow dances, drum music and singers and regalia are sacred elements of celebration, meant not only to entertain, but also to tell important stories about personal and cultural history. Term “powwow” derives from Pau Wau, meaning “medicine man” in Narrtick, a language spoken by Algonquian peoples in Massachusetts. English settlers began misusing word to refer to meetings of Indigenous medicine men and later to any kind of American Indian gathering. American Indians have since reclaimed term. Although powwows are said to originate with Plains Indigenous peoples, cross-cultural exchanges have produced various regional variations to powwow dances. Most well-known of Northern styles (originating from northern Great Lakes and Great Plains regions) include men’s and women’s Northern Traditional Dances. Most well-known Southern styles (originating from central and western areas of Oklahoma and southern Plains peoples, including Kiowa, Comanche, Pawnee, Ponca), include men’s Southern Straight Dance and women’s Southern Cloth Dance. Some dances, namely men’s and women’s Fancy Dances, women’s Jingle Dance and men’s Grass Dance, are less geographically specific in modern times because they have been adapted in different ways by both Northern and Southern communities. There are also dances that are specific to certain First Nations, or that commemorate certain events or elements of nature. For example, Chicken Dance (Northern Plains), Crow Hop (Crow of Montana) and Rabbit Dance (Sioux) are regional dances that originate from observations of nature and animals. Sneak-Up Dance (Plains) and Smoke Dance (Haudenosaunee) are warrior dances. Hoop Dance (Anishinaabe) incorporates anywhere from one to 30 hoops in a story-telling dance. There are many other types of regional and ceremonial dances performed by various First Nations at some powwows. Most powwow dances are performed by individuals. There are dances for couples as well, such as Owl Dance (Northern Plains). Friendship Dances or Round Dances (Anishinaabe/Northern Plains) are intertribal dances that are open to general public, allowing both Indigenous and non-Indigenous peoples to celebrate together in song and dance. During Round Dance, all participants join hands and circle dance area, facing centre of circle. At times, Métis dancers (often performing the traditional jigging dance), Inuit dancers and dancers from Indigenous nations outside Canada and United States, such as Mexico, Australia, New Zealand, among others, are asked to perform at powwow celebrations. In this way, powwows can be a forum for cultural exchanges. Powwows can be defined as traditional or competitive. Traditional powwows are held in local communities, and do not have dance and drum group competitions. Competitive powwows have dance categories for women, men and children. Dancers who score the highest in their category receive awards or cash prizes. At contest powwows, dance categories can be gender- and age-specific. For example, jingle dress dance is typically performed by women, while Smoke Dance was historically performed by men. However, with resurgence of two-spirit traditions, and progression of women’s rights movements in 20th Century, some powwow organizers and First Nations allow dancers of opposite sex to participate in traditionally male or female specific dances. Most dances are also categorized by age: adult, teenager/youth and “tiny tot” (children). Panel of judges evaluating the competitive dances scores performers based on dance category as well as regalia and dancing abilities. #archaeohistories

