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Step into Madhya Pradesh, where Moh Liya Re becomes a reality amidst breathtaking beauty. As India’s offbeat multispecialty destination, this enchanting land invites you on a soulful journey, where spirituality cleanses the heart, and every moment is filled with wonder. From vibrant wildlife and untouched nature to timeless architecture,...

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Madhya Pradesh Tourism

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26,047 views • 1 year ago •via X (Twitter)

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Sachin Patidar's profile picture
Sachin Patidar1 year ago

@MPTourism could you prepare an interactive map for all the tourist places in MP. This will be very helpful for anyone who is planning to visit the state. You can put it on existing website. For reference -

Madhya Pradesh Tourism's profile picture
Madhya Pradesh Tourism1 year ago

Thank you for your feedback and suggestions.

Antonietta Gray's profile picture
Antonietta Gray1 year ago

MP ka charm aur scenic views dekh ke bas dil chha gaya! Kabhi toh visit karenge! ✨🌿 #MohLiyaRe

Amanda Darby's profile picture
Amanda Darby1 year ago

MP ke rang aur wahan ki khoobsurati sach mein Adbhut hai! 🧳💖 #MPDiaries #MohLiyaRe

Cary Albarran's profile picture
Cary Albarran1 year ago

Jis tarah se yeh location shoot ki hai, bas MP ne pura Adbhut magic create kiya hai! 🎬💫

Madhya Pradesh Tourism's profile picture
Madhya Pradesh Tourism1 year ago

Happy to hear from you. Keep Following!

Charles Bourque's profile picture
Charles Bourque1 year ago

Acting bhi superb aur MP ki beauty toh Adbhut hai! Bas trip ka plan ban gaya! 🧳🌏

Carolyn Neeley's profile picture
Carolyn Neeley1 year ago

MP ke rang aur wahan ki khoobsurati sach mein Adbhut hai! 🧳💖 #MPDiaries #MohLiyaRe

Loren Bidwell's profile picture
Loren Bidwell1 year ago

Madhya Pradesh ka sukoon aur khoobsurati ne toh #MohLiyaRe! Truly mesmerizing! 🌄✨

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Nestled along the eastern coastline of India, Odisha is a land where spirituality, heritage, and nature come together in a deeply rooted cultural landscape. From ancient temples to vibrant festivals, the state reflects a timeless connection between devotion and everyday life. Home to iconic landmarks such as the Konark Sun Temple and the sacred Jagannath Temple in Puri, Odisha’s spiritual essence is brought to life through grand celebrations like the Rath Yatra and Durga Puja. Its rich traditions extend to classical dance forms, intricate handicrafts like Pattachitra and silver filigree, and diverse tribal communities that preserve age-old ways of life. Beyond its cultural depth, Odisha offers serene coastal experiences and ecological richness—from the tranquil shores of Puri to the vast expanse of Chilika Lake, a haven for migratory birds and unique biodiversity. Its cuisine, with dishes like Pakhala Bhata, Dalma, Chhena Poda, and Dahi Vada Aloo Dum, reflects a blend of simplicity and tradition rooted in local life. Whether it is exploring heritage sites, witnessing living traditions, or experiencing its natural beauty, Odisha offers a journey that is both enriching and enduring. An initiative of NITI Aayog, Divya Bharat – A Window to the Soul of India is a curated national effort to showcase the country’s diverse cultural, spiritual, and natural heritage. Through a state-wise journey, it brings together India’s rich traditions, iconic landscapes, vibrant festivals, and living heritage, offering a holistic narrative of the nation’s unity in diversity. Access the full publication: Experience a curated glimpse of India’s States and Union Territories, watch now: #PMOIndia #NITIAayog #DivyaBharat #Odisha #IncredibleIndia #CulturalHeritage #ExploreIndia PMO India Narendra Modi Rao Inderjit Singh Ministry of Information and Broadcasting PIB India YUGAL JOSHI DD News Doordarshan National दूरदर्शन नेशनल All India Radio News PB-SHABD Odisha Tourism

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12,867 views • 5 months ago

The Call to Protect Heritage and Humanity: Lasta Lalibela's Plea for Peace ( By: Yuri Tadesse )? In the heart of the Amhara region, Lasta Lalibela echoes with the resounding cries of its people, fervently pleading for peace amid turmoil. The recent protests, a bold manifestation of frustration and fear, were not merely a demand for tranquility but a plea to safeguard an invaluable heritage. A local woman, amidst a gathering of fellow residents, religious figures, and government officials, articulated the harrowing events that unfolded within the realm of the world heritage site. Her voice trembled with emotion as she recounted the intrusion of government soldiers, disrupting the sanctity of the ancient grounds. Despite the absence of Amhara Fano, the region's defenders, the arrival of government troops instigated chaos, firing heavy arms and maneuvering combat vehicles within the sacred precincts. The woman's words bore witness to a moment of terror within Bete Amhanuel rock-hewn church, where the tranquility of ritual suddenly shattered amidst deafening explosions. The very foundation of the ancient structure trembled, prompting a frenzied rush to safety. It was an assault not just on the physical edifices but on the soul of a heritage dating back to the 12th century. In her impassioned plea, she emphasized the incongruity of war in a place meant for spiritual solace and historical reverence. Her call was clear and resolute: the military presence must cease for peace to prevail. The laughter of military commanders in response to her plea betrayed a bitter indifference to the atrocities that endangered lives and the irreplaceable heritage site. This region, nestled with rock-hewn churches and the revered wonder of Lalibela, embodies a treasure trove of history and spirituality. Yet, amid this cultural richness, Amhara Fano's struggle against the purported Amhara genocide has escalated into a full-scale war imposed by the Ethiopian government, leaving the region in a state of siege, devoid of basic necessities like electricity, food, and water. The urgent cry from Lasta Lalibela reverberates beyond its boundaries. It's a call for global attention, imploring swift condemnation and intervention to prevent further devastation. The world stands witness to not just an assault on a heritage site but on the collective history and humanity it represents. The plea from Lasta Lalibela is a reminder that peace isn't just an absence of conflict; it's the preservation of culture, history, and the sanctity of life itself. As the echoes of their voices traverse the world, the urgency to safeguard both heritage and humanity intensifies, beckoning for immediate action before irreversible damage befalls this timeless legacy. Ethiopian Human Rights Commission (EHRC) - ኢሰመኮ Orthodox Church OCA Amnesty International Human Rights Watch Al Jazeera English BBC News (UK) CNN AFP News Agency UN Human Rights UNESCO Ethiopian Human Rights Commission (EHRC) - ኢሰመኮ U.S. Embassy Addis Muslim World League CPJ Asia CPJ Europe and Central Asia Meaza Ashenafi PEN International Committee to Protect Journalists CPJ Africa CPJ Américas Abiy Ahmed Ali 🇪🇹 Genocide Prevention In Ethiopia Amhara Association of America (AAA) U.S. Embassy Addis UK in Ethiopia 🇬🇧 @EthiopiaEU Mike Hammer Tibor Nagy Herman J. Cohen Ana Gomes Josep Borrell Fontelles Daniel Bekele FRANCE 24 BBC News Africa Al Jazeera English The Washington Post AFP News Agency U.S. Embassy Addis Department of State #WarOnAmhara #AmharaGenocide #FreeMeskeremAbera #FreeAmharaDetainees
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The Call to Protect Heritage and Humanity: Lasta Lalibela's Plea for Peace ( By: Yuri Tadesse )? In the heart of the Amhara region, Lasta Lalibela echoes with the resounding cries of its people, fervently pleading for peace amid turmoil. The recent protests, a bold manifestation of frustration and fear, were not merely a demand for tranquility but a plea to safeguard an invaluable heritage. A local woman, amidst a gathering of fellow residents, religious figures, and government officials, articulated the harrowing events that unfolded within the realm of the world heritage site. Her voice trembled with emotion as she recounted the intrusion of government soldiers, disrupting the sanctity of the ancient grounds. Despite the absence of Amhara Fano, the region's defenders, the arrival of government troops instigated chaos, firing heavy arms and maneuvering combat vehicles within the sacred precincts. The woman's words bore witness to a moment of terror within Bete Amhanuel rock-hewn church, where the tranquility of ritual suddenly shattered amidst deafening explosions. The very foundation of the ancient structure trembled, prompting a frenzied rush to safety. It was an assault not just on the physical edifices but on the soul of a heritage dating back to the 12th century. In her impassioned plea, she emphasized the incongruity of war in a place meant for spiritual solace and historical reverence. Her call was clear and resolute: the military presence must cease for peace to prevail. The laughter of military commanders in response to her plea betrayed a bitter indifference to the atrocities that endangered lives and the irreplaceable heritage site. This region, nestled with rock-hewn churches and the revered wonder of Lalibela, embodies a treasure trove of history and spirituality. Yet, amid this cultural richness, Amhara Fano's struggle against the purported Amhara genocide has escalated into a full-scale war imposed by the Ethiopian government, leaving the region in a state of siege, devoid of basic necessities like electricity, food, and water. The urgent cry from Lasta Lalibela reverberates beyond its boundaries. It's a call for global attention, imploring swift condemnation and intervention to prevent further devastation. The world stands witness to not just an assault on a heritage site but on the collective history and humanity it represents. The plea from Lasta Lalibela is a reminder that peace isn't just an absence of conflict; it's the preservation of culture, history, and the sanctity of life itself. As the echoes of their voices traverse the world, the urgency to safeguard both heritage and humanity intensifies, beckoning for immediate action before irreversible damage befalls this timeless legacy. Ethiopian Human Rights Commission (EHRC) - ኢሰመኮ Orthodox Church OCA Amnesty International Human Rights Watch Al Jazeera English BBC News (UK) CNN AFP News Agency UN Human Rights UNESCO Ethiopian Human Rights Commission (EHRC) - ኢሰመኮ U.S. Embassy Addis Muslim World League CPJ Asia CPJ Europe and Central Asia Meaza Ashenafi PEN International Committee to Protect Journalists CPJ Africa CPJ Américas Abiy Ahmed Ali 🇪🇹 Genocide Prevention In Ethiopia Amhara Association of America (AAA) U.S. Embassy Addis UK in Ethiopia 🇬🇧 @EthiopiaEU Mike Hammer Tibor Nagy Herman J. Cohen Ana Gomes Josep Borrell Fontelles Daniel Bekele FRANCE 24 BBC News Africa Al Jazeera English The Washington Post AFP News Agency U.S. Embassy Addis Department of State #WarOnAmhara #AmharaGenocide #FreeMeskeremAbera #FreeAmharaDetainees

Yuri Tadesse

12,643 views • 2 years ago

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.
6:02

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 views • 1 month ago

Visiting Pajaka, the birthplace of Sri Madhvacharya located near Udupi was a deeply fulfilling experience. I can now say that I have had the privilege to visit the birthplace of two of India’s most iconic Gurus (Adi Shankaracharya and Madhvacharya) and strangely, even though the latter strongly refuted the theories of the former to create a whole new school of thought, their birthplaces gave me similar vibrations. The same idyllic village environment, exquisite courtyard houses made of dark wood, rooms with low entrances that forced you to bend, an atmosphere of reflection and reverence. When you read Madhvacharya’s complex treatises or study the layered commentaries of his disciples, it is hard to imagine that the formidable Acharya was once a mischievous child prancing around a village pond. But step into his ancestral home, and the abstraction of philosophy melts away. You can almost see little Vasudeva bright-eyed, playful, yet carrying within him a seriousness that would one day unfold into the Dvaita vision of duality: the eternal distinction between the Divine and the individual soul. The teachers of Madhvacharya’s tradition often remind seekers not to focus on miracles. They emphasize understanding the profound subtleties of his philosophy rather than getting lost in the mystical tales that surround him. For in the spiritual journey, miracles are considered almost commonplace—inevitable by-products of a consciousness that is centered on the divine energies. Beginners may marvel at them, but the wise look beyond miracles, toward the ultimate goal of moksha, liberation. And yet, when I walked around the stomping grounds of little Vasudeva who later transformed into the famous Purnaprajna, then Ananda Tirtha and Madhvacharya, it is hard to not be moved by miracles. Like that story of how a precocious Vasudeva dealt with the wealthy creditor who was harassing his father. The child solemnly handed him the same number of tamarind seeds as the coins that were borrowed. Later, when the father went to settle the debt, he was astonished to learn that the debt had been paid off by Vasudeva. The story has been turned into a sweet tradition with visitors being given tamarind seeds along with akshata today. I brought some home too. Then there is the story of the danda (stick) that Vasudeva carried everywhere saying he would establish the Vaishnava Dharma. When his father teased him that it was as likely as the stick sprouting leaves and becoming a tree, the little Acharya planted the stick into the soil and nurtured it with water and nutrients. Lo and behold, the stick became a tree, which we can all gaze at today. Up above the hill near the Acharya’s house is a Durga temple that Vasudeva visited every day. The legend goes that once, his mother called him urgently and the little boy leaped from the hill to directly land at his house. Today, we are shown a footprint to mark that spot where he landed. I joked that his mother might have called him to have lunch – the delicious Udupi style oota that he did not want to delay eating for even a moment! Humor aside, I did not forget of course, that he was Vayu incarnate—movement, strength, verily the life force itself. What touched me most, though, was the site where young Vasudeva’s Aksharabhyasa, the sacred initiation into learning was performed. I have often written about this ancient ceremony in my books on India’s educational heritage, but to stand at the very spot where it was conducted for the boy who would one day become Madhvacharya was profoundly moving. Today, a Tulsi plant and an image of Veda Vyasa seated beside the Acharya mark the place. Standing there in front of the stone on which young Vasudeva wrote his first alphabet, I reflected on the continuously flowing river of knowledge across the millennia from Guru to Shishya that sustained my motherland.
1:06

Visiting Pajaka, the birthplace of Sri Madhvacharya located near Udupi was a deeply fulfilling experience. I can now say that I have had the privilege to visit the birthplace of two of India’s most iconic Gurus (Adi Shankaracharya and Madhvacharya) and strangely, even though the latter strongly refuted the theories of the former to create a whole new school of thought, their birthplaces gave me similar vibrations. The same idyllic village environment, exquisite courtyard houses made of dark wood, rooms with low entrances that forced you to bend, an atmosphere of reflection and reverence. When you read Madhvacharya’s complex treatises or study the layered commentaries of his disciples, it is hard to imagine that the formidable Acharya was once a mischievous child prancing around a village pond. But step into his ancestral home, and the abstraction of philosophy melts away. You can almost see little Vasudeva bright-eyed, playful, yet carrying within him a seriousness that would one day unfold into the Dvaita vision of duality: the eternal distinction between the Divine and the individual soul. The teachers of Madhvacharya’s tradition often remind seekers not to focus on miracles. They emphasize understanding the profound subtleties of his philosophy rather than getting lost in the mystical tales that surround him. For in the spiritual journey, miracles are considered almost commonplace—inevitable by-products of a consciousness that is centered on the divine energies. Beginners may marvel at them, but the wise look beyond miracles, toward the ultimate goal of moksha, liberation. And yet, when I walked around the stomping grounds of little Vasudeva who later transformed into the famous Purnaprajna, then Ananda Tirtha and Madhvacharya, it is hard to not be moved by miracles. Like that story of how a precocious Vasudeva dealt with the wealthy creditor who was harassing his father. The child solemnly handed him the same number of tamarind seeds as the coins that were borrowed. Later, when the father went to settle the debt, he was astonished to learn that the debt had been paid off by Vasudeva. The story has been turned into a sweet tradition with visitors being given tamarind seeds along with akshata today. I brought some home too. Then there is the story of the danda (stick) that Vasudeva carried everywhere saying he would establish the Vaishnava Dharma. When his father teased him that it was as likely as the stick sprouting leaves and becoming a tree, the little Acharya planted the stick into the soil and nurtured it with water and nutrients. Lo and behold, the stick became a tree, which we can all gaze at today. Up above the hill near the Acharya’s house is a Durga temple that Vasudeva visited every day. The legend goes that once, his mother called him urgently and the little boy leaped from the hill to directly land at his house. Today, we are shown a footprint to mark that spot where he landed. I joked that his mother might have called him to have lunch – the delicious Udupi style oota that he did not want to delay eating for even a moment! Humor aside, I did not forget of course, that he was Vayu incarnate—movement, strength, verily the life force itself. What touched me most, though, was the site where young Vasudeva’s Aksharabhyasa, the sacred initiation into learning was performed. I have often written about this ancient ceremony in my books on India’s educational heritage, but to stand at the very spot where it was conducted for the boy who would one day become Madhvacharya was profoundly moving. Today, a Tulsi plant and an image of Veda Vyasa seated beside the Acharya mark the place. Standing there in front of the stone on which young Vasudeva wrote his first alphabet, I reflected on the continuously flowing river of knowledge across the millennia from Guru to Shishya that sustained my motherland.

