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Sissies never stop... always bigger, deeper... the training continues. 🖤🥵 #Sissy #trans #femboy #Bussy #Shemale #Feminization #Sissification #SissyGoals #tgirl #transgender

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NSFW #Sissy #trans #femboy #Bussy #Shemale #Feminization #Sissification #SissyGoals #tgirl #transgender

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David Goggins: "It's so easy to be great nowadays because most people are weak" "People need purpose to perform. But you need to get to a point in your life where there's nothing on the docket, no race, no classes, no nothing and still perform to the highest level. Because one day, that thing's going to come up. And if you're not constantly performing without purpose, you're not going to be ready when the time comes." Goggins explains the real purpose: "We're all looking for this magical thing called purpose. But what's funny is the purpose never leaves us. Because the very purpose is you. You are always the purpose. If you wake up in the morning and you don't want to do something, you don't care enough about yourself. That's what you need to research. The number one purpose in life is to better oneself. That's the only purpose I need." On what gets him out of bed: "I know every other person ain't gonna do what I'm gonna do. That's how you level up. That fires me up. That makes me happy. There are so many people with ability who refuse to get off that couch. Refuse to study a few more hours. Refuse to go deeper, go further. That's where I gain the advantage." Goggins continues: "It's so easy to be great nowadays because most people are weak. Most people don't want to go that extra mile. Most people don't want to find that extra because it sucks. It's miserable. It's lonely. I used to hate that loneliness growing up. Now I thrive in it. That's the only place to be." On how to stop feeling sorry for yourself: "You have to want it. You have to want to be better. And it starts with this: you have to have pride in yourself. If you have no pride in yourself, I can't give it to you. Because you're always going to compromise. You're always going to fold. Always." Goggins shares how he holds himself accountable: "Every place I went in the military, there was this ethos about how we're going to live, how we're going to represent ourselves. I made one for myself on how I want to be. If people can make up a mission statement, an ethos they want to live by, and every morning wake up and hold themselves accountable to that mission, not a company's mission, your own, now you can work with somebody to get better. But until you know what you want to stand for, you will always just be sitting down. You'll never stand for anything." He concludes with his definition of "Roger that": "Received orders given. Expect results. Above and beyond. More than was expected. That's what Roger that means to me."

David Goggins: "It's so easy to be great nowadays because most people are weak" "People need purpose to perform. But you need to get to a point in your life where there's nothing on the docket, no race, no classes, no nothing and still perform to the highest level. Because one day, that thing's going to come up. And if you're not constantly performing without purpose, you're not going to be ready when the time comes." Goggins explains the real purpose: "We're all looking for this magical thing called purpose. But what's funny is the purpose never leaves us. Because the very purpose is you. You are always the purpose. If you wake up in the morning and you don't want to do something, you don't care enough about yourself. That's what you need to research. The number one purpose in life is to better oneself. That's the only purpose I need." On what gets him out of bed: "I know every other person ain't gonna do what I'm gonna do. That's how you level up. That fires me up. That makes me happy. There are so many people with ability who refuse to get off that couch. Refuse to study a few more hours. Refuse to go deeper, go further. That's where I gain the advantage." Goggins continues: "It's so easy to be great nowadays because most people are weak. Most people don't want to go that extra mile. Most people don't want to find that extra because it sucks. It's miserable. It's lonely. I used to hate that loneliness growing up. Now I thrive in it. That's the only place to be." On how to stop feeling sorry for yourself: "You have to want it. You have to want to be better. And it starts with this: you have to have pride in yourself. If you have no pride in yourself, I can't give it to you. Because you're always going to compromise. You're always going to fold. Always." Goggins shares how he holds himself accountable: "Every place I went in the military, there was this ethos about how we're going to live, how we're going to represent ourselves. I made one for myself on how I want to be. If people can make up a mission statement, an ethos they want to live by, and every morning wake up and hold themselves accountable to that mission, not a company's mission, your own, now you can work with somebody to get better. But until you know what you want to stand for, you will always just be sitting down. You'll never stand for anything." He concludes with his definition of "Roger that": "Received orders given. Expect results. Above and beyond. More than was expected. That's what Roger that means to me."

Jaynit

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Elon Musk just diagnosed the smartest people in the room. Musk: “Most of the smart people I know actually don’t see a clear path… none of this is true.” Not a debate. A diagnosis. It cuts deeper than a wrong prediction. It exposes a failure of imagination dressed up as responsibility. Scarcity thinking wasn’t always wrong. For most of human history, inputs were fixed. Land was finite. Energy was scarce. Rationing made sense. That logic built the entire intellectual architecture of modern civilization. Population limits. Resource caps. Carbon budgets. Degrowth. Every single one shares the same buried assumption. The denominator never changes. It’s changing. Solar costs have collapsed 90% in a decade. Batteries are tracing the same curve. AI is compressing the cost of intelligence toward zero. Robotics is about to do the same to physical labor. These aren’t four separate trends. They’re one compounding loop. Cheap energy charges cheap batteries that power cheap robots guided by cheap intelligence. The cost of producing anything built from atoms and decisions is in freefall. When energy approaches zero cost, food scarcity becomes an engineering problem, not a physics problem. When intelligence approaches zero cost, medicine, education, and infrastructure stop being rationed by wealth. When robotics scales, human labor stops being the bottleneck between an idea and its execution. The ceiling on civilization doesn’t tighten. It dissolves. Musk: “You could support a civilization much bigger than Earth.” Not optimism. Arithmetic. The people demanding humanity shrink aren’t being careful. They’re running last century’s equations on this century’s variables. That’s not wisdom. That’s a category error with a trillion-dollar price tag. You don’t secure the future by rationing what exists. You secure it by compounding what’s possible. The math is already running. It doesn’t need their permission.

Elon Musk just diagnosed the smartest people in the room. Musk: “Most of the smart people I know actually don’t see a clear path… none of this is true.” Not a debate. A diagnosis. It cuts deeper than a wrong prediction. It exposes a failure of imagination dressed up as responsibility. Scarcity thinking wasn’t always wrong. For most of human history, inputs were fixed. Land was finite. Energy was scarce. Rationing made sense. That logic built the entire intellectual architecture of modern civilization. Population limits. Resource caps. Carbon budgets. Degrowth. Every single one shares the same buried assumption. The denominator never changes. It’s changing. Solar costs have collapsed 90% in a decade. Batteries are tracing the same curve. AI is compressing the cost of intelligence toward zero. Robotics is about to do the same to physical labor. These aren’t four separate trends. They’re one compounding loop. Cheap energy charges cheap batteries that power cheap robots guided by cheap intelligence. The cost of producing anything built from atoms and decisions is in freefall. When energy approaches zero cost, food scarcity becomes an engineering problem, not a physics problem. When intelligence approaches zero cost, medicine, education, and infrastructure stop being rationed by wealth. When robotics scales, human labor stops being the bottleneck between an idea and its execution. The ceiling on civilization doesn’t tighten. It dissolves. Musk: “You could support a civilization much bigger than Earth.” Not optimism. Arithmetic. The people demanding humanity shrink aren’t being careful. They’re running last century’s equations on this century’s variables. That’s not wisdom. That’s a category error with a trillion-dollar price tag. You don’t secure the future by rationing what exists. You secure it by compounding what’s possible. The math is already running. It doesn’t need their permission.

Dustin

113,914 просмотров • 5 месяцев назад

4 mistakes I avoided that helped me build this natural physique. Building an impressive natural physique is hard. But if you make these 4 mistakes, you’re making it unnecessarily harder. 1. Cutting too early If you’re only 1–2 years into training, stop thinking about getting shredded. Your first few years should be heavily focused on building muscle. Because when you eventually get lean, you need enough muscle underneath the fat to actually look like a bodybuilder. Otherwise, you’re not going to look “shredded.” You’re just going to look like a skinny guy with abs. Build the muscle first. Then reveal it. 2. Starting your deficit too aggressively The biggest mistake I see is people immediately slashing calories. Don’t. Start with the smallest deficit that produces a measurable response. Give your body time to respond. If fat loss slows or stalls, then intervene. You don’t need to go from maintenance straight into starvation mode just because you’re impatient. 3. Treating 1.6 g/kg of protein as a universal rule 1.6 g/kg can be perfectly adequate in many situations. But it isn’t a magic ceiling. As you become leaner and the deficit becomes more aggressive, I prefer to progressively increase protein to improve the odds of retaining maximum lean mass. In some of my deeper cuts, I go as high as ~3 g/kg. And I never stop training hard. Because during a deficit, your primary objective isn't to build as much muscle as possible. It is to retain as much of the muscle you worked so hard to build. Protein and resistance training are your insurance policy. If calories need to come down further, I would rather make those reductions predominantly from carbohydrates and fats while keeping dietary fat at a sensible minimum. 4. Thinking “I need to eat less” before thinking “Can I move more?” This is probably the biggest one. Before dropping calories again, ask: Can I increase my steps? Can I add some cardio? Can I improve my sleep and recovery? Can I increase energy expenditure without unnecessarily reducing food? There is more than one way to create an energy deficit. Calories are a tool. They shouldn't always be your first lever. Avoid these four mistakes and your chances of building an impressive natural physique go up dramatically. Build the muscle. Cut strategically. Protect the muscle. And don't confuse suffering with progress. Want to build muscle at 30, 35, 40, 50+? DM me. I’ll help you build it strategically.

