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Paint a Picture.🎨 "Display" (feat. Devron J. Ard) OUT NOW on all Platforms. 🎥: Chancer Model: Petrina Davis Stylist: more2ci. Song Prod. By Mykal Riley Mix/Master: SPR Kane Listen:

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Wade Brown

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36,026 görüntüleme • 1 yıl önce •via X (Twitter)

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New music alert! My new song, 'Blessings,' is a melody of gratitude. Let the music uplift you. STREAM #BlessingsByEkunrawo NOW ON ALL PLATFORMS! ✨️ 🎥 stanz Prod. by Pjay Mixed by Indomix #NewMusicFriday #newmusicvideo #NewMusic
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New music alert! My new song, 'Blessings,' is a melody of gratitude. Let the music uplift you. STREAM #BlessingsByEkunrawo NOW ON ALL PLATFORMS! ✨️ 🎥 stanz Prod. by Pjay Mixed by Indomix #NewMusicFriday #newmusicvideo #NewMusic

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“A Parallel World” is out there 🎶 Listen to the full song by BINI_PH on all digital streaming platforms now and don’t miss the music video! Experience Forgotten Island in cinemas in the Philippines September 23, and in the USA September 25.
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“A Parallel World” is out there 🎶 Listen to the full song by BINI_PH on all digital streaming platforms now and don’t miss the music video! Experience Forgotten Island in cinemas in the Philippines September 23, and in the USA September 25.

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Only One Of You is OUT NOW, listen on all your usual streaming platforms. I’m so excited to finally be able to share this special song with you! A very awesome house version is also available mixed by the brilliant @rosaneamaral Thank you @wadge1975
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Only One Of You is OUT NOW, listen on all your usual streaming platforms. I’m so excited to finally be able to share this special song with you! A very awesome house version is also available mixed by the brilliant @rosaneamaral Thank you @wadge1975

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OUT NOW: “Crossing The Rubicon” feat. NOTHING MORE 🎵 Listen here 👉 Friends, you can now listen to our new single “Crossing The Rubicon” on all major music streaming platforms! This time we’ve teamed up with our American brothers, Nothing More, to bring you something special. This collaborative version of the track hits the radio airwaves today, while the original version will be available as part of our upcoming “Legends” album. “Crossing The Rubicon” was inspired by the legendary Julius Caesar - a man whose decisions reshaped the course of history. “Julius Caesar is an incredibly intriguing figure - and let’s be real, he’s known all around the world for a reason! His story is legendary. He was a brilliant general, a bold leader, and a trailblazer of ancient history. His story has war, ambition, betrayal… everything that fits right into the world of Sabaton.” // Joakim Hit play, let us know what you think and don’t forget to pre-order “Legends”, out October 17! Pre-order here 👉
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OUT NOW: “Crossing The Rubicon” feat. NOTHING MORE 🎵 Listen here 👉 Friends, you can now listen to our new single “Crossing The Rubicon” on all major music streaming platforms! This time we’ve teamed up with our American brothers, Nothing More, to bring you something special. This collaborative version of the track hits the radio airwaves today, while the original version will be available as part of our upcoming “Legends” album. “Crossing The Rubicon” was inspired by the legendary Julius Caesar - a man whose decisions reshaped the course of history. “Julius Caesar is an incredibly intriguing figure - and let’s be real, he’s known all around the world for a reason! His story is legendary. He was a brilliant general, a bold leader, and a trailblazer of ancient history. His story has war, ambition, betrayal… everything that fits right into the world of Sabaton.” // Joakim Hit play, let us know what you think and don’t forget to pre-order “Legends”, out October 17! Pre-order here 👉

Sabaton

33,605 görüntüleme • 11 ay önce

🚨 We’re officially launching : ANIMA STUDIO 🚨 ⭐️ To celebrate, we’re kicking off a 30-DAY CHALLENGE ⭐️ Every day, you’ll find a new case study across our platforms – showcasing our creative vision and technical expertise. Expect: - Brand ads (real or fictional collabs) 👟 - Short films 🎥 - Product reels 📱 - Character design 🦖 - Set design ⛰️ - Art direction 🎨 ..and more. All powered by AI tools + design expertise. We've been producing visuals (images & videos) for brands, entrepreneurs & companies for over 6 months — and have been doing it manually for over 3 years. But Anima Studio is a much bigger vision. We’re blending our roots in design with cutting-edge AI to build something new. In fact, months before this announcement, we started working with a major US production (multi-million budget). 🇺🇸 We can’t say more for now — but it’s moving fast. Our studio covers a full creative scope: - Art Direction 🎨 - Visual / Communication Design & Branding 👁️ - Ad Creation & Deep Brand Identity 🛜 And for Film & Entertainment 🎬 : - Pre-production (worldbuilding, chara & set design) ⭐️ - Production/Post-prod (AI animation, VFX…) 📺 - Transmedia (comics, merch, narrative extensions…) 🪐 - Short Film 🍿 And a lot of innovative ideas to come. We’re still continuing our content creation & training activities on AI & design. Today, we’re just sharing a fun little teaser to launch the challenge — but a proper trailer is coming soon. 💛 Thank you all for the support. 🙏 This wouldn’t be possible without your encouragement. See you tomorrow for the first fictional ad of the challenge! Let’s go. 🚀
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🚨 We’re officially launching : ANIMA STUDIO 🚨 ⭐️ To celebrate, we’re kicking off a 30-DAY CHALLENGE ⭐️ Every day, you’ll find a new case study across our platforms – showcasing our creative vision and technical expertise. Expect: - Brand ads (real or fictional collabs) 👟 - Short films 🎥 - Product reels 📱 - Character design 🦖 - Set design ⛰️ - Art direction 🎨 ..and more. All powered by AI tools + design expertise. We've been producing visuals (images & videos) for brands, entrepreneurs & companies for over 6 months — and have been doing it manually for over 3 years. But Anima Studio is a much bigger vision. We’re blending our roots in design with cutting-edge AI to build something new. In fact, months before this announcement, we started working with a major US production (multi-million budget). 🇺🇸 We can’t say more for now — but it’s moving fast. Our studio covers a full creative scope: - Art Direction 🎨 - Visual / Communication Design & Branding 👁️ - Ad Creation & Deep Brand Identity 🛜 And for Film & Entertainment 🎬 : - Pre-production (worldbuilding, chara & set design) ⭐️ - Production/Post-prod (AI animation, VFX…) 📺 - Transmedia (comics, merch, narrative extensions…) 🪐 - Short Film 🍿 And a lot of innovative ideas to come. We’re still continuing our content creation & training activities on AI & design. Today, we’re just sharing a fun little teaser to launch the challenge — but a proper trailer is coming soon. 💛 Thank you all for the support. 🙏 This wouldn’t be possible without your encouragement. See you tomorrow for the first fictional ad of the challenge! Let’s go. 🚀

Anima

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Victor Davis Hanson: How Trump’s ‘Art of the Deal’ Secured Peace in the Middle East Donald Trump has pulled off one of the greatest feats of his presidency by securing a ceasefire between Israel and Hamas—just nine months into his return to the presidency. From Iran and Israel to Ethiopia and Egypt, Kosovo and Serbia, and Pakistan and India, Trump approaches foreign policy through direct negotiation, economic leverage, and personal diplomacy. Victor Davis Hanson explores why this model succeeded where others failed, and how it could soon shape Trump’s approach to Ukraine on today’s episode of “Victor Davis Hanson: In a Few Words." “Why is this happening now, though? It didn't happen under Biden, a settlement in the Middle East. It did not happen under Trump's first administration. It did not happen under Obama. It did not happen under George Bush. There were about 10 things that had to happen. All these intricate pieces in this puzzle, the pieces of the peace, all fell into success in a way that made it possible. What were they? “Donald Trump created personal relationships in the Arab community. He did not insult the Saudis, as Joe Biden had done during the 2020 campaigns. He did not alienate the Arab community. He did not alienate Benjamin Netanyahu. He gave them concessions. He praised them. He created personal relationships. He did trade deals. He used tariffs as carrot and a stick, pressures and leverages.” 👉Don’t miss out on Victor’s latest videos by subscribing to The Daily Signal today. You’ll be notified every time a new piece of content drops: 👉If you can’t get enough of Victor Davis Hanson from The Daily Signal, subscribe to his official YouTube channel: 👉He’s also the host of “The Victor Davis Hanson Show,” available wherever you prefer to watch or listen. Links to the show and exclusive content are available on his website: (0:00) Trump’s Global Negotiation Impact (2:30) Trump’s Strategic Moves Against Iran (3:53) Strengthening Israel’s Position (4:32) Building Arab Relationships (6:28) Global Ceasefire Successes (7:21) Future Plans
8:57