Sahana Singh

14,674 views • 9 months ago

Mozart's Piano Sonata No. 11 in A Major, K.331: A Dance Between Light, Shadow and Perfect Balance To appreciate the singular character of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K.331, it is helpful to imagine the entire work as a court dancer moving gracefully across a vast stage. Yet this is no dance defined solely by elegance and refinement. Within every movement lies a delicate equilibrium: between the stability of Classical convention and moments that quietly defy expectation; between the luminous clarity of the major mode and the fleeting shadows of the minor; between the courtly poise of the opening movements and the vibrant vitality of the finale. The sonata derives its lasting power from the way Mozart constructs a unified musical architecture, in which every movement, every variation, and every subtle gesture is bound together by principles of remarkable structural coherence. A Sonata That Begins Where No One Expects From its opening bars, Mozart leads K.331 along a path quite unlike that of most Classical sonatas. A conventional piano sonata almost invariably opens with a brisk movement in Sonata-Allegro form, comprising three principal sections: Exposition, Development and Recapitulation. By the latter half of the eighteenth century, this had become the defining model of the genre. K.331, however, begins with an Andante grazioso cast as a Theme and Variations. This is not merely a change of tempo or expressive character. It alters the very foundations upon which the work is built. Among Mozart's piano sonatas, K.331 occupies a unique place in that none of its movements employs the traditional Sonata-Allegro form. Rather than allowing the music to unfold through the dramatic opposition of contrasting themes, Mozart adopts an entirely different approach. He presents a single theme and proceeds to explore, with extraordinary imagination, the many expressive possibilities concealed within it. If we continue our image of the sonata as a courtly dance, Mozart does not allow his dancer to stride confidently onto the stage with the energetic gestures characteristic of an Allegro. Instead, the performance begins with a dance of quiet elegance, measured poise and perfect control. From this single dance, Mozart gradually fashions an astonishing variety of shapes, colours and rhythmic characters throughout the journey that follows. This bold decision establishes the artistic world in which the entire sonata unfolds. The Bridge of Eighteen Steps: Mozart Expands the Balance of Classical Form A Classical musical theme generally strives for clear symmetry. Listeners become accustomed to phrases built from balanced units, most commonly an opening eight bars followed by another eight, together forming the familiar sixteen-bar structure that typifies Classical proportion. Yet from the very first phrases of Piano Sonata No. 11 in A major, K.331, Mozart introduces a subtle departure from convention. The theme of the opening movement (Andante grazioso) does not conclude after the expected sixteen bars. Instead, it extends to eighteen. Technically speaking, the first eight bars establish a satisfying sense of completeness. They seem to arrive naturally at a point of repose. Yet Mozart refuses to close the phrase there. He extends it by a further ten bars, allowing the musical line to continue unfolding before finally returning to equilibrium. Those final two bars are far from superfluous. They create an exquisitely subtle sense of suspension, rather like a court dancer who has completed the principal gesture of a dance, yet lingers for one final graceful movement before coming to rest. If we imagine this theme as a bridge, it is not the familiar sixteen-step bridge of Classical convention. It possesses eighteen steps. The opening eight provide stability and familiarity. Those that follow broaden the landscape, allowing the listener to experience a movement that remains graceful yet never entirely predictable. Even more remarkable is the fact that Mozart employs this design not merely once. All six subsequent variations preserve the original eighteen-bar framework. Although tempo, rhythm and ornamentation continually evolve, the underlying architecture remains intact. The union of rigorous structure with endless variety demonstrates Mozart's remarkable ability to expand Classical form without disturbing its essential balance. He does not reject established rules. He simply reveals how flexible they can become. A Journey Between Light and Shadow: The Dancer Moves Between A Major and A Minor If the eighteen-bar structure provides the inner architecture of the first movement, the continual dialogue between A major and A minor shapes the changing landscape through which the dancer moves during the course of the sonata. In Mozart's musical language, major and minor keys are never merely contrasting harmonic colours. They resemble two different qualities of light illuminating the same stage. A major is a world of brightness, balance and elegance, where every movement of the dancer appears clear, poised and effortlessly graceful. A minor, by contrast, softens the light. Its outlines become deeper and more contemplative, allowing the audience to perceive hidden emotional dimensions within the very same figure. What makes K.331 so remarkable is that Mozart never creates two entirely separate worlds. Instead, he allows the dancer to pass continuously from one illumination into another, so that identical movements acquire entirely different emotional meanings. The first movement opens in the radiant world of A major. The Andante grazioso theme resembles the moment when the dancer first appears beneath the clear light of a courtly stage. Every gesture possesses order, elegance and perfect composure. Yet as the subsequent variations venture into the darker colours of A minor, the very same dance acquires an unexpected depth. The dancer remains unchanged. Each movement still grows from the original theme. Only the light has altered, revealing emotional shades that previously remained unseen. This dialogue between brightness and shadow continues into the second movement, the Menuetto. Here Mozart restores the dancer to the familiar elegance of A major, preserving the balance and refinement that characterise the dance. Yet the Trio, moving into D major, opens an entirely new space, as though the stage itself briefly expands into another landscape before the dancer quietly returns to the original centre. By the time we reach the third movement, Rondo alla Turca, the contrast between A minor and A major has become far more dramatic. The dancer no longer possesses the gentle grace of the opening movement. The finale begins in A minor, creating a world of heightened energy, where every step becomes firmer, more decisive and charged with vitality. Its insistent rhythms, powerful bass writing and weighty chords transform the dance into something altogether different—bolder, more vigorous, yet always governed by an underlying architectural order. Only after this remarkable journey does the sonata finally return to A major. This is more than a simple harmonic resolution. It resembles the moment when the dancer, having passed through many contrasting states of movement, returns to the centre of the stage transformed. The performer retains the same essential balance, yet now possesses greater richness, maturity and emotional depth. Mozart never employs A major and A minor as opposing forces locked in conflict. Instead, he allows them to complement one another, just as light and shadow together reveal the true form of a dancer upon the stage. It is this continual process of transformation that makes K.331 far more than a sonata of memorable melodies. It becomes a musical journey in which beauty arises from the perfect balance between seemingly opposing states. When Time Appears to Stand Still: Variation V (Adagio) and the Song Within the Dance After the continual transformations of the earlier variations, Mozart leads the listener into an entirely different world with Variation V (Adagio). The first striking change lies in the metre. Leaving behind the gentle 6/8 of the original theme, Mozart adopts 2/4, immediately creating the impression that musical time has slowed and become more intensely focused. At this moment, the dancer no longer traverses the stage with broad, clearly defined steps. Every gesture becomes smaller, more intimate and more refined, as though the dance has merged imperceptibly with song itself. The right hand unfolds exquisitely ornamented melodic lines whose graceful embellishments resemble a singer delicately shaping every phrase. Meanwhile, the left hand becomes markedly more restrained, providing a spacious harmonic foundation that allows the upper voice to breathe with remarkable freedom. This contrast gives the impression that time itself has slowed. The notes no longer exist simply to propel movement forward. They become expressions of the music's inner life. Most importantly, Mozart never employs ornamentation merely to display the virtuosity of the performer. Instead, he uses it to expand the expressive possibilities of the piano itself, enabling the instrument to approach the warmth, flexibility and emotional subtlety of the human voice. After this moment of profound stillness, Variation VI (Allegro) arrives like a sudden release of restrained energy. The contrast reveals one of Mozart's greatest gifts as a composer. He does not merely create differences between fast and slow. He shapes our perception of musical time itself, allowing us to experience not simply changes of tempo, but changes within the very character of each passing moment. Rondo alla Turca: When the Court Dancer Gives Way to a Dance of Vigorous Stamping After the stillness and refinement of Variation V, Mozart leads the entire sonata into an altogether different world in its concluding movement: Rondo alla Turca (Allegretto). If the opening movement resembles an elegant court dance, characterised by graceful, measured steps and impeccable poise, the finale introduces a far more vigorous mode of movement. The dancer no longer glides effortlessly across the stage with restrained elegance, but embraces a dance of unmistakable rhythm and decisive energy, where every step radiates vitality and purpose. What is particularly remarkable is Mozart's ability to evoke the impression of an entire ensemble through the resources of a single piano. Rather than imitating the sound of an Ottoman military band directly, he transforms its most distinctive qualities into the expressive language of the keyboard. The most significant technical feature lies in his treatment of the left hand. Instead of employing the familiar Alberti bass accompaniment found throughout much Classical repertoire, Mozart constructs powerful gestures in the lower register through octave chords preceded by brief ornamental notes. These sonorities suggest the firm, rhythmic impact of feet striking the ground. Each resonant bass chord serves not merely a harmonic function, but also provides rhythmic propulsion, much as a drum sustains the pulse of an entire dance. Meanwhile, the right hand creates a more agile and animated layer of movement. Its rapid passagework, flowing thirds and brightly contoured melodies resemble the graceful motions of the dancer's arms and upper body—constantly shifting, yet always retaining absolute precision. These two layers of movement complement one another perfectly. The left hand provides weight, stability and momentum. The right hand supplies flexibility, brilliance and lightness. Together they allow the piano to transcend the limitations of a solo instrument, creating the illusion of multiple musical voices inhabiting the same acoustic space. If we continue to imagine the finale as a dance, this is the moment when the court dancer adopts an entirely new physical language. The octave chords in the bass resemble forceful stamps upon the floor. The swift figurations of the right hand suggest agile turns and flowing gestures. Yet beneath all this exuberant energy lies the firm discipline of the Rondo form. The principal theme continually returns, establishing a stable centre amidst the movement's ever-changing colours and textures. Here we encounter one of Mozart's most distinctive artistic qualities. His music may overflow with vitality without ever surrendering its sense of order. It may convey an impression of complete freedom while remaining securely governed by a lucid and perfectly balanced structure. For this reason, Rondo alla Turca is celebrated not merely for its instantly recognisable melody or its infectious brilliance. Its deeper significance lies in Mozart's ability to transform an irresistibly engaging musical idea into a fully integrated architectural design, in which rhythm, colour and form merge into a single, continuous current of movement. Perfect Balance: The Enduring Essence of Piano Sonata No. 11, K.331 Looking back upon the journey of K.331 as a whole, it becomes clear that the work's greatness does not reside in any single moment. Not solely in the theme and variations with their remarkable eighteen-bar design. Not solely in the lyrical stillness of Variation V. Nor solely in the radiant vitality of Rondo alla Turca. The sonata's enduring value lies in Mozart's extraordinary ability to unite elements that might otherwise appear irreconcilable within a single, harmonious whole. A theme that extends beyond established convention while preserving perfect balance. A musical journey that passes from the brightness of A major into the deeper colours of A minor without ever creating a sense of rupture. A moment in which time itself appears to slow, allowing the piano to sing. A finale overflowing with vigour while never abandoning the elegance of Classical form. Mozart does not create beauty by eliminating contrasts. He creates beauty by placing each contrast precisely where it belongs within a perfectly ordered design. This, indeed, is the principle that permeates Piano Sonata No. 11 in A major, K.331. Balance is not a condition of immobility. It is the capacity to allow contrasting forms of movement to coexist within a unified whole. In K.331, Mozart transforms that principle into the very language of music. A court dancer may pass from grace to strength, from light into shadow, from quiet contemplation to exuberant brilliance; yet in every moment, every step remains part of the same dance.
13:47

Mozart's Piano Sonata No. 11 in A Major, K.331: A Dance Between Light, Shadow and Perfect Balance To appreciate the singular character of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K.331, it is helpful to imagine the entire work as a court dancer moving gracefully across a vast stage. Yet this is no dance defined solely by elegance and refinement. Within every movement lies a delicate equilibrium: between the stability of Classical convention and moments that quietly defy expectation; between the luminous clarity of the major mode and the fleeting shadows of the minor; between the courtly poise of the opening movements and the vibrant vitality of the finale. The sonata derives its lasting power from the way Mozart constructs a unified musical architecture, in which every movement, every variation, and every subtle gesture is bound together by principles of remarkable structural coherence. A Sonata That Begins Where No One Expects From its opening bars, Mozart leads K.331 along a path quite unlike that of most Classical sonatas. A conventional piano sonata almost invariably opens with a brisk movement in Sonata-Allegro form, comprising three principal sections: Exposition, Development and Recapitulation. By the latter half of the eighteenth century, this had become the defining model of the genre. K.331, however, begins with an Andante grazioso cast as a Theme and Variations. This is not merely a change of tempo or expressive character. It alters the very foundations upon which the work is built. Among Mozart's piano sonatas, K.331 occupies a unique place in that none of its movements employs the traditional Sonata-Allegro form. Rather than allowing the music to unfold through the dramatic opposition of contrasting themes, Mozart adopts an entirely different approach. He presents a single theme and proceeds to explore, with extraordinary imagination, the many expressive possibilities concealed within it. If we continue our image of the sonata as a courtly dance, Mozart does not allow his dancer to stride confidently onto the stage with the energetic gestures characteristic of an Allegro. Instead, the performance begins with a dance of quiet elegance, measured poise and perfect control. From this single dance, Mozart gradually fashions an astonishing variety of shapes, colours and rhythmic characters throughout the journey that follows. This bold decision establishes the artistic world in which the entire sonata unfolds. The Bridge of Eighteen Steps: Mozart Expands the Balance of Classical Form A Classical musical theme generally strives for clear symmetry. Listeners become accustomed to phrases built from balanced units, most commonly an opening eight bars followed by another eight, together forming the familiar sixteen-bar structure that typifies Classical proportion. Yet from the very first phrases of Piano Sonata No. 11 in A major, K.331, Mozart introduces a subtle departure from convention. The theme of the opening movement (Andante grazioso) does not conclude after the expected sixteen bars. Instead, it extends to eighteen. Technically speaking, the first eight bars establish a satisfying sense of completeness. They seem to arrive naturally at a point of repose. Yet Mozart refuses to close the phrase there. He extends it by a further ten bars, allowing the musical line to continue unfolding before finally returning to equilibrium. Those final two bars are far from superfluous. They create an exquisitely subtle sense of suspension, rather like a court dancer who has completed the principal gesture of a dance, yet lingers for one final graceful movement before coming to rest. If we imagine this theme as a bridge, it is not the familiar sixteen-step bridge of Classical convention. It possesses eighteen steps. The opening eight provide stability and familiarity. Those that follow broaden the landscape, allowing the listener to experience a movement that remains graceful yet never entirely predictable. Even more remarkable is the fact that Mozart employs this design not merely once. All six subsequent variations preserve the original eighteen-bar framework. Although tempo, rhythm and ornamentation continually evolve, the underlying architecture remains intact. The union of rigorous structure with endless variety demonstrates Mozart's remarkable ability to expand Classical form without disturbing its essential balance. He does not reject established rules. He simply reveals how flexible they can become. A Journey Between Light and Shadow: The Dancer Moves Between A Major and A Minor If the eighteen-bar structure provides the inner architecture of the first movement, the continual dialogue between A major and A minor shapes the changing landscape through which the dancer moves during the course of the sonata. In Mozart's musical language, major and minor keys are never merely contrasting harmonic colours. They resemble two different qualities of light illuminating the same stage. A major is a world of brightness, balance and elegance, where every movement of the dancer appears clear, poised and effortlessly graceful. A minor, by contrast, softens the light. Its outlines become deeper and more contemplative, allowing the audience to perceive hidden emotional dimensions within the very same figure. What makes K.331 so remarkable is that Mozart never creates two entirely separate worlds. Instead, he allows the dancer to pass continuously from one illumination into another, so that identical movements acquire entirely different emotional meanings. The first movement opens in the radiant world of A major. The Andante grazioso theme resembles the moment when the dancer first appears beneath the clear light of a courtly stage. Every gesture possesses order, elegance and perfect composure. Yet as the subsequent variations venture into the darker colours of A minor, the very same dance acquires an unexpected depth. The dancer remains unchanged. Each movement still grows from the original theme. Only the light has altered, revealing emotional shades that previously remained unseen. This dialogue between brightness and shadow continues into the second movement, the Menuetto. Here Mozart restores the dancer to the familiar elegance of A major, preserving the balance and refinement that characterise the dance. Yet the Trio, moving into D major, opens an entirely new space, as though the stage itself briefly expands into another landscape before the dancer quietly returns to the original centre. By the time we reach the third movement, Rondo alla Turca, the contrast between A minor and A major has become far more dramatic. The dancer no longer possesses the gentle grace of the opening movement. The finale begins in A minor, creating a world of heightened energy, where every step becomes firmer, more decisive and charged with vitality. Its insistent rhythms, powerful bass writing and weighty chords transform the dance into something altogether different—bolder, more vigorous, yet always governed by an underlying architectural order. Only after this remarkable journey does the sonata finally return to A major. This is more than a simple harmonic resolution. It resembles the moment when the dancer, having passed through many contrasting states of movement, returns to the centre of the stage transformed. The performer retains the same essential balance, yet now possesses greater richness, maturity and emotional depth. Mozart never employs A major and A minor as opposing forces locked in conflict. Instead, he allows them to complement one another, just as light and shadow together reveal the true form of a dancer upon the stage. It is this continual process of transformation that makes K.331 far more than a sonata of memorable melodies. It becomes a musical journey in which beauty arises from the perfect balance between seemingly opposing states. When Time Appears to Stand Still: Variation V (Adagio) and the Song Within the Dance After the continual transformations of the earlier variations, Mozart leads the listener into an entirely different world with Variation V (Adagio). The first striking change lies in the metre. Leaving behind the gentle 6/8 of the original theme, Mozart adopts 2/4, immediately creating the impression that musical time has slowed and become more intensely focused. At this moment, the dancer no longer traverses the stage with broad, clearly defined steps. Every gesture becomes smaller, more intimate and more refined, as though the dance has merged imperceptibly with song itself. The right hand unfolds exquisitely ornamented melodic lines whose graceful embellishments resemble a singer delicately shaping every phrase. Meanwhile, the left hand becomes markedly more restrained, providing a spacious harmonic foundation that allows the upper voice to breathe with remarkable freedom. This contrast gives the impression that time itself has slowed. The notes no longer exist simply to propel movement forward. They become expressions of the music's inner life. Most importantly, Mozart never employs ornamentation merely to display the virtuosity of the performer. Instead, he uses it to expand the expressive possibilities of the piano itself, enabling the instrument to approach the warmth, flexibility and emotional subtlety of the human voice. After this moment of profound stillness, Variation VI (Allegro) arrives like a sudden release of restrained energy. The contrast reveals one of Mozart's greatest gifts as a composer. He does not merely create differences between fast and slow. He shapes our perception of musical time itself, allowing us to experience not simply changes of tempo, but changes within the very character of each passing moment. Rondo alla Turca: When the Court Dancer Gives Way to a Dance of Vigorous Stamping After the stillness and refinement of Variation V, Mozart leads the entire sonata into an altogether different world in its concluding movement: Rondo alla Turca (Allegretto). If the opening movement resembles an elegant court dance, characterised by graceful, measured steps and impeccable poise, the finale introduces a far more vigorous mode of movement. The dancer no longer glides effortlessly across the stage with restrained elegance, but embraces a dance of unmistakable rhythm and decisive energy, where every step radiates vitality and purpose. What is particularly remarkable is Mozart's ability to evoke the impression of an entire ensemble through the resources of a single piano. Rather than imitating the sound of an Ottoman military band directly, he transforms its most distinctive qualities into the expressive language of the keyboard. The most significant technical feature lies in his treatment of the left hand. Instead of employing the familiar Alberti bass accompaniment found throughout much Classical repertoire, Mozart constructs powerful gestures in the lower register through octave chords preceded by brief ornamental notes. These sonorities suggest the firm, rhythmic impact of feet striking the ground. Each resonant bass chord serves not merely a harmonic function, but also provides rhythmic propulsion, much as a drum sustains the pulse of an entire dance. Meanwhile, the right hand creates a more agile and animated layer of movement. Its rapid passagework, flowing thirds and brightly contoured melodies resemble the graceful motions of the dancer's arms and upper body—constantly shifting, yet always retaining absolute precision. These two layers of movement complement one another perfectly. The left hand provides weight, stability and momentum. The right hand supplies flexibility, brilliance and lightness. Together they allow the piano to transcend the limitations of a solo instrument, creating the illusion of multiple musical voices inhabiting the same acoustic space. If we continue to imagine the finale as a dance, this is the moment when the court dancer adopts an entirely new physical language. The octave chords in the bass resemble forceful stamps upon the floor. The swift figurations of the right hand suggest agile turns and flowing gestures. Yet beneath all this exuberant energy lies the firm discipline of the Rondo form. The principal theme continually returns, establishing a stable centre amidst the movement's ever-changing colours and textures. Here we encounter one of Mozart's most distinctive artistic qualities. His music may overflow with vitality without ever surrendering its sense of order. It may convey an impression of complete freedom while remaining securely governed by a lucid and perfectly balanced structure. For this reason, Rondo alla Turca is celebrated not merely for its instantly recognisable melody or its infectious brilliance. Its deeper significance lies in Mozart's ability to transform an irresistibly engaging musical idea into a fully integrated architectural design, in which rhythm, colour and form merge into a single, continuous current of movement. Perfect Balance: The Enduring Essence of Piano Sonata No. 11, K.331 Looking back upon the journey of K.331 as a whole, it becomes clear that the work's greatness does not reside in any single moment. Not solely in the theme and variations with their remarkable eighteen-bar design. Not solely in the lyrical stillness of Variation V. Nor solely in the radiant vitality of Rondo alla Turca. The sonata's enduring value lies in Mozart's extraordinary ability to unite elements that might otherwise appear irreconcilable within a single, harmonious whole. A theme that extends beyond established convention while preserving perfect balance. A musical journey that passes from the brightness of A major into the deeper colours of A minor without ever creating a sense of rupture. A moment in which time itself appears to slow, allowing the piano to sing. A finale overflowing with vigour while never abandoning the elegance of Classical form. Mozart does not create beauty by eliminating contrasts. He creates beauty by placing each contrast precisely where it belongs within a perfectly ordered design. This, indeed, is the principle that permeates Piano Sonata No. 11 in A major, K.331. Balance is not a condition of immobility. It is the capacity to allow contrasting forms of movement to coexist within a unified whole. In K.331, Mozart transforms that principle into the very language of music. A court dancer may pass from grace to strength, from light into shadow, from quiet contemplation to exuberant brilliance; yet in every moment, every step remains part of the same dance.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

