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SEN | Advnaced Setting Touch menu. Toggle SEN's Mimetic algorythm between Pegging and BlowJob optimised vibration feedback profiles. #Sextech by

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SEN by Zveotec

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10,808 Aufrufe • vor 3 Jahren •via X (Twitter)

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ᴛʜᴇ ʙʟᴏᴄᴋ ʀᴜɴɴᴇʀ Podcast 🟧

311,445 Aufrufe • vor 2 Jahren

Keet Mobile 4.0.0 Changelog 🍐 Features - Keet 4.0.0 introduces a new engine which improves performance, app scalability and sets the ground for a new set of features development. Improvements - Faster room loading with optimised icons and image-preview caching. - Media previews respect maximum image size to save bandwidth. - Added a system-update banner to keep you informed of important upgrades. - Cleaner room creation flow and refined DM request handling. - Down arrow and room avatar colours match desktop application. - Bottom tab bar is now hidden until onboarding is complete. - Clearer username error messages and progress indicators on slow networks. - Better feedback form now includes your username automatically - Call experience tweaks: hangs up cleanly; DM ring logic improved; Android auto-end in background. - Introduced hang-up icon for when call ends in rooms. - Device naming screen now auto focuses the input field. - Updated confirm device screen. - Software version list now shows Hyperdiscovery and lists WebRTC as keet-webrtc. - Refreshed onboarding pages and UI text updates. - Improved audio record UX and many Fixes - Fixed avatar rendering issues. - Removed grey bars at the top of several pages. - Stopped the tooltip from appearing when the username is already set. - Aligned the error-log message-field layout. - Resolved cursor and emoji picker jumps when switching between emoji and keyboard input. - Corrected chat text input width. - Restored fullscreen video previews. - Fixed image loading status indicators. - Adjusted code block spacing for messages sent from mobile. - Prevented locked recordings from following you when leaving a room. - Fixed a crash when opening a room on Android. - Stopped unnecessary FlatList re-renders. - Center aligned preview images. - Resolved chat UI breakage after double tapping the emoji picker icon. - Corrected contentFit on image messages. - Ensured pinned messages remain visible during a call. - Fixed speaker tooltip content overflow. - Calls: fixed orientation breaks, crash when app is killed, call-ring answer now opens the screen. - Resolved unrecoverable error when sharing a file from Google Files. - Eliminated flicker when searching usernames. - Disabled button presses while a tooltip is visible. - Fixed Discover Communities being cut off on small devices. - Disabled bottom tab presses when no identity is set. - Corrected tooltip orientation on tablets. Keet Desktop 4.0.0 Changelog Features - Keet 4.0.0 introduces a new engine which improves performance, app scalability and sets the ground for a new set of features development Improvements - Introduced system-banner UI for updates and notices. - Added a 'Quit' button to uncaught error screens. - Displayed an app loader before the app initialises. - Added a toast notification and an informative banner when sending a DM request. - Consistent avatars between DM rooms and member views. - Added support to medium sized file previews in chat. - Smoother last message rendering in the room list. - Added a chat loader on start up when no cache is available. - Clearer version display in the software section and added hyper db version to the list. - Updated texts for system and migration banners. - Refactored DM request actions and block member logic. Fixes - Prevented image preview blinking while loading. - Fixed crash when removing an avatar file from a deleted message. - Onboarding status is now remembered after a restart. - Eliminated room menu blinking via useDeferredValue. - Prevented Rive animation from disappearing when switching monitors. - Stopped creation of duplicate DM rooms for the same member. - Resolved broken file preview when a file lacked a name. - Restored missing styles on error pages. - Prevented error pages from appearing behind the loader. - Corrected emoji rendering on macOS. - Repaired chat voice message playback. - Fixed useRoomConfig imports. - Corrected file item height in room info. And more
5:57

Keet Mobile 4.0.0 Changelog 🍐 Features - Keet 4.0.0 introduces a new engine which improves performance, app scalability and sets the ground for a new set of features development. Improvements - Faster room loading with optimised icons and image-preview caching. - Media previews respect maximum image size to save bandwidth. - Added a system-update banner to keep you informed of important upgrades. - Cleaner room creation flow and refined DM request handling. - Down arrow and room avatar colours match desktop application. - Bottom tab bar is now hidden until onboarding is complete. - Clearer username error messages and progress indicators on slow networks. - Better feedback form now includes your username automatically - Call experience tweaks: hangs up cleanly; DM ring logic improved; Android auto-end in background. - Introduced hang-up icon for when call ends in rooms. - Device naming screen now auto focuses the input field. - Updated confirm device screen. - Software version list now shows Hyperdiscovery and lists WebRTC as keet-webrtc. - Refreshed onboarding pages and UI text updates. - Improved audio record UX and many Fixes - Fixed avatar rendering issues. - Removed grey bars at the top of several pages. - Stopped the tooltip from appearing when the username is already set. - Aligned the error-log message-field layout. - Resolved cursor and emoji picker jumps when switching between emoji and keyboard input. - Corrected chat text input width. - Restored fullscreen video previews. - Fixed image loading status indicators. - Adjusted code block spacing for messages sent from mobile. - Prevented locked recordings from following you when leaving a room. - Fixed a crash when opening a room on Android. - Stopped unnecessary FlatList re-renders. - Center aligned preview images. - Resolved chat UI breakage after double tapping the emoji picker icon. - Corrected contentFit on image messages. - Ensured pinned messages remain visible during a call. - Fixed speaker tooltip content overflow. - Calls: fixed orientation breaks, crash when app is killed, call-ring answer now opens the screen. - Resolved unrecoverable error when sharing a file from Google Files. - Eliminated flicker when searching usernames. - Disabled button presses while a tooltip is visible. - Fixed Discover Communities being cut off on small devices. - Disabled bottom tab presses when no identity is set. - Corrected tooltip orientation on tablets. Keet Desktop 4.0.0 Changelog Features - Keet 4.0.0 introduces a new engine which improves performance, app scalability and sets the ground for a new set of features development Improvements - Introduced system-banner UI for updates and notices. - Added a 'Quit' button to uncaught error screens. - Displayed an app loader before the app initialises. - Added a toast notification and an informative banner when sending a DM request. - Consistent avatars between DM rooms and member views. - Added support to medium sized file previews in chat. - Smoother last message rendering in the room list. - Added a chat loader on start up when no cache is available. - Clearer version display in the software section and added hyper db version to the list. - Updated texts for system and migration banners. - Refactored DM request actions and block member logic. Fixes - Prevented image preview blinking while loading. - Fixed crash when removing an avatar file from a deleted message. - Onboarding status is now remembered after a restart. - Eliminated room menu blinking via useDeferredValue. - Prevented Rive animation from disappearing when switching monitors. - Stopped creation of duplicate DM rooms for the same member. - Resolved broken file preview when a file lacked a name. - Restored missing styles on error pages. - Prevented error pages from appearing behind the loader. - Corrected emoji rendering on macOS. - Repaired chat voice message playback. - Fixed useRoomConfig imports. - Corrected file item height in room info. And more