4 mistakes I avoided that helped me build this natural physique. Building an impressive natural physique is hard. But if you make these 4 mistakes, you’re making it unnecessarily harder. 1. Cutting too early If you’re only 1–2 years into training, stop thinking about getting shredded. Your first few years should be heavily focused on building muscle. Because when you eventually get lean, you need enough muscle underneath the fat to actually look like a bodybuilder. Otherwise, you’re not going to look “shredded.” You’re just going to look like a skinny guy with abs. Build the muscle first. Then reveal it. 2. Starting your deficit too aggressively The biggest mistake I see is people immediately slashing calories. Don’t. Start with the smallest deficit that produces a measurable response. Give your body time to respond. If fat loss slows or stalls, then intervene. You don’t need to go from maintenance straight into starvation mode just because you’re impatient. 3. Treating 1.6 g/kg of protein as a universal rule 1.6 g/kg can be perfectly adequate in many situations. But it isn’t a magic ceiling. As you become leaner and the deficit becomes more aggressive, I prefer to progressively increase protein to improve the odds of retaining maximum lean mass. In some of my deeper cuts, I go as high as ~3 g/kg. And I never stop training hard. Because during a deficit, your primary objective isn't to build as much muscle as possible. It is to retain as much of the muscle you worked so hard to build. Protein and resistance training are your insurance policy. If calories need to come down further, I would rather make those reductions predominantly from carbohydrates and fats while keeping dietary fat at a sensible minimum. 4. Thinking “I need to eat less” before thinking “Can I move more?” This is probably the biggest one. Before dropping calories again, ask: Can I increase my steps? Can I add some cardio? Can I improve my sleep and recovery? Can I increase energy expenditure without unnecessarily reducing food? There is more than one way to create an energy deficit. Calories are a tool. They shouldn't always be your first lever. Avoid these four mistakes and your chances of building an impressive natural physique go up dramatically. Build the muscle. Cut strategically. Protect the muscle. And don't confuse suffering with progress. Want to build muscle at 30, 35, 40, 50+? DM me. I’ll help you build it strategically.

Kamal Saini | Biomechanics Coach

16,201 просмотров • 25 дней назад

Bach – Air on the G String (Orchestral Suite No. 3, BWV 1068) When a Moment Continues to Live Within the Flow of Time There are strange moments in life when time keeps moving, yet we feel as though we have remained where we are. The clock continues to tick. The light keeps changing. The world outside never stops moving. And yet, for a brief instant, the present seems deeper than usual. Not because time has stopped. But because we suddenly perceive more within that very moment. That is the experience Johann Sebastian Bach creates in Air from Orchestral Suite No. 3 in D major, BWV 1068. The wonder of this music does not lie in eliminating motion. Bach does something far more subtle: He allows time to keep moving, while enabling a single moment to remain alive longer within human perception. Not a Journey Forward, but a State Preserved Many great musical works are built as journeys. The music creates anticipation. It creates tension. It creates transformation. And eventually, it leads the listener toward resolution. Air offers a different kind of experience. It does not rely on dramatic events or powerful climaxes. From its very opening phrases, Bach does not give the impression of a melody eager to rush forward. Instead, he unfolds a continuous melodic line over harmonies that change with quiet patience. Each musical phrase exists not merely to lead into the next. It also creates a space in which the listener can remain and simply experience the present. Bach does not create depth by constantly changing states. He creates depth by allowing a single state enough time to reveal itself. Melody Creates Space What makes the melody of Air remarkable is that it is always moving without ever feeling driven. It does not resemble a straight line racing toward an ending. Instead, it unfolds like a space gradually opening before us. The violin's long, gentle phrases make time seem to expand. Yet this is not stillness. The melody continues to develop. It continues to change. It simply never gives the impression that it urgently needs to arrive somewhere. It allows the present to remain a little longer. The Bass: Time Continues Its Quiet Course Beneath the openness of the violin lies an uninterrupted current. The bass line continues its steady motion. It never demands attention. It never seeks to become the main character. Yet it is precisely this quiet movement that gives the entire work its stable flow. If the melody is the moment being expanded, then the bass is time itself continuing beneath that moment. Here lies the central paradox of Air: One musical layer seems to hold the moment in place. Another continues carrying time forward. Bach does not create peace by removing motion. He creates peace by placing different kinds of movement into perfect balance. Gentle Frictions: Where Structure Becomes Emotion The depth of Air does not arise only from the relationship between melody and bass. It also emerges through the smallest harmonic changes between the voices. Bach often allows one note to continue sounding while the harmony beneath it has already shifted. For a brief instant, the old sound has not completely disappeared, yet the new sound has already arrived. Two states exist simultaneously. This is where harmonic technique becomes human feeling. After all, change in life rarely happens in a single instant. A memory can remain even after the present has changed. An old emotion can still resonate within a new reality. Bach brings that fragile human experience into a musical structure of extraordinary balance. The String Ensemble: Where the Idea Becomes Sound Yet none of this would fully come alive without the unique color of the string ensemble. The strings' ability to sustain and subtly transform a single tone allows Bach's long melodic lines to be heard not merely as consecutive notes. They become a continuous stream of sound unfolding through time. A written note on the score is only a point. But through the violin's bow and the sustained voices of the string instruments, it becomes a space. That is what transforms the idea of "a moment preserved" from an abstract concept into a living musical experience. The Defining Seed of Air What makes Air truly distinctive does not lie in any single technique. Not simply because the bass keeps moving. Not because of its delicate suspensions. Not because of its beautiful melody. These are only the means. The essence lies in the principle that unites them: A moment does not need to stand still to become profound. It can continue to live even as time itself keeps moving. The melody opens the depth of the moment. The bass sustains the movement of time. The harmony creates subtle ripples of emotion. The strings transform all of these into a living sonic experience. That is why Air is not simply a slow piece of music. It is a unique way of experiencing time itself. A Distinctively Bachian Beauty Baroque composers discovered beauty through many different paths. Vivaldi often revealed the vitality and rhythm of nature. Handel explored the expressive and rhetorical power of music. Pachelbel found beauty in cyclical structures and balance. Bach, in Air, pursued something different. He showed that depth can arise not only from great transformations, but also from organizing the smallest movements into a perfectly balanced whole. Conclusion Air does not make time stop. Nor does it remove us from reality. What Bach achieves is something more subtle. He invites us to recognize that within every passing moment lies a depth we seldom notice. That is the enduring power of Air on the G String: Bach transforms a fleeting moment into a world spacious enough for the human spirit to dwell within.

Bach – Air on the G String (Orchestral Suite No. 3, BWV 1068) When a Moment Continues to Live Within the Flow of Time There are strange moments in life when time keeps moving, yet we feel as though we have remained where we are. The clock continues to tick. The light keeps changing. The world outside never stops moving. And yet, for a brief instant, the present seems deeper than usual. Not because time has stopped. But because we suddenly perceive more within that very moment. That is the experience Johann Sebastian Bach creates in Air from Orchestral Suite No. 3 in D major, BWV 1068. The wonder of this music does not lie in eliminating motion. Bach does something far more subtle: He allows time to keep moving, while enabling a single moment to remain alive longer within human perception. Not a Journey Forward, but a State Preserved Many great musical works are built as journeys. The music creates anticipation. It creates tension. It creates transformation. And eventually, it leads the listener toward resolution. Air offers a different kind of experience. It does not rely on dramatic events or powerful climaxes. From its very opening phrases, Bach does not give the impression of a melody eager to rush forward. Instead, he unfolds a continuous melodic line over harmonies that change with quiet patience. Each musical phrase exists not merely to lead into the next. It also creates a space in which the listener can remain and simply experience the present. Bach does not create depth by constantly changing states. He creates depth by allowing a single state enough time to reveal itself. Melody Creates Space What makes the melody of Air remarkable is that it is always moving without ever feeling driven. It does not resemble a straight line racing toward an ending. Instead, it unfolds like a space gradually opening before us. The violin's long, gentle phrases make time seem to expand. Yet this is not stillness. The melody continues to develop. It continues to change. It simply never gives the impression that it urgently needs to arrive somewhere. It allows the present to remain a little longer. The Bass: Time Continues Its Quiet Course Beneath the openness of the violin lies an uninterrupted current. The bass line continues its steady motion. It never demands attention. It never seeks to become the main character. Yet it is precisely this quiet movement that gives the entire work its stable flow. If the melody is the moment being expanded, then the bass is time itself continuing beneath that moment. Here lies the central paradox of Air: One musical layer seems to hold the moment in place. Another continues carrying time forward. Bach does not create peace by removing motion. He creates peace by placing different kinds of movement into perfect balance. Gentle Frictions: Where Structure Becomes Emotion The depth of Air does not arise only from the relationship between melody and bass. It also emerges through the smallest harmonic changes between the voices. Bach often allows one note to continue sounding while the harmony beneath it has already shifted. For a brief instant, the old sound has not completely disappeared, yet the new sound has already arrived. Two states exist simultaneously. This is where harmonic technique becomes human feeling. After all, change in life rarely happens in a single instant. A memory can remain even after the present has changed. An old emotion can still resonate within a new reality. Bach brings that fragile human experience into a musical structure of extraordinary balance. The String Ensemble: Where the Idea Becomes Sound Yet none of this would fully come alive without the unique color of the string ensemble. The strings' ability to sustain and subtly transform a single tone allows Bach's long melodic lines to be heard not merely as consecutive notes. They become a continuous stream of sound unfolding through time. A written note on the score is only a point. But through the violin's bow and the sustained voices of the string instruments, it becomes a space. That is what transforms the idea of "a moment preserved" from an abstract concept into a living musical experience. The Defining Seed of Air What makes Air truly distinctive does not lie in any single technique. Not simply because the bass keeps moving. Not because of its delicate suspensions. Not because of its beautiful melody. These are only the means. The essence lies in the principle that unites them: A moment does not need to stand still to become profound. It can continue to live even as time itself keeps moving. The melody opens the depth of the moment. The bass sustains the movement of time. The harmony creates subtle ripples of emotion. The strings transform all of these into a living sonic experience. That is why Air is not simply a slow piece of music. It is a unique way of experiencing time itself. A Distinctively Bachian Beauty Baroque composers discovered beauty through many different paths. Vivaldi often revealed the vitality and rhythm of nature. Handel explored the expressive and rhetorical power of music. Pachelbel found beauty in cyclical structures and balance. Bach, in Air, pursued something different. He showed that depth can arise not only from great transformations, but also from organizing the smallest movements into a perfectly balanced whole. Conclusion Air does not make time stop. Nor does it remove us from reality. What Bach achieves is something more subtle. He invites us to recognize that within every passing moment lies a depth we seldom notice. That is the enduring power of Air on the G String: Bach transforms a fleeting moment into a world spacious enough for the human spirit to dwell within.