18,390 views • 2 months ago

If a leader like Indira Gandhi were alive today, she would have banned a party like the BJP: If the country has to be saved, if the nation's democracy has to be saved, then I must say that the dangerous atmosphere prevailing in the country today is unlike anything I have seen in my 50 years of political life. All of you senior people sitting here would agree with this. I am saying with full responsibility that the atmosphere today is extremely dangerous. If the country still does not wake up, then the people of this country themselves will suffer the consequences later. Our younger generation will have no future left, and the situation will become extremely serious. That is why the responsibility of the younger generation is the greatest today, because history will not forgive them either. Tomorrow they will be asked what they were doing as young people when all this was happening in the country. The Congress is the party of Mahatma Gandhi, Pandit Nehru, Sardar Patel, Maulana Abul Kalam Azad and Babasaheb Ambedkar's era. It is because of the Constitution framed by them that the country is functioning today. Indira Gandhi laid down her life, but did not allow Khalistan to be created. Rajiv Gandhi was martyred because he wanted to establish peace across the entire subcontinent, including Sri Lanka. He gave his life, but kept the country united and intact. But what is the thinking of the people in power today? Their thinking is weakening the country. They are deliberately carrying out religious polarisation. There are 403 Assembly seats in Uttar Pradesh, but you do not give even a single seat to a Muslim candidate, and yet call yourselves a national political party! At least you could have given five seats just to show the people of the country. But you want to project that 'we are a purely Hindutva party.' Poor Mukhtar Abbas Naqvi defended the BJP so effectively for such a long time; Shahnawaz Hussain was a minister, but today you have made all of them sit at home. Those whose thinking is simply to provoke Hindutva supporters and rule ,if a towering leader like Indira Gandhi were alive today, she would have imposed a ban on a party like the BJP. Will you run a party solely on the agenda of Hindutva? Do you want to do politics only in the name of Hindus? What is written in our Constitution? The Constitution on which you took your oath speaks of respecting all religions, all castes and all sections of society. You cannot do politics in the name of religion, but today this is happening openly. I remember that when Bhairon Singh Shekhawat contested an election from Bali, a few words regarding the Ram Temple slipped out of his mouth. He won the election and later became Chief Minister, but someone filed a case against him in the High Court. The case was so serious that he could have lost his Assembly membership. Later, he stopped the main witness on a bus during the journey, explained things to him with police assistance, or did whatever was done, and only then was he able to get out of trouble. What I want to say is that there was a time when even merely invoking religion during an election was prohibited; you could not bring religion into it. And look at the present times, when even the role of the Election Commission is being questioned. Today, people are being openly incited in the name of religion across the country. Now neither does anyone speak about this misuse of religion, nor is anyone approaching the courts over it. Everyone has seen that the country's system and thinking have changed. The country is now moving along this path.If a leader like Indira Gandhi were alive today, she would have banned a party like the BJP: If the country has to be saved, if the nation's democracy has to be saved, then I must say that the dangerous atmosphere prevailing in the country today is unlike anything I have seen in my 50 years of political life. All of you senior people sitting here would agree with this. I am saying with full responsibility that the atmosphere today is extremely dangerous. If the country still does not wake up, then the people of this country themselves will suffer the consequences later. Our younger generation will have no future left, and the situation will become extremely serious. That is why the responsibility of the younger generation is the greatest today, because history will not forgive them either. Tomorrow they will be asked what they were doing as young people when all this was happening in the country. The Congress is the party of Mahatma Gandhi, Pandit Nehru, Sardar Patel, Maulana Abul Kalam Azad and Babasaheb Ambedkar's era. It is because of the Constitution framed by them that the country is functioning today. Indira Gandhi laid down her life, but did not allow Khalistan to be created. Rajiv Gandhi was martyred because he wanted to establish peace across the entire subcontinent, including Sri Lanka. He gave his life, but kept the country united and intact. But what is the thinking of the people in power today? Their thinking is weakening the country. They are deliberately carrying out religious polarisation. There are 403 Assembly seats in Uttar Pradesh, but you do not give even a single seat to a Muslim candidate, and yet call yourselves a national political party! At least you could have given five seats just to show the people of the country. But you want to project that 'we are a purely Hindutva party.' Poor Mukhtar Abbas Naqvi defended the BJP so effectively for such a long time; Shahnawaz Hussain was a minister, but today you have made all of them sit at home. Those whose thinking is simply to provoke Hindutva supporters and rule ,if a towering leader like Indira Gandhi were alive today, she would have imposed a ban on a party like the BJP. Will you run a party solely on the agenda of Hindutva? Do you want to do politics only in the name of Hindus? What is written in our Constitution? The Constitution on which you took your oath speaks of respecting all religions, all castes and all sections of society. You cannot do politics in the name of religion, but today this is happening openly. I remember that when Bhairon Singh Shekhawat contested an election from Bali, a few words regarding the Ram Temple slipped out of his mouth. He won the election and later became Chief Minister, but someone filed a case against him in the High Court. The case was so serious that he could have lost his Assembly membership. Later, he stopped the main witness on a bus during the journey, explained things to him with police assistance, or did whatever was done, and only then was he able to get out of trouble. What I want to say is that there was a time when even merely invoking religion during an election was prohibited; you could not bring religion into it. And look at the present times, when even the role of the Election Commission is being questioned. Today, people are being openly incited in the name of religion across the country. Now neither does anyone speak about this misuse of religion, nor is anyone approaching the courts over it. Everyone has seen that the country's system and thinking have changed. The country is now moving along this path. अगर इंदिरा गाँधी जैसी नेता आज होतीं, तो भाजपा जैसी पार्टी पर बैन लगा देतीं: "अगर देश को बचाना है, देश के लोकतंत्र (डेमोक्रेसी) को बचाना है... तो आज देश के भीतर जो खतरनाक माहौल है, ऐसा माहौल मैंने अपनी जिंदगी के 50 साल के राजनीतिक करियर में कभी नहीं देखा। यहाँ बैठे आप सभी वरिष्ठ (सीनियर) लोग भी इस बात से सहमत होंगे। मैं पूरी जिम्मेदारी के साथ कह रहा हूँ कि आज बेहद खतरनाक माहौल है। अगर देश अब भी नहीं संभला, तो बाद में देशवासी खुद इसका खामियाजा भुगतेंगे। हमारी युवा पीढ़ी का कोई भविष्य नहीं बचेगा और हालात बेहद गंभीर हो जाएँगे। इसीलिए आज युवा पीढ़ी की जिम्मेदारी सबसे ज़्यादा है; क्योंकि इतिहास उन्हें भी माफ़ नहीं करेगा। कल को उनसे पूछा जाएगा कि जब देश में यह सब हो रहा था, तब वे युवा के रूप में क्या कर रहे थे? कांग्रेस महात्मा गांधी, पंडित नेहरू, सरदार पटेल, मौलाना अबुल कलाम आजाद और बाबासाहेब अंबेडकर के जमाने की पार्टी है। उन्हीं के बनाए संविधान की बदौलत आज देश चल रहा है। इंदिरा गांधी जी ने शहादत दे दी, पर खालिस्तान नहीं बनने दिया। राजीव गांधी जी शहीद हो गए, क्योंकि वे श्रीलंका सहित पूरे उपमहाद्वीप में शांति स्थापित करना चाहते थे। उन्होंने अपनी जान दे दी, पर देश को एक और अखंड रखा। लेकिन आज सत्ता में बैठे लोगों की सोच क्या है? इनकी सोच से देश कमजोर हो रहा है। ये लोग जानबूझकर धार्मिक ध्रुवीकरण कर रहे हैं। उत्तर प्रदेश में विधानसभा की 403 सीटें हैं), लेकिन आप एक भी सीट किसी मुस्लिम उम्मीदवार को नहीं देते, और खुद को एक राष्ट्रीय राजनीतिक पार्टी कहते हैं! अरे, आप देशवासियों को दिखाने के लिए ही सही, पाँच सीटें दे देते। लेकिन आप तो यह जताना चाहते हैं कि 'हम शुद्ध रूप से हिंदुत्ववादी पार्टी हैं।' वो बेचारे मुख्तार अब्बास नकवी इतने लंबे समय तक भाजपा की कितनी शानदार पैरवी करते थे; शाहनवाज हुसैन मंत्री थे, लेकिन आज आपने सबको घर बैठा दिया। अरे, जिनकी सोच ही यह हो कि केवल हिंदुत्ववादियों को भड़काओ और राज करो—अगर आज इंदिरा गांधी जैसी कद्दावर नेता होतीं, तो भाजपा जैसी पार्टी पर प्रतिबंध (बैन) लगा देतीं। क्या आप सिर्फ हिंदुत्व के एजेंडे पर पार्टी चलाएंगे? क्या आप सिर्फ हिंदुओं के नाम पर राजनीति करना चाहते हैं? हमारे संविधान में क्या लिखा है? आपने जिस संविधान की शपथ ली है, उसमें सभी धर्मों, सभी जातियों और सभी वर्गों का सम्मान करने की बात कही गई है। आप धर्म के नाम पर राजनीति नहीं कर सकते, लेकिन आज खुलेआम यही सब हो रहा है। मुझे याद है, भैरों सिंह शेखावत जी जब बाली से चुनाव लड़े, तो उनके मुँह से राम मंदिर को लेकर कुछ शब्द निकल गए थे। वे चुनाव तो जीत गए और बाद में मुख्यमंत्री भी बन गए, लेकिन किसी ने हाईकोर्ट में उनके खिलाफ केस कर दिया। वह केस इतना संगीन था कि उनकी विधानसभा सदस्यता भी जा सकती थी। बाद में उन्होंने मुख्य गवाह को रास्ते में बस में रोककर, पुलिस के सहयोग से समझाइश की या जो भी किया, तब जाकर वे बच पाए। मैं यह कहना चाहता हूँ कि एक वो दौर था, जब चुनाव में धर्म का सिर्फ नाम लेने मात्र पर पाबंदी थी; आप धर्म को बीच में नहीं ला सकते थे। और आज का दौर देखिए, जहाँ चुनाव आयोग की भूमिका पर भी सवाल उठ रहे हैं। आज पूरे देश के अंदर धर्म के नाम पर लोगों को खुलेआम भड़काया जा रहा है। अब धर्म के इस दुरुपयोग पर न तो कोई बात करता है और न ही कोई कोर्ट जा रहा है। सबने देख लिया है कि देश की व्यवस्था और सोच बदल चुकी है। आज देश इसी ढर्रे पर चल रहा है, इसलिए मैं अपनी बात को और लंबा नहीं खींचना चाहता।" and therefore I do not wish to prolong my remarks any further. "अगर देश को बचाना है, देश के लोकतंत्र (डेमोक्रेसी) को बचाना है... तो आज देश के भीतर जो खतरनाक माहौल है, ऐसा माहौल मैंने अपनी जिंदगी के 50 साल के राजनीतिक करियर में कभी नहीं देखा। यहाँ बैठे आप सभी वरिष्ठ (सीनियर) लोग भी इस बात से सहमत होंगे। मैं पूरी जिम्मेदारी के साथ कह रहा हूँ कि आज बेहद खतरनाक माहौल है। अगर देश अब भी नहीं संभला, तो बाद में देशवासी खुद इसका खामियाजा भुगतेंगे। हमारी युवा पीढ़ी का कोई भविष्य नहीं बचेगा और हालात बेहद गंभीर हो जाएँगे। इसीलिए आज युवा पीढ़ी की जिम्मेदारी सबसे ज़्यादा है; क्योंकि इतिहास उन्हें भी माफ़ नहीं करेगा। कल को उनसे पूछा जाएगा कि जब देश में यह सब हो रहा था, तब वे युवा के रूप में क्या कर रहे थे? कांग्रेस महात्मा गांधी, पंडित नेहरू, सरदार पटेल, मौलाना अबुल कलाम आजाद और बाबासाहेब अंबेडकर के जमाने की पार्टी है। उन्हीं के बनाए संविधान की बदौलत आज देश चल रहा है। इंदिरा गांधी जी ने शहादत दे दी, पर खालिस्तान नहीं बनने दिया। राजीव गांधी जी शहीद हो गए, क्योंकि वे श्रीलंका सहित पूरे उपमहाद्वीप में शांति स्थापित करना चाहते थे। उन्होंने अपनी जान दे दी, पर देश को एक और अखंड रखा। लेकिन आज सत्ता में बैठे लोगों की सोच क्या है? इनकी सोच से देश कमजोर हो रहा है। ये लोग जानबूझकर धार्मिक ध्रुवीकरण कर रहे हैं। उत्तर प्रदेश में विधानसभा की 403 सीटें हैं), लेकिन आप एक भी सीट किसी मुस्लिम उम्मीदवार को नहीं देते, और खुद को एक राष्ट्रीय राजनीतिक पार्टी कहते हैं! अरे, आप देशवासियों को दिखाने के लिए ही सही, पाँच सीटें दे देते। लेकिन आप तो यह जताना चाहते हैं कि 'हम शुद्ध रूप से हिंदुत्ववादी पार्टी हैं।' वो बेचारे मुख्तार अब्बास नकवी इतने लंबे समय तक भाजपा की कितनी शानदार पैरवी करते थे; शाहनवाज हुसैन मंत्री थे, लेकिन आज आपने सबको घर बैठा दिया। अरे, जिनकी सोच ही यह हो कि केवल हिंदुत्ववादियों को भड़काओ और राज करो—अगर आज इंदिरा गांधी जैसी कद्दावर नेता होतीं, तो भाजपा जैसी पार्टी पर प्रतिबंध (बैन) लगा देतीं। क्या आप सिर्फ हिंदुत्व के एजेंडे पर पार्टी चलाएंगे? क्या आप सिर्फ हिंदुओं के नाम पर राजनीति करना चाहते हैं? हमारे संविधान में क्या लिखा है? आपने जिस संविधान की शपथ ली है, उसमें सभी धर्मों, सभी जातियों और सभी वर्गों का सम्मान करने की बात कही गई है। आप धर्म के नाम पर राजनीति नहीं कर सकते, लेकिन आज खुलेआम यही सब हो रहा है। मुझे याद है, भैरों सिंह शेखावत जी जब बाली से चुनाव लड़े, तो उनके मुँह से राम मंदिर को लेकर कुछ शब्द निकल गए थे। वे चुनाव तो जीत गए और बाद में मुख्यमंत्री भी बन गए, लेकिन किसी ने हाईकोर्ट में उनके खिलाफ केस कर दिया। वह केस इतना संगीन था कि उनकी विधानसभा सदस्यता भी जा सकती थी। बाद में उन्होंने मुख्य गवाह को रास्ते में बस में रोककर, पुलिस के सहयोग से समझाइश की या जो भी किया, तब जाकर वे बच पाए। मैं यह कहना चाहता हूँ कि एक वो दौर था, जब चुनाव में धर्म का सिर्फ नाम लेने मात्र पर पाबंदी थी; आप धर्म को बीच में नहीं ला सकते थे। और आज का दौर देखिए, जहाँ चुनाव आयोग की भूमिका पर भी सवाल उठ रहे हैं। आज पूरे देश के अंदर धर्म के नाम पर लोगों को खुलेआम भड़काया जा रहा है। अब धर्म के इस दुरुपयोग पर न तो कोई बात करता है और न ही कोई कोर्ट जा रहा है। सबने देख लिया है कि देश की व्यवस्था और सोच बदल चुकी है। आज देश इसी ढर्रे पर चल रहा है।
3:53