Keet

25,883 Aufrufe • vor 1 Jahr

Wuthering Waves, and what's next... A visit to Kuro Games headquarters an exclusive interview with CEO Solon by YTN Team Full Video: Q: Looking back, what first motivated the team to take on such an ambitious project? A: From the very beginning, we realized something important: when a goal feels difficult but the result is exciting, people’s eyes light up. That moment tells us the challenge is worth pursuing. We genuinely enjoy tackling hard problems, because we believe meaningful achievements only come from doing things that are difficult but right. Q: Your early projects gained attention very quickly. How did that affect the team? A: When our first product launched, the response exceeded expectations. At the time, it almost made us believe we already had everything figured out. But that confidence was quickly tested. We lacked experience in long-term content planning, sustainable version updates, and large-scale operations. Many issues only became apparent after launch, forcing us to learn by solving problems in real time. Q: How did those early lessons shape Punishing: Gray Raven? A: In hindsight, many early versions of our games didn’t fully reach their potential. Those shortcomings became invaluable lessons. When developing Punishing: Gray Raven, we consciously avoided repeating those mistakes. We studied player ecosystems, observed how other successful titles operated, and anticipated feedback before it arrived. That preparation laid the groundwork for a project that has now sustained itself for nearly six years. Q: When did the concept for Wuthering Waves take shape? A: With Wuthering Waves, our goal was very clear from the start: to create something players had never experienced before. We drew inspiration from works like Death Stranding, Annihilation, and outstanding domestic animation. Themes such as resonance, abstract spaces, supernatural phenomena, and strong audiovisual expression naturally pointed us toward an open-world action game. Q: Sound and “resonance” play a major role in the worldbuilding. Why was that important? A: We wanted sound to be more than atmosphere, it needed to be a narrative force. The idea of a world-altering resonance, a low-frequency “lament” capable of reshaping reality, became the foundation of the setting. From there, the world, its conflicts, and its powers gradually took form. Kuro aims to create concepts players have never experienced before. Inspirations include: - Supernatural themes. - Strong mechanical and emotional imagery. - Music as a storytelling medium. Q: How do you ensure cohesion between story, gameplay, and world design? A: Alignment is critical. Story, environment, and gameplay must reinforce each other. That requires long-term planning, especially when multiple versions are developed in parallel. Early coordination allows level design, systems, and IP development to inspire one another, which improves both efficiency and creative momentum. The goal is to avoid disconnected content between versions and maintain narrative and gameplay cohesion. Q: What does Version 3.0 represent for Wuthering Waves? A: Version 3.0 is a major milestone. It introduces an entirely new region, new characters, upgraded combat systems, and a significantly improved open-world traversal experience. Every version aims to deliver the best experience possible while continuing to surprise players. Q: How does the team handle player feedback? A: We monitor feedback through community data, sentiment analysis, and post-version reviews. Both positive and negative responses are carefully analyzed and reflected in future updates. Continuous iteration is essential to long-term success. Q: Early story reception was mixed. How did the team respond? A: We recognized that narrative presentation needed improvement. By optimizing production pipelines and increasing investment, later versions achieved much stronger storytelling clarity and delivery. Players can now more clearly feel the depth, direction, and long-term potential of the world. Q: Kuro Games is known for polish. How central is that philosophy? A: We believe every visible part of the game must meet high internal standards, like - Visual effects - Skills - Environmental details -Music and audio design or promotional content must meet a high standard. We want players to feel the identity and power of Wuthering Waves both inside and outside the game. We know that early story reception was weaker, but significant effort has been invested in: - Clearer storytelling - Stronger presentation - More emotionally impactful performances and scenes. Q: How do community events factor into long-term development? A: Long-term IP growth depends on emotional connection. Community events, both online and offline, help us understand player expectations while strengthening that bond. It’s a two-way relationship. Q: Looking ahead, what is Kuro Games’ long-term vision? A: Our goal is to become a globally influential action-game developer. Upcoming projects (e.g., Nami, still in development) are focused on: - Delivering unique action combat experiences. - Creating something clearly distinct within the action game genre. The story of Wuthering Waves is planned years in advance, with major narrative arcs already outlined. Q: Finally, how would you describe Kuro Games’ current phase? A: From Zhuhai to Guangzhou, we’re in a strong upward phase. Our growth is driven by a commitment to meaningful, high-quality experiences. Staying true to that original intent is what will continue to guide us forward. #WutheringWaves #punishinggrayraven
2:39

Wuthering Waves, and what's next... A visit to Kuro Games headquarters an exclusive interview with CEO Solon by YTN Team Full Video: Q: Looking back, what first motivated the team to take on such an ambitious project? A: From the very beginning, we realized something important: when a goal feels difficult but the result is exciting, people’s eyes light up. That moment tells us the challenge is worth pursuing. We genuinely enjoy tackling hard problems, because we believe meaningful achievements only come from doing things that are difficult but right. Q: Your early projects gained attention very quickly. How did that affect the team? A: When our first product launched, the response exceeded expectations. At the time, it almost made us believe we already had everything figured out. But that confidence was quickly tested. We lacked experience in long-term content planning, sustainable version updates, and large-scale operations. Many issues only became apparent after launch, forcing us to learn by solving problems in real time. Q: How did those early lessons shape Punishing: Gray Raven? A: In hindsight, many early versions of our games didn’t fully reach their potential. Those shortcomings became invaluable lessons. When developing Punishing: Gray Raven, we consciously avoided repeating those mistakes. We studied player ecosystems, observed how other successful titles operated, and anticipated feedback before it arrived. That preparation laid the groundwork for a project that has now sustained itself for nearly six years. Q: When did the concept for Wuthering Waves take shape? A: With Wuthering Waves, our goal was very clear from the start: to create something players had never experienced before. We drew inspiration from works like Death Stranding, Annihilation, and outstanding domestic animation. Themes such as resonance, abstract spaces, supernatural phenomena, and strong audiovisual expression naturally pointed us toward an open-world action game. Q: Sound and “resonance” play a major role in the worldbuilding. Why was that important? A: We wanted sound to be more than atmosphere, it needed to be a narrative force. The idea of a world-altering resonance, a low-frequency “lament” capable of reshaping reality, became the foundation of the setting. From there, the world, its conflicts, and its powers gradually took form. Kuro aims to create concepts players have never experienced before. Inspirations include: - Supernatural themes. - Strong mechanical and emotional imagery. - Music as a storytelling medium. Q: How do you ensure cohesion between story, gameplay, and world design? A: Alignment is critical. Story, environment, and gameplay must reinforce each other. That requires long-term planning, especially when multiple versions are developed in parallel. Early coordination allows level design, systems, and IP development to inspire one another, which improves both efficiency and creative momentum. The goal is to avoid disconnected content between versions and maintain narrative and gameplay cohesion. Q: What does Version 3.0 represent for Wuthering Waves? A: Version 3.0 is a major milestone. It introduces an entirely new region, new characters, upgraded combat systems, and a significantly improved open-world traversal experience. Every version aims to deliver the best experience possible while continuing to surprise players. Q: How does the team handle player feedback? A: We monitor feedback through community data, sentiment analysis, and post-version reviews. Both positive and negative responses are carefully analyzed and reflected in future updates. Continuous iteration is essential to long-term success. Q: Early story reception was mixed. How did the team respond? A: We recognized that narrative presentation needed improvement. By optimizing production pipelines and increasing investment, later versions achieved much stronger storytelling clarity and delivery. Players can now more clearly feel the depth, direction, and long-term potential of the world. Q: Kuro Games is known for polish. How central is that philosophy? A: We believe every visible part of the game must meet high internal standards, like - Visual effects - Skills - Environmental details -Music and audio design or promotional content must meet a high standard. We want players to feel the identity and power of Wuthering Waves both inside and outside the game. We know that early story reception was weaker, but significant effort has been invested in: - Clearer storytelling - Stronger presentation - More emotionally impactful performances and scenes. Q: How do community events factor into long-term development? A: Long-term IP growth depends on emotional connection. Community events, both online and offline, help us understand player expectations while strengthening that bond. It’s a two-way relationship. Q: Looking ahead, what is Kuro Games’ long-term vision? A: Our goal is to become a globally influential action-game developer. Upcoming projects (e.g., Nami, still in development) are focused on: - Delivering unique action combat experiences. - Creating something clearly distinct within the action game genre. The story of Wuthering Waves is planned years in advance, with major narrative arcs already outlined. Q: Finally, how would you describe Kuro Games’ current phase? A: From Zhuhai to Guangzhou, we’re in a strong upward phase. Our growth is driven by a commitment to meaningful, high-quality experiences. Staying true to that original intent is what will continue to guide us forward. #WutheringWaves #punishinggrayraven

Naru

72,974 Aufrufe • vor 7 Monaten

IS THE SANGH PARIVAR OUT OF TOUCH WITH GEN-Z? RSS chief is holding a mega outreach to connect with Gen-Z. To understand them. That, by itself, is puzzling. After all, the RSS is the world's largest citizen-based voluntary organization. Its gargantuan cadre works in every nook and cranny of this country and therefore, by logical extension, the Sangh should have had its finger on the pulse of crores of Indians. Yet the very need for such an outreach suggests there may be a gap. The Jantar Mantar Gen-Z upsurge appeared to expose the Sangh Parivar's inherent ponderousness and the lack of any credible interlocutor to engage the protestors. This prompts a basic question: Why doesn't the Sangh get Gen-Z? Is it just a function of age? The Sangh top brass is long in the teeth. Its views are often cosseted by the social mores of an era gone by. It is ill at ease with the woke echo chamber that shapes parts of Gen-Z's outlook on life, ambitions, love, sex, gender and much in between. RSS leaders have, over the years, expressed reservations about pre-marital sex and live-in relationships, while the organisation initially opposed the decriminalisation of homosexuality before later saying it did not view homosexuals as criminals and that the issue should be approached as a social one rather than a criminal one. The reaction to this mismatch has been a trifle incongruous, with Sangh "uncles" dismissing the Jantar Mantar protestors as "five-star fringe" that shouldn't be confused with the "real Gen-Z". The "real" Gen-Z for these Sangh ideologues was a sanskari younger version of themselves. Those that paid oblations at religious sites, undertook arduous pilgrimages and contributed to "nation building". But all this answers why the Sangh doesn't get Gen-Z. It doesn't tell us why the saffron parivar didn't see the Gen-Z mood shifting. Here are two possible reasons. First. The feedback loop has, over time, been blinkered by ideology. The Sangh often envisions India through one lens. Perhaps, when it comes to Gen-Z it could think about using a kaleidoscope. The former instinct makes it more likely for it to bracket some grievances as subversion and some protests with suspicion, as seen in its early characterisation of the Jantar Mantar mobilisation. Second. A notion of political invincibility may have convinced sections of the Sangh Parivar that only it knows what's good for the public and the national interest. That's not to say the Sangh isn't prepared to revise its fusty approach. Bhagwat's own outreach is one way of showing that even the Sangh's avuncular top brass is contrite and cares for what Gen-Z thinks. Bhagwat has created an important opportunity for the entire Sangh to open a bridge to Gen-Z. Let's hope the Saffron parivar can narrow the gap with India's future.
1:51