🎼🌺Music Love♥️

16,811 просмотров • 1 месяц назад

PSA: I have to address this because it’s just so crazy to me. Transgenders saying I’m doing this for attention… While they’re on social media, the internet, television, etc. And even everybody else for that matter, not just Trans people, claiming anybody is doing something for “attention”. You’re all on social media! You’re on here for some kind of attention, distraction or entertainment. If you’re not on here for attention you probably wish you were. We’re all on here for “attention” to some extent. The important question is… WHAT DO YOU BRING ATTENTION TO? In that department, my resume runs much deeper than most of you, so stay in your lane before you get into a wreck. See, a lot of you crusty hoes want more attention on your coochie than our nation’s children, hence onlyfans and Lindsay Clancy. Plus, a nation of children who can’t read at grade level. They barely know their ABCs, but know their LGBTQs! A lot of you CORNY men are simps, tap dancing and booty clapping for money or affection. I suffer neither! I’m going to do what I want and say what I want and ain’t nobody going to do a damn thing to stop me. But now that it’s en vogue to talk about “communities” and “tough conversations”, all that CORNY bullshit… Let me remind some of you newcomers who you’re talking to. 🧔🏽‍♀️👑 My Resume — 12-16 (Mental Health) 16-18 (Cop & Civilian Mental Health) 2019 (Assange & Snowden) 2020 (Covid-19, Vaccines, Lockdowns) 2020 (BLM Scam, The Fed) 2021 (The Uyghurs & China) 2022 (Ilhan Omar, Minnesota Commies) 2023 (AIPAC, Islam, DC Swamp) 24-26 (We The People! Citizenship) My story has always been about speaking the truth and bringing “attention” to important issues. If I wanted attention for the sake of attention, or the money, I’d be sucking establishment dick like a lot of you puppets running your mouth out here. Another thing, stop saying Black Trans Rights are a “none-issue”, if it was a non issue the aforementioned illiterate children wouldn’t even be learning about it in school. I’m watching, make a mental note, keeping the list. A lot of funny guys and gals, or whatever else in between, I see em talking. Again, the greatest thing about me… I couldn’t care less what people say, think, etc. Once you realize how many people can’t read, do drugs and get their political views from Joy Ann Reid, or google! You are empowered beyond measure. The inevitable confrontation comes with the territory. My schedule is always open for a debate since people want to discuss “more important issues”, but I don’t get too many challengers. To all the supporters, remember most these people live in an alternate universe. Hold the line, never blink, stay dangerous! This presidential run is going to look great with a WNBA MVP. MASS DEPORTATIONS SECURE ELECTIONS BAN MARXISM & SHARIA LAW BAN PACs & LOBBIES FIRE-SALE ON INCUMBENTS Back to my spa day with the ladies. Black Trans Lesbians Matter! 🧖🏽‍♀️ Royce White for President I’m WAY Different, Stick to Sports!

PSA: I have to address this because it’s just so crazy to me. Transgenders saying I’m doing this for attention… While they’re on social media, the internet, television, etc. And even everybody else for that matter, not just Trans people, claiming anybody is doing something for “attention”. You’re all on social media! You’re on here for some kind of attention, distraction or entertainment. If you’re not on here for attention you probably wish you were. We’re all on here for “attention” to some extent. The important question is… WHAT DO YOU BRING ATTENTION TO? In that department, my resume runs much deeper than most of you, so stay in your lane before you get into a wreck. See, a lot of you crusty hoes want more attention on your coochie than our nation’s children, hence onlyfans and Lindsay Clancy. Plus, a nation of children who can’t read at grade level. They barely know their ABCs, but know their LGBTQs! A lot of you CORNY men are simps, tap dancing and booty clapping for money or affection. I suffer neither! I’m going to do what I want and say what I want and ain’t nobody going to do a damn thing to stop me. But now that it’s en vogue to talk about “communities” and “tough conversations”, all that CORNY bullshit… Let me remind some of you newcomers who you’re talking to. 🧔🏽‍♀️👑 My Resume — 12-16 (Mental Health) 16-18 (Cop & Civilian Mental Health) 2019 (Assange & Snowden) 2020 (Covid-19, Vaccines, Lockdowns) 2020 (BLM Scam, The Fed) 2021 (The Uyghurs & China) 2022 (Ilhan Omar, Minnesota Commies) 2023 (AIPAC, Islam, DC Swamp) 24-26 (We The People! Citizenship) My story has always been about speaking the truth and bringing “attention” to important issues. If I wanted attention for the sake of attention, or the money, I’d be sucking establishment dick like a lot of you puppets running your mouth out here. Another thing, stop saying Black Trans Rights are a “none-issue”, if it was a non issue the aforementioned illiterate children wouldn’t even be learning about it in school. I’m watching, make a mental note, keeping the list. A lot of funny guys and gals, or whatever else in between, I see em talking. Again, the greatest thing about me… I couldn’t care less what people say, think, etc. Once you realize how many people can’t read, do drugs and get their political views from Joy Ann Reid, or google! You are empowered beyond measure. The inevitable confrontation comes with the territory. My schedule is always open for a debate since people want to discuss “more important issues”, but I don’t get too many challengers. To all the supporters, remember most these people live in an alternate universe. Hold the line, never blink, stay dangerous! This presidential run is going to look great with a WNBA MVP. MASS DEPORTATIONS SECURE ELECTIONS BAN MARXISM & SHARIA LAW BAN PACs & LOBBIES FIRE-SALE ON INCUMBENTS Back to my spa day with the ladies. Black Trans Lesbians Matter! 🧖🏽‍♀️ Royce White for President I’m WAY Different, Stick to Sports!

Royce White 🇺🇸

232,183 просмотров • 27 дней назад

After regrouping with our investors and the team, I’ve made the difficult decision to wind down Hike completely. Our US business, launched just nine months ago, is off to a strong start. But scaling globally would require a full recap, a reset that is not the best use of capital or time. The Big Question → We could raise the capital, but the real question is: is it worth it? Is this a climb worth pivoting for? For the first time in 13 years, my answer is no. Not for me, not for my team, and not for our investors. Why? 1. RMG was never the destination. It was a way to test unit economics and traction in India while working toward a bigger vision. In hindsight, starting in India locked us into the model and regulatory headwinds, turning a temporary path into a more permanent one. 2. The Gaming Nation vision is real, but we may be too early. The world will eventually move toward a Nation-type model in gaming and Web3 - Company 2.0. But crypto regulation is still developing globally, and we don’t want to repeat India, where we hoped for clarity that never came. 3. And most importantly, if doing a full reset, is this where I’d put my own capital and energy today? For the first time, the answer is no. The world has changed in the last decade - and so have I. There are more important problems to solve and bigger opportunities to deploy brilliant talent and capital. Looking Back & Lessons The last 13 years have been immense. Hike Messenger reached 40M MAUs and became the 35th most loved consumer brand in India at its peak. With Rush, we built a brand new kind of Casual PvP gaming platform and scaled it to 10M users and $500M+ in gross revenue in just 4 years. Our execution was super, but we could never quite make it stick. There are clear lessons to carry forward, especially on market selection: 1. Be careful with winner-take-all markets. To win, you need to go global. 2. Don’t build for today’s tech constraints. Build on the spring/summer of new technologies. 3. Regulatory clarity matters. Risk is fine; uncertainty is not. More importantly momentum is everything. And build what your heart and mind are deeply excited about. It’s the conviction that carries you through. This is both a disappointment and a hard outcome. But I choose to look on the bright side: the learnings are invaluable, and my conviction for what’s next is even stronger. To everyone who has been part of this journey - our users, our team, our investors, and our community - thank you. As a CEO, you’re only as strong as your team, and I want to give a special shout-out to mine - an incredible group of people who gave this everything. Hike This chapter ends, but the climb continues. Looking Forward I’ve always thrived at building at the forefront of technology. Over the last decade, in the little time I had to explore outside of Hike, I kept returning to the same three frontiers. And now, they feel like the great canvases for decades to come → 1. AI → For the first time, technology has both intelligence and memory. Imagine products that don’t just serve us functionally but truly know us - systems that adapt, grow, and partner with us. As a UX-first builder, this is the most exciting time to be building software. 2. Breakthroughs in Energy → Human progress has always been bound by energy. The world’s demand for energy is rising faster than ever. Breakthrough approaches, especially in physics are needed to power the future. The last century gave us mastery of fine matters and electricity, the next will move deeper, at the intersection of science and spirituality - into what yogis call divine magnetism and physicists call the quantum world or electromagnetism. From there will come technologies that today feel impossible to imagine. 3. Mastery of the Self → As AI takes on more of our work, a deeper question will rise: what now defines us? When productivity is no longer the measure of worth, humanity will turn inward. Man’s evolution will move from the intellect to intuitive attunement - a deeper connection with ourselves and the divine (which we’ll realise are one and the same). The tools, spaces, and guides that help us explore this inner world will be as transformative as any innovation in the outer one - unlocking the next level of humanity’s potential. If you put these together, a picture emerges: → the cost of intelligence trending to zero → the cost of energy trending to zero → and the cost of willpower falling lower and lower. Just imagine a future where willpower is infinite, energy is abundant, and intelligence is at our fingertips. This is the future I will help build — and it’s where I’ll be contributing in the decades to come. This new chapter will look very different from the last one 🚀 Video for perspective. Full substack post link below.