If a leader like Indira Gandhi were alive today, she would have banned a party like the BJP: If the country has to be saved, if the nation's democracy has to be saved, then I must say that the dangerous atmosphere prevailing in the country today is unlike anything I have seen in my 50 years of political life. All of you senior people sitting here would agree with this. I am saying with full responsibility that the atmosphere today is extremely dangerous. If the country still does not wake up, then the people of this country themselves will suffer the consequences later. Our younger generation will have no future left, and the situation will become extremely serious. That is why the responsibility of the younger generation is the greatest today, because history will not forgive them either. Tomorrow they will be asked what they were doing as young people when all this was happening in the country. The Congress is the party of Mahatma Gandhi, Pandit Nehru, Sardar Patel, Maulana Abul Kalam Azad and Babasaheb Ambedkar's era. It is because of the Constitution framed by them that the country is functioning today. Indira Gandhi laid down her life, but did not allow Khalistan to be created. Rajiv Gandhi was martyred because he wanted to establish peace across the entire subcontinent, including Sri Lanka. He gave his life, but kept the country united and intact. But what is the thinking of the people in power today? Their thinking is weakening the country. They are deliberately carrying out religious polarisation. There are 403 Assembly seats in Uttar Pradesh, but you do not give even a single seat to a Muslim candidate, and yet call yourselves a national political party! At least you could have given five seats just to show the people of the country. But you want to project that 'we are a purely Hindutva party.' Poor Mukhtar Abbas Naqvi defended the BJP so effectively for such a long time; Shahnawaz Hussain was a minister, but today you have made all of them sit at home. Those whose thinking is simply to provoke Hindutva supporters and rule ,if a towering leader like Indira Gandhi were alive today, she would have imposed a ban on a party like the BJP. Will you run a party solely on the agenda of Hindutva? Do you want to do politics only in the name of Hindus? What is written in our Constitution? The Constitution on which you took your oath speaks of respecting all religions, all castes and all sections of society. You cannot do politics in the name of religion, but today this is happening openly. I remember that when Bhairon Singh Shekhawat contested an election from Bali, a few words regarding the Ram Temple slipped out of his mouth. He won the election and later became Chief Minister, but someone filed a case against him in the High Court. The case was so serious that he could have lost his Assembly membership. Later, he stopped the main witness on a bus during the journey, explained things to him with police assistance, or did whatever was done, and only then was he able to get out of trouble. What I want to say is that there was a time when even merely invoking religion during an election was prohibited; you could not bring religion into it. And look at the present times, when even the role of the Election Commission is being questioned. Today, people are being openly incited in the name of religion across the country. Now neither does anyone speak about this misuse of religion, nor is anyone approaching the courts over it. Everyone has seen that the country's system and thinking have changed. The country is now moving along this path.If a leader like Indira Gandhi were alive today, she would have banned a party like the BJP: If the country has to be saved, if the nation's democracy has to be saved, then I must say that the dangerous atmosphere prevailing in the country today is unlike anything I have seen in my 50 years of political life. All of you senior people sitting here would agree with this. I am saying with full responsibility that the atmosphere today is extremely dangerous. If the country still does not wake up, then the people of this country themselves will suffer the consequences later. Our younger generation will have no future left, and the situation will become extremely serious. That is why the responsibility of the younger generation is the greatest today, because history will not forgive them either. Tomorrow they will be asked what they were doing as young people when all this was happening in the country. The Congress is the party of Mahatma Gandhi, Pandit Nehru, Sardar Patel, Maulana Abul Kalam Azad and Babasaheb Ambedkar's era. It is because of the Constitution framed by them that the country is functioning today. Indira Gandhi laid down her life, but did not allow Khalistan to be created. Rajiv Gandhi was martyred because he wanted to establish peace across the entire subcontinent, including Sri Lanka. He gave his life, but kept the country united and intact. But what is the thinking of the people in power today? Their thinking is weakening the country. They are deliberately carrying out religious polarisation. There are 403 Assembly seats in Uttar Pradesh, but you do not give even a single seat to a Muslim candidate, and yet call yourselves a national political party! At least you could have given five seats just to show the people of the country. But you want to project that 'we are a purely Hindutva party.' Poor Mukhtar Abbas Naqvi defended the BJP so effectively for such a long time; Shahnawaz Hussain was a minister, but today you have made all of them sit at home. Those whose thinking is simply to provoke Hindutva supporters and rule ,if a towering leader like Indira Gandhi were alive today, she would have imposed a ban on a party like the BJP. Will you run a party solely on the agenda of Hindutva? Do you want to do politics only in the name of Hindus? What is written in our Constitution? The Constitution on which you took your oath speaks of respecting all religions, all castes and all sections of society. You cannot do politics in the name of religion, but today this is happening openly. I remember that when Bhairon Singh Shekhawat contested an election from Bali, a few words regarding the Ram Temple slipped out of his mouth. He won the election and later became Chief Minister, but someone filed a case against him in the High Court. The case was so serious that he could have lost his Assembly membership. Later, he stopped the main witness on a bus during the journey, explained things to him with police assistance, or did whatever was done, and only then was he able to get out of trouble. What I want to say is that there was a time when even merely invoking religion during an election was prohibited; you could not bring religion into it. And look at the present times, when even the role of the Election Commission is being questioned. Today, people are being openly incited in the name of religion across the country. Now neither does anyone speak about this misuse of religion, nor is anyone approaching the courts over it. Everyone has seen that the country's system and thinking have changed. The country is now moving along this path. अगर इंदिरा गाँधी जैसी नेता आज होतीं, तो भाजपा जैसी पार्टी पर बैन लगा देतीं: "अगर देश को बचाना है, देश के लोकतंत्र (डेमोक्रेसी) को बचाना है... तो आज देश के भीतर जो खतरनाक माहौल है, ऐसा माहौल मैंने अपनी जिंदगी के 50 साल के राजनीतिक करियर में कभी नहीं देखा। यहाँ बैठे आप सभी वरिष्ठ (सीनियर) लोग भी इस बात से सहमत होंगे। मैं पूरी जिम्मेदारी के साथ कह रहा हूँ कि आज बेहद खतरनाक माहौल है। अगर देश अब भी नहीं संभला, तो बाद में देशवासी खुद इसका खामियाजा भुगतेंगे। हमारी युवा पीढ़ी का कोई भविष्य नहीं बचेगा और हालात बेहद गंभीर हो जाएँगे। इसीलिए आज युवा पीढ़ी की जिम्मेदारी सबसे ज़्यादा है; क्योंकि इतिहास उन्हें भी माफ़ नहीं करेगा। कल को उनसे पूछा जाएगा कि जब देश में यह सब हो रहा था, तब वे युवा के रूप में क्या कर रहे थे? कांग्रेस महात्मा गांधी, पंडित नेहरू, सरदार पटेल, मौलाना अबुल कलाम आजाद और बाबासाहेब अंबेडकर के जमाने की पार्टी है। उन्हीं के बनाए संविधान की बदौलत आज देश चल रहा है। इंदिरा गांधी जी ने शहादत दे दी, पर खालिस्तान नहीं बनने दिया। राजीव गांधी जी शहीद हो गए, क्योंकि वे श्रीलंका सहित पूरे उपमहाद्वीप में शांति स्थापित करना चाहते थे। उन्होंने अपनी जान दे दी, पर देश को एक और अखंड रखा। लेकिन आज सत्ता में बैठे लोगों की सोच क्या है? इनकी सोच से देश कमजोर हो रहा है। ये लोग जानबूझकर धार्मिक ध्रुवीकरण कर रहे हैं। उत्तर प्रदेश में विधानसभा की 403 सीटें हैं), लेकिन आप एक भी सीट किसी मुस्लिम उम्मीदवार को नहीं देते, और खुद को एक राष्ट्रीय राजनीतिक पार्टी कहते हैं! अरे, आप देशवासियों को दिखाने के लिए ही सही, पाँच सीटें दे देते। लेकिन आप तो यह जताना चाहते हैं कि 'हम शुद्ध रूप से हिंदुत्ववादी पार्टी हैं।' वो बेचारे मुख्तार अब्बास नकवी इतने लंबे समय तक भाजपा की कितनी शानदार पैरवी करते थे; शाहनवाज हुसैन मंत्री थे, लेकिन आज आपने सबको घर बैठा दिया। अरे, जिनकी सोच ही यह हो कि केवल हिंदुत्ववादियों को भड़काओ और राज करो—अगर आज इंदिरा गांधी जैसी कद्दावर नेता होतीं, तो भाजपा जैसी पार्टी पर प्रतिबंध (बैन) लगा देतीं। क्या आप सिर्फ हिंदुत्व के एजेंडे पर पार्टी चलाएंगे? क्या आप सिर्फ हिंदुओं के नाम पर राजनीति करना चाहते हैं? हमारे संविधान में क्या लिखा है? आपने जिस संविधान की शपथ ली है, उसमें सभी धर्मों, सभी जातियों और सभी वर्गों का सम्मान करने की बात कही गई है। आप धर्म के नाम पर राजनीति नहीं कर सकते, लेकिन आज खुलेआम यही सब हो रहा है। मुझे याद है, भैरों सिंह शेखावत जी जब बाली से चुनाव लड़े, तो उनके मुँह से राम मंदिर को लेकर कुछ शब्द निकल गए थे। वे चुनाव तो जीत गए और बाद में मुख्यमंत्री भी बन गए, लेकिन किसी ने हाईकोर्ट में उनके खिलाफ केस कर दिया। वह केस इतना संगीन था कि उनकी विधानसभा सदस्यता भी जा सकती थी। बाद में उन्होंने मुख्य गवाह को रास्ते में बस में रोककर, पुलिस के सहयोग से समझाइश की या जो भी किया, तब जाकर वे बच पाए। मैं यह कहना चाहता हूँ कि एक वो दौर था, जब चुनाव में धर्म का सिर्फ नाम लेने मात्र पर पाबंदी थी; आप धर्म को बीच में नहीं ला सकते थे। और आज का दौर देखिए, जहाँ चुनाव आयोग की भूमिका पर भी सवाल उठ रहे हैं। आज पूरे देश के अंदर धर्म के नाम पर लोगों को खुलेआम भड़काया जा रहा है। अब धर्म के इस दुरुपयोग पर न तो कोई बात करता है और न ही कोई कोर्ट जा रहा है। सबने देख लिया है कि देश की व्यवस्था और सोच बदल चुकी है। आज देश इसी ढर्रे पर चल रहा है, इसलिए मैं अपनी बात को और लंबा नहीं खींचना चाहता।" and therefore I do not wish to prolong my remarks any further. "अगर देश को बचाना है, देश के लोकतंत्र (डेमोक्रेसी) को बचाना है... तो आज देश के भीतर जो खतरनाक माहौल है, ऐसा माहौल मैंने अपनी जिंदगी के 50 साल के राजनीतिक करियर में कभी नहीं देखा। यहाँ बैठे आप सभी वरिष्ठ (सीनियर) लोग भी इस बात से सहमत होंगे। मैं पूरी जिम्मेदारी के साथ कह रहा हूँ कि आज बेहद खतरनाक माहौल है। अगर देश अब भी नहीं संभला, तो बाद में देशवासी खुद इसका खामियाजा भुगतेंगे। हमारी युवा पीढ़ी का कोई भविष्य नहीं बचेगा और हालात बेहद गंभीर हो जाएँगे। इसीलिए आज युवा पीढ़ी की जिम्मेदारी सबसे ज़्यादा है; क्योंकि इतिहास उन्हें भी माफ़ नहीं करेगा। कल को उनसे पूछा जाएगा कि जब देश में यह सब हो रहा था, तब वे युवा के रूप में क्या कर रहे थे? कांग्रेस महात्मा गांधी, पंडित नेहरू, सरदार पटेल, मौलाना अबुल कलाम आजाद और बाबासाहेब अंबेडकर के जमाने की पार्टी है। उन्हीं के बनाए संविधान की बदौलत आज देश चल रहा है। इंदिरा गांधी जी ने शहादत दे दी, पर खालिस्तान नहीं बनने दिया। राजीव गांधी जी शहीद हो गए, क्योंकि वे श्रीलंका सहित पूरे उपमहाद्वीप में शांति स्थापित करना चाहते थे। उन्होंने अपनी जान दे दी, पर देश को एक और अखंड रखा। लेकिन आज सत्ता में बैठे लोगों की सोच क्या है? इनकी सोच से देश कमजोर हो रहा है। ये लोग जानबूझकर धार्मिक ध्रुवीकरण कर रहे हैं। उत्तर प्रदेश में विधानसभा की 403 सीटें हैं), लेकिन आप एक भी सीट किसी मुस्लिम उम्मीदवार को नहीं देते, और खुद को एक राष्ट्रीय राजनीतिक पार्टी कहते हैं! अरे, आप देशवासियों को दिखाने के लिए ही सही, पाँच सीटें दे देते। लेकिन आप तो यह जताना चाहते हैं कि 'हम शुद्ध रूप से हिंदुत्ववादी पार्टी हैं।' वो बेचारे मुख्तार अब्बास नकवी इतने लंबे समय तक भाजपा की कितनी शानदार पैरवी करते थे; शाहनवाज हुसैन मंत्री थे, लेकिन आज आपने सबको घर बैठा दिया। अरे, जिनकी सोच ही यह हो कि केवल हिंदुत्ववादियों को भड़काओ और राज करो—अगर आज इंदिरा गांधी जैसी कद्दावर नेता होतीं, तो भाजपा जैसी पार्टी पर प्रतिबंध (बैन) लगा देतीं। क्या आप सिर्फ हिंदुत्व के एजेंडे पर पार्टी चलाएंगे? क्या आप सिर्फ हिंदुओं के नाम पर राजनीति करना चाहते हैं? हमारे संविधान में क्या लिखा है? आपने जिस संविधान की शपथ ली है, उसमें सभी धर्मों, सभी जातियों और सभी वर्गों का सम्मान करने की बात कही गई है। आप धर्म के नाम पर राजनीति नहीं कर सकते, लेकिन आज खुलेआम यही सब हो रहा है। मुझे याद है, भैरों सिंह शेखावत जी जब बाली से चुनाव लड़े, तो उनके मुँह से राम मंदिर को लेकर कुछ शब्द निकल गए थे। वे चुनाव तो जीत गए और बाद में मुख्यमंत्री भी बन गए, लेकिन किसी ने हाईकोर्ट में उनके खिलाफ केस कर दिया। वह केस इतना संगीन था कि उनकी विधानसभा सदस्यता भी जा सकती थी। बाद में उन्होंने मुख्य गवाह को रास्ते में बस में रोककर, पुलिस के सहयोग से समझाइश की या जो भी किया, तब जाकर वे बच पाए। मैं यह कहना चाहता हूँ कि एक वो दौर था, जब चुनाव में धर्म का सिर्फ नाम लेने मात्र पर पाबंदी थी; आप धर्म को बीच में नहीं ला सकते थे। और आज का दौर देखिए, जहाँ चुनाव आयोग की भूमिका पर भी सवाल उठ रहे हैं। आज पूरे देश के अंदर धर्म के नाम पर लोगों को खुलेआम भड़काया जा रहा है। अब धर्म के इस दुरुपयोग पर न तो कोई बात करता है और न ही कोई कोर्ट जा रहा है। सबने देख लिया है कि देश की व्यवस्था और सोच बदल चुकी है। आज देश इसी ढर्रे पर चल रहा है।

Ashok Gehlot

26,552 views • 3 months ago

Mozart's Jupiter Finale: Where Abundance Finds Fulfillment in Harmonious Order In the history of Western music, few finales have been praised as highly as the fourth movement (Molto allegro) of Wolfgang Amadeus Mozart’s Symphony No. 41, “Jupiter.” It is not only the conclusion of the last symphony Mozart completed, but also one of the most radiant achievements of the Classical era. The special beauty of this movement does not lie in grandeur or complexity for their own sake. It lies in the way Mozart enables diverse musical ideas to unfold within a single, unified order. If the spirit of the movement could be expressed in one sentence, it would be this: perfect beauty emerges when abundance is sustained by harmonious order. The movement is written in sonata form, with exposition, development, recapitulation, and coda. Yet Mozart does not treat the form as a rigid frame. He uses it as a steady foundation on which each musical idea can unfold naturally—from simplicity to completeness, from separate voices to a greater unity. On this foundation, the art of counterpoint gradually expands, so that several melodic lines may sound at once while each remains clear and distinct. What is striking is that Mozart does not begin with large, imposing themes. He presents five short motifs, each with its own character. One is strong, another gentle, another full of springing energy; and there is the famous four-note motif, so simple it feels almost like a passing thought. They resemble tiny seeds. Their value is not in their size, but in their power to keep growing. In the exposition, Mozart lets the five motifs appear one after another, so the listener can come to know each distinct “voice” before the longer journey of development begins. In the development, Mozart does not look for new material. He explores more and more deeply what has already been given. Each motif is carried into new keys, changed in shape, broken apart, and then joined with the others. Here counterpoint gradually becomes the moving force of the music. What starts as a conversation between two lines grows into an ever-richer weaving of voices. The remarkable thing is that the more lines sound together, the more clearly the listener can still recognize each individual motif. Every idea keeps its own identity while helping the whole structure become larger and more alive. When the recapitulation arrives, the motifs return in the home key of C major, restoring the balance of the form. Yet this is not a simple return to the beginning. After the journey of change and growth, the listener hears the same ideas again, but now with new depth. They are the same motifs, yet they have been transformed by everything that has happened. The return feels like a person coming home after a time of maturing: the place looks the same, but experience has made everything more meaningful. The true summit of the movement comes in the coda. The motifs that were first heard separately now sound together in a brilliant contrapuntal texture. At certain moments, all five motifs sound simultaneously. Each line keeps its own character and direction, yet all blend perfectly with one another. What could easily have become confusion instead shines with astonishing clarity. Here Mozart brings the art of counterpoint to the highest ideal of the Classical age: unity is not created by making every idea the same, but by letting each idea develop to the fullness of its own nature and then come together in a balanced whole. That is why the finale of the “Jupiter” has long been regarded as one of the most perfect achievements of eighteenth-century symphonic music. When one listens to this ending, what remains is not only admiration for Mozart’s skill. What stays more deeply is the sense that every musical idea has been brought to its complete fulfillment. No motif is left behind, and none overwhelms the others. Each idea fulfills its part and then naturally joins a greater whole. The movement therefore gives a rare feeling of completeness—as though everything that needed to be said has found its proper voice. This experience also calls to mind the inner life of a human being. Imagine a father standing at the door as his child leaves home for the first time to begin an independent life. In that single moment he may feel, all at once, pride that his child has grown, joy for the future ahead, concern for the trials that wait, a quiet sadness as the house becomes still, and gratitude for the years they shared. These feelings do not blend by themselves. If worry takes over, love becomes possessive. If longing turns into clinging, it can hinder the child’s growth. Yet when every emotion is guided by love and by what is right, each keeps its proper place. They no longer pull the heart in different directions; together they point toward a greater good. Maturity, then, is not the removal of different feelings, but their right ordering within the moral life of the heart. Perhaps this reflects a still wider law of existence. A lasting society does not require every person to be the same, any more than nature exists in only one form of life. Every human being, every living creature, and every principle of nature has its own value when it fulfills the role that belongs to it within an order that already exists. The completeness of each part gives rise to the completeness of the whole. It may be because the finale of the “Jupiter” reflects this universal principle that it continues to move listeners more than two centuries later. Mozart does not merely close a symphony. Through it he lets us feel that enduring beauty does not appear when all differences are erased, but when every part is allowed to fulfill its own nature and joins in making the whole complete. In this performance, the Vienna Philharmonic under the direction of Karl Böhm performs the fourth movement (Molto allegro) from Wolfgang Amadeus Mozart’s Symphony No. 41 in C major, K. 551, “Jupiter.” Filmed at the Musikverein in Vienna in June 1973, this is widely regarded as one of the classic interpretations of the work. With Böhm’s calm, balanced, and deeply insightful conducting, together with the Vienna Philharmonic’s distinctive sound, the performance brings into focus the unique beauty of the finale, where multiple independent musical ideas unfold and come together within a single, harmonious order. It is this union of richness and unity that has long established the Molto allegro as one of the supreme achievements of the Classical symphonic tradition.
6:28

Mozart's Jupiter Finale: Where Abundance Finds Fulfillment in Harmonious Order In the history of Western music, few finales have been praised as highly as the fourth movement (Molto allegro) of Wolfgang Amadeus Mozart’s Symphony No. 41, “Jupiter.” It is not only the conclusion of the last symphony Mozart completed, but also one of the most radiant achievements of the Classical era. The special beauty of this movement does not lie in grandeur or complexity for their own sake. It lies in the way Mozart enables diverse musical ideas to unfold within a single, unified order. If the spirit of the movement could be expressed in one sentence, it would be this: perfect beauty emerges when abundance is sustained by harmonious order. The movement is written in sonata form, with exposition, development, recapitulation, and coda. Yet Mozart does not treat the form as a rigid frame. He uses it as a steady foundation on which each musical idea can unfold naturally—from simplicity to completeness, from separate voices to a greater unity. On this foundation, the art of counterpoint gradually expands, so that several melodic lines may sound at once while each remains clear and distinct. What is striking is that Mozart does not begin with large, imposing themes. He presents five short motifs, each with its own character. One is strong, another gentle, another full of springing energy; and there is the famous four-note motif, so simple it feels almost like a passing thought. They resemble tiny seeds. Their value is not in their size, but in their power to keep growing. In the exposition, Mozart lets the five motifs appear one after another, so the listener can come to know each distinct “voice” before the longer journey of development begins. In the development, Mozart does not look for new material. He explores more and more deeply what has already been given. Each motif is carried into new keys, changed in shape, broken apart, and then joined with the others. Here counterpoint gradually becomes the moving force of the music. What starts as a conversation between two lines grows into an ever-richer weaving of voices. The remarkable thing is that the more lines sound together, the more clearly the listener can still recognize each individual motif. Every idea keeps its own identity while helping the whole structure become larger and more alive. When the recapitulation arrives, the motifs return in the home key of C major, restoring the balance of the form. Yet this is not a simple return to the beginning. After the journey of change and growth, the listener hears the same ideas again, but now with new depth. They are the same motifs, yet they have been transformed by everything that has happened. The return feels like a person coming home after a time of maturing: the place looks the same, but experience has made everything more meaningful. The true summit of the movement comes in the coda. The motifs that were first heard separately now sound together in a brilliant contrapuntal texture. At certain moments, all five motifs sound simultaneously. Each line keeps its own character and direction, yet all blend perfectly with one another. What could easily have become confusion instead shines with astonishing clarity. Here Mozart brings the art of counterpoint to the highest ideal of the Classical age: unity is not created by making every idea the same, but by letting each idea develop to the fullness of its own nature and then come together in a balanced whole. That is why the finale of the “Jupiter” has long been regarded as one of the most perfect achievements of eighteenth-century symphonic music. When one listens to this ending, what remains is not only admiration for Mozart’s skill. What stays more deeply is the sense that every musical idea has been brought to its complete fulfillment. No motif is left behind, and none overwhelms the others. Each idea fulfills its part and then naturally joins a greater whole. The movement therefore gives a rare feeling of completeness—as though everything that needed to be said has found its proper voice. This experience also calls to mind the inner life of a human being. Imagine a father standing at the door as his child leaves home for the first time to begin an independent life. In that single moment he may feel, all at once, pride that his child has grown, joy for the future ahead, concern for the trials that wait, a quiet sadness as the house becomes still, and gratitude for the years they shared. These feelings do not blend by themselves. If worry takes over, love becomes possessive. If longing turns into clinging, it can hinder the child’s growth. Yet when every emotion is guided by love and by what is right, each keeps its proper place. They no longer pull the heart in different directions; together they point toward a greater good. Maturity, then, is not the removal of different feelings, but their right ordering within the moral life of the heart. Perhaps this reflects a still wider law of existence. A lasting society does not require every person to be the same, any more than nature exists in only one form of life. Every human being, every living creature, and every principle of nature has its own value when it fulfills the role that belongs to it within an order that already exists. The completeness of each part gives rise to the completeness of the whole. It may be because the finale of the “Jupiter” reflects this universal principle that it continues to move listeners more than two centuries later. Mozart does not merely close a symphony. Through it he lets us feel that enduring beauty does not appear when all differences are erased, but when every part is allowed to fulfill its own nature and joins in making the whole complete. In this performance, the Vienna Philharmonic under the direction of Karl Böhm performs the fourth movement (Molto allegro) from Wolfgang Amadeus Mozart’s Symphony No. 41 in C major, K. 551, “Jupiter.” Filmed at the Musikverein in Vienna in June 1973, this is widely regarded as one of the classic interpretations of the work. With Böhm’s calm, balanced, and deeply insightful conducting, together with the Vienna Philharmonic’s distinctive sound, the performance brings into focus the unique beauty of the finale, where multiple independent musical ideas unfold and come together within a single, harmonious order. It is this union of richness and unity that has long established the Molto allegro as one of the supreme achievements of the Classical symphonic tradition.