IS THE SANGH PARIVAR OUT OF TOUCH WITH GEN-Z? RSS chief is holding a mega outreach to connect with Gen-Z. To understand them. That, by itself, is puzzling. After all, the RSS is the world's largest citizen-based voluntary organization. Its gargantuan cadre works in every nook and cranny of this country and therefore, by logical extension, the Sangh should have had its finger on the pulse of crores of Indians. Yet the very need for such an outreach suggests there may be a gap. The Jantar Mantar Gen-Z upsurge appeared to expose the Sangh Parivar's inherent ponderousness and the lack of any credible interlocutor to engage the protestors. This prompts a basic question: Why doesn't the Sangh get Gen-Z? Is it just a function of age? The Sangh top brass is long in the teeth. Its views are often cosseted by the social mores of an era gone by. It is ill at ease with the woke echo chamber that shapes parts of Gen-Z's outlook on life, ambitions, love, sex, gender and much in between. RSS leaders have, over the years, expressed reservations about pre-marital sex and live-in relationships, while the organisation initially opposed the decriminalisation of homosexuality before later saying it did not view homosexuals as criminals and that the issue should be approached as a social one rather than a criminal one. The reaction to this mismatch has been a trifle incongruous, with Sangh "uncles" dismissing the Jantar Mantar protestors as "five-star fringe" that shouldn't be confused with the "real Gen-Z". The "real" Gen-Z for these Sangh ideologues was a sanskari younger version of themselves. Those that paid oblations at religious sites, undertook arduous pilgrimages and contributed to "nation building". But all this answers why the Sangh doesn't get Gen-Z. It doesn't tell us why the saffron parivar didn't see the Gen-Z mood shifting. Here are two possible reasons. First. The feedback loop has, over time, been blinkered by ideology. The Sangh often envisions India through one lens. Perhaps, when it comes to Gen-Z it could think about using a kaleidoscope. The former instinct makes it more likely for it to bracket some grievances as subversion and some protests with suspicion, as seen in its early characterisation of the Jantar Mantar mobilisation. Second. A notion of political invincibility may have convinced sections of the Sangh Parivar that only it knows what's good for the public and the national interest. That's not to say the Sangh isn't prepared to revise its fusty approach. Bhagwat's own outreach is one way of showing that even the Sangh's avuncular top brass is contrite and cares for what Gen-Z thinks. Bhagwat has created an important opportunity for the entire Sangh to open a bridge to Gen-Z. Let's hope the Saffron parivar can narrow the gap with India's future.

Rahul Shivshankar

22,552 Aufrufe • vor 5 Tagen

i wanna talk about the scene immediately after tuna melts for a sec because there’s so much symbolism in this scene and it’s honestly really interesting to me because at first glance it could quite easily be one that’s overlooked. sure, it obviously shows shane is tightly wound after running away from ilya in tuna-melt-gate but there’s deeper layers to it as well. the most obvious (imo) is shane ordering a ginger ale and being unable to get one, when in the scene immediately prior we’ve just witnessed him be given one without even asking at ilya’s house. it really plays into the whole ginger ale as a metaphor for shane’s “true self” and that even when he tries to let parts of the real him slip through he meets obstacles to prevent that happening, whereas with ilya he’s allowed to be himself and totally at ease. there’s also the moment where the waiter asks if anyone will be joining them and removes the extra place setting. it highlights the space in shane’s life thats left empty because he isn’t able to publicly fill it. he can’t have anyone sat at that place setting because he can’t be seen in public with the person he loves, so it stays empty. its also a sort of parallel for the final episode, when that extra space at the hollander’s dining table is filled by ilya. this is just a tiny thing and probs me thinking too much into it but i love the choice to have shane studying the menu the whole time. he’s holding it in a way that it sort of shields him from his parents and puts a barrier between them, so it’s kind of like a physical “wall” that he has up to protect himself. then when his parents want to go to the tennis, shane’s immediate instinct is to lie so they can get in, which yuna (correctly) points out isn’t who he is. it really represents to me how comfortable shane’s become in living the “lie” of his life and hiding his true self - and yuna’s words are a harsh reminder to him that he’s really not as okay with that as he’s been telling himself he is. it sort of snaps him out of it for a moment and reminds him that there is a real discomfort for him in lying to the people he cares about. finally the little nod at the end to shane’s parents suspecting that maybe he might be gay - his dad says “swedish princess” really incredulously as though he knows that was never going to tempt shane. this was probably more meant to be referencing how fame and events that are all about appearances aren’t shane’s scene at all but it definitely could be read as them suspecting a little bit considering they say in episode 6 that they had done for a while.
2:18

i wanna talk about the scene immediately after tuna melts for a sec because there’s so much symbolism in this scene and it’s honestly really interesting to me because at first glance it could quite easily be one that’s overlooked. sure, it obviously shows shane is tightly wound after running away from ilya in tuna-melt-gate but there’s deeper layers to it as well. the most obvious (imo) is shane ordering a ginger ale and being unable to get one, when in the scene immediately prior we’ve just witnessed him be given one without even asking at ilya’s house. it really plays into the whole ginger ale as a metaphor for shane’s “true self” and that even when he tries to let parts of the real him slip through he meets obstacles to prevent that happening, whereas with ilya he’s allowed to be himself and totally at ease. there’s also the moment where the waiter asks if anyone will be joining them and removes the extra place setting. it highlights the space in shane’s life thats left empty because he isn’t able to publicly fill it. he can’t have anyone sat at that place setting because he can’t be seen in public with the person he loves, so it stays empty. its also a sort of parallel for the final episode, when that extra space at the hollander’s dining table is filled by ilya. this is just a tiny thing and probs me thinking too much into it but i love the choice to have shane studying the menu the whole time. he’s holding it in a way that it sort of shields him from his parents and puts a barrier between them, so it’s kind of like a physical “wall” that he has up to protect himself. then when his parents want to go to the tennis, shane’s immediate instinct is to lie so they can get in, which yuna (correctly) points out isn’t who he is. it really represents to me how comfortable shane’s become in living the “lie” of his life and hiding his true self - and yuna’s words are a harsh reminder to him that he’s really not as okay with that as he’s been telling himself he is. it sort of snaps him out of it for a moment and reminds him that there is a real discomfort for him in lying to the people he cares about. finally the little nod at the end to shane’s parents suspecting that maybe he might be gay - his dad says “swedish princess” really incredulously as though he knows that was never going to tempt shane. this was probably more meant to be referencing how fame and events that are all about appearances aren’t shane’s scene at all but it definitely could be read as them suspecting a little bit considering they say in episode 6 that they had done for a while.

frances 🏒

191,345 Aufrufe • vor 6 Monaten

Tim Cook just told eight billion people what the next decade is going to cost them. He didn’t mention chips. He didn’t mention software. He didn’t mention revenue. He diagnosed something permanent about human nature. Cook: “Whatever you do with your life, be a builder.” That wasn’t a commencement speech. That was a verdict on the century. On one side, the people who make things. On the other, everyone who watches them do it. For twenty years the internet blurred that line. You could scroll, react, repost, and convince yourself you were participating. Artificial intelligence just closed that window. Permanently. If your reflex is to consume, AI will feed you content until you are perfectly, comfortably irrelevant. If your reflex is to build, AI just handed you the output of a thousand engineers on a single screen. Same technology. Opposite trajectories. The fork happens the second you touch it. This is the most lopsided advantage ever given to ordinary people. One person with the right architecture now ships what entire departments couldn’t build three years ago. One creator with the right process now produces what agencies billed seven figures for. The leverage is not marginal. It is generational. And it only compounds if your default setting is creation. Cook: “The best founders… spend most of their time building, piece by piece.” Not theorizing. Not consuming someone else’s roadmap. Not waiting for the perfect model to arrive. Stacking. Quietly. Relentlessly. Brick by brick while the crowd argues about whether the building is even real. The gap between the person building and the person commenting on the build is about to become the defining fracture of this century. Not wealth. Not credentials. Not access. Orientation. Whether your hands move toward the tool or away from it. Cook: “True builders believe their work will one day be bigger than them.” That has never been more literal. We are constructing intelligence that will outlast the species that designed it. What you lay down today compounds across decades you will never see. The divide ahead is not rich and poor. It is not credentialed and uncredentialed. It is the people who build and the people who watched. You either pick up the tools or you become the foundation someone else pours.
0:43