Kavin

24,481 просмотров • 1 год назад

THE TRUTH ABOUT TRUMP & EPSTEIN. The truth must be stated and not overlooked. Yes, Trump is in the Epstein files but not as many would think. So technically, Elon is not lying. Trump just is not implicated in the Epstein files in a nefarious sick way like many others are such as have half of Hollywood and people like Bill Clinton, Prince Andrew, and other wealthy elite individuals are. Everyone always shows the same video and same couple pictures and say's, see? He's guilty. But this couldn't be farther from the truth. Yes Trump is had another wealthy person at his events and knew Epstein before he was ever arrested in 2005-2006 for sexual crimes against a minor, Trump broke off his relationship and banned him from ever stepping foot in Mar-a-Lago ever again for hitting on another members young daughter. When it comes to being on the flight logs, yes, Trump is on it as well from the little time they spent together before anything was ever known or public or before he was ever even arrested. Epstein's own pilot admitted that Trump did fly from West Palm Beach to Newark New Jersey, on January 5, 1997, and it wasn't even on the Lolita Express that was the Epstein Island's main shuttle jet. It was on a completely other aircraft. Finally another huge revelation is the prosecutor in the Epstein case who admitted that out of every single person, politician, and celebrity he asked for help to prosecute Epstein, Trump was the ONLY ONE who helped him prosecute Epstein to make sure he made it behind bars and cooperated and gave him as much time as he needed. All the victims of Epstein and others also all supported Trump throughout the case and his presidency and many have stated that Trump has never done anything to them and that they have never seen him on the Island. Do you really believe if Trump was guilty in anyway, all his dirty laundry wouldn't have been aired out in 2016, or the 2 previous elections with Biden and Kamala? Give me a break. They'd be watering at the mouth the first chance they'd get to drop the news. There's nothing there folks. Stop buying everything at the surface level. This operation has never ended. Sometimes you need to force or push your opposition to make a move or expose themselves. Remember, there are layers, optics, and timing to everything you see happening. Don't buy everything at the surface level. Think deeper. Lastly, I am strictly for the people, the children, the country, and the truth. It doesn't matter who you are, what side your own, or your beliefs. As long as your for the same things, your good in my book. And if Donald Trump was involved in a nefarious way, then he can go down too. But one thing I will tell you is that many would have never supported him if he was ever guilty in the first place. The man can not be bought and is not compromised. He genuinely cares about people and his country. Think bigger people. The show must go on. There are no coincidences.

THE TRUTH ABOUT TRUMP & EPSTEIN. The truth must be stated and not overlooked. Yes, Trump is in the Epstein files but not as many would think. So technically, Elon is not lying. Trump just is not implicated in the Epstein files in a nefarious sick way like many others are such as have half of Hollywood and people like Bill Clinton, Prince Andrew, and other wealthy elite individuals are. Everyone always shows the same video and same couple pictures and say's, see? He's guilty. But this couldn't be farther from the truth. Yes Trump is had another wealthy person at his events and knew Epstein before he was ever arrested in 2005-2006 for sexual crimes against a minor, Trump broke off his relationship and banned him from ever stepping foot in Mar-a-Lago ever again for hitting on another members young daughter. When it comes to being on the flight logs, yes, Trump is on it as well from the little time they spent together before anything was ever known or public or before he was ever even arrested. Epstein's own pilot admitted that Trump did fly from West Palm Beach to Newark New Jersey, on January 5, 1997, and it wasn't even on the Lolita Express that was the Epstein Island's main shuttle jet. It was on a completely other aircraft. Finally another huge revelation is the prosecutor in the Epstein case who admitted that out of every single person, politician, and celebrity he asked for help to prosecute Epstein, Trump was the ONLY ONE who helped him prosecute Epstein to make sure he made it behind bars and cooperated and gave him as much time as he needed. All the victims of Epstein and others also all supported Trump throughout the case and his presidency and many have stated that Trump has never done anything to them and that they have never seen him on the Island. Do you really believe if Trump was guilty in anyway, all his dirty laundry wouldn't have been aired out in 2016, or the 2 previous elections with Biden and Kamala? Give me a break. They'd be watering at the mouth the first chance they'd get to drop the news. There's nothing there folks. Stop buying everything at the surface level. This operation has never ended. Sometimes you need to force or push your opposition to make a move or expose themselves. Remember, there are layers, optics, and timing to everything you see happening. Don't buy everything at the surface level. Think deeper. Lastly, I am strictly for the people, the children, the country, and the truth. It doesn't matter who you are, what side your own, or your beliefs. As long as your for the same things, your good in my book. And if Donald Trump was involved in a nefarious way, then he can go down too. But one thing I will tell you is that many would have never supported him if he was ever guilty in the first place. The man can not be bought and is not compromised. He genuinely cares about people and his country. Think bigger people. The show must go on. There are no coincidences.

The SCIF

792,522 просмотров • 1 год назад

Many remember Vito Corleone's final conversation with Michael as the moment a father passes his empire to his son. But if that had truly been Francis Ford Coppola's central point, the scene would never have taken place in a garden. He would have set it in the office. That is where power is built. It is also where power is transferred. Instead, Coppola does the opposite. He removes Vito from every symbol that has defined him throughout the film. The dark office is gone. The desk where life-and-death decisions were made is gone. The men waiting for his orders are gone. Even Don Corleone's black suit is gone. What remains is an elderly man in a simple cardigan, sitting among trees, speaking with his son in the soft light of late afternoon. At first glance, it seems like nothing more than a change of location. In cinematic terms, however, it is the most important choice in the entire sequence. For nearly three hours, Coppola carefully builds Vito through the language of power. In this scene, he deliberately strips those layers away. Not to make the character appear weaker. But to stop us from seeing Don Corleone—and allow us to see Vito. Just as importantly, Michael is never framed as a subordinate receiving instructions. The two men sit at eye level. The camera refuses to establish dominance. There is no composition of command and obedience. Because this is not staged as a transfer of authority. It is staged as a meeting. One man has almost reached the end of his journey. The other is about to begin its most difficult chapter. What Vito offers is not a collection of strategies for victory. Strategy belongs to its own time and circumstance. What he passes on is something deeper—a sense of direction that can endure even when circumstances inevitably change. That is why the rhythm of the scene becomes remarkably quiet. There is no conflict. No dramatic climax. No speech designed to astonish the audience. Coppola lets everything settle. Because some truths can only be heard after the noise has faded. That is also why he chooses the garden. Throughout The Godfather, it is the place closest to nature. A garden is where human beings care for life, but never create it. A gardener cannot force a seed to grow. He can only cultivate the conditions in which the life already within the seed may flourish. In a deeper sense, Vito is doing the same. He cannot live Michael's life for him. He cannot make the choices Michael will one day face. The only thing he can do is preserve what time has already proven to be enduring, and entrust it to the next generation. This is no longer instruction. It is continuity. Perhaps that is why Coppola refuses to place the conversation inside a room. He places it among trees. Because nature has always followed a simple law. A tree does not keep its fruit for itself. The fruit bears seeds. The seeds become new trees. Life does not continue through possession. Life continues through what is given away. And it is here that Coppola completes Vito Corleone's journey. For most of the film, Vito is a Don. He commands. He judges. He protects his family. He carries an entire order upon his shoulders. But in the garden, every one of those roles quietly falls away. What remains is not a crime boss. It is a man. A man no longer concerned with how much power he can hold. Only with what is worthy of living on after he is gone. Perhaps that is why this sequence leaves such a lasting impression. It does not ask us to admire Vito Corleone. It invites us to examine ourselves. One day our work will end. Our status will end. Our reputation will end. Even the roles life has entrusted to us will come to an end. When that day arrives, what will remain? Francis Ford Coppola never answers that question with dialogue. He answers it with images. He quietly removes a man from every symbol of power, returns him to the natural world, and lets life speak for itself. Perhaps that is why, more than half a century later, the garden scene still leaves audiences in silence. Not because it is about a Mafia family. But because it reminds us of something every human heart instinctively recognizes. A life is not ultimately measured by what we keep for ourselves, but by what is most true within us that continues to live on in the lives of others. Name movie: The Godfather (1972)