🌸🎵 Beautiful Melody 🎶💖

12,161 views • 2 months ago

The Dying Swan – When a Trembling Wing Still Preserves the Beauty of Harmony There are moments in art that make us fall silent, not because of their grandeur, but because of the beauty found in fragility. A hand trembling softly. A delicate figure struggling to hold its final curve. A cello melody flowing slowly like a quiet sigh. In that moment, the audience does not merely see a dancer performing ballet technique. They see the image of a living being reaching the limits of its strength, yet still preserving grace, dignity, and an inner beauty. This is the special emotional power of The Dying Swan, the famous ballet piece built upon Camille Saint-Saëns’ Le Cygne from The Carnival of the Animals. Since its creation in the early 20th century, the work has become one of the enduring symbols of Western ballet, interpreted by generations of artists through the language of the human body. But the lasting power of The Dying Swan does not begin with the dancer’s wings. It begins with the very first notes of the music. When the cello gives voice to the soul In Le Cygne, Camille Saint-Saëns did not seek grandeur or dramatic intensity. Instead, he chose a more delicate path: he allowed the cello to sing. The voice of the cello carries a quality close to the human voice. It does not sound merely like an instrument, but like a deeply personal expression of emotion, where warmth, sadness, and tenderness exist together. From the opening phrases, the cello unfolds a long, graceful, and flowing melody. The music does not rush forward. It gently rises and falls, like the breath of a living creature moving quietly through time. Beneath the cello’s voice are the steady arpeggios of the piano. If the cello is the voice of the swan, then the piano is the water upon which the swan glides. The piano does not attempt to capture attention. It quietly creates a stable foundation, allowing the melody above to rise freely. Yet this quiet support is essential. A pair of wings can only appear beautiful when there is a surface beneath them that gently carries them. This is also one of the profound principles of classical art: Beauty does not come from one element overpowering everything else, but from each part holding its rightful place within a harmonious whole. In Le Cygne, the cello and piano do not compete with one another. They support one another. One represents emotion. The other represents order. One is the flow of the soul. The other is the foundation that allows that flow to maintain its form. And it is this balance that creates the work’s unique sense of peace: even when the music speaks of an ending, there remains within it a beautiful sense of order. Fragile wings and the strength of self-mastery When Mikhail Fokine brought Le Cygne to the ballet stage, he transformed the flow of music into the language of the human body. The dancer’s arms became wings. Movements that opened and closed became like musical phrases breathing. But the deepest beauty of The Dying Swan lies in a paradox: To portray the weakness of a creature gradually losing its strength, the artist must first achieve an extraordinary level of control. A hand that appears to tremble from exhaustion is, in reality, the result of incredibly refined control. On stage, a dancer cannot truly allow the body to lose balance. If the movement became completely random, if the arm simply fell without intention or direction, the audience would not feel the beauty of a fading wing; they would only see a movement without purpose. The wonder of The Dying Swan lies in the fact that the artist uses technique to create the feeling that technique itself has disappeared. Every small movement of the arm, every inclination of the body, every moment of stillness is carefully controlled to create the illusion of fragility. In other words, to express a living being approaching its final limit, the dancer must first achieve a profound mastery over the body. It is this control hidden beneath apparent weakness that creates the extraordinary beauty of the work. This is also what defines the beauty of classical ballet. Beneath gentleness lies strength. Beneath naturalness lies discipline. Beneath fragility lies mastery. The dancer does not overcome the limits of the body through display or force. Instead, they transcend those limits through the harmony between will and physical form, allowing the body to become an instrument for expressing a higher beauty. The image of the artist within the swan Perhaps that is why The Dying Swan is not only about a swan. It is also about the artist. A great artist does not simply seek to express the self. Through years of discipline and refinement, they gradually transform technique into emotion and transform control into beauty that appears completely natural. On stage, the swan seems to face the final moment of its existence. But it does not cry out. It does not panic. It does not lose its dignity. It preserves its final shape, its final movement, its final expression of beauty. This reflects a classical understanding of humanity: The value of a life is not measured only by how long it lasts, but also by how one preserves one’s qualities and dignity in every moment. The beauty of transition Perhaps this is why the final moments of the work leave such a profound impression. They recall the beauty of a sunset. A sunset does not possess the powerful light of midday. Nor does it carry the freshness of dawn. Yet as the light slowly fades, we often discover a deeper kind of beauty. Because sunset is not a chaotic ending. It is a gentle transition within the order of nature. The sun descends. The sky changes color. Everything slowly returns to stillness. Perhaps for this reason, the image of the “swan song” has long become a familiar symbol in Western culture: the final moment when a living being offers its fullest beauty before completing its journey. It does not view the ending merely as a loss, but as a moment when beauty becomes concentrated and complete. Just as a piece of music does not end because it has failed, but because it has finished telling its story.
3:06

The Dying Swan – When a Trembling Wing Still Preserves the Beauty of Harmony There are moments in art that make us fall silent, not because of their grandeur, but because of the beauty found in fragility. A hand trembling softly. A delicate figure struggling to hold its final curve. A cello melody flowing slowly like a quiet sigh. In that moment, the audience does not merely see a dancer performing ballet technique. They see the image of a living being reaching the limits of its strength, yet still preserving grace, dignity, and an inner beauty. This is the special emotional power of The Dying Swan, the famous ballet piece built upon Camille Saint-Saëns’ Le Cygne from The Carnival of the Animals. Since its creation in the early 20th century, the work has become one of the enduring symbols of Western ballet, interpreted by generations of artists through the language of the human body. But the lasting power of The Dying Swan does not begin with the dancer’s wings. It begins with the very first notes of the music. When the cello gives voice to the soul In Le Cygne, Camille Saint-Saëns did not seek grandeur or dramatic intensity. Instead, he chose a more delicate path: he allowed the cello to sing. The voice of the cello carries a quality close to the human voice. It does not sound merely like an instrument, but like a deeply personal expression of emotion, where warmth, sadness, and tenderness exist together. From the opening phrases, the cello unfolds a long, graceful, and flowing melody. The music does not rush forward. It gently rises and falls, like the breath of a living creature moving quietly through time. Beneath the cello’s voice are the steady arpeggios of the piano. If the cello is the voice of the swan, then the piano is the water upon which the swan glides. The piano does not attempt to capture attention. It quietly creates a stable foundation, allowing the melody above to rise freely. Yet this quiet support is essential. A pair of wings can only appear beautiful when there is a surface beneath them that gently carries them. This is also one of the profound principles of classical art: Beauty does not come from one element overpowering everything else, but from each part holding its rightful place within a harmonious whole. In Le Cygne, the cello and piano do not compete with one another. They support one another. One represents emotion. The other represents order. One is the flow of the soul. The other is the foundation that allows that flow to maintain its form. And it is this balance that creates the work’s unique sense of peace: even when the music speaks of an ending, there remains within it a beautiful sense of order. Fragile wings and the strength of self-mastery When Mikhail Fokine brought Le Cygne to the ballet stage, he transformed the flow of music into the language of the human body. The dancer’s arms became wings. Movements that opened and closed became like musical phrases breathing. But the deepest beauty of The Dying Swan lies in a paradox: To portray the weakness of a creature gradually losing its strength, the artist must first achieve an extraordinary level of control. A hand that appears to tremble from exhaustion is, in reality, the result of incredibly refined control. On stage, a dancer cannot truly allow the body to lose balance. If the movement became completely random, if the arm simply fell without intention or direction, the audience would not feel the beauty of a fading wing; they would only see a movement without purpose. The wonder of The Dying Swan lies in the fact that the artist uses technique to create the feeling that technique itself has disappeared. Every small movement of the arm, every inclination of the body, every moment of stillness is carefully controlled to create the illusion of fragility. In other words, to express a living being approaching its final limit, the dancer must first achieve a profound mastery over the body. It is this control hidden beneath apparent weakness that creates the extraordinary beauty of the work. This is also what defines the beauty of classical ballet. Beneath gentleness lies strength. Beneath naturalness lies discipline. Beneath fragility lies mastery. The dancer does not overcome the limits of the body through display or force. Instead, they transcend those limits through the harmony between will and physical form, allowing the body to become an instrument for expressing a higher beauty. The image of the artist within the swan Perhaps that is why The Dying Swan is not only about a swan. It is also about the artist. A great artist does not simply seek to express the self. Through years of discipline and refinement, they gradually transform technique into emotion and transform control into beauty that appears completely natural. On stage, the swan seems to face the final moment of its existence. But it does not cry out. It does not panic. It does not lose its dignity. It preserves its final shape, its final movement, its final expression of beauty. This reflects a classical understanding of humanity: The value of a life is not measured only by how long it lasts, but also by how one preserves one’s qualities and dignity in every moment. The beauty of transition Perhaps this is why the final moments of the work leave such a profound impression. They recall the beauty of a sunset. A sunset does not possess the powerful light of midday. Nor does it carry the freshness of dawn. Yet as the light slowly fades, we often discover a deeper kind of beauty. Because sunset is not a chaotic ending. It is a gentle transition within the order of nature. The sun descends. The sky changes color. Everything slowly returns to stillness. Perhaps for this reason, the image of the “swan song” has long become a familiar symbol in Western culture: the final moment when a living being offers its fullest beauty before completing its journey. It does not view the ending merely as a loss, but as a moment when beauty becomes concentrated and complete. Just as a piece of music does not end because it has failed, but because it has finished telling its story.

🎼🌺Music Love♥️

11,366 views • 2 months ago

Dear self-esteemed Madame Nirmala Sitharaman, In your interview with India Today said "Look at this stupid-self confidence with which he stands up" taking potshots at our leader Rahul Gandhi as he was talking about the sad economic reality. You asked him back whether we made a single unit which brought in foreign exchange. Here you go, Madame Ji. This is just a beginning! Last year India's Software exports were $205.2 Billion out of $776.68B total exports. This is a huge 26% of the overall export. This is our single biggest contribution to our exports. From starting the first Computer Science course in IIT Kharagpur in 1971, to STPI to Aadhaar and NPCI we've built this software industry in India from ground up. What was your party doing back then? Trying to obstruct everything and create as many hurdles as possible. Let us remind you that your party declared 1984 as 'anti-computerisation year' and worked towards obstructing the IT sector which was the future. Despite all challenges, we went ahead and did it with the support of vast number of talented engineers of India. Here is a brief history of it. How India Became a Global IT Superpower A few decades ago, India was not known for computers or software. But today, it is one of the biggest IT hubs in the world. Millions of Indians work in the software industry, and companies like Infosys, Wipro, and TCS are global giants. This transformation did not happen overnight. It was the result of important government policies and decisions that started in the 1970s. Let’s go back in time and see how India’s IT journey began. IITs and the Birth of Computer Science Courses (1970s-1980s) India’s famous IITs (Indian Institutes of Technology) started computer science courses in the 1970s and 1980s. IIT Kanpur was one of the first to introduce a Computer Science and Engineering (CSE) program in 1971, with the help of US universities. By the 1980s, almost all IITs and NITs had computer science departments. This was the first step in producing highly skilled software engineers. Many of these graduates went on to work in Silicon Valley or for Indian IT companies. Rajiv Gandhi and the Computer Revolution (1984-1989 In the 1980s, India was not very advanced in technology. Computers were rare, and many people feared that they would take away jobs. But Prime Minister Rajiv Gandhi saw the future. He believed that computers would help India grow. With the help of Sam Pitroda, a telecom engineer, he introduced computers in government offices. At first, there was resistance. Many workers protested, fearing job losses. But soon, people realized that computers made work easier and faster. The government also encouraged companies and schools to use computers. In 1988, the Centre for Development of Advanced Computing (C-DAC) was set up to build India's own supercomputers. This created excitement around computers, and many young students started taking interest in computer science. The 1986 Software Export Policy – India Opens to the World In 1986, the government introduced a policy to promote software exports. The goal was to make India a hub for IT services. This led to the creation of Software Technology Parks of India (STPI) in 1991, where software companies could work with tax benefits. Foreign companies also started outsourcing their software work to India. Suddenly, there were many job opportunities in IT, and students began choosing computer science as a career. The 1991 Economic Reforms – A Game Changer The biggest turning point came in 1991 when India opened its economy to foreign investment. Prime Minister P.V. Narasimha Rao and Finance Minister Dr. Manmohan Singh introduced economic liberalization. Before 1991, starting a company in India was difficult because of too many government rules. After 1991, foreign companies like IBM and Microsoft entered India, creating more jobs in IT. This encouraged even more students to study computer science. The Y2K Boom – India Saves the World (Late 1990s) In the late 1990s, the world faced a big problem – the Y2K bug. Many old computer programs used two-digit years (e.g., ‘99’ for 1999). People feared that when the year 2000 came, computers might fail. Indian IT companies like Infosys, Wipro, and TCS came to the rescue. They fixed Y2K bugs for global companies. This made India famous as a reliable IT outsourcing destination. After this, many foreign companies started hiring Indian engineers for software work. Seeing this success, more engineering colleges expanded their computer science departments. Conclusion – The IT Dream Becomes Reality India’s rise as a global IT powerhouse was not an accident. It was the result of smart government policies, investments in education, and the hard work of young Indian engineers. From Rajiv Gandhi’s computer push to the Y2K boom, and from IITs’ computer science programs to economic liberalization, each step played a role in shaping India’s IT success story. Today, Indian software engineers are leading global tech companies, and India remains one of the world’s top destinations for IT services. The journey is far from over – the future looks even brighter! So Madame Nirmala Sitharaman, shelve your stupid arrogance and think before you talk. Your Govt is able to sustain because of Software Exports which is $205.2 Billion out of $776.68B total exports, a huge 26% of the overall export. Do you need more? We will answer you in the coming days!
1:22

Dear self-esteemed Madame Nirmala Sitharaman, In your interview with India Today said "Look at this stupid-self confidence with which he stands up" taking potshots at our leader Rahul Gandhi as he was talking about the sad economic reality. You asked him back whether we made a single unit which brought in foreign exchange. Here you go, Madame Ji. This is just a beginning! Last year India's Software exports were $205.2 Billion out of $776.68B total exports. This is a huge 26% of the overall export. This is our single biggest contribution to our exports. From starting the first Computer Science course in IIT Kharagpur in 1971, to STPI to Aadhaar and NPCI we've built this software industry in India from ground up. What was your party doing back then? Trying to obstruct everything and create as many hurdles as possible. Let us remind you that your party declared 1984 as 'anti-computerisation year' and worked towards obstructing the IT sector which was the future. Despite all challenges, we went ahead and did it with the support of vast number of talented engineers of India. Here is a brief history of it. How India Became a Global IT Superpower A few decades ago, India was not known for computers or software. But today, it is one of the biggest IT hubs in the world. Millions of Indians work in the software industry, and companies like Infosys, Wipro, and TCS are global giants. This transformation did not happen overnight. It was the result of important government policies and decisions that started in the 1970s. Let’s go back in time and see how India’s IT journey began. IITs and the Birth of Computer Science Courses (1970s-1980s) India’s famous IITs (Indian Institutes of Technology) started computer science courses in the 1970s and 1980s. IIT Kanpur was one of the first to introduce a Computer Science and Engineering (CSE) program in 1971, with the help of US universities. By the 1980s, almost all IITs and NITs had computer science departments. This was the first step in producing highly skilled software engineers. Many of these graduates went on to work in Silicon Valley or for Indian IT companies. Rajiv Gandhi and the Computer Revolution (1984-1989 In the 1980s, India was not very advanced in technology. Computers were rare, and many people feared that they would take away jobs. But Prime Minister Rajiv Gandhi saw the future. He believed that computers would help India grow. With the help of Sam Pitroda, a telecom engineer, he introduced computers in government offices. At first, there was resistance. Many workers protested, fearing job losses. But soon, people realized that computers made work easier and faster. The government also encouraged companies and schools to use computers. In 1988, the Centre for Development of Advanced Computing (C-DAC) was set up to build India's own supercomputers. This created excitement around computers, and many young students started taking interest in computer science. The 1986 Software Export Policy – India Opens to the World In 1986, the government introduced a policy to promote software exports. The goal was to make India a hub for IT services. This led to the creation of Software Technology Parks of India (STPI) in 1991, where software companies could work with tax benefits. Foreign companies also started outsourcing their software work to India. Suddenly, there were many job opportunities in IT, and students began choosing computer science as a career. The 1991 Economic Reforms – A Game Changer The biggest turning point came in 1991 when India opened its economy to foreign investment. Prime Minister P.V. Narasimha Rao and Finance Minister Dr. Manmohan Singh introduced economic liberalization. Before 1991, starting a company in India was difficult because of too many government rules. After 1991, foreign companies like IBM and Microsoft entered India, creating more jobs in IT. This encouraged even more students to study computer science. The Y2K Boom – India Saves the World (Late 1990s) In the late 1990s, the world faced a big problem – the Y2K bug. Many old computer programs used two-digit years (e.g., ‘99’ for 1999). People feared that when the year 2000 came, computers might fail. Indian IT companies like Infosys, Wipro, and TCS came to the rescue. They fixed Y2K bugs for global companies. This made India famous as a reliable IT outsourcing destination. After this, many foreign companies started hiring Indian engineers for software work. Seeing this success, more engineering colleges expanded their computer science departments. Conclusion – The IT Dream Becomes Reality India’s rise as a global IT powerhouse was not an accident. It was the result of smart government policies, investments in education, and the hard work of young Indian engineers. From Rajiv Gandhi’s computer push to the Y2K boom, and from IITs’ computer science programs to economic liberalization, each step played a role in shaping India’s IT success story. Today, Indian software engineers are leading global tech companies, and India remains one of the world’s top destinations for IT services. The journey is far from over – the future looks even brighter! So Madame Nirmala Sitharaman, shelve your stupid arrogance and think before you talk. Your Govt is able to sustain because of Software Exports which is $205.2 Billion out of $776.68B total exports, a huge 26% of the overall export. Do you need more? We will answer you in the coming days!