Tim Cook just told eight billion people what the next decade is going to cost them. He didn’t mention chips. He didn’t mention software. He didn’t mention revenue. He diagnosed something permanent about human nature. Cook: “Whatever you do with your life, be a builder.” That wasn’t a commencement speech. That was a verdict on the century. On one side, the people who make things. On the other, everyone who watches them do it. For twenty years the internet blurred that line. You could scroll, react, repost, and convince yourself you were participating. Artificial intelligence just closed that window. Permanently. If your reflex is to consume, AI will feed you content until you are perfectly, comfortably irrelevant. If your reflex is to build, AI just handed you the output of a thousand engineers on a single screen. Same technology. Opposite trajectories. The fork happens the second you touch it. This is the most lopsided advantage ever given to ordinary people. One person with the right architecture now ships what entire departments couldn’t build three years ago. One creator with the right process now produces what agencies billed seven figures for. The leverage is not marginal. It is generational. And it only compounds if your default setting is creation. Cook: “The best founders… spend most of their time building, piece by piece.” Not theorizing. Not consuming someone else’s roadmap. Not waiting for the perfect model to arrive. Stacking. Quietly. Relentlessly. Brick by brick while the crowd argues about whether the building is even real. The gap between the person building and the person commenting on the build is about to become the defining fracture of this century. Not wealth. Not credentials. Not access. Orientation. Whether your hands move toward the tool or away from it. Cook: “True builders believe their work will one day be bigger than them.” That has never been more literal. We are constructing intelligence that will outlast the species that designed it. What you lay down today compounds across decades you will never see. The divide ahead is not rich and poor. It is not credentialed and uncredentialed. It is the people who build and the people who watched. You either pick up the tools or you become the foundation someone else pours.

Dustin

169,592 Aufrufe • vor 3 Monaten

PRESS STATEMENT RE: SULEIMON OLUFEMI IN SAUDI ARABIA DEATH ROW, SETTING THE RECORDS STRAIGHT It has come to the notice of the Nigerians in Diaspora Commission (NIDCOM) an open letter published in some Nigerian newspapers by Amnesty International and addressed to President Bola Ahmed Tinubu to intervene in the case of Suleimon Olufemi who has been on death row in Saudi Arabia for more than 20 years. Though on the surface, Amnesty International purports to be fighting for his release , it deliberately left out some facts. Here are the facts: Suleimon Olufemi left Nigeria for lesser Hajj (Umra) in Saudi Arabia and decided to check on a friend in Jeddah where there was an incident where a police officer was killed and he was arrested amongst those in the vicinity for murder. Unfortunately for him, while some got prison sentences, he got a death sentence. With the legal age of the child of the policeman that was killed now over 18 years, the family could decide to pardon him or hold on to the death sentence. After a series of diplomatic interventions, and several meetings with the family which included NiDCOM’s former Legal Director, (Barrister Abdullahi Bello), they insisted Suleimon Olufemi. must pay blood money (Diyya) to the tune of $570, OOO dollars. This was about three and a half years ago and Amnesty International was no where to be found then, when we approached them to collaborate to raise the funds required since they had also shown interest in the case. In any case , NIDCOM, in conjunction with the Association of Nigerians in Saudi Arabia, championed by the Yaro brothers raised the $570, OOO dollars which has been paid into an account opened specifically for this purpose with financial support from Governor Babajide Sanwo-Olu of Lagos State and Seyi Tinubu, who contributed about $150,000 dollars while the rest was raised through go fund me initiated by the Yaro brothers. (This was under President Mohammadu Buhari’s tenure). Now, the money has been paid. The Ministry of Foreign Affairs, Nigeria Embassy in Saudi Arabia have been engaging the Saudi Authorities on when Suleimon Olufemi will be released. With the funds raised and diplomatic moves being made by the Minister of Foreign Affairs who has also briefed Mr President , we are optimistic that the Saudi Authorities will pardon Suleimon Olufemi who has been in jail for well over 20 years now for an offence that really cannot be proven that he committed He apparently was in a wrong place at a wrong time. We appreciate the role of Amnesty International but we also encourage Amnesty to be factual and not just be self seeking in this pathetic case. The NIDCOM Chairman has been in touch with the Sulaimon Olufemi family wherein she received the aged parents on December 30, 2020 in NIDCOM office in Lagos. We appeal to the Saudi Arabia Authorities to release Suleimon Olufemi from prison having paid the imposed blood money in the spirit of fairness, justice and cordial diplomatic relationship between Nigeria and Kingdom of Saudi Arabia. E-signed. Abdur-Rahman Balogun Director of Media, Public Relations and Protocols NIDCOM Abuja. December 23, 2025. Cc Government of Nigeria abikedabiri Punch Newspapers Visser-Mabogunje Lola NTANetwork TVC News LEADERSHIP NEWS ARISE NEWS Channels Television BBC News Africa BBC News Africa Legit.ng | Leading the way LEADERSHIP NEWS BusinessDayNG
2:20

PRESS STATEMENT RE: SULEIMON OLUFEMI IN SAUDI ARABIA DEATH ROW, SETTING THE RECORDS STRAIGHT It has come to the notice of the Nigerians in Diaspora Commission (NIDCOM) an open letter published in some Nigerian newspapers by Amnesty International and addressed to President Bola Ahmed Tinubu to intervene in the case of Suleimon Olufemi who has been on death row in Saudi Arabia for more than 20 years. Though on the surface, Amnesty International purports to be fighting for his release , it deliberately left out some facts. Here are the facts: Suleimon Olufemi left Nigeria for lesser Hajj (Umra) in Saudi Arabia and decided to check on a friend in Jeddah where there was an incident where a police officer was killed and he was arrested amongst those in the vicinity for murder. Unfortunately for him, while some got prison sentences, he got a death sentence. With the legal age of the child of the policeman that was killed now over 18 years, the family could decide to pardon him or hold on to the death sentence. After a series of diplomatic interventions, and several meetings with the family which included NiDCOM’s former Legal Director, (Barrister Abdullahi Bello), they insisted Suleimon Olufemi. must pay blood money (Diyya) to the tune of $570, OOO dollars. This was about three and a half years ago and Amnesty International was no where to be found then, when we approached them to collaborate to raise the funds required since they had also shown interest in the case. In any case , NIDCOM, in conjunction with the Association of Nigerians in Saudi Arabia, championed by the Yaro brothers raised the $570, OOO dollars which has been paid into an account opened specifically for this purpose with financial support from Governor Babajide Sanwo-Olu of Lagos State and Seyi Tinubu, who contributed about $150,000 dollars while the rest was raised through go fund me initiated by the Yaro brothers. (This was under President Mohammadu Buhari’s tenure). Now, the money has been paid. The Ministry of Foreign Affairs, Nigeria Embassy in Saudi Arabia have been engaging the Saudi Authorities on when Suleimon Olufemi will be released. With the funds raised and diplomatic moves being made by the Minister of Foreign Affairs who has also briefed Mr President , we are optimistic that the Saudi Authorities will pardon Suleimon Olufemi who has been in jail for well over 20 years now for an offence that really cannot be proven that he committed He apparently was in a wrong place at a wrong time. We appreciate the role of Amnesty International but we also encourage Amnesty to be factual and not just be self seeking in this pathetic case. The NIDCOM Chairman has been in touch with the Sulaimon Olufemi family wherein she received the aged parents on December 30, 2020 in NIDCOM office in Lagos. We appeal to the Saudi Arabia Authorities to release Suleimon Olufemi from prison having paid the imposed blood money in the spirit of fairness, justice and cordial diplomatic relationship between Nigeria and Kingdom of Saudi Arabia. E-signed. Abdur-Rahman Balogun Director of Media, Public Relations and Protocols NIDCOM Abuja. December 23, 2025. Cc Government of Nigeria abikedabiri Punch Newspapers Visser-Mabogunje Lola NTANetwork TVC News LEADERSHIP NEWS ARISE NEWS Channels Television BBC News Africa BBC News Africa Legit.ng | Leading the way LEADERSHIP NEWS BusinessDayNG