Many remember Vito Corleone's final conversation with Michael as the moment a father passes his empire to his son. But if that had truly been Francis Ford Coppola's central point, the scene would never have taken place in a garden. He would have set it in the office. That is where power is built. It is also where power is transferred. Instead, Coppola does the opposite. He removes Vito from every symbol that has defined him throughout the film. The dark office is gone. The desk where life-and-death decisions were made is gone. The men waiting for his orders are gone. Even Don Corleone's black suit is gone. What remains is an elderly man in a simple cardigan, sitting among trees, speaking with his son in the soft light of late afternoon. At first glance, it seems like nothing more than a change of location. In cinematic terms, however, it is the most important choice in the entire sequence. For nearly three hours, Coppola carefully builds Vito through the language of power. In this scene, he deliberately strips those layers away. Not to make the character appear weaker. But to stop us from seeing Don Corleone—and allow us to see Vito. Just as importantly, Michael is never framed as a subordinate receiving instructions. The two men sit at eye level. The camera refuses to establish dominance. There is no composition of command and obedience. Because this is not staged as a transfer of authority. It is staged as a meeting. One man has almost reached the end of his journey. The other is about to begin its most difficult chapter. What Vito offers is not a collection of strategies for victory. Strategy belongs to its own time and circumstance. What he passes on is something deeper—a sense of direction that can endure even when circumstances inevitably change. That is why the rhythm of the scene becomes remarkably quiet. There is no conflict. No dramatic climax. No speech designed to astonish the audience. Coppola lets everything settle. Because some truths can only be heard after the noise has faded. That is also why he chooses the garden. Throughout The Godfather, it is the place closest to nature. A garden is where human beings care for life, but never create it. A gardener cannot force a seed to grow. He can only cultivate the conditions in which the life already within the seed may flourish. In a deeper sense, Vito is doing the same. He cannot live Michael's life for him. He cannot make the choices Michael will one day face. The only thing he can do is preserve what time has already proven to be enduring, and entrust it to the next generation. This is no longer instruction. It is continuity. Perhaps that is why Coppola refuses to place the conversation inside a room. He places it among trees. Because nature has always followed a simple law. A tree does not keep its fruit for itself. The fruit bears seeds. The seeds become new trees. Life does not continue through possession. Life continues through what is given away. And it is here that Coppola completes Vito Corleone's journey. For most of the film, Vito is a Don. He commands. He judges. He protects his family. He carries an entire order upon his shoulders. But in the garden, every one of those roles quietly falls away. What remains is not a crime boss. It is a man. A man no longer concerned with how much power he can hold. Only with what is worthy of living on after he is gone. Perhaps that is why this sequence leaves such a lasting impression. It does not ask us to admire Vito Corleone. It invites us to examine ourselves. One day our work will end. Our status will end. Our reputation will end. Even the roles life has entrusted to us will come to an end. When that day arrives, what will remain? Francis Ford Coppola never answers that question with dialogue. He answers it with images. He quietly removes a man from every symbol of power, returns him to the natural world, and lets life speak for itself. Perhaps that is why, more than half a century later, the garden scene still leaves audiences in silence. Not because it is about a Mafia family. But because it reminds us of something every human heart instinctively recognizes. A life is not ultimately measured by what we keep for ourselves, but by what is most true within us that continues to live on in the lives of others. Name movie: The Godfather (1972)