Congress Kerala

138,170 views • 1 year ago

"The time has come for BJP vs All & Narendra Modi vs Rahul Gandhi Recently, when the INDIA Alliance meeting was held, Rahul Gandhi ji presented his views with complete clarity. You must have also seen the podcast that he recently gave to the media. Do watch and listen to it; he has spoken very openly and candidly. It is my clear belief that today the INDIA alliance needs to be strengthened further, and the biggest responsibility for strengthening it lies with the Congress, because Congress is the largest national party in this alliance. Recently, Shiv Sena (UBT)'s Sanjay Raut ji also said that all those parties which had separated from the Congress in the past should return to the Congress. I have strongly supported his statement as well. Along with this, I also believe that the INDIA alliance should now openly hand over its leadership to Rahul Gandhi ji, so that the picture before the public remains absolutely clear ,the contest should be directly between 'Modi versus Rahul Gandhi'. The public always wants to know who the face before them is as an alternative, a face that is accepted by everyone. We must not forget history. The same thing happened during Indira Gandhi ji's time. In that period too, opposition forces created an atmosphere of 'Congress versus All'. A similar situation was created during Rajiv Gandhi ji's time as well, when false allegations were levelled against him in the Bofors case and, because of the misinformation campaign, we lost the election. As a result, V. P. Singh ji became Prime Minister for barely one year. Whereas the reality was that there was no substance in the Bofors allegations. When the Kargil War took place and those very Bofors guns came to the country's aid, our brave soldiers, while operating the Bofors guns, raised the slogan 'Rajiv Gandhi Amar Rahe'. But unfortunately, it was in the name of this false Bofors issue that our government lost power at that time. In exactly the same way, the government of respected Manmohan Singh ji was removed on the basis of fabricated allegations relating to the 2G spectrum and Coalgate. Today I want to ask: where has that Lokpal disappeared? The RSS and BJP together put forward a Gandhian face like Anna Hazare ji, made him the face before the country, and after damaging the political atmosphere of the nation, removed Manmohan Singh ji's government from power. These people have always done the same thing, whether it was the era of Indira ji or Rajiv ji. They created the Chakravyuh of 'Congress versus All'. And I say this with great regret: during that period, even progressive parties like the CPI, CPM and the Socialists came onto the same platform as the BJP and started raising slogans of 'Remove Congress, Save the Country'. But the people of this country are wise; within just two and a half years, such a storm in favour of Indira Gandhi swept the country that Congress returned to power with a thumping majority, and the people once again made Indira ji Prime Minister with great respect. History bears witness to how they defamed Rajiv Gandhi ji over the Bofors case involving sixty crore rupees. But today, when we make a direct allegation of corruption worth twelve thousand crore rupees in the Rafale deal, the media does not even make it an issue! You can yourself think about what the condition of the country has become. Now the time has come when the contest should be 'BJP versus All' only then will their eyes open. For this, Congress will have to take the initiative and make efforts, and Congress will make those efforts. As soon as the people of the country understand that the real truth and welfare of the nation lie with the Congress, the parties that are part of the NDA today and are standing with Modi ji and the BJP , will leave the BJP. When the people in the regions represented by those regional parties themselves turn against the BJP, those parties will be compelled to leave the NDA and will try to join the INDIA Alliance. On that day, the BJP will finally understand its real standing on the ground. "अब भाजपा वर्सेज ऑल एवं मोदी बनाम राहुल गांधी का वक्त आ गया है" अभी हाल ही में जब इंडिया गठबंधन की बैठक हुई थी, तब राहुल गांधी जी ने पूरी स्पष्टता के साथ अपनी बातें रखी थीं। आपने उनका वह पॉडकास्ट भी देखा होगा जो उन्होंने हाल ही में मीडिया को दिया है। आप उसे जरूर देखिएगा और सुनिएगा, उन्होंने बहुत खुलकर और साफगोई से बातचीत की है। मेरा स्पष्ट मानना है कि आज इंडिया गठबंधन को और अधिक मजबूत करने की जरूरत है, और इसे मजबूत करने की सबसे बड़ी जिम्मेदारी कांग्रेस की है; क्योंकि कांग्रेस इस गठबंधन की सबसे बड़ी राष्ट्रीय पार्टी है। अभी हाल ही में शिवसेना (UBT) के संजय राउत जी ने भी कहा था कि जो पार्टियाँ अतीत में कांग्रेस से अलग होकर गई हैं, उन सभी को वापस कांग्रेस में लौट आना चाहिए। मैंने भी उनके इस बयान का पुरजोर समर्थन किया है। इसके साथ ही मेरा यह भी मानना है कि इंडिया गठबंधन को अब खुलकर राहुल गांधी जी को अपना नेतृत्व सौंप देना चाहिए, ताकि जनता के सामने तस्वीर बिल्कुल साफ रहे, मुकाबला सीधा 'मोदी बनाम राहुल गांधी' का हो। जनता हमेशा यह जानना चाहती है कि विकल्प के रूप में उनके सामने कौन सा ऐसा चेहरा है, जिसे सब स्वीकार करते हैं। हमें इतिहास को नहीं भूलना चाहिए, इंदिरा गांधी जी के समय में भी यही हुआ था। उस दौर में भी विपक्षी ताकतों ने 'कांग्रेस बनाम अन्य सभी दल' (Congress vs All) का माहौल बना दिया था। यही स्थिति राजीव गांधी जी के वक्त भी पैदा की गई, जब उन पर बोफोर्स का झूठा आरोप लगाया गया और दुष्प्रचार के कारण हम चुनाव हार गए। परिणाम यह हुआ कि वी.पी. सिंह जी महज एक साल के लिए प्रधानमंत्री बन गए। जबकि हकीकत यह थी कि बोफोर्स के आरोपों में कोई दम ही नहीं था। जब कारगिल युद्ध हुआ और यही बोफोर्स तोपें देश के काम आईं, तब हमारे जांबाज सैनिकों ने बोफोर्स चलाते हुए 'राजीव गांधी अमर रहे' के नारे लगाए थे। लेकिन अफसोस, इसी झूठे बोफोर्स के नाम पर तब हमारी सरकार चली गई थी। ठीक इसी तरह, 2G स्पेक्ट्रम और कोलगेट (कोयला घोटाला) के मनगढ़ंत आरोपों के दम पर आदरणीय मनमोहन सिंह जी की सरकार को हटा दिया गया। आज मैं पूछना चाहता हूँ कि वो लोकपाल कहाँ गायब हो गए? आरएसएस और बीजेपी ने मिलकर अन्ना हजारे जी जैसे गांधीवादी चेहरे को आगे बैठा दिया, देश के सामने उन्हें मोहरा बनाया और देश का राजनीतिक माहौल बर्बाद करके मनमोहन सिंह जी की सरकार को सत्ता से बाहर कर दिया। ये लोग हमेशा से ऐसा ही करते आए हैं, चाहे इंदिरा जी का दौर हो या राजीव जी का। इन्होंने 'कांग्रेस बनाम अन्य सभी' का चक्रव्यूह रचा। और मुझे यह कहते हुए बेहद अफसोस होता है कि उस दौर में सीपीआई, सीपीएम और सोशलिस्ट जैसी प्रगतिशील पार्टियाँ भी बीजेपी के साथ एक मंच पर आ गईं और 'कांग्रेस हटाओ, देश बचाओ' के नारे लगाने लगीं। लेकिन देश की जनता समझदार है; महज ढाई साल के भीतर ही देश में इंदिरा गांधी की ऐसी आंधी चली कि कांग्रेस भारी बहुमत (Thumping Majority) के साथ वापस सत्ता में लौटी और जनता ने बड़े मान के साथ इंदिरा जी को दोबारा प्रधानमंत्री बनाया। इतिहास इस बात का गवाह है कि साठ करोड़ रुपये के बोफोर्स मामले को लेकर इन्होंने राजीव गांधी जी को किस तरह बदनाम किया था। लेकिन आज जब हम राफेल सौदे में बारह हजार करोड़ रुपये के भ्रष्टाचार का सीधा आरोप लगाते हैं, तो मीडिया इसे मुद्दा ही नहीं बनाता! आप खुद सोच सकते हैं कि देश की स्थिति क्या हो चुकी है। अब वह समय आ गया है जब मुकाबला 'बीजेपी बनाम अन्य सभी दल' (BJP vs All) होना चाहिए, तभी जाकर इनकी आँखें खुलेंगी। इसके लिए कांग्रेस को आगे बढ़कर प्रयास करने होंगे और कांग्रेस यह प्रयास करेगी। जैसे ही देश की जनता को यह समझ आएगा कि देश की असली सच्चाई और भलाई कांग्रेस के साथ है, वैसे ही एनडीए (NDA) में शामिल दल, जो आज मोदी जी और बीजेपी के साथ खड़े हैं, बीजेपी का साथ छोड़ देंगे। जब उन क्षेत्रीय दलों के इलाकों की जनता ही बीजेपी के खिलाफ हो जाएगी, तब वे मजबूर होकर एनडीए छोड़ेंगे और इंडिया गठबंधन में शामिल होने का प्रयास करेंगे। उसी दिन जाकर बीजेपी को अपनी असली जमीन समझ में आएगी।
3:43

"The time has come for BJP vs All & Narendra Modi vs Rahul Gandhi Recently, when the INDIA Alliance meeting was held, Rahul Gandhi ji presented his views with complete clarity. You must have also seen the podcast that he recently gave to the media. Do watch and listen to it; he has spoken very openly and candidly. It is my clear belief that today the INDIA alliance needs to be strengthened further, and the biggest responsibility for strengthening it lies with the Congress, because Congress is the largest national party in this alliance. Recently, Shiv Sena (UBT)'s Sanjay Raut ji also said that all those parties which had separated from the Congress in the past should return to the Congress. I have strongly supported his statement as well. Along with this, I also believe that the INDIA alliance should now openly hand over its leadership to Rahul Gandhi ji, so that the picture before the public remains absolutely clear ,the contest should be directly between 'Modi versus Rahul Gandhi'. The public always wants to know who the face before them is as an alternative, a face that is accepted by everyone. We must not forget history. The same thing happened during Indira Gandhi ji's time. In that period too, opposition forces created an atmosphere of 'Congress versus All'. A similar situation was created during Rajiv Gandhi ji's time as well, when false allegations were levelled against him in the Bofors case and, because of the misinformation campaign, we lost the election. As a result, V. P. Singh ji became Prime Minister for barely one year. Whereas the reality was that there was no substance in the Bofors allegations. When the Kargil War took place and those very Bofors guns came to the country's aid, our brave soldiers, while operating the Bofors guns, raised the slogan 'Rajiv Gandhi Amar Rahe'. But unfortunately, it was in the name of this false Bofors issue that our government lost power at that time. In exactly the same way, the government of respected Manmohan Singh ji was removed on the basis of fabricated allegations relating to the 2G spectrum and Coalgate. Today I want to ask: where has that Lokpal disappeared? The RSS and BJP together put forward a Gandhian face like Anna Hazare ji, made him the face before the country, and after damaging the political atmosphere of the nation, removed Manmohan Singh ji's government from power. These people have always done the same thing, whether it was the era of Indira ji or Rajiv ji. They created the Chakravyuh of 'Congress versus All'. And I say this with great regret: during that period, even progressive parties like the CPI, CPM and the Socialists came onto the same platform as the BJP and started raising slogans of 'Remove Congress, Save the Country'. But the people of this country are wise; within just two and a half years, such a storm in favour of Indira Gandhi swept the country that Congress returned to power with a thumping majority, and the people once again made Indira ji Prime Minister with great respect. History bears witness to how they defamed Rajiv Gandhi ji over the Bofors case involving sixty crore rupees. But today, when we make a direct allegation of corruption worth twelve thousand crore rupees in the Rafale deal, the media does not even make it an issue! You can yourself think about what the condition of the country has become. Now the time has come when the contest should be 'BJP versus All' only then will their eyes open. For this, Congress will have to take the initiative and make efforts, and Congress will make those efforts. As soon as the people of the country understand that the real truth and welfare of the nation lie with the Congress, the parties that are part of the NDA today and are standing with Modi ji and the BJP , will leave the BJP. When the people in the regions represented by those regional parties themselves turn against the BJP, those parties will be compelled to leave the NDA and will try to join the INDIA Alliance. On that day, the BJP will finally understand its real standing on the ground. "अब भाजपा वर्सेज ऑल एवं मोदी बनाम राहुल गांधी का वक्त आ गया है" अभी हाल ही में जब इंडिया गठबंधन की बैठक हुई थी, तब राहुल गांधी जी ने पूरी स्पष्टता के साथ अपनी बातें रखी थीं। आपने उनका वह पॉडकास्ट भी देखा होगा जो उन्होंने हाल ही में मीडिया को दिया है। आप उसे जरूर देखिएगा और सुनिएगा, उन्होंने बहुत खुलकर और साफगोई से बातचीत की है। मेरा स्पष्ट मानना है कि आज इंडिया गठबंधन को और अधिक मजबूत करने की जरूरत है, और इसे मजबूत करने की सबसे बड़ी जिम्मेदारी कांग्रेस की है; क्योंकि कांग्रेस इस गठबंधन की सबसे बड़ी राष्ट्रीय पार्टी है। अभी हाल ही में शिवसेना (UBT) के संजय राउत जी ने भी कहा था कि जो पार्टियाँ अतीत में कांग्रेस से अलग होकर गई हैं, उन सभी को वापस कांग्रेस में लौट आना चाहिए। मैंने भी उनके इस बयान का पुरजोर समर्थन किया है। इसके साथ ही मेरा यह भी मानना है कि इंडिया गठबंधन को अब खुलकर राहुल गांधी जी को अपना नेतृत्व सौंप देना चाहिए, ताकि जनता के सामने तस्वीर बिल्कुल साफ रहे, मुकाबला सीधा 'मोदी बनाम राहुल गांधी' का हो। जनता हमेशा यह जानना चाहती है कि विकल्प के रूप में उनके सामने कौन सा ऐसा चेहरा है, जिसे सब स्वीकार करते हैं। हमें इतिहास को नहीं भूलना चाहिए, इंदिरा गांधी जी के समय में भी यही हुआ था। उस दौर में भी विपक्षी ताकतों ने 'कांग्रेस बनाम अन्य सभी दल' (Congress vs All) का माहौल बना दिया था। यही स्थिति राजीव गांधी जी के वक्त भी पैदा की गई, जब उन पर बोफोर्स का झूठा आरोप लगाया गया और दुष्प्रचार के कारण हम चुनाव हार गए। परिणाम यह हुआ कि वी.पी. सिंह जी महज एक साल के लिए प्रधानमंत्री बन गए। जबकि हकीकत यह थी कि बोफोर्स के आरोपों में कोई दम ही नहीं था। जब कारगिल युद्ध हुआ और यही बोफोर्स तोपें देश के काम आईं, तब हमारे जांबाज सैनिकों ने बोफोर्स चलाते हुए 'राजीव गांधी अमर रहे' के नारे लगाए थे। लेकिन अफसोस, इसी झूठे बोफोर्स के नाम पर तब हमारी सरकार चली गई थी। ठीक इसी तरह, 2G स्पेक्ट्रम और कोलगेट (कोयला घोटाला) के मनगढ़ंत आरोपों के दम पर आदरणीय मनमोहन सिंह जी की सरकार को हटा दिया गया। आज मैं पूछना चाहता हूँ कि वो लोकपाल कहाँ गायब हो गए? आरएसएस और बीजेपी ने मिलकर अन्ना हजारे जी जैसे गांधीवादी चेहरे को आगे बैठा दिया, देश के सामने उन्हें मोहरा बनाया और देश का राजनीतिक माहौल बर्बाद करके मनमोहन सिंह जी की सरकार को सत्ता से बाहर कर दिया। ये लोग हमेशा से ऐसा ही करते आए हैं, चाहे इंदिरा जी का दौर हो या राजीव जी का। इन्होंने 'कांग्रेस बनाम अन्य सभी' का चक्रव्यूह रचा। और मुझे यह कहते हुए बेहद अफसोस होता है कि उस दौर में सीपीआई, सीपीएम और सोशलिस्ट जैसी प्रगतिशील पार्टियाँ भी बीजेपी के साथ एक मंच पर आ गईं और 'कांग्रेस हटाओ, देश बचाओ' के नारे लगाने लगीं। लेकिन देश की जनता समझदार है; महज ढाई साल के भीतर ही देश में इंदिरा गांधी की ऐसी आंधी चली कि कांग्रेस भारी बहुमत (Thumping Majority) के साथ वापस सत्ता में लौटी और जनता ने बड़े मान के साथ इंदिरा जी को दोबारा प्रधानमंत्री बनाया। इतिहास इस बात का गवाह है कि साठ करोड़ रुपये के बोफोर्स मामले को लेकर इन्होंने राजीव गांधी जी को किस तरह बदनाम किया था। लेकिन आज जब हम राफेल सौदे में बारह हजार करोड़ रुपये के भ्रष्टाचार का सीधा आरोप लगाते हैं, तो मीडिया इसे मुद्दा ही नहीं बनाता! आप खुद सोच सकते हैं कि देश की स्थिति क्या हो चुकी है। अब वह समय आ गया है जब मुकाबला 'बीजेपी बनाम अन्य सभी दल' (BJP vs All) होना चाहिए, तभी जाकर इनकी आँखें खुलेंगी। इसके लिए कांग्रेस को आगे बढ़कर प्रयास करने होंगे और कांग्रेस यह प्रयास करेगी। जैसे ही देश की जनता को यह समझ आएगा कि देश की असली सच्चाई और भलाई कांग्रेस के साथ है, वैसे ही एनडीए (NDA) में शामिल दल, जो आज मोदी जी और बीजेपी के साथ खड़े हैं, बीजेपी का साथ छोड़ देंगे। जब उन क्षेत्रीय दलों के इलाकों की जनता ही बीजेपी के खिलाफ हो जाएगी, तब वे मजबूर होकर एनडीए छोड़ेंगे और इंडिया गठबंधन में शामिल होने का प्रयास करेंगे। उसी दिन जाकर बीजेपी को अपनी असली जमीन समझ में आएगी।

Ashok Gehlot

10,071 views • 3 months ago

You can see hundreds of photos of Torres del Paine before you go and still be surprised by how much of the park has nothing to do with the famous towers. There are turquoise lakes, glaciers, waterfalls, open grasslands and lenga forests. Guanacos graze near the road. Condors ride the wind above the mountains. Depending on the hour, the Paine Massif can fill the horizon or disappear almost completely behind clouds. The three granite towers are the image everyone knows, but they’re only one part of the place. Torres del Paine National Park sits in southern Chile, where the Andes meet the Patagonian steppe. The park covers more than 227,000 hectares and has been part of a UNESCO Biosphere Reserve since 1978. Glaciers carved much of what you see today, and ice still runs through the story of the landscape. People were moving through this part of Patagonia long before hikers started arriving with trekking poles and backpacks. The Aónikenk, often called Tehuelche, traveled through the region for thousands of years. Ranching came much later, and large estancias eventually spread across land that now belongs to the park. Sheep, horses and ranch workers were here before refugios and marked trails. The national park was created in 1959 and expanded in the decades that followed. You can still see bits of the ranching past in old buildings, fences and horses along the road. Most trips begin in Puerto Natales. I’d stay there the night before heading into the park rather than treating it as somewhere to sleep between a flight and a bus. The town sits on the water with mountains in the distance, and it’s a good place to have dinner, buy anything you forgot and check your gear one last time. Patagonian lamb shows up on plenty of menus, along with seafood from southern Chile. The drive north is where the trip really starts. Buildings become less frequent. The road cuts through broad stretches of grassland. Guanacos begin appearing in the fields, sometimes close enough to the road that traffic slows down for them. Then, eventually, the mountains show up in the distance. That first view is worth paying attention to. Wildlife is easier to see here than I expected. Guanacos are common. Rheas move through the open country. Foxes live in the park, and condors can sometimes be spotted circling high above the valleys. Pumas are here too, though seeing one usually takes luck, patience or a guide who knows where to look. A lot of people come specifically for the W Trek. The route connects several of the park’s best-known areas, including Base Torres, French Valley and Grey Glacier, and most hikers take about four or five days to complete it. If you like multi-day hiking, it’s an obvious way to see a large part of the park without spending your days getting in and out of a vehicle. The Base Torres hike can also be done on its own. It’s a long day. The trail climbs through the Ascencio Valley, passes through forest and ends with a steep section over rocks before you reach the glacial lake beneath the towers. On a clear day, the view at the top is exactly the one that probably made you want to come here. Of course, Patagonia may have other plans. You can leave under blue skies and arrive with the towers hidden behind cloud. An hour later they might be visible again. Weather changes quickly enough that there’s not much point obsessing over a forecast days in advance. Layers matter. So does a waterproof jacket. The wind is harder to appreciate until you experience it. Patagonia is famous for it, but “windy” doesn’t really describe those moments when a gust hits hard enough to make you adjust your footing on the trail. You’ll also notice trees that have spent their lives growing in one direction. The good news is that you don’t need to hike the W, or even spend every day on a long trail, to see Torres del Paine well. A lot of the park is accessible by road and shorter walks. Salto Grande is an easy stop. Water rushes through a narrow channel between Lake Nordenskjöld and Lake Pehoé, and from there you can continue toward viewpoints of the Cuernos del Paine. The Cuernos look very different from the towers. Their dark upper sections sit above lighter granite walls, and from some angles they’re the mountains I’d rather photograph. Lake Pehoé is close by and deserves time of its own. On the right day, the water turns an almost unreasonable shade of blue-green. The mountains rise behind it, and there are places along the road where you’ll probably pull over even though you hadn’t planned to stop. Grey Glacier is on the western side of the park. It flows down from the Southern Patagonian Ice Field into Grey Lake. Once you see it, the broad valleys and glacial lakes you’ve been passing start to make more sense. Ice shaped much of this place, and here you can still watch part of that story unfolding. There are hiking routes toward viewpoints of the glacier, and boat trips cross Grey Lake for a closer look. Depending on conditions, pieces of ice float in the water between the boat and the glacier. That part of the park feels different from the open country farther east. This is something I’d pay attention to throughout the trip. Torres del Paine changes surprisingly quickly as you move around it. The eastern side opens into Patagonian steppe. Forest becomes more common near the mountains. One lake can be deep blue, another turquoise, another gray beneath the clouds. Rivers run through valleys that seem almost empty. An hour in the car can take you through several versions of Patagonia. That’s why three full days would be my minimum even if you aren’t doing the W Trek. Four is better if the schedule allows. You could spend a day on the Base Torres hike, another around Grey Lake and the western side of the park, and another around Lake Pehoé, Salto Grande and shorter walks. The extra time gives you room to change plans when the weather turns. Where you stay makes a noticeable difference. Puerto Natales has more restaurants, hotels and services, and staying there can keep costs down. The downside is spending more time each day getting to and from the park. Staying inside or near Torres del Paine costs more, but you wake up much closer to the trails and viewpoints. If I could split the trip, I’d spend the first or last night in Puerto Natales and the rest closer to the park. Anyone hiking overnight should sort out refugios or campsites well in advance during the busy season. It’s also worth checking current trail conditions and park rules shortly before arriving, because Patagonia has a way of making plans made six months earlier feel provisional. For most first-time visitors, the warmer months are the easiest time to come. Late spring through early fall in the Southern Hemisphere brings longer daylight and better odds for hiking, although it also brings more people. “Summer” is still a relative term down here. Pack the rain jacket. By the end of a few days, the famous towers may not even be the thing you remember most clearly. It might be a line of guanacos moving across a hillside. The sound of the wind against the car. A glacier appearing across a lake. An empty stretch of road with the Paine Massif slowly getting larger in front of you. Those moments are harder to plan, which is probably why they stick. Come for Base Torres if that’s what first caught your attention. See Grey Glacier. Stop at Lake Pehoé. Hike as much as your legs and the weather allow. But don’t spend the whole trip racing from one famous view to the next. Some of my favorite stretches would probably be the drives between them: old ranch country, open steppe, guanacos scattered across the hills and mountains that keep appearing and disappearing as the clouds move through. You’ll take plenty of pictures in Torres del Paine. Every once in a while, leave the camera in the bag. If you like traveling this way....understanding the history, landscape and people that shaped a place....that’s what I write about in the Timeless Traveler. Travel with a little more soul.
1:08