Nigerians in Diaspora Commission

46,483 Aufrufe • vor 7 Monaten

The age of the Democratic Party blocking fringe outsiders is officially over | David Marcus, Fox News There were two events on Tuesday that offered more proof of a national Democratic Party establishment that has lost control: One was a meeting, one an election, and both are harbingers of real danger on the American left. The meeting took place in Washington, D.C., between presumptive Maine Democratic Senate nominee, the Nazi tattoed, serial sexter Graham Platner and members of his party in that body. Some, mostly through wishcasting, thought this would be the end of the alleged oysters farmer’s run. Instead, it was a coronation, as was predicted in this column last week. A decade ago, one phone call from a party leader could have ended Platner’s run, but those days are gone. Today, the Democratic Socialists of America will no longer allow it. Here is what brave Senate Minority Leader Chuck Schumer had to say about the scandal-ridden candidate: "I met with Graham Platner today. We’re going to beat Susan Collins and take back the Senate." No, if, ands, or buts. This was echoed by almost every smiling Democrat leaving the meeting. There will be no last-minute coup to oust the socialist. Instead, the party is pretending to be one big happy family. That, as they say, is that, and the reason for it is clear. Schumer and grand poobahs of the party simply no longer have any leverage over the socialist candidates storming their keep. Platner doesn’t need establishment endorsements. He has Rep. Ro Khanna, D-Calif., and, Sen. Bernie Sanders, I-Vt., and commie podcaster Hasan Pike. He doesn’t need establishment money, as there are progressive billionaires more than happy to donate. Even the left-leaning media, always in lockstep with the establishment, have little influence over voters these days. As in Maine, in New Jersey’s 12th congressional district, the Democratic Party elites were unable to fend off the radical Muslim (and socialist) candidate Adam Hamawy, who not only testified on behalf of the terrorist behind the 1993 World Trade Center bombing, but also volunteered for an Al Qaeda-linked group in Eastern Europe. At best here, the Democratic primary voters in the Garden State are trying to send a terrorist sympathizer to the halls of Congress. At worst, he is just a flat-out terrorist. At his point, Sen. John Fetterman, D-Pa., who has been sounding the alarm about the craziness overtaking his party, isn’t just on an island. He’s on a whole different planet. Put bluntly, the far-left socialist extremists, with their Nazi and radical Islamic ties, are outflanking, often outspending, and absolutely outperforming the terrified geriatric leadership of the party. It’s become such a party of lunatics that, among the only partial wins the establishment notched Tuesday, in the primary to replace former House Speaker Nancy Pelosi in California’s 11th district, was a weak first place finish for Scott Wiener, himself a leftist lunatic, now headed to a runoff. Wiener thinks that putting people on sex offender lists after sexual crimes is somehow anti-gay and would trans your toddler at the drop of a hat. But among his opponents was the former chief of staff for Rep. Alexandria Ocasio-Cortez, D-N.Y., and Democratic Socialists of America star Saikat Chakrabarti, who finished in third, failing to make the runoff. Even this seeming victory is hollow, though. Pelosi endorsed Wiener just two years after she wielded the power to tell then-President Joe Biden that his career was over. Today, she can’t get the candidate she endorsed in her own district over 50%. This realignment of Democratic Party power, away from the old-school, Ivy League establishment, into the hands of the socialists, the radical Muslims and the guys with Nazi tats, will have profound implications for the 2028 presidential race. In the last two competitive Democratic Party primary cycles, 2016 and 2020, Bernie Sanders was iced out by party leadership. Remember how, in 2020, after Biden’s surprise win in South Carolina, all the non-socialist candidates suddenly dropped out? That is how it used to work. A decade ago, the Republican Party was overtaken by Donald Trump, and the GOP establishment was left like Wile E. Coyote frantically running in the air, unaware it was already over the cliff. But Trump was part of something much bigger. In fact, he had been a member of the Reform Party, founded by H. Ross Perot in his historic 1992 third-party run and later championed by Pat Buchanan. This was a long-running populist ascendency. Today, it is the Democratic Party establishment losing touch and losing power, seeing their neoliberalism fade next to leftist populism, a populism of wealth redistribution, antisemitism and, to quote Trump, "Trans for everybody." Biden was fond of saying that today’s GOP is not "the Republican Party of your grandfather." Well, I have some news for you, Grandpa Joe: The socialist Democratic Party you left behind and the socialist barbarians you have left at the gates, don’t look a whole lot like the party that made Bill Clinton president, either. And likely, it never will again.
0:59

The age of the Democratic Party blocking fringe outsiders is officially over | David Marcus, Fox News There were two events on Tuesday that offered more proof of a national Democratic Party establishment that has lost control: One was a meeting, one an election, and both are harbingers of real danger on the American left. The meeting took place in Washington, D.C., between presumptive Maine Democratic Senate nominee, the Nazi tattoed, serial sexter Graham Platner and members of his party in that body. Some, mostly through wishcasting, thought this would be the end of the alleged oysters farmer’s run. Instead, it was a coronation, as was predicted in this column last week. A decade ago, one phone call from a party leader could have ended Platner’s run, but those days are gone. Today, the Democratic Socialists of America will no longer allow it. Here is what brave Senate Minority Leader Chuck Schumer had to say about the scandal-ridden candidate: "I met with Graham Platner today. We’re going to beat Susan Collins and take back the Senate." No, if, ands, or buts. This was echoed by almost every smiling Democrat leaving the meeting. There will be no last-minute coup to oust the socialist. Instead, the party is pretending to be one big happy family. That, as they say, is that, and the reason for it is clear. Schumer and grand poobahs of the party simply no longer have any leverage over the socialist candidates storming their keep. Platner doesn’t need establishment endorsements. He has Rep. Ro Khanna, D-Calif., and, Sen. Bernie Sanders, I-Vt., and commie podcaster Hasan Pike. He doesn’t need establishment money, as there are progressive billionaires more than happy to donate. Even the left-leaning media, always in lockstep with the establishment, have little influence over voters these days. As in Maine, in New Jersey’s 12th congressional district, the Democratic Party elites were unable to fend off the radical Muslim (and socialist) candidate Adam Hamawy, who not only testified on behalf of the terrorist behind the 1993 World Trade Center bombing, but also volunteered for an Al Qaeda-linked group in Eastern Europe. At best here, the Democratic primary voters in the Garden State are trying to send a terrorist sympathizer to the halls of Congress. At worst, he is just a flat-out terrorist. At his point, Sen. John Fetterman, D-Pa., who has been sounding the alarm about the craziness overtaking his party, isn’t just on an island. He’s on a whole different planet. Put bluntly, the far-left socialist extremists, with their Nazi and radical Islamic ties, are outflanking, often outspending, and absolutely outperforming the terrified geriatric leadership of the party. It’s become such a party of lunatics that, among the only partial wins the establishment notched Tuesday, in the primary to replace former House Speaker Nancy Pelosi in California’s 11th district, was a weak first place finish for Scott Wiener, himself a leftist lunatic, now headed to a runoff. Wiener thinks that putting people on sex offender lists after sexual crimes is somehow anti-gay and would trans your toddler at the drop of a hat. But among his opponents was the former chief of staff for Rep. Alexandria Ocasio-Cortez, D-N.Y., and Democratic Socialists of America star Saikat Chakrabarti, who finished in third, failing to make the runoff. Even this seeming victory is hollow, though. Pelosi endorsed Wiener just two years after she wielded the power to tell then-President Joe Biden that his career was over. Today, she can’t get the candidate she endorsed in her own district over 50%. This realignment of Democratic Party power, away from the old-school, Ivy League establishment, into the hands of the socialists, the radical Muslims and the guys with Nazi tats, will have profound implications for the 2028 presidential race. In the last two competitive Democratic Party primary cycles, 2016 and 2020, Bernie Sanders was iced out by party leadership. Remember how, in 2020, after Biden’s surprise win in South Carolina, all the non-socialist candidates suddenly dropped out? That is how it used to work. A decade ago, the Republican Party was overtaken by Donald Trump, and the GOP establishment was left like Wile E. Coyote frantically running in the air, unaware it was already over the cliff. But Trump was part of something much bigger. In fact, he had been a member of the Reform Party, founded by H. Ross Perot in his historic 1992 third-party run and later championed by Pat Buchanan. This was a long-running populist ascendency. Today, it is the Democratic Party establishment losing touch and losing power, seeing their neoliberalism fade next to leftist populism, a populism of wealth redistribution, antisemitism and, to quote Trump, "Trans for everybody." Biden was fond of saying that today’s GOP is not "the Republican Party of your grandfather." Well, I have some news for you, Grandpa Joe: The socialist Democratic Party you left behind and the socialist barbarians you have left at the gates, don’t look a whole lot like the party that made Bill Clinton president, either. And likely, it never will again.