Victor Davis Hanson: How Trump’s ‘Art of the Deal’ Secured Peace in the Middle East Donald Trump has pulled off one of the greatest feats of his presidency by securing a ceasefire between Israel and Hamas—just nine months into his return to the presidency. From Iran and Israel to Ethiopia and Egypt, Kosovo and Serbia, and Pakistan and India, Trump approaches foreign policy through direct negotiation, economic leverage, and personal diplomacy. Victor Davis Hanson explores why this model succeeded where others failed, and how it could soon shape Trump’s approach to Ukraine on today’s episode of “Victor Davis Hanson: In a Few Words." “Why is this happening now, though? It didn't happen under Biden, a settlement in the Middle East. It did not happen under Trump's first administration. It did not happen under Obama. It did not happen under George Bush. There were about 10 things that had to happen. All these intricate pieces in this puzzle, the pieces of the peace, all fell into success in a way that made it possible. What were they? “Donald Trump created personal relationships in the Arab community. He did not insult the Saudis, as Joe Biden had done during the 2020 campaigns. He did not alienate the Arab community. He did not alienate Benjamin Netanyahu. He gave them concessions. He praised them. He created personal relationships. He did trade deals. He used tariffs as carrot and a stick, pressures and leverages.” 👉Don’t miss out on Victor’s latest videos by subscribing to The Daily Signal today. You’ll be notified every time a new piece of content drops: 👉If you can’t get enough of Victor Davis Hanson from The Daily Signal, subscribe to his official YouTube channel: 👉He’s also the host of “The Victor Davis Hanson Show,” available wherever you prefer to watch or listen. Links to the show and exclusive content are available on his website: (0:00) Trump’s Global Negotiation Impact (2:30) Trump’s Strategic Moves Against Iran (3:53) Strengthening Israel’s Position (4:32) Building Arab Relationships (6:28) Global Ceasefire Successes (7:21) Future Plans

The Daily Signal

38,776 görüntüleme • 10 ay önce

"No matter what religion you belong to, no matter where you come from, no mater the profession...we Nigerians are being killed and our government seem to be incapable of protecting us... "Now we have capacity, we have drones, you can see them all. You can take them out! Why are we not doing that?! Why are we always apologising? Why are we negotiating?" - Former Nigerian President, Olusegun Obasanjo Dear President Donald J. Trump Donald J. Trump JD Vance Secretary Marco Rubio Secretary of War Pete Hegseth Rep. Riley M. Moore i'm sharing this video of a former Nigerian president, who has had the opportunity to serve as both a military head of the Nigerian state and a civilian president. Here he is, just like many Nigerians, pouring out his frustrations over the Nigerian government's bold and suspicious lack of seriousness and lacklustre approach to the deteriorating issue of terrorism in Nigeria. This situation has been made worse by the fact that only a few weeks ago, the whole world witnessed as Mali worked with their Russian Africa Corpse counterparts to kill and flush out the over 12,000 terrorists who invaded that country to topple its government. Today, people are wondering why Nigeria's situation is getting worse, even with America in the picture. Please stop believing the lies coming out of this regime. The USA is being dragged in the mud of discontent due to the endless stream of lies from this regime. If the USA doesn't act now to extricate itself, this regime's dishonesty will leave a mortal dent on America's credibility and reputation. I know the United States has to work with Nigeria to make things happen, but when it's now obvious the regime is not interested in eliminating the threat of genocidal terrorism against innocent Nigerian Christians and even some moderate Muslims, i think the United States may have to start rethinking its security agreement with Nigeria, and star thinking of better operational models to end this scourge once and for all. If a former president of Obasanjo's stature is this frustrated, imagine the average Nigerian. Time to pivot to something more workable, i strongly recommend. Thank you for your attention to this matter.
1:51

"No matter what religion you belong to, no matter where you come from, no mater the profession...we Nigerians are being killed and our government seem to be incapable of protecting us... "Now we have capacity, we have drones, you can see them all. You can take them out! Why are we not doing that?! Why are we always apologising? Why are we negotiating?" - Former Nigerian President, Olusegun Obasanjo Dear President Donald J. Trump Donald J. Trump JD Vance Secretary Marco Rubio Secretary of War Pete Hegseth Rep. Riley M. Moore i'm sharing this video of a former Nigerian president, who has had the opportunity to serve as both a military head of the Nigerian state and a civilian president. Here he is, just like many Nigerians, pouring out his frustrations over the Nigerian government's bold and suspicious lack of seriousness and lacklustre approach to the deteriorating issue of terrorism in Nigeria. This situation has been made worse by the fact that only a few weeks ago, the whole world witnessed as Mali worked with their Russian Africa Corpse counterparts to kill and flush out the over 12,000 terrorists who invaded that country to topple its government. Today, people are wondering why Nigeria's situation is getting worse, even with America in the picture. Please stop believing the lies coming out of this regime. The USA is being dragged in the mud of discontent due to the endless stream of lies from this regime. If the USA doesn't act now to extricate itself, this regime's dishonesty will leave a mortal dent on America's credibility and reputation. I know the United States has to work with Nigeria to make things happen, but when it's now obvious the regime is not interested in eliminating the threat of genocidal terrorism against innocent Nigerian Christians and even some moderate Muslims, i think the United States may have to start rethinking its security agreement with Nigeria, and star thinking of better operational models to end this scourge once and for all. If a former president of Obasanjo's stature is this frustrated, imagine the average Nigerian. Time to pivot to something more workable, i strongly recommend. Thank you for your attention to this matter.

J. C. Okechukwu

10,188 görüntüleme • 2 ay önce

Marianne Faithfull, RIP. When I was 16, I was a lifeguard at Ideal Beach, East Keansburg (now North Middletown), NJ in the summer of 1980 when an NYC radio station (WLIR? WPIX?) announced a commercial-free summer and they played an eclectic mix of old, new, and newish stuff, including Marianne's haunting, craggy-voiced, album-title track Broken English, which had come out in fall of '79. In contrast to its name, Ideal Beach was a post-apocalyptic stretch of dirt sandwiched between a sewage treatment plant that spit up gray, discus-sized pellets of treated waste that would wash ashore, and a World War ammo dump whose sunken mortars would occasionally explode underwater, sending out tepid shock waves through the otherwise flat, fetid water. Even above the waterline somehow, the beach's sands were littered with an impossible number of plastic tampon applicators and medical waste. Horsehoe crabs slowly and aimlessly ambled near water's edge, like prehistoric Roomba vacuums that would occasionally get flipped over and be burned to death by the sun, flies feasting on their rotting, godawful-stinking carcasses. From the guard chairs, you could look across the Raritan Bay to Coney Island, where the derelict parachute jump ride stood out, the rusted-out Ozymandian ruin of a once-vibrant-but-now-long-dead civilization; a thick brown cap of pollution covered the sky from a distance. We were what, two years out from the summer of Sam and maybe five years out from NY's near-death bankruptcy? Exhaustion of everything was the foul air we breathed. And then every hour or two between 9am and 6pm for what seemed like the whole summer, Marianne Faithfull's Broken English would come on, a snarky, ironic paean to the despicable and murderous Ulrike Meinhof, whose demented politics and taste for self-hating revolutionary violence had killed '60s idealism every bit as much as Meredith Hunter's murder at Altamont, the free concert organized by Marianne's former beau, Mick Jagger of the Rolling Stones. I was hooked from first listen to her dissipated croaking: It's just an old war Not even a cold war Don't say it in Russian Don't say it in German Say it in broken English Broken English was a deep cut on the late '70s soundtrack of bottoming out, of Boomers realizing their youth was never coming back and they were worse for the wear. I learned later about her early days as a pinup girl of Swinging London and the coy, coquettish chanteuse of As Tears Go By, and all about the notorious Mars bar story--all of which make Broken English even more epic and powerful. But I didn't need any of that back story for the song to hit me like a slap in the face and to recognize she was calling from a very dark place, ventriloquizing for the larger society. To a teenaged boy, she seemed impossibly old and hagged out (she was maybe 35!), so wearied of the world it was amazing she could bark out any lyrics at all. But she was also sexy, irresistible and wise, a sotto voce Cassandra with a desperate, urgent-yet-vague message coming from the dungeon of the 1960s and all that hippie peace and love shit. She was like one of those ex-smokers in a PSA talking through a stoma with half their faces eaten away by cancer telling the kids not to do as I have done. No matter how hot and cloudless it was that summer, whenever Broken English came on the radio and I stared across the water to a New York (and America) still years away from its own roaring comeback, I'd catch a chill and feel the sun disappear for five minutes. RIP, Marianne Faithfull. cc Kurt Loder
5:56