Love Classical Music and Movies 🎺🎻💖🎥🎬

33,163 просмотров • 2 месяцев назад

Journey through Hell made with seedance 2.5 prompt :One continuous 30-second chaotic amateur first-person smartphone video filmed by a standing passenger inside a completely packed magnetic-levitation commuter train. Single unbroken take with no cuts, jump cuts, dissolves, crossfades, double exposures, portals, morphing or artificial scene transitions. The train begins as an ordinary weekday commute on Earth and then physically travels downward on an impossible journey — through subway tunnels into bedrock, into a colossal void beneath the crust, past a soot-blackened waiting platform, through an immense eroded gate, out above a burning plain, down the terraced wall of a vast pit, and into the inhabited depths of Hell. Everything must feel physically connected, as though the same train is genuinely travelling down through each environment. The tone is bureaucratic dread, not horror-movie shock. This is a scheduled service. The route is old, the infrastructure is worn, and the train runs it the way it runs any other line. The horror comes from how ordinary the journey is and how enormous the destination turns out to be. The interior is a completely packed standing-room-only maglev commuter car. Passengers are pressed shoulder-to-shoulder, gripping overhead straps and vertical poles. Backpacks are squeezed between bodies, coats and loose clothing shift with acceleration, straps swing on their inertia, and the entire carriage constantly vibrates and rattles. The camera is a cheap smartphone held at chest height by one standing passenger who grips a pole with the other hand. The phone itself is NEVER visible because the phone is the camera. The framing is crooked, slightly off-centre, partially blocked by shoulders and arms, and imperfect like genuine accidental footage. The camera constantly shakes, rolls, yaws and gets thrown around by acceleration. Use realistic rolling-shutter distortion, autofocus hunting, exposure pumping, blown highlights, crushed noisy shadows, low-bitrate compression, macroblocking and smeared motion blur. It must look like genuine spontaneous smartphone footage, not professional cinematic footage. The camera always looks through the LEFT-SIDE WINDOWS at approximately 90 degrees to the train's direction of travel. The train always travels forward and the outside world always streams past the windows from front-to-back. Never switch to a forward-facing train-nose view. Never show the front of the train. The same carriage, same passengers, same poles, same straps and same windows remain visually consistent throughout the entire journey. The interior is the constant realistic anchor while the outside world becomes increasingly impossible. 0 to 3 seconds. Begin with an ordinary overcast weekday commute on an elevated urban line. Grey apartment blocks, rooftop water tanks, a scrapyard, overhead wires, a canal and traffic on a road below streak past the left windows at different distances with realistic parallax. The passengers are tired and mostly uninterested — some on phones, some staring out, some talking quietly. A calm public-address chime sounds and an announcer quietly says, "Next stop: Hell." Nobody reacts. One passenger glances up briefly and goes back to their phone. The train accelerates and everyone instinctively tightens their grip as the carriage gives a hard lateral jolt. 3 to 6 seconds. The line drops into a cutting and then into a tunnel. Tiled subway walls, cable runs, service lights and a passing platform strobe across the windows in hard bands of light and dark, throwing the carriage into stuttering illumination. The tunnel ages as the train descends: modern concrete becomes older brickwork, then rough-cut stone. The fittings become scorched and soot-caked — blackened signal lights, corroded brackets, cabling burnt down to bare metal. This route has been running a long time. The gradient steepens noticeably; passengers lean back against the pitch and the straps hang visibly off-vertical. 6 to 9 seconds. The tunnel wall becomes raw geology and the train is now clearly descending through the crust at impossible speed. Through the left windows the rock face streaks past in visible strata — pale limestone, dark shale, red iron-stained bands, seams catching the carriage light. The air begins to heat and passengers loosen collars. Then, under the mechanical roar, a sound arrives before anything is visible: a vast, distant, continuous mass of human voices, far away and heavily reverberant, never resolving into individual words. It is not loud. It is simply there, and it does not stop. Two passengers look at each other. Nobody says anything. 9 to 11.5 seconds. The rock wall falls away entirely and the train emerges into a void larger than a city, with no visible far side. It runs along a ledge on the wall; below the windows the space drops away into darkness. Stone columns kilometres tall stand in the void with strong parallax — near ones sweeping past, distant ones barely shifting. Far below and far ahead, a faint orange glow is already visible. It must already exist in the frame from this moment and grow continuously from here forward without ever popping or suddenly enlarging. The voices are louder here, spread across an enormous space. One passenger near the glass leans forward slightly. Another quietly says, "Ohh." 11.5 to 14 seconds. The train passes a station. A soot-blackened platform is cut into the rock wall — worn edge, dead lamps, faded markings unreadable under the grime — and figures are standing on it in an orderly queue, waiting, facing the track, completely motionless. They are seen for less than a second at speed, as dark shapes against the platform light, never close enough to read faces. The train does not slow. Nobody boards. The platform is gone behind the carriage. This is the moment the passengers understand. Several stop looking at their phones. Embers begin drifting upward past the windows from below. 14 to 16 seconds. Ahead, a wall crosses the entire void — a single continuous barrier extending beyond sight in both directions and upward past the ceiling. The train passes through an immense gateway cut into it, an arch hundreds of metres tall, its stone eroded smooth by an unimaginable volume of traffic, its carved markings worn past legibility. For half a second the carriage is in the shadow of the arch and everything goes dark. Then it is through, and the light on the far side is completely different: warm, hard, and coming from below. 16 to 19 seconds. The train races above a burning plain. Outside the left windows: a vast crusted expanse of dark solidified ground cracked into slow-moving plates with brilliant orange fissures running between them, distant fountains of molten material rising and falling in slow motion because of their true scale, and smoke columns standing kilometres high. Running across it are raised stone causeways, and on the causeways are crowds — dense, continuous, moving slowly, all in the same direction, extending to the limit of visibility. They are seen only as masses at distance, never in detail. The light entering the carriage is now dominant and hard, throwing sharp orange edges on faces, poles and straps with deep black shadows behind them. The interior air is visibly hazy. The voices are constant. 19 to 21 seconds. The plain ends at the rim of a colossal pit — a shaft so wide the far wall is only a suggestion in the haze. The train races over the edge and begins descending along the interior wall. The wall is terraced: enormous concentric ledges receding downward, each deeper and darker than the last, disappearing into smoke layers. The descent acceleration pushes the passengers down and forward against the poles. Ash begins striking the windows and streaking backward. 21 to 23 seconds. The terraces are populated. Endless slow processions move along every ledge, strings of figures following the curve of the wall down into the smoke and out of sight, lit from below by the fires beneath them. There is no chaos in it — it is orderly, patient and entirely without end, which is worse. Furnace mouths open in the rock face, glowing white at their throats, and long queues stand before them. Everything is at distance. Nothing is close enough to resolve. The light entering the carriage takes on a deeper red and the fluorescents are overwhelmed. Passengers nearest the window press slightly closer to the glass. 23 to 25 seconds. Enormous shapes move among the terraces — figures many times the height of the crowds around them, walking slowly along the ledges, their scale established only by comparison. They do not look at the train. Distant winged forms cross beneath the carriage at low altitude with slow heavy wingbeats appropriate to their size and vanish into the smoke. Stone pens and barred openings are cut into the wall in their thousands, receding into the haze like housing. Ash accumulates in the corners of the windows. The carriage is hot enough that the glass fogs and clears in waves. 25 to 27 seconds. The train reaches the deep layer and the full extent of Hell reveals itself. It is not a city on a human plan and it is not a cavern. It is a continuous inhabited geology extending in every direction — towers of black stone fused into cliff faces, vaults hollowed out of the rock at cathedral scale, rivers of molten material running in cut channels between districts and falling in slow luminous cataracts to levels further down, bridges spanning gaps kilometres across, and everywhere on all of it, crowds. Smoke columns rise for kilometres and flatten against unseen ceilings. Every level is lit by its own fires. The train races along a ridge line through the middle of it; arches and aqueduct spans pass overhead and terraces stream past below the window with violent parallax. It is impossible to see where any of it ends. 27 to 29 seconds. The depths continue past the windows. The camera struggles badly with the contrast, blowing out the fires and crushing everything else into noise. Ash cakes the corners of the glass. Passengers are pressed against the windows in total silence, faces lit from below in hard orange, expressions stunned and completely still. One person quietly whispers, "What is that?" Nobody answers. Autofocus hunts between the ash on the glass and the world beyond it. 29 to 30 seconds. The fires end. The train passes out of the smoke and the lowest region opens — and it is not burning. It is a vast frozen plain stretching beyond the visible horizon, an impossibly wide sheet of dark grey ice, absolutely still, lit by nothing but a faint pale glow from within itself. Shapes are visible held motionless within it, spaced far apart, receding to the horizon, never shown in detail. Every exterior sound stops at once — the voices, the fires, everything — leaving only the carriage. The heat drops out and frost blooms instantly across the outside of the windows. The scale feels planetary. The passengers stare in complete silence. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." The train continues moving. The camera keeps shaking naturally as the frozen expanse extends endlessly beyond the left window. Lighting The lighting must evolve naturally throughout the journey. Begin with flat overcast daylight around 6500K. In the tunnels use harsh strobing bands from passing service lights against near-total dark, then let the sources become sparse until the carriage's own weak fluorescent tubes are the only illumination. In the void the interior lights fall off into nothing. Then introduce a growing warm orange from below — first a faint wash on the lower half of faces, then mixing with the cold interior white, then completely dominating it: hard, high-contrast, sharp-edged, with deep black shadows. Above the burning plain it should be strong enough to blow out the phone's sensor at the window. In the deep layer it becomes red-orange and omnidirectional from countless fires at every distance. In the final second all warm light vanishes and is replaced by a faint pale luminance from the ice, cold and almost sourceless. All exterior light must enter naturally through the LEFT-SIDE WINDOWS and fall across passengers' faces and clothing at every stage. Do not add artificial interior lighting to create the colours. Passengers Keep all passengers completely ordinary throughout the journey. Realistic skin texture, subtle capillary variation, natural blinking, breathing, eye movement and imperfect facial symmetry. Clothing has realistic folds and responds to acceleration. Passengers must continuously perform small independent movements: shifting weight, adjusting grip, loosening a collar in the heat, wiping fog from the glass, turning their heads, tightening their hands around poles. Do not make them freeze. Do not make everyone react at the same moment. Do not let them perform dramatic acting. Their emotional progression is subtle: indifference at the announcement → mild confusion in the tunnels → unease when the voices arrive → the exact moment of understanding as the waiting platform passes → dread on the descent → complete stunned silence in the depths. No screaming. Only one soft "Ohh" at the first glow and one whispered "What is that?" near the end. The most powerful reaction is no reaction — just faces pressed against the glass, lit from below by something that should not exist. Physics The train always travels forward and always downward after the tunnel. Passengers sway according to acceleration and lean against the gradient; straps hang off-vertical on the descents. Loose clothing reacts to movement. Exterior objects have different velocities and distances with strong realistic parallax at every stage — near stone columns sweep past, mid-distance terraces move steadily, distant districts barely shift. Ash and embers must move independently of the train, drifting upward on thermal currents rather than streaming with the carriage. Heat must be expressed physically: window fogging and clearing, haze inside the carriage, frost at the very end. Enormous figures and flying forms must move slowly, because they are enormous. Nothing teleports, nothing freezes, nothing suddenly appears, and nothing changes position without physical cause. No transitions There are absolutely no visual transitions. No dissolves, crossfades, portals, morphing or ghosted overlays. Every environment change happens because the train physically travels into the next environment. The city becomes a cutting, the cutting becomes a tunnel, the tunnel becomes bedrock, the bedrock opens into the void, the void contains the waiting platform, the void ends at the wall, the gateway gives onto the burning plain, the plain ends at the pit rim, the rim becomes a terraced descent, the terraces fill with processions, the processions become the full inhabited depths, and the depths open onto the frozen plain. It must feel like one physically continuous impossible journey where every step is the inevitable consequence of the step before it. Audio Audio must be entirely diegetic with no music. Use cheap compressed smartphone microphone quality. The train produces a constant deep maglev roar, mechanical clatter, rattling poles, vibrating windows, swinging straps and low-frequency carriage rumble, plus passenger breathing and clothing movement. In the tunnels add hard reverberant slap-back and pressure changes as the train passes openings. The defining sound of this video is the voices. They must arrive at 6 to 9 seconds, before anything is visible, as a distant continuous mass of human voices with enormous reverberation, never resolving into words and never rising to screaming. From that point they never stop. They grow with depth and spread across a wider stereo field as the spaces open up. Beneath them, a very low frequency resonance builds steadily, felt more than heard. Above the burning plain add a broad distant roar and irregular deep concussions at long intervals. Ash strikes the hull as fine irregular ticking. In the depths the voices are vast, layered at many distances, and mixed with immense indistinct industrial-scale sound that never resolves into detail. In the final second every exterior sound stops at once — total silence outside, leaving only the carriage, the passengers' breathing, and ice creaking against the hull. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." Style and content limits The overall style must remain dirty photorealistic amateur smartphone footage despite the spectacular environments. Vertical 9:16, real-time speed, no slow motion, no stabilisation, no cinematic camera, no perfect composition, no clean VFX presentation. Use heavy shadow noise, blown highlights, low-bitrate compression, rolling-shutter skew, autofocus hunting, auto-exposure pumping, smeared motion blur and crooked framing. The camera should occasionally be partially blocked by a shoulder, arm or nearby passenger, and should struggle badly with the extreme contrast between fire and darkness. Hell is conveyed through scale, architecture, crowds at distance, fire, ash and sound. Do not show suffering, injury, bodies, blood, restraints or any graphic content. Every figure outside the train stays a distant silhouette or part of a mass — none is ever close enough for its face or condition to be read. Do not use recognisable religious iconography or legible text of any kind; all markings are eroded past legibility. Do not make it look like a game cinematic or a clean VFX render. The world outside should be overwhelming and physically impossible, but the recording itself must look raw, accidental and believable. The most important rule ONE SINGLE CONTINUOUS TAKE. No cuts, no jump cuts, no dissolves, no crossfades, no scene resets and no artificial transitions. The same train, same passengers and same camera remain present from beginning to end. The orange glow must be visible as a faint distant smudge from the first cavern and grow continuously and inevitably until it fills the window. The voices must arrive before the fire and never stop until the final second. The heat must build physically across the whole descent so that its total disappearance at the end lands as a shock. The population must emerge gradually — the waiting platform, then crowds on the causeways, then processions on the terraces, then the full inhabited depths — never appearing all at once. End while the train is still moving, the frozen plain extending endlessly beyond the left window, passengers silent, carriage still shaking, the PA announcement fading into the sound of ice.