Owen Gregorian

26,711 Aufrufe • vor 2 Monaten

Not every memorable moment in cinema wins over audiences through cinematography, choreography, or music alone. Some moments endure because they touch something deeply rooted in human nature. Gene Kelly singing and dancing in the rain in Singin’ in the Rain (1952) is one such moment. At first glance, it is simply the image of a joyful man walking through the rain. He sings, spins his umbrella, steps through puddles, swings around a lamppost, and smiles in the middle of an empty street. But what allows this scene to remain in the memory of audiences is not only its visual beauty. Beneath the surface, it reflects a very special state of human existence: the moment when inner joy and outward expression become one unified whole. Perhaps this is the deepest source of beauty within this scene. From a Dance Scene to the Unity Between Inner Emotion and Outer Form What the audience first feels is a very simple sense of joy. Don Lockwood has just experienced a moment of happiness with Kathy. The emotion is so powerful that when he steps outside into the rain, he no longer sees the weather as an obstacle. He sings. He dances. He plays with the falling drops of water. The rain, which could normally be uncomfortable, becomes part of his happiness. But if we stop here, we are only seeing the surface of the scene. The deeper meaning lies in the way all elements come together in harmony. The music does not exist separately from the movement. The rhythm of the song becomes the rhythm of the body. Every step, every turn, every movement of the umbrella seems to come directly from the emotion within. The rain is no longer merely a background. The street is no longer just a setting. The entire world around him becomes part of his inner state. This reflects an idea often emphasized in Western aesthetics: beauty emerges when different elements achieve an organic unity. The outer form is no longer separated from the inner meaning. The Smallest Moment Can Contain the Greatest Spirit The entire scene can be condensed into one very small action: Gene Kelly steps into a puddle. This is not simply a humorous gesture. It is a symbol of the way human beings perceive the world. An ordinary person might avoid a puddle out of concern for dirty shoes, wet clothes, or losing a sense of neatness and control. But Don Lockwood deliberately steps into it. He transforms something that would normally be avoided into a source of happiness. In that moment, he is no longer controlled by hesitation or excessive awareness of himself. He is not trying to create the image of a happy person. He is simply living within that happiness. This is what makes the scene so special. The audience feels that they are not watching a performance about joy, but witnessing joy itself finding its own natural form of expression. Why Does This Touch the Human Heart? The deeper question is: Why does the unity between inner feeling and outer expression move us? Perhaps because, in everyday life, human beings often experience separation. We may think one thing but say another. We may feel something but have to hide it. We may want to act naturally but become limited by layers of worry and calculation. Yet sometimes, we encounter a moment when all those distances disappear. A child’s natural laughter is an example that closely reflects the spirit of Gene Kelly’s performance. When a child is truly happy, that happiness does not remain only within the mind. It appears through the whole person: The eyes brighten. The expression changes. The voice becomes clear and pure. The body moves together with the emotion. A child does not need to learn how to express happiness. Happiness naturally finds its way outward. This is exactly what Gene Kelly evokes in the rain. Although Don Lockwood is an adult, in that moment he returns to a very fundamental human state: when the soul and the body are no longer separated, when genuine emotion can freely express itself through every movement. This Principle Exists in Nature What is interesting is that this principle does not exist only in art. A similar pattern can be found in the natural world. A seed grows into a tree. The shape of the tree is not something added from the outside, but the expression of an inner process of life. A flower blooms not because it tries to become beautiful, but because the life within it has reached a form that naturally expresses itself. A river does not create beauty by resisting the landscape. It flows around rocks, adapts to the shape of the earth, and through this harmony creates its own unique form. The same is true within the human body. A genuine smile is not only found in the movement of the lips. It is the coordination of the eyes, facial expression, voice, and inner emotional state. A highly skilled athlete or artist often creates a similar impression: technique is no longer separated from emotion. The body becomes a natural instrument for expressing an idea from within. The Scene and the Beauty of Wholeness From an aesthetic perspective, what makes Singin’ in the Rain special is not simply that Gene Kelly dances beautifully. More importantly, the scene reveals a profound image of humanity: A person who is no longer divided between emotion and action. A person whose inner world and outer expression move toward the same direction. A person who encounters the world not as an obstacle, but as a part of life unfolding naturally. This is also why the scene continues to connect with generations of viewers. Regardless of the era, people can still recognize the beauty of a familiar state of being: the moment when a living being is able to exist in harmony with its own nature.
4:16

Not every memorable moment in cinema wins over audiences through cinematography, choreography, or music alone. Some moments endure because they touch something deeply rooted in human nature. Gene Kelly singing and dancing in the rain in Singin’ in the Rain (1952) is one such moment. At first glance, it is simply the image of a joyful man walking through the rain. He sings, spins his umbrella, steps through puddles, swings around a lamppost, and smiles in the middle of an empty street. But what allows this scene to remain in the memory of audiences is not only its visual beauty. Beneath the surface, it reflects a very special state of human existence: the moment when inner joy and outward expression become one unified whole. Perhaps this is the deepest source of beauty within this scene. From a Dance Scene to the Unity Between Inner Emotion and Outer Form What the audience first feels is a very simple sense of joy. Don Lockwood has just experienced a moment of happiness with Kathy. The emotion is so powerful that when he steps outside into the rain, he no longer sees the weather as an obstacle. He sings. He dances. He plays with the falling drops of water. The rain, which could normally be uncomfortable, becomes part of his happiness. But if we stop here, we are only seeing the surface of the scene. The deeper meaning lies in the way all elements come together in harmony. The music does not exist separately from the movement. The rhythm of the song becomes the rhythm of the body. Every step, every turn, every movement of the umbrella seems to come directly from the emotion within. The rain is no longer merely a background. The street is no longer just a setting. The entire world around him becomes part of his inner state. This reflects an idea often emphasized in Western aesthetics: beauty emerges when different elements achieve an organic unity. The outer form is no longer separated from the inner meaning. The Smallest Moment Can Contain the Greatest Spirit The entire scene can be condensed into one very small action: Gene Kelly steps into a puddle. This is not simply a humorous gesture. It is a symbol of the way human beings perceive the world. An ordinary person might avoid a puddle out of concern for dirty shoes, wet clothes, or losing a sense of neatness and control. But Don Lockwood deliberately steps into it. He transforms something that would normally be avoided into a source of happiness. In that moment, he is no longer controlled by hesitation or excessive awareness of himself. He is not trying to create the image of a happy person. He is simply living within that happiness. This is what makes the scene so special. The audience feels that they are not watching a performance about joy, but witnessing joy itself finding its own natural form of expression. Why Does This Touch the Human Heart? The deeper question is: Why does the unity between inner feeling and outer expression move us? Perhaps because, in everyday life, human beings often experience separation. We may think one thing but say another. We may feel something but have to hide it. We may want to act naturally but become limited by layers of worry and calculation. Yet sometimes, we encounter a moment when all those distances disappear. A child’s natural laughter is an example that closely reflects the spirit of Gene Kelly’s performance. When a child is truly happy, that happiness does not remain only within the mind. It appears through the whole person: The eyes brighten. The expression changes. The voice becomes clear and pure. The body moves together with the emotion. A child does not need to learn how to express happiness. Happiness naturally finds its way outward. This is exactly what Gene Kelly evokes in the rain. Although Don Lockwood is an adult, in that moment he returns to a very fundamental human state: when the soul and the body are no longer separated, when genuine emotion can freely express itself through every movement. This Principle Exists in Nature What is interesting is that this principle does not exist only in art. A similar pattern can be found in the natural world. A seed grows into a tree. The shape of the tree is not something added from the outside, but the expression of an inner process of life. A flower blooms not because it tries to become beautiful, but because the life within it has reached a form that naturally expresses itself. A river does not create beauty by resisting the landscape. It flows around rocks, adapts to the shape of the earth, and through this harmony creates its own unique form. The same is true within the human body. A genuine smile is not only found in the movement of the lips. It is the coordination of the eyes, facial expression, voice, and inner emotional state. A highly skilled athlete or artist often creates a similar impression: technique is no longer separated from emotion. The body becomes a natural instrument for expressing an idea from within. The Scene and the Beauty of Wholeness From an aesthetic perspective, what makes Singin’ in the Rain special is not simply that Gene Kelly dances beautifully. More importantly, the scene reveals a profound image of humanity: A person who is no longer divided between emotion and action. A person whose inner world and outer expression move toward the same direction. A person who encounters the world not as an obstacle, but as a part of life unfolding naturally. This is also why the scene continues to connect with generations of viewers. Regardless of the era, people can still recognize the beauty of a familiar state of being: the moment when a living being is able to exist in harmony with its own nature.