You can see hundreds of photos of Torres del Paine before you go and still be surprised by how much of the park has nothing to do with the famous towers. There are turquoise lakes, glaciers, waterfalls, open grasslands and lenga forests. Guanacos graze near the road. Condors ride the wind above the mountains. Depending on the hour, the Paine Massif can fill the horizon or disappear almost completely behind clouds. The three granite towers are the image everyone knows, but they’re only one part of the place. Torres del Paine National Park sits in southern Chile, where the Andes meet the Patagonian steppe. The park covers more than 227,000 hectares and has been part of a UNESCO Biosphere Reserve since 1978. Glaciers carved much of what you see today, and ice still runs through the story of the landscape. People were moving through this part of Patagonia long before hikers started arriving with trekking poles and backpacks. The Aónikenk, often called Tehuelche, traveled through the region for thousands of years. Ranching came much later, and large estancias eventually spread across land that now belongs to the park. Sheep, horses and ranch workers were here before refugios and marked trails. The national park was created in 1959 and expanded in the decades that followed. You can still see bits of the ranching past in old buildings, fences and horses along the road. Most trips begin in Puerto Natales. I’d stay there the night before heading into the park rather than treating it as somewhere to sleep between a flight and a bus. The town sits on the water with mountains in the distance, and it’s a good place to have dinner, buy anything you forgot and check your gear one last time. Patagonian lamb shows up on plenty of menus, along with seafood from southern Chile. The drive north is where the trip really starts. Buildings become less frequent. The road cuts through broad stretches of grassland. Guanacos begin appearing in the fields, sometimes close enough to the road that traffic slows down for them. Then, eventually, the mountains show up in the distance. That first view is worth paying attention to. Wildlife is easier to see here than I expected. Guanacos are common. Rheas move through the open country. Foxes live in the park, and condors can sometimes be spotted circling high above the valleys. Pumas are here too, though seeing one usually takes luck, patience or a guide who knows where to look. A lot of people come specifically for the W Trek. The route connects several of the park’s best-known areas, including Base Torres, French Valley and Grey Glacier, and most hikers take about four or five days to complete it. If you like multi-day hiking, it’s an obvious way to see a large part of the park without spending your days getting in and out of a vehicle. The Base Torres hike can also be done on its own. It’s a long day. The trail climbs through the Ascencio Valley, passes through forest and ends with a steep section over rocks before you reach the glacial lake beneath the towers. On a clear day, the view at the top is exactly the one that probably made you want to come here. Of course, Patagonia may have other plans. You can leave under blue skies and arrive with the towers hidden behind cloud. An hour later they might be visible again. Weather changes quickly enough that there’s not much point obsessing over a forecast days in advance. Layers matter. So does a waterproof jacket. The wind is harder to appreciate until you experience it. Patagonia is famous for it, but “windy” doesn’t really describe those moments when a gust hits hard enough to make you adjust your footing on the trail. You’ll also notice trees that have spent their lives growing in one direction. The good news is that you don’t need to hike the W, or even spend every day on a long trail, to see Torres del Paine well. A lot of the park is accessible by road and shorter walks. Salto Grande is an easy stop. Water rushes through a narrow channel between Lake Nordenskjöld and Lake Pehoé, and from there you can continue toward viewpoints of the Cuernos del Paine. The Cuernos look very different from the towers. Their dark upper sections sit above lighter granite walls, and from some angles they’re the mountains I’d rather photograph. Lake Pehoé is close by and deserves time of its own. On the right day, the water turns an almost unreasonable shade of blue-green. The mountains rise behind it, and there are places along the road where you’ll probably pull over even though you hadn’t planned to stop. Grey Glacier is on the western side of the park. It flows down from the Southern Patagonian Ice Field into Grey Lake. Once you see it, the broad valleys and glacial lakes you’ve been passing start to make more sense. Ice shaped much of this place, and here you can still watch part of that story unfolding. There are hiking routes toward viewpoints of the glacier, and boat trips cross Grey Lake for a closer look. Depending on conditions, pieces of ice float in the water between the boat and the glacier. That part of the park feels different from the open country farther east. This is something I’d pay attention to throughout the trip. Torres del Paine changes surprisingly quickly as you move around it. The eastern side opens into Patagonian steppe. Forest becomes more common near the mountains. One lake can be deep blue, another turquoise, another gray beneath the clouds. Rivers run through valleys that seem almost empty. An hour in the car can take you through several versions of Patagonia. That’s why three full days would be my minimum even if you aren’t doing the W Trek. Four is better if the schedule allows. You could spend a day on the Base Torres hike, another around Grey Lake and the western side of the park, and another around Lake Pehoé, Salto Grande and shorter walks. The extra time gives you room to change plans when the weather turns. Where you stay makes a noticeable difference. Puerto Natales has more restaurants, hotels and services, and staying there can keep costs down. The downside is spending more time each day getting to and from the park. Staying inside or near Torres del Paine costs more, but you wake up much closer to the trails and viewpoints. If I could split the trip, I’d spend the first or last night in Puerto Natales and the rest closer to the park. Anyone hiking overnight should sort out refugios or campsites well in advance during the busy season. It’s also worth checking current trail conditions and park rules shortly before arriving, because Patagonia has a way of making plans made six months earlier feel provisional. For most first-time visitors, the warmer months are the easiest time to come. Late spring through early fall in the Southern Hemisphere brings longer daylight and better odds for hiking, although it also brings more people. “Summer” is still a relative term down here. Pack the rain jacket. By the end of a few days, the famous towers may not even be the thing you remember most clearly. It might be a line of guanacos moving across a hillside. The sound of the wind against the car. A glacier appearing across a lake. An empty stretch of road with the Paine Massif slowly getting larger in front of you. Those moments are harder to plan, which is probably why they stick. Come for Base Torres if that’s what first caught your attention. See Grey Glacier. Stop at Lake Pehoé. Hike as much as your legs and the weather allow. But don’t spend the whole trip racing from one famous view to the next. Some of my favorite stretches would probably be the drives between them: old ranch country, open steppe, guanacos scattered across the hills and mountains that keep appearing and disappearing as the clouds move through. You’ll take plenty of pictures in Torres del Paine. Every once in a while, leave the camera in the bag. If you like traveling this way....understanding the history, landscape and people that shaped a place....that’s what I write about in the Timeless Traveler. Travel with a little more soul.