Marianne Faithfull, RIP. When I was 16, I was a lifeguard at Ideal Beach, East Keansburg (now North Middletown), NJ in the summer of 1980 when an NYC radio station (WLIR? WPIX?) announced a commercial-free summer and they played an eclectic mix of old, new, and newish stuff, including Marianne's haunting, craggy-voiced, album-title track Broken English, which had come out in fall of '79. In contrast to its name, Ideal Beach was a post-apocalyptic stretch of dirt sandwiched between a sewage treatment plant that spit up gray, discus-sized pellets of treated waste that would wash ashore, and a World War ammo dump whose sunken mortars would occasionally explode underwater, sending out tepid shock waves through the otherwise flat, fetid water. Even above the waterline somehow, the beach's sands were littered with an impossible number of plastic tampon applicators and medical waste. Horsehoe crabs slowly and aimlessly ambled near water's edge, like prehistoric Roomba vacuums that would occasionally get flipped over and be burned to death by the sun, flies feasting on their rotting, godawful-stinking carcasses. From the guard chairs, you could look across the Raritan Bay to Coney Island, where the derelict parachute jump ride stood out, the rusted-out Ozymandian ruin of a once-vibrant-but-now-long-dead civilization; a thick brown cap of pollution covered the sky from a distance. We were what, two years out from the summer of Sam and maybe five years out from NY's near-death bankruptcy? Exhaustion of everything was the foul air we breathed. And then every hour or two between 9am and 6pm for what seemed like the whole summer, Marianne Faithfull's Broken English would come on, a snarky, ironic paean to the despicable and murderous Ulrike Meinhof, whose demented politics and taste for self-hating revolutionary violence had killed '60s idealism every bit as much as Meredith Hunter's murder at Altamont, the free concert organized by Marianne's former beau, Mick Jagger of the Rolling Stones. I was hooked from first listen to her dissipated croaking: It's just an old war Not even a cold war Don't say it in Russian Don't say it in German Say it in broken English Broken English was a deep cut on the late '70s soundtrack of bottoming out, of Boomers realizing their youth was never coming back and they were worse for the wear. I learned later about her early days as a pinup girl of Swinging London and the coy, coquettish chanteuse of As Tears Go By, and all about the notorious Mars bar story--all of which make Broken English even more epic and powerful. But I didn't need any of that back story for the song to hit me like a slap in the face and to recognize she was calling from a very dark place, ventriloquizing for the larger society. To a teenaged boy, she seemed impossibly old and hagged out (she was maybe 35!), so wearied of the world it was amazing she could bark out any lyrics at all. But she was also sexy, irresistible and wise, a sotto voce Cassandra with a desperate, urgent-yet-vague message coming from the dungeon of the 1960s and all that hippie peace and love shit. She was like one of those ex-smokers in a PSA talking through a stoma with half their faces eaten away by cancer telling the kids not to do as I have done. No matter how hot and cloudless it was that summer, whenever Broken English came on the radio and I stared across the water to a New York (and America) still years away from its own roaring comeback, I'd catch a chill and feel the sun disappear for five minutes. RIP, Marianne Faithfull. cc Kurt Loder

Nick Gillespie

15,028 görüntüleme • 1 yıl önce

#Biafrans and all the lovers of freedom, I do not want to comment or interfere on this interview or so called press conferences carried out at the back of “Mama put “ street food . A whole #MNK case press conference was conducted at a corner of a street restaurant with plastic chairs , does it mean there is no office or the lawyers do not have offices again? Some fools might say am not a lawyer, honestly, “una shameful display de shame me and Biafrans worldwide”. Anyhow , everyone should keep this video in an archive for future reference. Listen to these statements from #MNK’s lawyer , it’s a red flag for me and this call for concern . If a lawyer who is considered as the lead consul for #MNK is now telling the world that the #DSS took picture of him on a visit to MNK and later mistakenly presented as an exhibit in the court , that means “church agbasala” . For me I totally disagree that the DSS presented the pictures mistakenly. There is more to that picture for them to present it to the court as an exhibit , sooner or later we shall know. Don’t forget if there are pictures exhibits , there are also audio conversation that DSS will want to use to nail #MNK , even the lawyer is not safe when the trial commences, he made himself an errand boy for an infiltrator because of greed for money , I told them to be careful in order not to implicate MNK out of their evil intentions to destroy the #DOS , they were all bouncing up and down like a table tennis ball , abusing me blackmailing men who have paid heavy price for this struggle . They were planning how to dissolve the DOS and announce their own leadership whom they want to use to finally destroy #IPOB as they’re desperate for a deal, not minding putting the lives of millions Of Biafrans in jeopardy because of their selfish interest . Today, he is telling the world that MNK won’t get justice from the Nigeria court , same court they have blackmail many us and others for maintaining our stand that no more trial for #MNK . They have succeeded in rubbishing themselves and the case of #MNK . All their blackmail and evil plans against this struggle and IPOB leadership is now stirring them on their faces and in the coming weeks their evil plans will manifest openly . They should know that #MNK will regain his freedom but not from all these their backstabbing , begging , greed and shenanigans. All their noisy approach is based on greed and selfish interest. What they don’t know is all their evil moves were captured by the DSS just to nail them and many others and they stupidly fail to the #DSS traps . Directorate Of State (DOS) IPOB Liverpool Central IPOB In United Kingdom. 🌅 IPOB Zürich Radio Biafra #IPOB
1:52

#Biafrans and all the lovers of freedom, I do not want to comment or interfere on this interview or so called press conferences carried out at the back of “Mama put “ street food . A whole #MNK case press conference was conducted at a corner of a street restaurant with plastic chairs , does it mean there is no office or the lawyers do not have offices again? Some fools might say am not a lawyer, honestly, “una shameful display de shame me and Biafrans worldwide”. Anyhow , everyone should keep this video in an archive for future reference. Listen to these statements from #MNK’s lawyer , it’s a red flag for me and this call for concern . If a lawyer who is considered as the lead consul for #MNK is now telling the world that the #DSS took picture of him on a visit to MNK and later mistakenly presented as an exhibit in the court , that means “church agbasala” . For me I totally disagree that the DSS presented the pictures mistakenly. There is more to that picture for them to present it to the court as an exhibit , sooner or later we shall know. Don’t forget if there are pictures exhibits , there are also audio conversation that DSS will want to use to nail #MNK , even the lawyer is not safe when the trial commences, he made himself an errand boy for an infiltrator because of greed for money , I told them to be careful in order not to implicate MNK out of their evil intentions to destroy the #DOS , they were all bouncing up and down like a table tennis ball , abusing me blackmailing men who have paid heavy price for this struggle . They were planning how to dissolve the DOS and announce their own leadership whom they want to use to finally destroy #IPOB as they’re desperate for a deal, not minding putting the lives of millions Of Biafrans in jeopardy because of their selfish interest . Today, he is telling the world that MNK won’t get justice from the Nigeria court , same court they have blackmail many us and others for maintaining our stand that no more trial for #MNK . They have succeeded in rubbishing themselves and the case of #MNK . All their blackmail and evil plans against this struggle and IPOB leadership is now stirring them on their faces and in the coming weeks their evil plans will manifest openly . They should know that #MNK will regain his freedom but not from all these their backstabbing , begging , greed and shenanigans. All their noisy approach is based on greed and selfish interest. What they don’t know is all their evil moves were captured by the DSS just to nail them and many others and they stupidly fail to the #DSS traps . Directorate Of State (DOS) IPOB Liverpool Central IPOB In United Kingdom. 🌅 IPOB Zürich Radio Biafra #IPOB