🎼🌺Music Love♥️

17,243 Aufrufe • vor 1 Monat

The Sleeping Beauty – Rose Adage: When a Moment of Balance Reveals the Order of Life In the story of The Sleeping Beauty, the Rose Adage takes place during Princess Aurora’s coming-of-age celebration. It is the first time she appears before the court after reaching maturity. Four princes approach her one by one and invite her to dance, creating a ceremonial moment that represents Aurora’s growth and her new place within the world around her. But the beauty of this scene does not lie only in the elegance of a royal ceremony. Throughout the dance, Aurora must receive the hand of each prince, moving from one partner to another while maintaining complete control of her body. She must stand on pointe shoes, sustain each position with stability, and yet preserve a sense of lightness and grace. Therefore, the technical challenge of ballet becomes more than a physical demand. It becomes an image of a significant transition in the character’s life. Aurora is not only learning how to stand firmly on the stage. She is entering a new world, where beauty does not come only from outward elegance, but also from the ability to maintain inner calm and balance. On stage, Princess Aurora appears in a magnificent palace setting. She does not captivate the audience through powerful movements or dramatic displays. Her beauty lies in subtle control: A hand extended with delicacy. A slow and measured step. A moment of stillness that appears fragile, yet contains strength. What moves the audience is not only the dancer’s technical ability. It is the feeling that everything is exactly where it should be. The body. The music. The space. And the emotion. Everything comes together in a state of balance. That is what makes the Rose Adage so special. If viewed only from the outside, it is a demanding challenge of classical ballet. But when we listen more carefully, we discover that this sense of balance was already built into Tchaikovsky’s music. The dancer is not simply moving along with the melody. She is giving physical form to an order that already exists within the music itself. So what makes this music so distinctive? Is it a single note? Perhaps not. A single note standing alone cannot create the beauty of the Rose Adage. The life of the work comes from the relationship between the sounds: the way they support, guide, and complete one another. From the very first sounds of the harp, Tchaikovsky creates a world of clarity and refinement. Its gentle tone feels like a door opening, inviting the listener into a space where every movement becomes more delicate. Then the melody gradually rises. But it does not rush toward drama. It develops step by step, always finding support before moving further. This controlled ascent creates a feeling of nobility and serenity, much like Aurora standing en pointe: graceful, yet grounded. Tchaikovsky’s harmony follows the same principle. He creates moments of anticipation that allow the listener to sense movement, and then guides the music back toward stability. The tension does not continue in order to create unease. Instead, it becomes part of the journey toward balance. The rhythm of the Rose Adage also resembles the natural rhythm of the human body. It neither pushes forward impatiently nor holds back unnecessarily. Each musical phrase opens, develops, reaches a point of emphasis, and gently settles, like a cycle of breathing: rising, holding, and returning. For this reason, the music and choreography of the Rose Adage do not feel like two separate elements. They are two expressions of the same principle. Outwardly, there is stillness. Inwardly, there is constant movement. This also reflects a familiar principle within the human body. When a dancer stands still on pointe, the audience sees only stability. Yet inside the body, the nervous system, vision, inner ear, and muscles are continuously adjusting to maintain balance. Stability does not come from the absence of movement. It comes from the ability to make continuous adjustments in order to remain balanced. Life itself works in a similar way. A tree does not grow through a rigid straight line. It reaches toward the light while constantly adapting to wind, gravity, and its surrounding environment. Human beings are the same. Every step we take involves small moments of imbalance followed by the search for balance again. We move forward through the body’s and mind’s ability to constantly adapt. Perhaps this is also why people often feel drawn to harmonious movements, steady rhythms, and balanced forms. In everyday life, these qualities are often associated with a sense of order, stability, and smooth interaction between different elements. Art does not create this way of feeling. It awakens and reorganizes something that human beings already recognize through life itself. When music, movement, space, and emotion operate together as one whole, the audience does not simply see a beautiful performance. They recognize a familiar pattern of existence: many different elements cooperating to create a state that is stable, yet still alive and moving. Perhaps this is why the Rose Adage continues to touch audiences across generations. Its beauty does not lie only in a beautiful melody or exceptional ballet technique. Its deeper meaning lies in revealing a principle that human beings continue to encounter within their own bodies and in the natural world: Harmony is not a state of complete stillness. It is the ability of many different elements to adjust together and form a unified whole. The Rose Adage is therefore more than a ballet scene. It is the image of a person learning how to stand firmly amid the changes of life, and at the same time, it reflects the nature of life itself: always moving, always adjusting, yet still finding its own balance.
5:45

The Sleeping Beauty – Rose Adage: When a Moment of Balance Reveals the Order of Life In the story of The Sleeping Beauty, the Rose Adage takes place during Princess Aurora’s coming-of-age celebration. It is the first time she appears before the court after reaching maturity. Four princes approach her one by one and invite her to dance, creating a ceremonial moment that represents Aurora’s growth and her new place within the world around her. But the beauty of this scene does not lie only in the elegance of a royal ceremony. Throughout the dance, Aurora must receive the hand of each prince, moving from one partner to another while maintaining complete control of her body. She must stand on pointe shoes, sustain each position with stability, and yet preserve a sense of lightness and grace. Therefore, the technical challenge of ballet becomes more than a physical demand. It becomes an image of a significant transition in the character’s life. Aurora is not only learning how to stand firmly on the stage. She is entering a new world, where beauty does not come only from outward elegance, but also from the ability to maintain inner calm and balance. On stage, Princess Aurora appears in a magnificent palace setting. She does not captivate the audience through powerful movements or dramatic displays. Her beauty lies in subtle control: A hand extended with delicacy. A slow and measured step. A moment of stillness that appears fragile, yet contains strength. What moves the audience is not only the dancer’s technical ability. It is the feeling that everything is exactly where it should be. The body. The music. The space. And the emotion. Everything comes together in a state of balance. That is what makes the Rose Adage so special. If viewed only from the outside, it is a demanding challenge of classical ballet. But when we listen more carefully, we discover that this sense of balance was already built into Tchaikovsky’s music. The dancer is not simply moving along with the melody. She is giving physical form to an order that already exists within the music itself. So what makes this music so distinctive? Is it a single note? Perhaps not. A single note standing alone cannot create the beauty of the Rose Adage. The life of the work comes from the relationship between the sounds: the way they support, guide, and complete one another. From the very first sounds of the harp, Tchaikovsky creates a world of clarity and refinement. Its gentle tone feels like a door opening, inviting the listener into a space where every movement becomes more delicate. Then the melody gradually rises. But it does not rush toward drama. It develops step by step, always finding support before moving further. This controlled ascent creates a feeling of nobility and serenity, much like Aurora standing en pointe: graceful, yet grounded. Tchaikovsky’s harmony follows the same principle. He creates moments of anticipation that allow the listener to sense movement, and then guides the music back toward stability. The tension does not continue in order to create unease. Instead, it becomes part of the journey toward balance. The rhythm of the Rose Adage also resembles the natural rhythm of the human body. It neither pushes forward impatiently nor holds back unnecessarily. Each musical phrase opens, develops, reaches a point of emphasis, and gently settles, like a cycle of breathing: rising, holding, and returning. For this reason, the music and choreography of the Rose Adage do not feel like two separate elements. They are two expressions of the same principle. Outwardly, there is stillness. Inwardly, there is constant movement. This also reflects a familiar principle within the human body. When a dancer stands still on pointe, the audience sees only stability. Yet inside the body, the nervous system, vision, inner ear, and muscles are continuously adjusting to maintain balance. Stability does not come from the absence of movement. It comes from the ability to make continuous adjustments in order to remain balanced. Life itself works in a similar way. A tree does not grow through a rigid straight line. It reaches toward the light while constantly adapting to wind, gravity, and its surrounding environment. Human beings are the same. Every step we take involves small moments of imbalance followed by the search for balance again. We move forward through the body’s and mind’s ability to constantly adapt. Perhaps this is also why people often feel drawn to harmonious movements, steady rhythms, and balanced forms. In everyday life, these qualities are often associated with a sense of order, stability, and smooth interaction between different elements. Art does not create this way of feeling. It awakens and reorganizes something that human beings already recognize through life itself. When music, movement, space, and emotion operate together as one whole, the audience does not simply see a beautiful performance. They recognize a familiar pattern of existence: many different elements cooperating to create a state that is stable, yet still alive and moving. Perhaps this is why the Rose Adage continues to touch audiences across generations. Its beauty does not lie only in a beautiful melody or exceptional ballet technique. Its deeper meaning lies in revealing a principle that human beings continue to encounter within their own bodies and in the natural world: Harmony is not a state of complete stillness. It is the ability of many different elements to adjust together and form a unified whole. The Rose Adage is therefore more than a ballet scene. It is the image of a person learning how to stand firmly amid the changes of life, and at the same time, it reflects the nature of life itself: always moving, always adjusting, yet still finding its own balance.