Journey through Hell made with seedance 2.5 prompt :One continuous 30-second chaotic amateur first-person smartphone video filmed by a standing passenger inside a completely packed magnetic-levitation commuter train. Single unbroken take with no cuts, jump cuts, dissolves, crossfades, double exposures, portals, morphing or artificial scene transitions. The train begins as an ordinary weekday commute on Earth and then physically travels downward on an impossible journey — through subway tunnels into bedrock, into a colossal void beneath the crust, past a soot-blackened waiting platform, through an immense eroded gate, out above a burning plain, down the terraced wall of a vast pit, and into the inhabited depths of Hell. Everything must feel physically connected, as though the same train is genuinely travelling down through each environment. The tone is bureaucratic dread, not horror-movie shock. This is a scheduled service. The route is old, the infrastructure is worn, and the train runs it the way it runs any other line. The horror comes from how ordinary the journey is and how enormous the destination turns out to be. The interior is a completely packed standing-room-only maglev commuter car. Passengers are pressed shoulder-to-shoulder, gripping overhead straps and vertical poles. Backpacks are squeezed between bodies, coats and loose clothing shift with acceleration, straps swing on their inertia, and the entire carriage constantly vibrates and rattles. The camera is a cheap smartphone held at chest height by one standing passenger who grips a pole with the other hand. The phone itself is NEVER visible because the phone is the camera. The framing is crooked, slightly off-centre, partially blocked by shoulders and arms, and imperfect like genuine accidental footage. The camera constantly shakes, rolls, yaws and gets thrown around by acceleration. Use realistic rolling-shutter distortion, autofocus hunting, exposure pumping, blown highlights, crushed noisy shadows, low-bitrate compression, macroblocking and smeared motion blur. It must look like genuine spontaneous smartphone footage, not professional cinematic footage. The camera always looks through the LEFT-SIDE WINDOWS at approximately 90 degrees to the train's direction of travel. The train always travels forward and the outside world always streams past the windows from front-to-back. Never switch to a forward-facing train-nose view. Never show the front of the train. The same carriage, same passengers, same poles, same straps and same windows remain visually consistent throughout the entire journey. The interior is the constant realistic anchor while the outside world becomes increasingly impossible. 0 to 3 seconds. Begin with an ordinary overcast weekday commute on an elevated urban line. Grey apartment blocks, rooftop water tanks, a scrapyard, overhead wires, a canal and traffic on a road below streak past the left windows at different distances with realistic parallax. The passengers are tired and mostly uninterested — some on phones, some staring out, some talking quietly. A calm public-address chime sounds and an announcer quietly says, "Next stop: Hell." Nobody reacts. One passenger glances up briefly and goes back to their phone. The train accelerates and everyone instinctively tightens their grip as the carriage gives a hard lateral jolt. 3 to 6 seconds. The line drops into a cutting and then into a tunnel. Tiled subway walls, cable runs, service lights and a passing platform strobe across the windows in hard bands of light and dark, throwing the carriage into stuttering illumination. The tunnel ages as the train descends: modern concrete becomes older brickwork, then rough-cut stone. The fittings become scorched and soot-caked — blackened signal lights, corroded brackets, cabling burnt down to bare metal. This route has been running a long time. The gradient steepens noticeably; passengers lean back against the pitch and the straps hang visibly off-vertical. 6 to 9 seconds. The tunnel wall becomes raw geology and the train is now clearly descending through the crust at impossible speed. Through the left windows the rock face streaks past in visible strata — pale limestone, dark shale, red iron-stained bands, seams catching the carriage light. The air begins to heat and passengers loosen collars. Then, under the mechanical roar, a sound arrives before anything is visible: a vast, distant, continuous mass of human voices, far away and heavily reverberant, never resolving into individual words. It is not loud. It is simply there, and it does not stop. Two passengers look at each other. Nobody says anything. 9 to 11.5 seconds. The rock wall falls away entirely and the train emerges into a void larger than a city, with no visible far side. It runs along a ledge on the wall; below the windows the space drops away into darkness. Stone columns kilometres tall stand in the void with strong parallax — near ones sweeping past, distant ones barely shifting. Far below and far ahead, a faint orange glow is already visible. It must already exist in the frame from this moment and grow continuously from here forward without ever popping or suddenly enlarging. The voices are louder here, spread across an enormous space. One passenger near the glass leans forward slightly. Another quietly says, "Ohh." 11.5 to 14 seconds. The train passes a station. A soot-blackened platform is cut into the rock wall — worn edge, dead lamps, faded markings unreadable under the grime — and figures are standing on it in an orderly queue, waiting, facing the track, completely motionless. They are seen for less than a second at speed, as dark shapes against the platform light, never close enough to read faces. The train does not slow. Nobody boards. The platform is gone behind the carriage. This is the moment the passengers understand. Several stop looking at their phones. Embers begin drifting upward past the windows from below. 14 to 16 seconds. Ahead, a wall crosses the entire void — a single continuous barrier extending beyond sight in both directions and upward past the ceiling. The train passes through an immense gateway cut into it, an arch hundreds of metres tall, its stone eroded smooth by an unimaginable volume of traffic, its carved markings worn past legibility. For half a second the carriage is in the shadow of the arch and everything goes dark. Then it is through, and the light on the far side is completely different: warm, hard, and coming from below. 16 to 19 seconds. The train races above a burning plain. Outside the left windows: a vast crusted expanse of dark solidified ground cracked into slow-moving plates with brilliant orange fissures running between them, distant fountains of molten material rising and falling in slow motion because of their true scale, and smoke columns standing kilometres high. Running across it are raised stone causeways, and on the causeways are crowds — dense, continuous, moving slowly, all in the same direction, extending to the limit of visibility. They are seen only as masses at distance, never in detail. The light entering the carriage is now dominant and hard, throwing sharp orange edges on faces, poles and straps with deep black shadows behind them. The interior air is visibly hazy. The voices are constant. 19 to 21 seconds. The plain ends at the rim of a colossal pit — a shaft so wide the far wall is only a suggestion in the haze. The train races over the edge and begins descending along the interior wall. The wall is terraced: enormous concentric ledges receding downward, each deeper and darker than the last, disappearing into smoke layers. The descent acceleration pushes the passengers down and forward against the poles. Ash begins striking the windows and streaking backward. 21 to 23 seconds. The terraces are populated. Endless slow processions move along every ledge, strings of figures following the curve of the wall down into the smoke and out of sight, lit from below by the fires beneath them. There is no chaos in it — it is orderly, patient and entirely without end, which is worse. Furnace mouths open in the rock face, glowing white at their throats, and long queues stand before them. Everything is at distance. Nothing is close enough to resolve. The light entering the carriage takes on a deeper red and the fluorescents are overwhelmed. Passengers nearest the window press slightly closer to the glass. 23 to 25 seconds. Enormous shapes move among the terraces — figures many times the height of the crowds around them, walking slowly along the ledges, their scale established only by comparison. They do not look at the train. Distant winged forms cross beneath the carriage at low altitude with slow heavy wingbeats appropriate to their size and vanish into the smoke. Stone pens and barred openings are cut into the wall in their thousands, receding into the haze like housing. Ash accumulates in the corners of the windows. The carriage is hot enough that the glass fogs and clears in waves. 25 to 27 seconds. The train reaches the deep layer and the full extent of Hell reveals itself. It is not a city on a human plan and it is not a cavern. It is a continuous inhabited geology extending in every direction — towers of black stone fused into cliff faces, vaults hollowed out of the rock at cathedral scale, rivers of molten material running in cut channels between districts and falling in slow luminous cataracts to levels further down, bridges spanning gaps kilometres across, and everywhere on all of it, crowds. Smoke columns rise for kilometres and flatten against unseen ceilings. Every level is lit by its own fires. The train races along a ridge line through the middle of it; arches and aqueduct spans pass overhead and terraces stream past below the window with violent parallax. It is impossible to see where any of it ends. 27 to 29 seconds. The depths continue past the windows. The camera struggles badly with the contrast, blowing out the fires and crushing everything else into noise. Ash cakes the corners of the glass. Passengers are pressed against the windows in total silence, faces lit from below in hard orange, expressions stunned and completely still. One person quietly whispers, "What is that?" Nobody answers. Autofocus hunts between the ash on the glass and the world beyond it. 29 to 30 seconds. The fires end. The train passes out of the smoke and the lowest region opens — and it is not burning. It is a vast frozen plain stretching beyond the visible horizon, an impossibly wide sheet of dark grey ice, absolutely still, lit by nothing but a faint pale glow from within itself. Shapes are visible held motionless within it, spaced far apart, receding to the horizon, never shown in detail. Every exterior sound stops at once — the voices, the fires, everything — leaving only the carriage. The heat drops out and frost blooms instantly across the outside of the windows. The scale feels planetary. The passengers stare in complete silence. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." The train continues moving. The camera keeps shaking naturally as the frozen expanse extends endlessly beyond the left window. Lighting The lighting must evolve naturally throughout the journey. Begin with flat overcast daylight around 6500K. In the tunnels use harsh strobing bands from passing service lights against near-total dark, then let the sources become sparse until the carriage's own weak fluorescent tubes are the only illumination. In the void the interior lights fall off into nothing. Then introduce a growing warm orange from below — first a faint wash on the lower half of faces, then mixing with the cold interior white, then completely dominating it: hard, high-contrast, sharp-edged, with deep black shadows. Above the burning plain it should be strong enough to blow out the phone's sensor at the window. In the deep layer it becomes red-orange and omnidirectional from countless fires at every distance. In the final second all warm light vanishes and is replaced by a faint pale luminance from the ice, cold and almost sourceless. All exterior light must enter naturally through the LEFT-SIDE WINDOWS and fall across passengers' faces and clothing at every stage. Do not add artificial interior lighting to create the colours. Passengers Keep all passengers completely ordinary throughout the journey. Realistic skin texture, subtle capillary variation, natural blinking, breathing, eye movement and imperfect facial symmetry. Clothing has realistic folds and responds to acceleration. Passengers must continuously perform small independent movements: shifting weight, adjusting grip, loosening a collar in the heat, wiping fog from the glass, turning their heads, tightening their hands around poles. Do not make them freeze. Do not make everyone react at the same moment. Do not let them perform dramatic acting. Their emotional progression is subtle: indifference at the announcement → mild confusion in the tunnels → unease when the voices arrive → the exact moment of understanding as the waiting platform passes → dread on the descent → complete stunned silence in the depths. No screaming. Only one soft "Ohh" at the first glow and one whispered "What is that?" near the end. The most powerful reaction is no reaction — just faces pressed against the glass, lit from below by something that should not exist. Physics The train always travels forward and always downward after the tunnel. Passengers sway according to acceleration and lean against the gradient; straps hang off-vertical on the descents. Loose clothing reacts to movement. Exterior objects have different velocities and distances with strong realistic parallax at every stage — near stone columns sweep past, mid-distance terraces move steadily, distant districts barely shift. Ash and embers must move independently of the train, drifting upward on thermal currents rather than streaming with the carriage. Heat must be expressed physically: window fogging and clearing, haze inside the carriage, frost at the very end. Enormous figures and flying forms must move slowly, because they are enormous. Nothing teleports, nothing freezes, nothing suddenly appears, and nothing changes position without physical cause. No transitions There are absolutely no visual transitions. No dissolves, crossfades, portals, morphing or ghosted overlays. Every environment change happens because the train physically travels into the next environment. The city becomes a cutting, the cutting becomes a tunnel, the tunnel becomes bedrock, the bedrock opens into the void, the void contains the waiting platform, the void ends at the wall, the gateway gives onto the burning plain, the plain ends at the pit rim, the rim becomes a terraced descent, the terraces fill with processions, the processions become the full inhabited depths, and the depths open onto the frozen plain. It must feel like one physically continuous impossible journey where every step is the inevitable consequence of the step before it. Audio Audio must be entirely diegetic with no music. Use cheap compressed smartphone microphone quality. The train produces a constant deep maglev roar, mechanical clatter, rattling poles, vibrating windows, swinging straps and low-frequency carriage rumble, plus passenger breathing and clothing movement. In the tunnels add hard reverberant slap-back and pressure changes as the train passes openings. The defining sound of this video is the voices. They must arrive at 6 to 9 seconds, before anything is visible, as a distant continuous mass of human voices with enormous reverberation, never resolving into words and never rising to screaming. From that point they never stop. They grow with depth and spread across a wider stereo field as the spaces open up. Beneath them, a very low frequency resonance builds steadily, felt more than heard. Above the burning plain add a broad distant roar and irregular deep concussions at long intervals. Ash strikes the hull as fine irregular ticking. In the depths the voices are vast, layered at many distances, and mixed with immense indistinct industrial-scale sound that never resolves into detail. In the final second every exterior sound stops at once — total silence outside, leaving only the carriage, the passengers' breathing, and ice creaking against the hull. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." Style and content limits The overall style must remain dirty photorealistic amateur smartphone footage despite the spectacular environments. Vertical 9:16, real-time speed, no slow motion, no stabilisation, no cinematic camera, no perfect composition, no clean VFX presentation. Use heavy shadow noise, blown highlights, low-bitrate compression, rolling-shutter skew, autofocus hunting, auto-exposure pumping, smeared motion blur and crooked framing. The camera should occasionally be partially blocked by a shoulder, arm or nearby passenger, and should struggle badly with the extreme contrast between fire and darkness. Hell is conveyed through scale, architecture, crowds at distance, fire, ash and sound. Do not show suffering, injury, bodies, blood, restraints or any graphic content. Every figure outside the train stays a distant silhouette or part of a mass — none is ever close enough for its face or condition to be read. Do not use recognisable religious iconography or legible text of any kind; all markings are eroded past legibility. Do not make it look like a game cinematic or a clean VFX render. The world outside should be overwhelming and physically impossible, but the recording itself must look raw, accidental and believable. The most important rule ONE SINGLE CONTINUOUS TAKE. No cuts, no jump cuts, no dissolves, no crossfades, no scene resets and no artificial transitions. The same train, same passengers and same camera remain present from beginning to end. The orange glow must be visible as a faint distant smudge from the first cavern and grow continuously and inevitably until it fills the window. The voices must arrive before the fire and never stop until the final second. The heat must build physically across the whole descent so that its total disappearance at the end lands as a shock. The population must emerge gradually — the waiting platform, then crowds on the causeways, then processions on the terraces, then the full inhabited depths — never appearing all at once. End while the train is still moving, the frozen plain extending endlessly beyond the left window, passengers silent, carriage still shaking, the PA announcement fading into the sound of ice.