Chinasa Nworu

14,894 görüntüleme • 2 yıl önce

Jaye Cane’s “On The Radio”: A High-Energy Anthem of Resilience Jaye Cane isn’t just turning heads—he’s turning pain into power. His latest single, “On The Radio,” is a genre-mashing adrenaline rush, fusing the emotional weight of heartbreak with the gritty drive of a comeback story. Now streaming on Spotify, SoundCloud, and all major platforms, the track channels a love lost into a triumphant, stadium-sized anthem. With a blend of alternative, country, hip-hop, and rock, it lands with the same punch as a Nickelback banger—but filtered through Cane’s raw, real-world lens. This is not just a song. It’s a turning point. The story behind “On The Radio” is as gripping as the track itself. Cane draws from a relationship that grounded him during his lowest moments—nights spent homeless, crashing in cars, motels, and jail cells. “She was there for me,” he recalls. But as life stabilized—a steady job, a daily $400 grind—support turned into skepticism. Her doubt became a catalyst. Cane didn’t fold. He wrote this song instead. The result is a sonic middle finger to limitation—a track about choosing your dreams even when the people you love don’t believe in them. Musically, “On The Radio” hits with layered intensity. Alternative’s grit, country’s heart, hip-hop’s cadence, and rock’s unfiltered energy collide in a sound that’s loud, proud, and emotionally resonant. Cane’s vocals are relentless—equal parts growl and prayer. “The lyrics are relatable,” he says, and he’s not wrong. Lines land with purpose, offering a mirror to listeners navigating doubt or climbing out of their own personal trenches. Produced by Chris J. Linck of the rock band Attila, the track balances polish with grit—a sound that’s radio-ready but far from hollow. For Cane, this moment has been years in the making. From his MySpace hustle to TikTok virality, he’s grown alongside the platforms. “On The Radio” is now signed to SoundOn/ByteDance with official promo backing—a major milestone for an indie artist. His fanbase, dubbed the SUPERFAMILY, has stuck with him through the long haul, and he doesn’t take that lightly. Every stream is a shared win, every lyric a battle scar. Cane doesn’t just talk about struggle—he’s lived it. And you can feel it in every note. But Cane isn’t slowing down. This single is just the launchpad. With millions of streams already racked up and new content rolling out daily, he’s got an EP on the horizon and live shows in the works. “I’m working on more music,” he confirms. His focus is locked in: build momentum, tell stories, and take the stage. “On The Radio” sits perfectly in alternative and motivational playlists—a track made for road trips, gym speakers, or nights you just need to feel something loud and real. His gratitude is as loud as his music. “Thank you to the entire SUPERFAMILY worldwide,” he says. “I would have been unable to accomplish this without you and God.” That sincerity isn’t for show—it’s the core of his artistry. Stream “On The Radio” now on Spotify, Apple Music, or SoundCloud. Play it loud. Feel the truth in it. Follow Jaye Cane on TikTok and Spotify to witness a comeback in real-time. With “On The Radio,” Jaye Cane proves he’s more than just a survivor—he’s a force. His music doesn’t just reflect pain; it flips it into purpose. As new releases loom and stages await, one thing’s clear: Cane’s journey from chaos to clarity isn’t just inspiring—it’s electrifying. This is a sound you don’t just hear. You feel it. Check it out below
0:27

Jaye Cane’s “On The Radio”: A High-Energy Anthem of Resilience Jaye Cane isn’t just turning heads—he’s turning pain into power. His latest single, “On The Radio,” is a genre-mashing adrenaline rush, fusing the emotional weight of heartbreak with the gritty drive of a comeback story. Now streaming on Spotify, SoundCloud, and all major platforms, the track channels a love lost into a triumphant, stadium-sized anthem. With a blend of alternative, country, hip-hop, and rock, it lands with the same punch as a Nickelback banger—but filtered through Cane’s raw, real-world lens. This is not just a song. It’s a turning point. The story behind “On The Radio” is as gripping as the track itself. Cane draws from a relationship that grounded him during his lowest moments—nights spent homeless, crashing in cars, motels, and jail cells. “She was there for me,” he recalls. But as life stabilized—a steady job, a daily $400 grind—support turned into skepticism. Her doubt became a catalyst. Cane didn’t fold. He wrote this song instead. The result is a sonic middle finger to limitation—a track about choosing your dreams even when the people you love don’t believe in them. Musically, “On The Radio” hits with layered intensity. Alternative’s grit, country’s heart, hip-hop’s cadence, and rock’s unfiltered energy collide in a sound that’s loud, proud, and emotionally resonant. Cane’s vocals are relentless—equal parts growl and prayer. “The lyrics are relatable,” he says, and he’s not wrong. Lines land with purpose, offering a mirror to listeners navigating doubt or climbing out of their own personal trenches. Produced by Chris J. Linck of the rock band Attila, the track balances polish with grit—a sound that’s radio-ready but far from hollow. For Cane, this moment has been years in the making. From his MySpace hustle to TikTok virality, he’s grown alongside the platforms. “On The Radio” is now signed to SoundOn/ByteDance with official promo backing—a major milestone for an indie artist. His fanbase, dubbed the SUPERFAMILY, has stuck with him through the long haul, and he doesn’t take that lightly. Every stream is a shared win, every lyric a battle scar. Cane doesn’t just talk about struggle—he’s lived it. And you can feel it in every note. But Cane isn’t slowing down. This single is just the launchpad. With millions of streams already racked up and new content rolling out daily, he’s got an EP on the horizon and live shows in the works. “I’m working on more music,” he confirms. His focus is locked in: build momentum, tell stories, and take the stage. “On The Radio” sits perfectly in alternative and motivational playlists—a track made for road trips, gym speakers, or nights you just need to feel something loud and real. His gratitude is as loud as his music. “Thank you to the entire SUPERFAMILY worldwide,” he says. “I would have been unable to accomplish this without you and God.” That sincerity isn’t for show—it’s the core of his artistry. Stream “On The Radio” now on Spotify, Apple Music, or SoundCloud. Play it loud. Feel the truth in it. Follow Jaye Cane on TikTok and Spotify to witness a comeback in real-time. With “On The Radio,” Jaye Cane proves he’s more than just a survivor—he’s a force. His music doesn’t just reflect pain; it flips it into purpose. As new releases loom and stages await, one thing’s clear: Cane’s journey from chaos to clarity isn’t just inspiring—it’s electrifying. This is a sound you don’t just hear. You feel it. Check it out below

J

40,662 görüntüleme • 1 yıl önce

My fox shooting garden defending AI robot is finally done and WORKING! 🤩 (Don’t worry it only shoots 💦 water) After months of slowly moving forward with each part I finished the last step to train a TensorFlow model on the footage of the 🦊 fox I collected hours of footage 📹 with the fox roaming around my garden, from this I labeled around 2000 images with the fox by hand ✋ Honestly, I was quite skeptical training the model was actually gonna work, maybe this was partly the reason I avoided working on this until the very end. If I couldn’t train a model to detect the fox, this whole robot would never be able to function properly. On the flipside though, with no previous experience in hardware or electronics there was a bit of a learning curve and I didn’t want to end up labeling thousands of images, training a TensorFlow model, only to fail on building the hardware. As I started building, I realized that mixing hardware and software adds quite another dimension to debugging things. At times I wasted hours debugging code in my IDE, only to realize the issue was somewhere in the electronics. Furthermore, combining this side project with a full time job and a young family, is not always easy. It can be quite frustrating, to know you only need 4 hours of concentrated effort for a small task, having to spread it out across a week of 20min increments. Then, a few months into the build I noticed the fox had stopped coming to my garden, in fact one day, I recorded her walking with 3 cute little 🐶 pups, and the next day I saw her moving out of my garden completely. Did she know I was building a robot? I had this strange mix of feelings, happy my garden was safe from poop and digging, happy she was safe with her pups, but how was I gonna finish this project if my robot had no fox to detect? For sure they would be back next year, I figured I could postpone the whole thing until next winter, but I also knew it was gonna be much harder to pick up momentum if I did let it sit there for six months. So I decided to keep working, hoping the fox would reappear,.. but she never did. As I finished labeling the footage and started training my model, I could finally see the mAP results, quantifying the precision of my object detection model. It was measuring at 78% across different metrics on detecting my fox. I quickly ran the model on some of the video footage I got from my fox. Inference speed took a hit, but it did a near perfect job detecting the fox, even when she was deep down in the grass or wizzing past in a motion blur. It took me by surprise how well it worked. With the default model I had to drop my confidence threshold way down to 15%, to recognize the fox as 🦜“bird” in one or two frames, with my custom model it followed the fox all the way down to the back of the garden! Still this didn’t solve the issue of there being no actual fox in my garden and how was I gonna wrap this project in a short timeframe. I played with the idea of putting a fox toy 🧸 on an RC 🚗 car, or borrowing a dog to run around the garden to test. Friends suggested I run around the garden in a fox costume.. what a ridiculous idea. I wasn’t really feeling the idea of running around the garden in a floppy cloth fox 🎭 costume, but had a look anyway. I came across these self inflating costumes. This actually could be perfect. Since it’s inflated, it would hold its shape super well, making it much easier to label, train and be recognized by my robot. So I got the costume and shot a time lapse of myself as a fox walking around the garden. I labeled it to around 600 images. Ran the model training again and got a mAP result of 82%. This was even better than my real fox! At this point I knew this was gonna work. So here’s the final 🎥 video, just having some fun with it. I’ll update here whenever the real fox does come back. On a final note, I’m looking for (remote) jobs in these fields of AI now: - object detection - visual generative AI - 3D (nerfs + gaussian splats) So if you know anything let me know! My DMs are open 😊
2:05