🎼🌺Music Love♥️

12,222 Aufrufe • vor 1 Monat

Here’s my written & video review of the new 2026 Tesla Model Y Performance after driving it for a week. This is the best-value new Tesla you can buy. Crazy performance, no real drawbacks, and all for just $57,490. Let’s dive in. Price: I haven’t seen many others mention this: every option on the Model Y Performance is included at no extra cost in the US (except FSD). So if you spec a Model Y Premium AWD with an upgraded paint color, tow package, white interior, and upgraded 20" wheels, a fully loaded Model Y Premium AWD ends up only about $2,500 less expensive than a fully loaded Model Y Performance. Ride Quality: I thought I might feel worse ride quality vs my Premium AWD Model Y with 20" wheels, but I struggled to find any real difference, despite the larger 21" wheels, firmer suspension setting, and 0.6" lower ride height on the Performance trim. A true testament to Tesla's engineering magic on this thing. Exterior Design: Unlike the previous Model Y Performance, Tesla made some exterior design tweaks with a new front and rear fascia to spice things up a bit. The result, in my opinion, is the best-looking Model Y trim you can buy. It definitely has a more aggressive presence in person, even if it's subtle. The carbon-fiber spoiler boosts high-speed stability and cuts aerodynamic drag by 10%. The new 21’’ Arachnid 2.0 wheels look fantastic in person, one of my favorite designs ever from Tesla. Staggered wheel and tire fitment provides better grip and steering. The beefier 275mm rear tires (255mm in the front) give the vehicle a better stance from behind. Vehicle-to-Load (V2L): For the first time on a Model Y in North America, you can now plug in anything you want to the exterior charge port with an adapter, even a campsite! It provides up to 2.4 kW of power (120V at 20A) from two household outlets. It's a great feature. Interior: It’s what you know and love, but with a few changes that elevate the ownership experience. New with the Performance is a larger 16" center screen (vs. 15.4" on non-Performance models), with thinner bezels and higher resolution. It’s not a huge difference on paper, but you definitely notice it in daily use. The carbon-fiber décor on the door cards and dash is a nice touch, though I would like to see it extended to the center console. The new performance seats are the best seats of any Tesla I've ever experienced. While they retain aggressive bolstering in the torso area, the bottom seat cushion has less aggressive bolstering than on the Model 3 Performance seats, making it easier to get in and out. It also doesn’t squeeze your thighs too tightly. The powered thigh extenders add comfort on longer drives, especially for taller people who want extra support. And of course, they’re heated and ventilated. The headrests also feel more comfortable than the ones in my Model Y. I want these seats. Unlike the old Model Y Performance, the new one has no Track Mode. Why? Because nobody used it lol. No point in putting engineering resources into something people won’t use. The refreshed Model 3 Performance still has it, though. Cabin Quietness: Despite the thinner-profile tires, there is no noticeable difference vs my Premium Model Y. Decibel reading results at highway speeds were visually the same compared to my 2026 Model Y Premium (65-66). Driving Impressions: It’s amazing. Sharp, precise, and agile. The vehicle feels stable at all times. Acceleration is blistering (3.3s 0–60 mph), with plenty of punch even at higher speeds. The tires offer good grip, and cornering is fantastic for an SUV. The suspension setup is great. More steering wheel feedback would be nice, though. Cruising around traffic is a joy. The brakes are much improved over the previous Model Y Performance and are far better suited for spirited driving. There are three acceleration modes: Chill, Standard, and Insane. Just stay in Insane. You’d be insane not to lol. The car also lets you switch between two ride and handling modes: Standard and Sport. The difference isn’t huge, but Standard is better if you’ve got passengers. FSD: I unfortunately wasn’t able to get FSD V14 on this car. It had V13.2.9, so I didn’t use it much. But in the little time I did, it was smooth and comfortable. It didn’t bother me because V14 will perform just as well here as it does on my 2026 Model Y Premium AWD. Conclusion: You won’t find another new SUV today that offers this level of performance for the price. Back in 2022, when Tesla couldn’t build Model Ys fast enough, a fully loaded Model Y Performance cost over $90,440. Today, the refreshed and far more capable 2026 Model Y Performance is just $57,490 fully loaded, and you can simply subscribe to FSD for $99/month. The 2026 Model Y Performance delivers utility, great performance, comfort, tech, self-driving and everything else people love about the Model Y. It’s a no-brainer purchase. I want one badly, but I'll need to show restraint, as I’m saving up for a house lol.
15:48

Here’s my written & video review of the new 2026 Tesla Model Y Performance after driving it for a week. This is the best-value new Tesla you can buy. Crazy performance, no real drawbacks, and all for just $57,490. Let’s dive in. Price: I haven’t seen many others mention this: every option on the Model Y Performance is included at no extra cost in the US (except FSD). So if you spec a Model Y Premium AWD with an upgraded paint color, tow package, white interior, and upgraded 20" wheels, a fully loaded Model Y Premium AWD ends up only about $2,500 less expensive than a fully loaded Model Y Performance. Ride Quality: I thought I might feel worse ride quality vs my Premium AWD Model Y with 20" wheels, but I struggled to find any real difference, despite the larger 21" wheels, firmer suspension setting, and 0.6" lower ride height on the Performance trim. A true testament to Tesla's engineering magic on this thing. Exterior Design: Unlike the previous Model Y Performance, Tesla made some exterior design tweaks with a new front and rear fascia to spice things up a bit. The result, in my opinion, is the best-looking Model Y trim you can buy. It definitely has a more aggressive presence in person, even if it's subtle. The carbon-fiber spoiler boosts high-speed stability and cuts aerodynamic drag by 10%. The new 21’’ Arachnid 2.0 wheels look fantastic in person, one of my favorite designs ever from Tesla. Staggered wheel and tire fitment provides better grip and steering. The beefier 275mm rear tires (255mm in the front) give the vehicle a better stance from behind. Vehicle-to-Load (V2L): For the first time on a Model Y in North America, you can now plug in anything you want to the exterior charge port with an adapter, even a campsite! It provides up to 2.4 kW of power (120V at 20A) from two household outlets. It's a great feature. Interior: It’s what you know and love, but with a few changes that elevate the ownership experience. New with the Performance is a larger 16" center screen (vs. 15.4" on non-Performance models), with thinner bezels and higher resolution. It’s not a huge difference on paper, but you definitely notice it in daily use. The carbon-fiber décor on the door cards and dash is a nice touch, though I would like to see it extended to the center console. The new performance seats are the best seats of any Tesla I've ever experienced. While they retain aggressive bolstering in the torso area, the bottom seat cushion has less aggressive bolstering than on the Model 3 Performance seats, making it easier to get in and out. It also doesn’t squeeze your thighs too tightly. The powered thigh extenders add comfort on longer drives, especially for taller people who want extra support. And of course, they’re heated and ventilated. The headrests also feel more comfortable than the ones in my Model Y. I want these seats. Unlike the old Model Y Performance, the new one has no Track Mode. Why? Because nobody used it lol. No point in putting engineering resources into something people won’t use. The refreshed Model 3 Performance still has it, though. Cabin Quietness: Despite the thinner-profile tires, there is no noticeable difference vs my Premium Model Y. Decibel reading results at highway speeds were visually the same compared to my 2026 Model Y Premium (65-66). Driving Impressions: It’s amazing. Sharp, precise, and agile. The vehicle feels stable at all times. Acceleration is blistering (3.3s 0–60 mph), with plenty of punch even at higher speeds. The tires offer good grip, and cornering is fantastic for an SUV. The suspension setup is great. More steering wheel feedback would be nice, though. Cruising around traffic is a joy. The brakes are much improved over the previous Model Y Performance and are far better suited for spirited driving. There are three acceleration modes: Chill, Standard, and Insane. Just stay in Insane. You’d be insane not to lol. The car also lets you switch between two ride and handling modes: Standard and Sport. The difference isn’t huge, but Standard is better if you’ve got passengers. FSD: I unfortunately wasn’t able to get FSD V14 on this car. It had V13.2.9, so I didn’t use it much. But in the little time I did, it was smooth and comfortable. It didn’t bother me because V14 will perform just as well here as it does on my 2026 Model Y Premium AWD. Conclusion: You won’t find another new SUV today that offers this level of performance for the price. Back in 2022, when Tesla couldn’t build Model Ys fast enough, a fully loaded Model Y Performance cost over $90,440. Today, the refreshed and far more capable 2026 Model Y Performance is just $57,490 fully loaded, and you can simply subscribe to FSD for $99/month. The 2026 Model Y Performance delivers utility, great performance, comfort, tech, self-driving and everything else people love about the Model Y. It’s a no-brainer purchase. I want one badly, but I'll need to show restraint, as I’m saving up for a house lol.

Sawyer Merritt

224,054 Aufrufe • vor 8 Monaten