Ciri

19,504 просмотров • 1 месяц назад

It’s time to expose Corona, Modelo, Pacifico and their parent company Constellation Brands. Constellation Brands owns some of the largest beer brands in the world but they’ve gone totally woke. Here’s some of what we found: • They fund "all ages" Pride events • Worked with the far left HRC who supports child sex changes • Uses "Latinx" to refer to Latinos and Hispanics • Donated $500,000 to illegal immigration group UnidosUS whose President says that Trump is "fueling" racism • Signed onto HRC initiative to support the so called "equality act" which would legalize biological men in girls sports, locker rooms and bathrooms • Gives preferential treatment to "diverse" suppliers by giving them their own program • Has a far left DEI department • Flew Transgender flag at their offices • Hosted LGBTQ+ events at their corporate office • BRG groups divided by race + sexual preferences. • A total commitment to DEI policies. • Has bragged about their great HRC CEI scores which is essentially a scoring system to signal how woke you are about the trans agenda • Has MANY activist employees driving this far left policy agenda • Invests far more in Mexico than the US despite dependence on US consumers to survive as a company To put it mildly, Constellation Brands Corona USA Cerveza Modelo Pacifico Beer and their other brands have forgotten who their core customers are. They depend on Americans to buy their beers. It’s time to remind them who their customers are. We accidentally rewarded them after BudLight’s transgender marketing disaster but now we can correct that mistake. This is just some of what we’ve found by the way, I will reveal more in the coming days. To my fellow Latinos, are we going to give our money to a company that refers to us as Latinx and pushes a social agenda that opposes everything our families stand for? I’m certainly not going to. If you think their values don’t align with yours and you’re a customer who wants to speak out, their contact info is ⬇️ Remember to ALWAYS BE KIND. Many in customer service agree with you. These are all publicly listed contacts by the company. Being rude hurts our cause: Constellation Brands customer care: 1-888-659-7900 Specific Emails: pressConstellation Brands.com Joseph Suarez Vice President, Investor Relations joseph.suarezConstellation Brands.com Snehal Shah Director, Investor Relations snehal.shahConstellation Brands.com Mike McGrew VP Corporate Communications / Diversity Officer michael.mcgrewConstellation Brands.com Amy Martin VP/Corporate Reputation amy.martinConstellation Brands.com Our goal with reporting is never destruction, it’s restoration of sanity. We do this by informing consumers about the policies companies are adopting so they can make choices about what they’re willing to support as a consumer. It’s not cancel culture, it’s capitalism. So far you’ve helped me change corporate policy at Tractor Supply, John Deere, Harley Davidson, Polaris, Indian Motorcycle, Lowe’s, Ford, Coors, Stanley Black & Decker, Jack Daniels, DeWalt tools, Craftsman, Caterpillar, Boeing, Toyota, Walmart, McDonald’s, META, Target, Accenture, Pepsi, Gatorade, Rockstar Energy and AT&T! We’re a force to be reckoned with and we won’t stop until wokeness is extinct. When we use our voices and wallets to vote our values, we can change the world and we can restore great companies to a culture of sanity, meritocracy and political neutrality OR we can inspire competitors to step up to fight for our business. The customer is king and most of us just want companies we shop at to stop virtue signaling about divisive social, cultural and political issues. If you agree then share this video and tag other accounts so they share it too. If you support our movement then you can help fund our team by subscribing to my X page for $5 a month or any amount at Become a whistleblower against a woke company by going to

It’s time to expose Corona, Modelo, Pacifico and their parent company Constellation Brands. Constellation Brands owns some of the largest beer brands in the world but they’ve gone totally woke. Here’s some of what we found: • They fund "all ages" Pride events • Worked with the far left HRC who supports child sex changes • Uses "Latinx" to refer to Latinos and Hispanics • Donated $500,000 to illegal immigration group UnidosUS whose President says that Trump is "fueling" racism • Signed onto HRC initiative to support the so called "equality act" which would legalize biological men in girls sports, locker rooms and bathrooms • Gives preferential treatment to "diverse" suppliers by giving them their own program • Has a far left DEI department • Flew Transgender flag at their offices • Hosted LGBTQ+ events at their corporate office • BRG groups divided by race + sexual preferences. • A total commitment to DEI policies. • Has bragged about their great HRC CEI scores which is essentially a scoring system to signal how woke you are about the trans agenda • Has MANY activist employees driving this far left policy agenda • Invests far more in Mexico than the US despite dependence on US consumers to survive as a company To put it mildly, Constellation Brands Corona USA Cerveza Modelo Pacifico Beer and their other brands have forgotten who their core customers are. They depend on Americans to buy their beers. It’s time to remind them who their customers are. We accidentally rewarded them after BudLight’s transgender marketing disaster but now we can correct that mistake. This is just some of what we’ve found by the way, I will reveal more in the coming days. To my fellow Latinos, are we going to give our money to a company that refers to us as Latinx and pushes a social agenda that opposes everything our families stand for? I’m certainly not going to. If you think their values don’t align with yours and you’re a customer who wants to speak out, their contact info is ⬇️ Remember to ALWAYS BE KIND. Many in customer service agree with you. These are all publicly listed contacts by the company. Being rude hurts our cause: Constellation Brands customer care: 1-888-659-7900 Specific Emails: pressConstellation Brands.com Joseph Suarez Vice President, Investor Relations joseph.suarezConstellation Brands.com Snehal Shah Director, Investor Relations snehal.shahConstellation Brands.com Mike McGrew VP Corporate Communications / Diversity Officer michael.mcgrewConstellation Brands.com Amy Martin VP/Corporate Reputation amy.martinConstellation Brands.com Our goal with reporting is never destruction, it’s restoration of sanity. We do this by informing consumers about the policies companies are adopting so they can make choices about what they’re willing to support as a consumer. It’s not cancel culture, it’s capitalism. So far you’ve helped me change corporate policy at Tractor Supply, John Deere, Harley Davidson, Polaris, Indian Motorcycle, Lowe’s, Ford, Coors, Stanley Black & Decker, Jack Daniels, DeWalt tools, Craftsman, Caterpillar, Boeing, Toyota, Walmart, McDonald’s, META, Target, Accenture, Pepsi, Gatorade, Rockstar Energy and AT&T! We’re a force to be reckoned with and we won’t stop until wokeness is extinct. When we use our voices and wallets to vote our values, we can change the world and we can restore great companies to a culture of sanity, meritocracy and political neutrality OR we can inspire competitors to step up to fight for our business. The customer is king and most of us just want companies we shop at to stop virtue signaling about divisive social, cultural and political issues. If you agree then share this video and tag other accounts so they share it too. If you support our movement then you can help fund our team by subscribing to my X page for $5 a month or any amount at Become a whistleblower against a woke company by going to

Robby Starbuck

915,380 просмотров • 1 год назад