My fox shooting garden defending AI robot is finally done and WORKING! 🤩 (Don’t worry it only shoots 💦 water) After months of slowly moving forward with each part I finished the last step to train a TensorFlow model on the footage of the 🦊 fox I collected hours of footage 📹 with the fox roaming around my garden, from this I labeled around 2000 images with the fox by hand ✋ Honestly, I was quite skeptical training the model was actually gonna work, maybe this was partly the reason I avoided working on this until the very end. If I couldn’t train a model to detect the fox, this whole robot would never be able to function properly. On the flipside though, with no previous experience in hardware or electronics there was a bit of a learning curve and I didn’t want to end up labeling thousands of images, training a TensorFlow model, only to fail on building the hardware. As I started building, I realized that mixing hardware and software adds quite another dimension to debugging things. At times I wasted hours debugging code in my IDE, only to realize the issue was somewhere in the electronics. Furthermore, combining this side project with a full time job and a young family, is not always easy. It can be quite frustrating, to know you only need 4 hours of concentrated effort for a small task, having to spread it out across a week of 20min increments. Then, a few months into the build I noticed the fox had stopped coming to my garden, in fact one day, I recorded her walking with 3 cute little 🐶 pups, and the next day I saw her moving out of my garden completely. Did she know I was building a robot? I had this strange mix of feelings, happy my garden was safe from poop and digging, happy she was safe with her pups, but how was I gonna finish this project if my robot had no fox to detect? For sure they would be back next year, I figured I could postpone the whole thing until next winter, but I also knew it was gonna be much harder to pick up momentum if I did let it sit there for six months. So I decided to keep working, hoping the fox would reappear,.. but she never did. As I finished labeling the footage and started training my model, I could finally see the mAP results, quantifying the precision of my object detection model. It was measuring at 78% across different metrics on detecting my fox. I quickly ran the model on some of the video footage I got from my fox. Inference speed took a hit, but it did a near perfect job detecting the fox, even when she was deep down in the grass or wizzing past in a motion blur. It took me by surprise how well it worked. With the default model I had to drop my confidence threshold way down to 15%, to recognize the fox as 🦜“bird” in one or two frames, with my custom model it followed the fox all the way down to the back of the garden! Still this didn’t solve the issue of there being no actual fox in my garden and how was I gonna wrap this project in a short timeframe. I played with the idea of putting a fox toy 🧸 on an RC 🚗 car, or borrowing a dog to run around the garden to test. Friends suggested I run around the garden in a fox costume.. what a ridiculous idea. I wasn’t really feeling the idea of running around the garden in a floppy cloth fox 🎭 costume, but had a look anyway. I came across these self inflating costumes. This actually could be perfect. Since it’s inflated, it would hold its shape super well, making it much easier to label, train and be recognized by my robot. So I got the costume and shot a time lapse of myself as a fox walking around the garden. I labeled it to around 600 images. Ran the model training again and got a mAP result of 82%. This was even better than my real fox! At this point I knew this was gonna work. So here’s the final 🎥 video, just having some fun with it. I’ll update here whenever the real fox does come back. On a final note, I’m looking for (remote) jobs in these fields of AI now: - object detection - visual generative AI - 3D (nerfs + gaussian splats) So if you know anything let me know! My DMs are open 😊

Jeroen Pixel

55,797 görüntüleme • 2 yıl önce

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 görüntüleme • 1 yıl önce

Testing one of the best safety features of an airplane, the “Enhanced Ground Proximity Warning System” (EGPWS, pronounced E Gyp-Wiz). It’s part of every preflight check. Sound on! It’s a warning system. While the jet has separate warnings for things wrong internally, EGPWS is concerned about what’s outside the jet, not what’s inside. It’s primarily concerned w/ terrain & obstacles…EGPWS can “see” outside when pilots can’t. It doesn’t actually see anything, though. There are no cameras or lasers. EGPWS does use the jet’s radar, but not for detecting terrain. (We’ll talk more about radar in a minute, but it’s not useful for orienting yourself to terrain in the vertical. It has a “map” mode that you can use to “paint” things like cities, lakes & shorelines, but it only knows how strong the reflection is & how far away, not how high. We almost never use it in map mode, anyway) EGPWS uses the jets navigation systems – like GPS, Inertial Reference, Altimeters, airspeed, etc. – to plot a position in a virtual world. This world is contained in a database on the jet; it’s constantly plotting your position & then estimating where you’ll be in the next few minutes if the trend continues. The virtual world database knows where the mountains are. When you get close to airports in the database (not all airports are in it), it knows where the buildings & antennas are, too, out to a certain radius. Past that radius, it stops caring about the manmade objects. Anyway, it can tell if you will hit something on your current trend & will issue various warnings. It can give you up to 60 seconds of warning. It starts out slow, like saying “CAUTION, TERRAIN”, but if you don’t fix it, it gets serious…“TERRAIN, TERRAIN, PULL UP!”. You’re 20-30 seconds from impact. It’s not a miracle worker, though. It can wait to give you a warning that you can’t fix. Imagine flying toward a 10,000’ high cliff at 1,000’. A 60 second warning will not be enough time to climb 9,000’ & clear it. Or, it sees a mountain to your right, but your current path is clear. It doesn’t know you’ll do a 90° right turn once abeam the mountain. Now you’ll get some late warnings. EGPWS has various other functions. If you get on the approach but haven’t configured to land, it will say “TOO LOW, FLAPS” (or GEAR). If you start getting below the glidepath, it will say “GLIDESLOPE”. Start descending right after takeoff? “DON’T SINK”…and if you do keep sinking, it switches to “PULL UP!” Now, EGPWS doesn’t use the onboard Doppler radar for any of these functions, but it does use it to detect windshear. EGPWS doesn’t care if you turn on the radar or not, it turns it on itself when you push the throttles up for takeoff or when you descend below a certain altitude on approach. It takes about 12 seconds for the radar to build a picture from that point, but once it does, it can “see” windshear. The Doppler detects this by bouncing radar off of particulates & reading how they are moving at different altitudes. The particulates can be dust or just humidity…the radar can’t read air molecules by themselves. So, it’s still possible to get windshear the radar doesn’t see on very dry, clean days. EGPWS hates windshear. If it detects it, EGPWS replaces your screen w/ the radar – even if not turned on by you – & starts with a gentle warning to “MONITOR RADAR DISPLAY”. If you get closer to it, you get “WINDSHEAR AHEAD” (on takeoff – abort if you still can) or “GO AROUND, WINDSHEAR AHEAD!” (on landing). EGPWS is great, but can’t actually move the jet. It’s not connected to the controls in any way. Some fighters do have that capability, but not airliners. The pilots have to fix it. OK, that’s a brief summary of EGPWS. As usual, I’m dramatically simplifying things for a non-techie audience…there is much more to it & different models of jets have slight differences in how this all works. The 737 MAX has some improvements, w/ different voices & even panic, but I don’t have one to record, sorry!
0:20

Testing one of the best safety features of an airplane, the “Enhanced Ground Proximity Warning System” (EGPWS, pronounced E Gyp-Wiz). It’s part of every preflight check. Sound on! It’s a warning system. While the jet has separate warnings for things wrong internally, EGPWS is concerned about what’s outside the jet, not what’s inside. It’s primarily concerned w/ terrain & obstacles…EGPWS can “see” outside when pilots can’t. It doesn’t actually see anything, though. There are no cameras or lasers. EGPWS does use the jet’s radar, but not for detecting terrain. (We’ll talk more about radar in a minute, but it’s not useful for orienting yourself to terrain in the vertical. It has a “map” mode that you can use to “paint” things like cities, lakes & shorelines, but it only knows how strong the reflection is & how far away, not how high. We almost never use it in map mode, anyway) EGPWS uses the jets navigation systems – like GPS, Inertial Reference, Altimeters, airspeed, etc. – to plot a position in a virtual world. This world is contained in a database on the jet; it’s constantly plotting your position & then estimating where you’ll be in the next few minutes if the trend continues. The virtual world database knows where the mountains are. When you get close to airports in the database (not all airports are in it), it knows where the buildings & antennas are, too, out to a certain radius. Past that radius, it stops caring about the manmade objects. Anyway, it can tell if you will hit something on your current trend & will issue various warnings. It can give you up to 60 seconds of warning. It starts out slow, like saying “CAUTION, TERRAIN”, but if you don’t fix it, it gets serious…“TERRAIN, TERRAIN, PULL UP!”. You’re 20-30 seconds from impact. It’s not a miracle worker, though. It can wait to give you a warning that you can’t fix. Imagine flying toward a 10,000’ high cliff at 1,000’. A 60 second warning will not be enough time to climb 9,000’ & clear it. Or, it sees a mountain to your right, but your current path is clear. It doesn’t know you’ll do a 90° right turn once abeam the mountain. Now you’ll get some late warnings. EGPWS has various other functions. If you get on the approach but haven’t configured to land, it will say “TOO LOW, FLAPS” (or GEAR). If you start getting below the glidepath, it will say “GLIDESLOPE”. Start descending right after takeoff? “DON’T SINK”…and if you do keep sinking, it switches to “PULL UP!” Now, EGPWS doesn’t use the onboard Doppler radar for any of these functions, but it does use it to detect windshear. EGPWS doesn’t care if you turn on the radar or not, it turns it on itself when you push the throttles up for takeoff or when you descend below a certain altitude on approach. It takes about 12 seconds for the radar to build a picture from that point, but once it does, it can “see” windshear. The Doppler detects this by bouncing radar off of particulates & reading how they are moving at different altitudes. The particulates can be dust or just humidity…the radar can’t read air molecules by themselves. So, it’s still possible to get windshear the radar doesn’t see on very dry, clean days. EGPWS hates windshear. If it detects it, EGPWS replaces your screen w/ the radar – even if not turned on by you – & starts with a gentle warning to “MONITOR RADAR DISPLAY”. If you get closer to it, you get “WINDSHEAR AHEAD” (on takeoff – abort if you still can) or “GO AROUND, WINDSHEAR AHEAD!” (on landing). EGPWS is great, but can’t actually move the jet. It’s not connected to the controls in any way. Some fighters do have that capability, but not airliners. The pilots have to fix it. OK, that’s a brief summary of EGPWS. As usual, I’m dramatically simplifying things for a non-techie audience…there is much more to it & different models of jets have slight differences in how this all works. The 737 MAX has some improvements, w/ different voices & even panic, but I don’t have one to record, sorry!