Archaeo - Histories

70,765 Aufrufe • vor 1 Monat

When a spacecraft leaves Earth, it doesn’t just fire its engines and head straight to its destination. In many missions, especially those going beyond low Earth orbit, there’s a more subtle and elegant strategy at play, one that uses gravity itself as part of the navigation system. This is often called a gravity assist, or a slingshot maneuver. But in the case of missions like #Artemis II, what’s being used is a closely related idea known as a free-return trajectory. At first glance, it might sound simple: the spacecraft goes to the Moon, loops around it, and comes back. But the physics behind it is anything but simple. Instead of relying on continuous propulsion, the spacecraft follows a carefully calculated path through the gravitational field of the Earth–Moon system. It is launched with just the right speed and direction so that, as it approaches the Moon, the Moon’s gravity bends its trajectory. The spacecraft is effectively flung around the Moon, redirected onto a path that naturally brings it back toward Earth. No major engine burn is needed for the return. Small trajectory corrections may still be required, but gravity does the heavy lifting. That’s the key. This kind of trajectory is not just efficient, it’s also safe. If something goes wrong with the spacecraft’s engines or onboard systems, gravity itself ensures the return. It’s an inherent backup plan, built into the trajectory from the very beginning. The same fundamental idea appears in gravity assists used across the Solar System. When a spacecraft flies past a planet, it can gain or lose speed by exchanging momentum with that planet. From the spacecraft’s point of view, it’s as if it has been accelerated without using fuel. In reality, it has borrowed a tiny amount of orbital energy from the planet itself. That’s how missions like Voyager reached the outer planets, and how probes continue to explore regions far beyond what their onboard fuel alone would allow. But there’s an important distinction. An interplanetary gravity assist is typically used to change speed and direction, often increasing the spacecraft’s energy. A free-return trajectory, like the one used in Artemis II, is designed for something more specific: a path that naturally loops back to Earth without requiring additional propulsion. It’s less about gaining energy, and more about shaping a trajectory that guarantees a return. To understand why this works, it helps to stop thinking in straight lines. In space, motion follows curves defined by gravity. The spacecraft is constantly falling, first toward Earth, then toward the Moon, and then back toward Earth again. What looks like a loop is really a continuous free fall through a changing gravitational landscape. This way of navigating space reveals something deeper. We tend to think of engines as the drivers of motion, but once a spacecraft is on its way, gravity does most of the work. The art of spaceflight is not just about thrust. It’s about knowing when not to use it. #GoodLuck #Artemis NASA Artemis

When a spacecraft leaves Earth, it doesn’t just fire its engines and head straight to its destination. In many missions, especially those going beyond low Earth orbit, there’s a more subtle and elegant strategy at play, one that uses gravity itself as part of the navigation system. This is often called a gravity assist, or a slingshot maneuver. But in the case of missions like #Artemis II, what’s being used is a closely related idea known as a free-return trajectory. At first glance, it might sound simple: the spacecraft goes to the Moon, loops around it, and comes back. But the physics behind it is anything but simple. Instead of relying on continuous propulsion, the spacecraft follows a carefully calculated path through the gravitational field of the Earth–Moon system. It is launched with just the right speed and direction so that, as it approaches the Moon, the Moon’s gravity bends its trajectory. The spacecraft is effectively flung around the Moon, redirected onto a path that naturally brings it back toward Earth. No major engine burn is needed for the return. Small trajectory corrections may still be required, but gravity does the heavy lifting. That’s the key. This kind of trajectory is not just efficient, it’s also safe. If something goes wrong with the spacecraft’s engines or onboard systems, gravity itself ensures the return. It’s an inherent backup plan, built into the trajectory from the very beginning. The same fundamental idea appears in gravity assists used across the Solar System. When a spacecraft flies past a planet, it can gain or lose speed by exchanging momentum with that planet. From the spacecraft’s point of view, it’s as if it has been accelerated without using fuel. In reality, it has borrowed a tiny amount of orbital energy from the planet itself. That’s how missions like Voyager reached the outer planets, and how probes continue to explore regions far beyond what their onboard fuel alone would allow. But there’s an important distinction. An interplanetary gravity assist is typically used to change speed and direction, often increasing the spacecraft’s energy. A free-return trajectory, like the one used in Artemis II, is designed for something more specific: a path that naturally loops back to Earth without requiring additional propulsion. It’s less about gaining energy, and more about shaping a trajectory that guarantees a return. To understand why this works, it helps to stop thinking in straight lines. In space, motion follows curves defined by gravity. The spacecraft is constantly falling, first toward Earth, then toward the Moon, and then back toward Earth again. What looks like a loop is really a continuous free fall through a changing gravitational landscape. This way of navigating space reveals something deeper. We tend to think of engines as the drivers of motion, but once a spacecraft is on its way, gravity does most of the work. The art of spaceflight is not just about thrust. It’s about knowing when not to use it. #GoodLuck #Artemis NASA Artemis

Erika 

235,010 Aufrufe • vor 4 Monaten