KC-10 Driver ✈️ 👨‍✈️ B-737 Wrangler

36,492 görüntüleme • 1 ay önce

Here’s the ICE watch training video Cam Higby 🇺🇸 found. Let’s deconstruct the first few minutes. Lead by Eric Ward, a senior fellow at the Southern Poverty Law Center, a far-left NGO with nearly a billion-dollar endowment. His academic work is in “Stochastic terrorism,” which is “using hostile public rhetoric, repeated and amplified across media and communication platforms.” Literally, his expertise is manipulating minds. He’s not an expert on peaceful protests. He’s not an operational guy. His background is in psychological warfare. Participants were told “for their safety” they must “have training,” but this training isn’t about situational awareness, first aid, or practical defense against pepper spray. It’s, in fact, teaching you how to mentally prepare to escalate violence. Let’s look at his tactic. First, a meditation session. Why? To get you “out of your brain” and in “touch with feelings.” He then explicitly tells everyone to tune out everything but their feelings. Next… the four thousand people here are being asked to confront armed federal agents. What is the natural reaction for anyone confronting armed men? Nervousness. I love the police; my father-in-law was an NYPD officer, but my heart beats faster when I’m pulled over by my local PD. He’s telling them to listen to that “heat behind the eyes, tremble in your hands,” which is fine, but then he is lying. He’s telling you to interpret that natural panic when facing authority as moral superiority and your “conscious.” Next, he has to dehumanize opponents and set the stage for “us vs. them,” but this is tricky because almost every American knows a Republican. So he says “I want to be clear who they are,” and he gets very specific so the picture of your MAGA uncle or priest doesn’t enter your mind. Then he states the obvious, which everyone (even MAGA) will agree on: “Renee Good should be alive. Alex Pretti should be alive.” I agree with that statement, but the question is who’s responsible for their deaths. IMHO, the person most responsible is Eric Ward, but of course, he’s not going to blame himself. Then he says, “The people who died at the hands of ICE snd border patrol should be alive.” What people? He doesn’t say. It’s not about the people; it’s about drawing a straight line from Renee and Alex to ICE. Then he says, “Let’s tell the truth.” Which any kindergartener knows is followed by lies, but his listeners are in a trance from the breathing exercise. Listen to the sing-song nature of how he speaks. It’s literally hypnosis. Hypnosis for the BIG whopper lie: “Federal law enforcement is not here to keep us safe.” Really, Eric? Maybe you can make an argument that some federal law enforcement isn’t here to keep us safe… but you didn’t specify. You didn’t exclude organizations like the US Coast Guard, which is federal immigration law enforcement and does keep us safe. Why? Because he needs to paint with broad strokes in case other agencies are called in. Nad now the stage is set to dehumanize: “Federal law enforcement is killing people, beating people…” And the worst lie: “Detaining people like disposable objects.” Once you are hypnotized. Once you trust your feelings over facts. Once you know those feelings make you morally superior. Once you know ICE thinks you are “disposable garbage,” then you are prepared to act with violence! Just trust your feelings and don’t look at the massive endowment the Southern Poverty Law Center has to fund physiological operatives trained in Marxist theory like Eric Ward.
1:58

Here’s the ICE watch training video Cam Higby 🇺🇸 found. Let’s deconstruct the first few minutes. Lead by Eric Ward, a senior fellow at the Southern Poverty Law Center, a far-left NGO with nearly a billion-dollar endowment. His academic work is in “Stochastic terrorism,” which is “using hostile public rhetoric, repeated and amplified across media and communication platforms.” Literally, his expertise is manipulating minds. He’s not an expert on peaceful protests. He’s not an operational guy. His background is in psychological warfare. Participants were told “for their safety” they must “have training,” but this training isn’t about situational awareness, first aid, or practical defense against pepper spray. It’s, in fact, teaching you how to mentally prepare to escalate violence. Let’s look at his tactic. First, a meditation session. Why? To get you “out of your brain” and in “touch with feelings.” He then explicitly tells everyone to tune out everything but their feelings. Next… the four thousand people here are being asked to confront armed federal agents. What is the natural reaction for anyone confronting armed men? Nervousness. I love the police; my father-in-law was an NYPD officer, but my heart beats faster when I’m pulled over by my local PD. He’s telling them to listen to that “heat behind the eyes, tremble in your hands,” which is fine, but then he is lying. He’s telling you to interpret that natural panic when facing authority as moral superiority and your “conscious.” Next, he has to dehumanize opponents and set the stage for “us vs. them,” but this is tricky because almost every American knows a Republican. So he says “I want to be clear who they are,” and he gets very specific so the picture of your MAGA uncle or priest doesn’t enter your mind. Then he states the obvious, which everyone (even MAGA) will agree on: “Renee Good should be alive. Alex Pretti should be alive.” I agree with that statement, but the question is who’s responsible for their deaths. IMHO, the person most responsible is Eric Ward, but of course, he’s not going to blame himself. Then he says, “The people who died at the hands of ICE snd border patrol should be alive.” What people? He doesn’t say. It’s not about the people; it’s about drawing a straight line from Renee and Alex to ICE. Then he says, “Let’s tell the truth.” Which any kindergartener knows is followed by lies, but his listeners are in a trance from the breathing exercise. Listen to the sing-song nature of how he speaks. It’s literally hypnosis. Hypnosis for the BIG whopper lie: “Federal law enforcement is not here to keep us safe.” Really, Eric? Maybe you can make an argument that some federal law enforcement isn’t here to keep us safe… but you didn’t specify. You didn’t exclude organizations like the US Coast Guard, which is federal immigration law enforcement and does keep us safe. Why? Because he needs to paint with broad strokes in case other agencies are called in. Nad now the stage is set to dehumanize: “Federal law enforcement is killing people, beating people…” And the worst lie: “Detaining people like disposable objects.” Once you are hypnotized. Once you trust your feelings over facts. Once you know those feelings make you morally superior. Once you know ICE thinks you are “disposable garbage,” then you are prepared to act with violence! Just trust your feelings and don’t look at the massive endowment the Southern Poverty Law Center has to fund physiological operatives trained in Marxist theory like Eric Ward.

John Ʌ Konrad V

230,051 görüntüleme • 7 ay önce

Before their promised debut, HYBE discarded and benched NewJeans—then known as N Team—indefinitely, in favor of another group. The girls were crushed, almost to the point of giving up on their dreams of becoming idols. Min Hee-jin didn’t just stand by. She gave up her HYBE shares and requested to establish ADOR, a separate label where she can launch NewJeans. She battled tooth and nail, going head to head with disputes and obstacles to give them a proper stage and deliver on the promise that the girls will debut. When NewJeans finally debuted under ADOR, representatives at HYBE showed them very little faith. They thought “Attention” was a flat debut song with an unpopular sound style and doubted Min Hee-jin’s unconventional three-title track strategy. They didn’t believe in NewJeans’ potential, convinced the group wouldn’t succeed because they didn’t fit the typical K-pop mold. The recently revealed HYBE Internal industry reports paint a clear picture: Early on in their careers, in reports about them just days after debuting and even from before debut, HYBE never really saw NewJeans as their own. To them, NewJeans was a complementary piece—there to shine a light to their favorite girl group. Even after the NewJeans early meteoric success, HYBE never acknowledged them and they never let go of the idea that NewJeans can be discarded… expendable. They never respected NewJeans, and they seemed set on taking Min Hee-jin down at all cost. What’s twisted is how they exploited the multi-label system’s Shared services to discriminate, undermine, sabotage and undercut NewJeans, and with a system where success came with a cost: the more a subsidiary achieved, the more they had to pay HYBE. They charged ADOR more the higher NewJeans climbed and it’s for a sub par service that hampers more than it helps. But NewJeans proved unstoppable, leading a new wave in K-pop and leaving their doubters at HYBE with metaphorical bald spots from stress. Everything NewJeans achieved, HYBE seemingly took as shattering blows to their pride. NewJeans’ local and global success wasn’t just a victory; it was a statement. When MHJ raised an issue internally calling out another subsidiary for plagiarism among other issues, HYBE saw their chance, pounced and launched a very public full-blown attack, most notably through media play, using the power they have over their golf buddies, desperate to be rid of MHJ and the group she built. But the love they’ve gotten from the public, especially after the first press conference, despite all HYBE and their minions’ attempts at reverse viral attacks is something HYBE did not anticipate. More than half a year later, HYBE’s moves look increasingly foolish in hindsight. Their schemes are unraveling, and all the damage they’ve caused is finally coming back to haunt them. It’s poetic justice. This story is far from over, but HYBE has ruined their name chasing a petty vendetta. Their shortsightedness has compromised the future of K-pop, and now the truth is out. The world sees them for who they are, and the price they have to pay is steep. 💙🩷💛💚💜🧢🐰 #NewJeans #뉴진스 #NewJeans_Never_Die #HYBEOUT #버니즈_뉴진스와함께_준비갈완료
0:22

Before their promised debut, HYBE discarded and benched NewJeans—then known as N Team—indefinitely, in favor of another group. The girls were crushed, almost to the point of giving up on their dreams of becoming idols. Min Hee-jin didn’t just stand by. She gave up her HYBE shares and requested to establish ADOR, a separate label where she can launch NewJeans. She battled tooth and nail, going head to head with disputes and obstacles to give them a proper stage and deliver on the promise that the girls will debut. When NewJeans finally debuted under ADOR, representatives at HYBE showed them very little faith. They thought “Attention” was a flat debut song with an unpopular sound style and doubted Min Hee-jin’s unconventional three-title track strategy. They didn’t believe in NewJeans’ potential, convinced the group wouldn’t succeed because they didn’t fit the typical K-pop mold. The recently revealed HYBE Internal industry reports paint a clear picture: Early on in their careers, in reports about them just days after debuting and even from before debut, HYBE never really saw NewJeans as their own. To them, NewJeans was a complementary piece—there to shine a light to their favorite girl group. Even after the NewJeans early meteoric success, HYBE never acknowledged them and they never let go of the idea that NewJeans can be discarded… expendable. They never respected NewJeans, and they seemed set on taking Min Hee-jin down at all cost. What’s twisted is how they exploited the multi-label system’s Shared services to discriminate, undermine, sabotage and undercut NewJeans, and with a system where success came with a cost: the more a subsidiary achieved, the more they had to pay HYBE. They charged ADOR more the higher NewJeans climbed and it’s for a sub par service that hampers more than it helps. But NewJeans proved unstoppable, leading a new wave in K-pop and leaving their doubters at HYBE with metaphorical bald spots from stress. Everything NewJeans achieved, HYBE seemingly took as shattering blows to their pride. NewJeans’ local and global success wasn’t just a victory; it was a statement. When MHJ raised an issue internally calling out another subsidiary for plagiarism among other issues, HYBE saw their chance, pounced and launched a very public full-blown attack, most notably through media play, using the power they have over their golf buddies, desperate to be rid of MHJ and the group she built. But the love they’ve gotten from the public, especially after the first press conference, despite all HYBE and their minions’ attempts at reverse viral attacks is something HYBE did not anticipate. More than half a year later, HYBE’s moves look increasingly foolish in hindsight. Their schemes are unraveling, and all the damage they’ve caused is finally coming back to haunt them. It’s poetic justice. This story is far from over, but HYBE has ruined their name chasing a petty vendetta. Their shortsightedness has compromised the future of K-pop, and now the truth is out. The world sees them for who they are, and the price they have to pay is steep. 💙🩷💛💚💜🧢🐰 #NewJeans #뉴진스 #NewJeans_Never_Die #HYBEOUT #버니즈_뉴진스와함께_준비갈완료

1tokki

230,708 görüntüleme • 1 yıl önce

The sanctum sanctorum of ANY place of worship is subject to rules and open only to AUTHORIZED personnel. Hindu temples all over the world welcome a wide variety of visitors and devotees. In this short video, CoHNA’s Dalit and Bahujan leaders share their own lived experiences of inclusion and acceptance in temples across the US. If New York media is interested in Dalit Bahujan voices, we encourage them to listen and find out more. Yashica Dutt and Hindus for Human Rights are literally trying to deny Hindu spaces the most basic rights of access, security, and authorization. Let that sink in. We can also see they have no knowledge of how Hindu temples work, because the inner sanctum is always reserved for those with the authority and training to enter and execute a skilled job. And yes, the job of a Hindu priest is a skilled one, requiring years of study and training. We ask any of these caste warriors trying to paint Hindu temples as “exclusionary” for not having open access to anyone at any time - just try walking into ANY office or shop and demanding access to their inner spaces without authorization! Show up at your local tax-payer funded school and ask to sit in the chair of the school Principal for even an hour or demand to handle the trophies on display. Try walking into your city council meeting without an invitation and demand to sit at the table reserved for councilors. Go to your local grocery store, Target or Walmart and complain if the cashier does not allow you to “touch” the cash register. Try entering a pulpit without authorization or asking to touch sacred relics in places of worship that are not Hindu. This narrative is in line with their previous attempts to demonize Hindus and create double standards in law and policy. These fake allegations and tropes were used to build a witch hunt in California prior to the introduction of the infamous caste bill by State Senator Aisha Wahab (SB 403). Now, there is an attempt to revive and recycle those tired tropes to create a two-tier society in New York State. City & State NY
3:06

The sanctum sanctorum of ANY place of worship is subject to rules and open only to AUTHORIZED personnel. Hindu temples all over the world welcome a wide variety of visitors and devotees. In this short video, CoHNA’s Dalit and Bahujan leaders share their own lived experiences of inclusion and acceptance in temples across the US. If New York media is interested in Dalit Bahujan voices, we encourage them to listen and find out more. Yashica Dutt and Hindus for Human Rights are literally trying to deny Hindu spaces the most basic rights of access, security, and authorization. Let that sink in. We can also see they have no knowledge of how Hindu temples work, because the inner sanctum is always reserved for those with the authority and training to enter and execute a skilled job. And yes, the job of a Hindu priest is a skilled one, requiring years of study and training. We ask any of these caste warriors trying to paint Hindu temples as “exclusionary” for not having open access to anyone at any time - just try walking into ANY office or shop and demanding access to their inner spaces without authorization! Show up at your local tax-payer funded school and ask to sit in the chair of the school Principal for even an hour or demand to handle the trophies on display. Try walking into your city council meeting without an invitation and demand to sit at the table reserved for councilors. Go to your local grocery store, Target or Walmart and complain if the cashier does not allow you to “touch” the cash register. Try entering a pulpit without authorization or asking to touch sacred relics in places of worship that are not Hindu. This narrative is in line with their previous attempts to demonize Hindus and create double standards in law and policy. These fake allegations and tropes were used to build a witch hunt in California prior to the introduction of the infamous caste bill by State Senator Aisha Wahab (SB 403). Now, there is an attempt to revive and recycle those tired tropes to create a two-tier society in New York State. City & State NY

CoHNA (Coalition of Hindus of North America)

10,238 görüntüleme • 3 ay önce

Steel builds the modern world — and Alberta digs the coal to create it! Steel builds the modern world: bridges, hospitals, railways, even wind turbines. But steel doesn’t just appear out of thin air. It starts with metallurgical coal, and Alberta happens to have some of the best deposits of it anywhere on Earth. So, when activists say Alberta shouldn’t develop it… I have to say something pretty simple. Alberta digs coal, and we’re proud of it If you grew up anywhere near the oil patch in this province, there's a song you know. It’s four in the morning outside some extended-stay hotel in Grande Prairie or Bonnyville. There’s frost on the windshield of a diesel pickup warming up before shift. And blasting out of the speakers? “The Roughest Neck Around.” That song is practically the anthem of the oil patch. A tribute to the people who built modern Alberta with their hands and their backs. People like my dad, and just about every single man in my family. People who sacrifice being at home to work in forbidding conditions to earn a living, to give us something we all need to live comfortably. The line that always stuck with me is the one where he says the rig hand “brings the power to the people.” And that’s exactly what Alberta’s resource workers do. Oil, gas, coal. All of it powers the modern world. So, imagine my surprise when the man who wrote that song — Corb Lund — launched a campaign opposing coal development in Alberta. Look, I want to be clear about something. I’ve seen Corb Lund in concert many times. I’m a huge fan. And honestly, if all of my musical tastes had to perfectly align with my political views, my playlist would get pretty small, pretty fast. Most of us don’t listen to music that way. We listen because the songs feel true. Because they tell the story of where we come from, and Corb Lund has always done that for Alberta. Which is why this whole thing actually makes me a little sad. Because the man who wrote the anthem of the oil patch — a song celebrating the grit and sacrifice of the people who power this province — is now repeating some of the same environmentalist talking points that were are used to try to shut down the oil patch itself and the jobs that go along with it. The roughnecks. The welders. The truck drivers, and now the miners. The folks waking up at four in the morning to keep the lights on. I just can’t square that, and I won't abide the lies. Because the truth about coal in Alberta is very different from what people are hearing right now. First, not all coal is the same. The coal being discussed in Alberta’s eastern slopes isn’t coal for power plants — it’s metallurgical coal, essential for producing steel. And steel, at any meaningful industrial scale, cannot be produced without metallurgical coal. Countries around the world understand this. The United States, the European Union, South Africa, and New Zealand have all recognized metallurgical coal as a strategic resource tied directly to infrastructure and national security. Because if you don’t control the materials needed to make steel, you don’t control your industrial future, and Alberta happens to have some of the best undeveloped metallurgical coal deposits in the world. That’s an opportunity. But the conversation around coal mining in Alberta has been flooded with misinformation about a lack of oversight and polluted water. A lot of what people picture when they hear “coal mining” comes from images of mines that operate under completely different environmental rules. But modern mining in Alberta operates under strict regulatory oversight. Projects are monitored by the Alberta Energy Regulator, which enforces environmental standards covering water, land, air quality, and reclamation. Companies are required to post financial security to guarantee that mines are reclaimed when operations end. Cleanup isn’t optional — it’s mandatory. And there’s another key detail that often gets lost in the debate: not all mining is the same. Some new proposed coal projects in Alberta are underground mines, not large open-pit surface operations. That means a much smaller surface footprint and dramatically less disturbance compared to the old mining methods people still picture. Technology evolves. Regulations evolve, and responsible resource development evolves, too. But beyond all the technical arguments, there’s something even more important that gets forgotten in this debate: the people. Coal miners, heavy equipment operators, tradespeople, truck drivers. These aren’t villains. They're the heroes. These are the same kinds of workers who built modern Alberta. They’re the people who built the schools, the roads, the hospitals, the communities we all live in today. The jobs created by responsible coal development are good, high-paying jobs. Jobs that support families in communities like Grande Cache, Hinton, and the Crowsnest Pass. Jobs that keep small towns alive. The product those workers produce isn’t something obsolete. Metallurgical coal is a resource the world still needs, because the world still needs steel. Let’s be clear about what this campaign is actually about. This isn’t about attacking musicians. I like Corb. And it isn’t about pretending there are no environmental standards in Alberta. We have some of the best in the world. This is about standing up for Alberta workers and Alberta resources. They're also the best in the world, and Albertans should not be ashamed of that. Because the people who love songs like “The Roughest Neck Around” understand something that sometimes gets forgotten in these debates. The men and women working in Alberta’s resource industries don’t just produce energy. They produce the materials that build civilization. The choice here isn’t between the environment and the economy. The real choice is between facts and fear. And around here, we choose facts. If the world still needs the resources we produce — and it does — then Alberta should be proud to provide them, because Alberta digs coal. REPORT by Sheila Gunn Reid:
8:03

Steel builds the modern world — and Alberta digs the coal to create it! Steel builds the modern world: bridges, hospitals, railways, even wind turbines. But steel doesn’t just appear out of thin air. It starts with metallurgical coal, and Alberta happens to have some of the best deposits of it anywhere on Earth. So, when activists say Alberta shouldn’t develop it… I have to say something pretty simple. Alberta digs coal, and we’re proud of it If you grew up anywhere near the oil patch in this province, there's a song you know. It’s four in the morning outside some extended-stay hotel in Grande Prairie or Bonnyville. There’s frost on the windshield of a diesel pickup warming up before shift. And blasting out of the speakers? “The Roughest Neck Around.” That song is practically the anthem of the oil patch. A tribute to the people who built modern Alberta with their hands and their backs. People like my dad, and just about every single man in my family. People who sacrifice being at home to work in forbidding conditions to earn a living, to give us something we all need to live comfortably. The line that always stuck with me is the one where he says the rig hand “brings the power to the people.” And that’s exactly what Alberta’s resource workers do. Oil, gas, coal. All of it powers the modern world. So, imagine my surprise when the man who wrote that song — Corb Lund — launched a campaign opposing coal development in Alberta. Look, I want to be clear about something. I’ve seen Corb Lund in concert many times. I’m a huge fan. And honestly, if all of my musical tastes had to perfectly align with my political views, my playlist would get pretty small, pretty fast. Most of us don’t listen to music that way. We listen because the songs feel true. Because they tell the story of where we come from, and Corb Lund has always done that for Alberta. Which is why this whole thing actually makes me a little sad. Because the man who wrote the anthem of the oil patch — a song celebrating the grit and sacrifice of the people who power this province — is now repeating some of the same environmentalist talking points that were are used to try to shut down the oil patch itself and the jobs that go along with it. The roughnecks. The welders. The truck drivers, and now the miners. The folks waking up at four in the morning to keep the lights on. I just can’t square that, and I won't abide the lies. Because the truth about coal in Alberta is very different from what people are hearing right now. First, not all coal is the same. The coal being discussed in Alberta’s eastern slopes isn’t coal for power plants — it’s metallurgical coal, essential for producing steel. And steel, at any meaningful industrial scale, cannot be produced without metallurgical coal. Countries around the world understand this. The United States, the European Union, South Africa, and New Zealand have all recognized metallurgical coal as a strategic resource tied directly to infrastructure and national security. Because if you don’t control the materials needed to make steel, you don’t control your industrial future, and Alberta happens to have some of the best undeveloped metallurgical coal deposits in the world. That’s an opportunity. But the conversation around coal mining in Alberta has been flooded with misinformation about a lack of oversight and polluted water. A lot of what people picture when they hear “coal mining” comes from images of mines that operate under completely different environmental rules. But modern mining in Alberta operates under strict regulatory oversight. Projects are monitored by the Alberta Energy Regulator, which enforces environmental standards covering water, land, air quality, and reclamation. Companies are required to post financial security to guarantee that mines are reclaimed when operations end. Cleanup isn’t optional — it’s mandatory. And there’s another key detail that often gets lost in the debate: not all mining is the same. Some new proposed coal projects in Alberta are underground mines, not large open-pit surface operations. That means a much smaller surface footprint and dramatically less disturbance compared to the old mining methods people still picture. Technology evolves. Regulations evolve, and responsible resource development evolves, too. But beyond all the technical arguments, there’s something even more important that gets forgotten in this debate: the people. Coal miners, heavy equipment operators, tradespeople, truck drivers. These aren’t villains. They're the heroes. These are the same kinds of workers who built modern Alberta. They’re the people who built the schools, the roads, the hospitals, the communities we all live in today. The jobs created by responsible coal development are good, high-paying jobs. Jobs that support families in communities like Grande Cache, Hinton, and the Crowsnest Pass. Jobs that keep small towns alive. The product those workers produce isn’t something obsolete. Metallurgical coal is a resource the world still needs, because the world still needs steel. Let’s be clear about what this campaign is actually about. This isn’t about attacking musicians. I like Corb. And it isn’t about pretending there are no environmental standards in Alberta. We have some of the best in the world. This is about standing up for Alberta workers and Alberta resources. They're also the best in the world, and Albertans should not be ashamed of that. Because the people who love songs like “The Roughest Neck Around” understand something that sometimes gets forgotten in these debates. The men and women working in Alberta’s resource industries don’t just produce energy. They produce the materials that build civilization. The choice here isn’t between the environment and the economy. The real choice is between facts and fear. And around here, we choose facts. If the world still needs the resources we produce — and it does — then Alberta should be proud to provide them, because Alberta digs coal. REPORT by Sheila Gunn Reid:

Rebel News

39,166 görüntüleme • 5 ay önce