The Timeless Traveler 🇺🇸

20,333 views • 1 month ago

A dog just made the bravest decision I have seen anyone make this year. Not a founder. Not an athlete. Not a person with a plan and a five-year vision board. A dog, on an empty road, with nothing to lose and no idea what would come next. I have watched what comes next more times than I will admit in public. This post is 25,000 characters long. It is a list of reasons why you should watch it too. Read as much as you want, but understand one thing before you start: the video is the only part that matters, and this is everything the video doesn't have room to say. Sound on. Phone in both hands. Do not skip. I'll be here when you get back. THE NUMBER THAT SHOULD BOTHER YOU Let me start with two numbers. The first: commonly cited estimates put the world's stray dog population at around 200 million. Two hundred million animals with no address, no bowl with their name on it, and no one who would notice if they didn't come back tonight. The second number is one. That is how many people had to be on that road, at that exact minute, looking in that exact direction, in a good enough mood to stop. Not two. Not a crowd. One. Here is what nobody says out loud: for every dog you see rescued on camera, there are millions the camera never reached. We don't see them because no one was there. The videos that reach you are not a sample of reality. They are the winners of a lottery so brutal that Powerball looks like a coin flip next to it. So when one of these lands in your feed, don't scroll past it like content. Treat it like what it is: a statistical miracle that happened to end well. And miracles have a structure. Let's take this one apart. FIVE LINKS. BREAK ONE AND THE STORY DOESN'T EXIST. Link one: the dog has to survive long enough to be seen. Roads are not built for small animals. Vehicles do not slow down for shapes on the asphalt. Every hour out there is a coin flip the animal has to win again, and again, and again. Link two: someone has to be present. Not nearby. Present. Eyes up, phone down, brain not busy replaying the argument from breakfast. Link three: that someone has to notice. It sounds simple. It isn't. The human brain is a filtering machine, and a small animal on a road becomes a plastic bag, a shadow, a piece of tire. The most common reason a dog is not rescued is not cruelty. It is that nobody registered it as a dog. Link four: the person has to stop. This is the link that snaps most often. Seeing is free. Stopping costs you time, comfort, a schedule, and possibly the mood of your entire day. Link five: the dog has to let them. An animal that has learned that hands mean pain has every biological reason to run. Trust is not a given. It is a negotiation, and the dog holds the veto. Five links. All five held. Remember that when you press play. You are not watching a nice story. You are watching a chain that should have snapped at least four times. THE PEOPLE WHO KEEP DRIVING In 1968, psychologists John Darley and Bibb Latane published a set of experiments that changed how we think about helping. The finding was uncomfortable: the more people who witness an emergency, the less likely any one of them is to act. They called it diffusion of responsibility. Everyone assumes someone else will handle it. So nobody does. Later research added nuance. When an emergency is clear and dangerous, people step in more often than the original theory predicted. But the core insight has survived half a century of testing, because it describes something every one of us has felt: the small, quiet voice that says, somebody else will stop. Now picture a road with no crowd at all. No audience. No one to hide behind. No one to blame. Just you and a decision that is entirely, inescapably yours. That is the situation the person in this video walked into. And the reason it is worth your attention is not that they did something impossible. It is that they did something small, and it turns out small is exactly what almost nobody does. You don't need to be a hero. You need to be inconvenienced. THE FACE IS THE RESUME In 2013, researcher Bridget Waller and her team studied dogs in a UK shelter and asked a simple question: what makes one dog get adopted faster than another? It wasn't size. It wasn't age. It wasn't coat color. It was one tiny facial movement: the raising of the inner eyebrows. The move that makes a dog's eyes look bigger, softer, almost sad. Dogs that did it more often were chosen faster. Six years later, a study led by Juliane Kaminski found out why that movement is so easy for dogs and so hard for wolves. Dogs have a small muscle around the eye that wolves largely lack. Over thousands of years of living beside us, dogs evolved a way to make their faces speak our language. Read that again. A species rewired its own anatomy to be understood by another species. No other animal has done this to us. Nobody taught them. Nobody forced them. They looked at us, worked out what we respond to, and grew the tool. Now look at the face in this video. You will know the second you see it. That is not a coincidence, and it is not luck. It is fifteen thousand years of engineering aimed directly at your chest. THE ONLY LOOP LIKE IT ON EARTH In 2015, a Japanese team led by Miho Nagasawa published a result in the journal Science that made researchers stop and reread the abstract. When a dog and its owner look into each other's eyes, both of their oxytocin levels rise. Oxytocin is the bonding chemical, the same one that flows between a mother and her newborn. Dog looks at human. Human's oxytocin rises. Human looks back, touches, talks softly. Dog's oxytocin rises. Which makes the dog look longer. Which makes the human's oxytocin rise again. A feedback loop of affection, running across two species, powered by nothing but eye contact. Here is the part that gets me: the effect did not show up the same way in wolves raised by humans. The loop is not just training. It is something that evolved between us. So the next time someone says a dog is just responding to food, tell them there is a peer-reviewed study that disagrees. And keep this fact in your pocket for the video. Because at some point, a moment of eye contact happens in it, and I want you to know what is really going on in that room. THEY CAN SMELL WHAT YOU'RE HIDING Humans have roughly 6 million scent receptors. Dogs are commonly cited as having around 300 million. A large share of a dog's brain is devoted to processing smell. What you experience as a room, a dog experiences as a layered document: who was here, how long ago, and how they felt. In 2022, researchers at Queen's University Belfast tested something remarkable. They collected breath and sweat samples from people before and after a stressful task. Then they asked dogs to tell the samples apart. The dogs got it right nearly 94 percent of the time. Your body broadcasts your emotional state as chemistry. You cannot turn it off. You cannot fake calm. A dog reads your fear, your tension, your irritation, before you have opened your mouth. Which means every rescue is, at its core, a test of one thing: are you actually calm, or are you performing calm? The dog knows. It always knows. And that is why what happens in the first few seconds of this video matters more than anything that comes after it. Watch the body language. Watch how slowly things move. Watch what is not done. THE MOST IMPORTANT MOMENT IN ANY RESCUE IS THE ONE WHERE NOTHING HAPPENS Animal behaviorists describe fear responses in four flavors: fight, flight, freeze, and fawn. Fight is what people expect. Flight is what most strays do. Freeze is what looks like calm but isn't. And fawn, the desperate, wiggling, please-don't-hurt-me appeasement, is the one that breaks your heart the fastest, because it looks like friendliness and it is actually terror. Rescuers who have done this hundreds of times will tell you the same handful of rules. Don't loom. Don't stare straight into the eyes. Get low. Turn sideways. Slow everything down until it feels absurd. Let the animal close the last few feet on its own terms. The hardest instruction, and the one most people can't follow, is the last one: do nothing. Every instinct you have says reach out. Grab. Fix. Take control of the situation. And every good rescue begins with someone who did the opposite. Who made themselves small, patient, and boring, and waited for a frightened animal to decide that the safest thing in its whole world might be a stranger. You are about to watch someone do exactly that. Notice how little they need to say. THE TEARS THEY WON'T PUT IN THE HEADLINE Scientists are careful people. They do not like to say "dogs cry." But in 2022, a team from Azabu University in Japan, led by Takefumi Kikusui, measured tear volume in dogs during reunions with their owners. The result: tear volume rose significantly compared with reunions involving other familiar people. And when researchers applied oxytocin to the dogs' eyes, tear volume rose again. Not sadness crying. Not the crying we do. Something else, something closer to overflow. The body producing water at the exact moment the heart has more in it than it can hold. Nobody has proven that this is the same thing we feel. Scientists will tell you that, and they are right to. But here is a question worth sitting with. If an animal's eyes fill with water when it sees the one being it has decided to trust, what exactly are we arguing about? Watch the eyes in this video. Then tell me what you think you saw. ONCE IT HAS A NAME, IT STOPS BEING A STATISTIC In 2007, psychologist Paul Slovic and colleagues ran an experiment on generosity. They showed people a fundraising appeal for a hungry child, and then a second version that added statistics about millions of other children in the same crisis. More data. More context. More reasons to care. Donations dropped. Slovic called it psychic numbing. The human mind can hold one face. It cannot hold two hundred million. When a tragedy becomes a number, empathy quietly switches off, and we don't even notice it happening. This is why one named animal in one small video can do what a hundred reports full of charts cannot. It gives your brain something it can actually care about: a single life, with a face, a fear, and a future that could go either way. The stray population is a statistic. A dog is a story. And stories, unlike statistics, come with a name at the end. When you reach that moment in the video, pay attention to what it does to you. Notice the small shift in your chest. That is the sound of a number turning into a person, or close enough. THE WORD FOR WHAT YOU'RE ABOUT TO FEEL Researchers have a name for the feeling you get when something touches you so suddenly that your throat tightens and your eyes sting. They call it kama muta, Sanskrit for "moved by love." Anthropologist Alan Fiske proposed that it is a distinct emotion, triggered by a sudden intensification of closeness. Two beings who were strangers become bonded. Someone who was alone becomes part of something. People across many cultures describe the same set of signs: warmth in the chest, goosebumps, a lump in the throat, tears they didn't plan on, and a strong urge to hug someone or hold something. Here is what makes it useful and not just sweet: kama muta is one of the most reliable emotional responses we have. It shows up when reunions happen. When a stranger helps unexpectedly. When an animal, after a long time alone, is finally held. You've felt it. You just never had a word for it. Take note of the exact second it hits you in this video. I promise there is one. And if you're the kind of person who says "I never cry at videos," I would like to schedule a follow-up. WHY YOU'LL WANT TO BE A BETTER PERSON AFTER ONE MINUTE Psychologist Jonathan Haidt studied a related feeling and gave it a name: elevation. Elevation is what you feel when you watch someone do something morally beautiful, quietly, with nothing to gain. It is not envy and it is not admiration. It is an urge, physical and immediate, to do something good yourself. In studies, people who experienced elevation were more likely to help others afterward, more likely to volunteer, and more likely to describe wanting to become better versions of themselves. Read that as a design spec. A short piece of true, unstaged kindness can change what a person does in the hour after they see it. Which is a strange, lovely thing for a phone to be capable of. We spend so much time discussing what social media does wrong. Nobody wonders what would happen if the best five percent of it, the small, real, human moments, were the part that traveled farthest. Let this one travel. It has earned it. THE RARE THING: SOMETHING TRUE THAT WINS In 2018, researchers at MIT published a study in Science that analyzed millions of tweets. The result was grim: false news spread significantly faster and further than true news. False stories were about 70 percent more likely to be retweeted, driven largely by surprise and disgust. The lesson most people took away was that this platform rewards outrage. I want to take a different lesson. If false stories win because they trigger strong emotion, then true stories can win too, as long as they trigger stronger ones. A video with no villain, no scandal, and no argument. Nothing to be angry about. Nothing to dunk on. A rescue that is exactly what it looks like. That kind of content should lose on this platform. It has no fuel. And yet every so often, one of them breaks through and reminds everyone what this place was supposed to be. I am not asking you to like it. I am asking you to notice that you had a choice about what to feed today, and this was one of the options. SOME FRIENDSHIPS SHOULDN'T WORK Somewhere near the end of this video, a second character enters the story. I won't tell you who. I won't tell you what happens. I will tell you that if you have ever read anything about instincts, hunting drives, or the way certain animals are supposed to see each other, this moment will quietly rearrange your assumptions. Behaviorists talk about prey drive as if it were destiny. It is not. It is a tendency, and tendencies can be softened by experience, by safety, by being raised, or re-raised, in a place where no one is afraid. The same dog that once had to look after itself alone can, in a different life, learn that the world contains creatures that are not threats or meals. Only neighbors. That is the most hopeful idea in behavioral science, and it usually gets buried in footnotes: what an animal was is not the same as what an animal can become. The same is true for most of us, incidentally. But that is a different post. Stay for the ending. It is the reason I am writing this at all. THE PART THE INTERNET NEVER FILMS Every rescue video has the same shape: the meeting, the rescue, the transformation, the happy ending. It is edited that way because it is the only shape that gets watched. But ask anyone who has actually done this, and they will tell you the truth is in the gap between the second and third act. The first night. The first week. The first time a dog that has never lived indoors realizes there is a floor that doesn't move, a door that closes without danger, and a bowl that will be full again tomorrow. Rescuers have a rule of thumb for this, the 3-3-3 rule. Three days for a dog to decompress. Three weeks to start learning the routine. Three months to feel truly at home. It's not science, exactly, just a shorthand built from thousands of adoptions. But it captures something real: safety is not a switch. It is a process, and the animal has to believe it slowly, one uneventful day at a time. That means the happiest scenes in this video are not the ones that look like celebrations. They are the quiet ones. A dog that stops scanning the room. A body that finally lets go. Look for the moment the shoulders drop. Once you see it, you'll never unsee it. THE COST OF STOPPING: NINETY SECONDS Let's do the math on the thing that most people are afraid of. How long does it actually take to stop for an animal in trouble? Not the whole rescue. Just the decision, the pulling over, the first attempt. Ninety seconds. Sometimes less. Ninety seconds is the length of a bad song on the radio. It is the time you spend waiting for a light to change. It is a scroll through a feed you won't remember. And on the other side of those ninety seconds is the difference between a living animal and a statistic. I'm not saying this to make anyone feel guilty. Guilt is a terrible motivator. It makes people avoid the feeling instead of acting on it. I'm saying it because the barrier is almost always imagined. We inflate the cost of helping in our heads, and the imagined price is what stops us, not the real one. The person in this video paid the real price. It was small. What they got in return is something no one could have planned for. That is the part you should watch closely. IF YOU'RE EVER THE ONE ON THAT ROAD Save this section. Someday, someone reading it will need it. Put your safety first. Pull over where it's safe and turn on your hazard lights before anything else. A second accident helps no one. Do not chase. A frightened dog runs faster than you and directly into the worst possible place. Chasing turns a rescue into a pursuit. Get low and go slow. Sit down if you can. Turn your body sideways. Avoid direct staring. Speak softly, or don't speak at all. Use food, if you have any. Something plain, tossed a little closer each time, works better than any technique. Check for a tag and, if you can get near enough, ask a vet or shelter to scan for a microchip. Someone may be looking for this animal right now. Call for help early. Local rescues, animal control, and vets can handle what you cannot. Sometimes the bravest thing you can do is make the right phone call. Take photos and note the location. If you can't keep the animal, those details are what let someone else finish the job. None of this is complicated. The reason it is rare is that most people have never been told that it is allowed. You are allowed. THE REAL STAKES OF A SMALL DOG Here is a bigger picture, and it's a heavy one. Millions of companion animals enter shelters every year in the United States alone. That is just one country. Many are lost pets that never get reclaimed. Many are strays. Many are animals whose owners ran out of money, time, or hope. Shelters are often crowded, underfunded, and staffed by people running on love and very little else. Every animal that finds a home, or a foster, or a stranger with ninety seconds to spare, frees up a space for the next one in line. That means every single rescue is bigger than the animal in it. It is a small change to a very large system, and the system is nothing but small changes stacked on top of one another. This is not an argument for guilt. It's an argument for scale. One dog saved is one dog saved, but it is also proof of concept, a demonstration that the chain can hold, that the odds can be beaten, that a person and a road and a decision can end well. And proof of concept is contagious. That is why you are seeing it. WHO REALLY GOT RESCUED? If you talk to people who have taken in strays, you'll hear the same sentence over and over, in different words. "I thought I was saving him. It turned out he was saving me." Skeptics roll their eyes at that. It sounds like a greeting card. And research on pets and wellbeing is more mixed than social media would like. It doesn't say every dog fixes every life. But there is something real underneath it, and it's not mystical. A dog is a machine for creating routine, attention, and reasons to leave the house. It needs you at a certain hour. It notices when you come home. It doesn't care about your job title, your follower count, or what you failed at last week. For some people, that is the first unconditional witness they have had in years. The rescue, in this light, is not one-way. Two lonely creatures, one who knew it and one who didn't, found out that they could take care of each other. Nobody can prove that from a video. But there is a version of the story that runs in the background of every rescue, and you can feel it if you let yourself. Tell me whether you feel it here. THE ATTENTION PARADOX Here is a strange fact about the platform you're reading this on. The average post gets a glance. A few words, a flick of the thumb, gone. Brands spend billions every year trying to buy three seconds of your attention, and most of what they buy evaporates before it lands. And yet a video of one dog, with no budget, no celebrity, and no script, can hold a stranger for a full minute. Without a single trick. Why? Because attention is not really about tricks. It is about stakes. Your brain is built to track living things whose outcome is uncertain. The moment there is a creature on screen and you don't yet know if it will be okay, some ancient part of you leans in and refuses to look away. That is the secret behind every great story ever told. Someone we care about. Something that could go wrong. A question we need answered. Marketers call it a hook. Your nervous system calls it worry. This video has both, and it pays off the worry honestly, which is why you leave feeling better instead of used. That is rare enough to deserve a full minute of your life. HOW TO WATCH THIS Most people will watch it wrong. They'll half-look at it between two other things, mid-scroll, thumb already moving. Here is how to get the actual effect. Turn the sound on. There is more happening in the audio than you expect. Make it full screen. This is a story about faces, and faces need room. Watch the first ten seconds without expecting anything. The film is quiet at the start. That is deliberate, or at least it works as if it were. Do not skip ahead. The whole thing depends on the distance between where it starts and where it ends. Skip the middle and the ending is just a nice clip. Then, once it's over, watch it again. The second time, you won't be watching for the story. You'll be watching for the small things you missed: a hesitation, a glance, a change in how a body carries itself. That second watch is where it gets you. I said I have watched it more times than I'll admit. That is the honest reason. It doesn't wear out. It gets deeper. THE CHALLENGE I want to try something with this post. If the video moved you, leave one comment: the second it happened. Not a review, not an analysis. Just the moment. I'm curious whether it's the same one for everyone. My guess is that it isn't, and that the spread of answers will say more about what people carry around with them than about the video. If it didn't move you, that is fine too. I'd like to hear that as well. Honest is better than polite. And if you have ever been the one who stopped, and I know some of you have, write that instead. Tell the story in two lines. No one has ever regretted the ninety seconds. Someone reading this thread might need to know that. Reposting this is the simplest way to put it in front of someone who's scrolling right now, in a bad week, thinking that nothing good happens by accident anymore. Something did. THE LAST THING Let me end where I started. A dog made a decision on an empty road. It could not have known how it would turn out. It had no reason to believe that the next hand would be different from the last. It went ahead anyway. That is the whole difference between a life that changes and one that doesn't. Not certainty. Not a plan. A willingness to move toward the unknown when the alternative is more of the same. The animal in this video did that. Then someone did the same in return. That's it. That's the entire story. Two beings, each of whom took a small, terrifying step toward the other, and a road that was, for a few seconds, the most important place in the world. Scroll up. Press play. Watch the ending. Then come back and tell me I was exaggerating. P.S. If you read all of this, you are exactly the kind of person this video was made for. Most people never make it past the first screen of a long post. You did. That tells me you are someone who stays: through the slow part, through the uncertain part, all the way to the end. Which is, when you think about it, the only quality that mattered in the story you're about to watch. Follow for more like this. I only post the ones that earn it. Bookmark it for days you forget the feeling. #Rescue #DogsOfX #SecondChances #AdoptDontShop #Dogs #AnimalRescue #RescueDog
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A dog just made the bravest decision I have seen anyone make this year. Not a founder. Not an athlete. Not a person with a plan and a five-year vision board. A dog, on an empty road, with nothing to lose and no idea what would come next. I have watched what comes next more times than I will admit in public. This post is 25,000 characters long. It is a list of reasons why you should watch it too. Read as much as you want, but understand one thing before you start: the video is the only part that matters, and this is everything the video doesn't have room to say. Sound on. Phone in both hands. Do not skip. I'll be here when you get back. THE NUMBER THAT SHOULD BOTHER YOU Let me start with two numbers. The first: commonly cited estimates put the world's stray dog population at around 200 million. Two hundred million animals with no address, no bowl with their name on it, and no one who would notice if they didn't come back tonight. The second number is one. That is how many people had to be on that road, at that exact minute, looking in that exact direction, in a good enough mood to stop. Not two. Not a crowd. One. Here is what nobody says out loud: for every dog you see rescued on camera, there are millions the camera never reached. We don't see them because no one was there. The videos that reach you are not a sample of reality. They are the winners of a lottery so brutal that Powerball looks like a coin flip next to it. So when one of these lands in your feed, don't scroll past it like content. Treat it like what it is: a statistical miracle that happened to end well. And miracles have a structure. Let's take this one apart. FIVE LINKS. BREAK ONE AND THE STORY DOESN'T EXIST. Link one: the dog has to survive long enough to be seen. Roads are not built for small animals. Vehicles do not slow down for shapes on the asphalt. Every hour out there is a coin flip the animal has to win again, and again, and again. Link two: someone has to be present. Not nearby. Present. Eyes up, phone down, brain not busy replaying the argument from breakfast. Link three: that someone has to notice. It sounds simple. It isn't. The human brain is a filtering machine, and a small animal on a road becomes a plastic bag, a shadow, a piece of tire. The most common reason a dog is not rescued is not cruelty. It is that nobody registered it as a dog. Link four: the person has to stop. This is the link that snaps most often. Seeing is free. Stopping costs you time, comfort, a schedule, and possibly the mood of your entire day. Link five: the dog has to let them. An animal that has learned that hands mean pain has every biological reason to run. Trust is not a given. It is a negotiation, and the dog holds the veto. Five links. All five held. Remember that when you press play. You are not watching a nice story. You are watching a chain that should have snapped at least four times. THE PEOPLE WHO KEEP DRIVING In 1968, psychologists John Darley and Bibb Latane published a set of experiments that changed how we think about helping. The finding was uncomfortable: the more people who witness an emergency, the less likely any one of them is to act. They called it diffusion of responsibility. Everyone assumes someone else will handle it. So nobody does. Later research added nuance. When an emergency is clear and dangerous, people step in more often than the original theory predicted. But the core insight has survived half a century of testing, because it describes something every one of us has felt: the small, quiet voice that says, somebody else will stop. Now picture a road with no crowd at all. No audience. No one to hide behind. No one to blame. Just you and a decision that is entirely, inescapably yours. That is the situation the person in this video walked into. And the reason it is worth your attention is not that they did something impossible. It is that they did something small, and it turns out small is exactly what almost nobody does. You don't need to be a hero. You need to be inconvenienced. THE FACE IS THE RESUME In 2013, researcher Bridget Waller and her team studied dogs in a UK shelter and asked a simple question: what makes one dog get adopted faster than another? It wasn't size. It wasn't age. It wasn't coat color. It was one tiny facial movement: the raising of the inner eyebrows. The move that makes a dog's eyes look bigger, softer, almost sad. Dogs that did it more often were chosen faster. Six years later, a study led by Juliane Kaminski found out why that movement is so easy for dogs and so hard for wolves. Dogs have a small muscle around the eye that wolves largely lack. Over thousands of years of living beside us, dogs evolved a way to make their faces speak our language. Read that again. A species rewired its own anatomy to be understood by another species. No other animal has done this to us. Nobody taught them. Nobody forced them. They looked at us, worked out what we respond to, and grew the tool. Now look at the face in this video. You will know the second you see it. That is not a coincidence, and it is not luck. It is fifteen thousand years of engineering aimed directly at your chest. THE ONLY LOOP LIKE IT ON EARTH In 2015, a Japanese team led by Miho Nagasawa published a result in the journal Science that made researchers stop and reread the abstract. When a dog and its owner look into each other's eyes, both of their oxytocin levels rise. Oxytocin is the bonding chemical, the same one that flows between a mother and her newborn. Dog looks at human. Human's oxytocin rises. Human looks back, touches, talks softly. Dog's oxytocin rises. Which makes the dog look longer. Which makes the human's oxytocin rise again. A feedback loop of affection, running across two species, powered by nothing but eye contact. Here is the part that gets me: the effect did not show up the same way in wolves raised by humans. The loop is not just training. It is something that evolved between us. So the next time someone says a dog is just responding to food, tell them there is a peer-reviewed study that disagrees. And keep this fact in your pocket for the video. Because at some point, a moment of eye contact happens in it, and I want you to know what is really going on in that room. THEY CAN SMELL WHAT YOU'RE HIDING Humans have roughly 6 million scent receptors. Dogs are commonly cited as having around 300 million. A large share of a dog's brain is devoted to processing smell. What you experience as a room, a dog experiences as a layered document: who was here, how long ago, and how they felt. In 2022, researchers at Queen's University Belfast tested something remarkable. They collected breath and sweat samples from people before and after a stressful task. Then they asked dogs to tell the samples apart. The dogs got it right nearly 94 percent of the time. Your body broadcasts your emotional state as chemistry. You cannot turn it off. You cannot fake calm. A dog reads your fear, your tension, your irritation, before you have opened your mouth. Which means every rescue is, at its core, a test of one thing: are you actually calm, or are you performing calm? The dog knows. It always knows. And that is why what happens in the first few seconds of this video matters more than anything that comes after it. Watch the body language. Watch how slowly things move. Watch what is not done. THE MOST IMPORTANT MOMENT IN ANY RESCUE IS THE ONE WHERE NOTHING HAPPENS Animal behaviorists describe fear responses in four flavors: fight, flight, freeze, and fawn. Fight is what people expect. Flight is what most strays do. Freeze is what looks like calm but isn't. And fawn, the desperate, wiggling, please-don't-hurt-me appeasement, is the one that breaks your heart the fastest, because it looks like friendliness and it is actually terror. Rescuers who have done this hundreds of times will tell you the same handful of rules. Don't loom. Don't stare straight into the eyes. Get low. Turn sideways. Slow everything down until it feels absurd. Let the animal close the last few feet on its own terms. The hardest instruction, and the one most people can't follow, is the last one: do nothing. Every instinct you have says reach out. Grab. Fix. Take control of the situation. And every good rescue begins with someone who did the opposite. Who made themselves small, patient, and boring, and waited for a frightened animal to decide that the safest thing in its whole world might be a stranger. You are about to watch someone do exactly that. Notice how little they need to say. THE TEARS THEY WON'T PUT IN THE HEADLINE Scientists are careful people. They do not like to say "dogs cry." But in 2022, a team from Azabu University in Japan, led by Takefumi Kikusui, measured tear volume in dogs during reunions with their owners. The result: tear volume rose significantly compared with reunions involving other familiar people. And when researchers applied oxytocin to the dogs' eyes, tear volume rose again. Not sadness crying. Not the crying we do. Something else, something closer to overflow. The body producing water at the exact moment the heart has more in it than it can hold. Nobody has proven that this is the same thing we feel. Scientists will tell you that, and they are right to. But here is a question worth sitting with. If an animal's eyes fill with water when it sees the one being it has decided to trust, what exactly are we arguing about? Watch the eyes in this video. Then tell me what you think you saw. ONCE IT HAS A NAME, IT STOPS BEING A STATISTIC In 2007, psychologist Paul Slovic and colleagues ran an experiment on generosity. They showed people a fundraising appeal for a hungry child, and then a second version that added statistics about millions of other children in the same crisis. More data. More context. More reasons to care. Donations dropped. Slovic called it psychic numbing. The human mind can hold one face. It cannot hold two hundred million. When a tragedy becomes a number, empathy quietly switches off, and we don't even notice it happening. This is why one named animal in one small video can do what a hundred reports full of charts cannot. It gives your brain something it can actually care about: a single life, with a face, a fear, and a future that could go either way. The stray population is a statistic. A dog is a story. And stories, unlike statistics, come with a name at the end. When you reach that moment in the video, pay attention to what it does to you. Notice the small shift in your chest. That is the sound of a number turning into a person, or close enough. THE WORD FOR WHAT YOU'RE ABOUT TO FEEL Researchers have a name for the feeling you get when something touches you so suddenly that your throat tightens and your eyes sting. They call it kama muta, Sanskrit for "moved by love." Anthropologist Alan Fiske proposed that it is a distinct emotion, triggered by a sudden intensification of closeness. Two beings who were strangers become bonded. Someone who was alone becomes part of something. People across many cultures describe the same set of signs: warmth in the chest, goosebumps, a lump in the throat, tears they didn't plan on, and a strong urge to hug someone or hold something. Here is what makes it useful and not just sweet: kama muta is one of the most reliable emotional responses we have. It shows up when reunions happen. When a stranger helps unexpectedly. When an animal, after a long time alone, is finally held. You've felt it. You just never had a word for it. Take note of the exact second it hits you in this video. I promise there is one. And if you're the kind of person who says "I never cry at videos," I would like to schedule a follow-up. WHY YOU'LL WANT TO BE A BETTER PERSON AFTER ONE MINUTE Psychologist Jonathan Haidt studied a related feeling and gave it a name: elevation. Elevation is what you feel when you watch someone do something morally beautiful, quietly, with nothing to gain. It is not envy and it is not admiration. It is an urge, physical and immediate, to do something good yourself. In studies, people who experienced elevation were more likely to help others afterward, more likely to volunteer, and more likely to describe wanting to become better versions of themselves. Read that as a design spec. A short piece of true, unstaged kindness can change what a person does in the hour after they see it. Which is a strange, lovely thing for a phone to be capable of. We spend so much time discussing what social media does wrong. Nobody wonders what would happen if the best five percent of it, the small, real, human moments, were the part that traveled farthest. Let this one travel. It has earned it. THE RARE THING: SOMETHING TRUE THAT WINS In 2018, researchers at MIT published a study in Science that analyzed millions of tweets. The result was grim: false news spread significantly faster and further than true news. False stories were about 70 percent more likely to be retweeted, driven largely by surprise and disgust. The lesson most people took away was that this platform rewards outrage. I want to take a different lesson. If false stories win because they trigger strong emotion, then true stories can win too, as long as they trigger stronger ones. A video with no villain, no scandal, and no argument. Nothing to be angry about. Nothing to dunk on. A rescue that is exactly what it looks like. That kind of content should lose on this platform. It has no fuel. And yet every so often, one of them breaks through and reminds everyone what this place was supposed to be. I am not asking you to like it. I am asking you to notice that you had a choice about what to feed today, and this was one of the options. SOME FRIENDSHIPS SHOULDN'T WORK Somewhere near the end of this video, a second character enters the story. I won't tell you who. I won't tell you what happens. I will tell you that if you have ever read anything about instincts, hunting drives, or the way certain animals are supposed to see each other, this moment will quietly rearrange your assumptions. Behaviorists talk about prey drive as if it were destiny. It is not. It is a tendency, and tendencies can be softened by experience, by safety, by being raised, or re-raised, in a place where no one is afraid. The same dog that once had to look after itself alone can, in a different life, learn that the world contains creatures that are not threats or meals. Only neighbors. That is the most hopeful idea in behavioral science, and it usually gets buried in footnotes: what an animal was is not the same as what an animal can become. The same is true for most of us, incidentally. But that is a different post. Stay for the ending. It is the reason I am writing this at all. THE PART THE INTERNET NEVER FILMS Every rescue video has the same shape: the meeting, the rescue, the transformation, the happy ending. It is edited that way because it is the only shape that gets watched. But ask anyone who has actually done this, and they will tell you the truth is in the gap between the second and third act. The first night. The first week. The first time a dog that has never lived indoors realizes there is a floor that doesn't move, a door that closes without danger, and a bowl that will be full again tomorrow. Rescuers have a rule of thumb for this, the 3-3-3 rule. Three days for a dog to decompress. Three weeks to start learning the routine. Three months to feel truly at home. It's not science, exactly, just a shorthand built from thousands of adoptions. But it captures something real: safety is not a switch. It is a process, and the animal has to believe it slowly, one uneventful day at a time. That means the happiest scenes in this video are not the ones that look like celebrations. They are the quiet ones. A dog that stops scanning the room. A body that finally lets go. Look for the moment the shoulders drop. Once you see it, you'll never unsee it. THE COST OF STOPPING: NINETY SECONDS Let's do the math on the thing that most people are afraid of. How long does it actually take to stop for an animal in trouble? Not the whole rescue. Just the decision, the pulling over, the first attempt. Ninety seconds. Sometimes less. Ninety seconds is the length of a bad song on the radio. It is the time you spend waiting for a light to change. It is a scroll through a feed you won't remember. And on the other side of those ninety seconds is the difference between a living animal and a statistic. I'm not saying this to make anyone feel guilty. Guilt is a terrible motivator. It makes people avoid the feeling instead of acting on it. I'm saying it because the barrier is almost always imagined. We inflate the cost of helping in our heads, and the imagined price is what stops us, not the real one. The person in this video paid the real price. It was small. What they got in return is something no one could have planned for. That is the part you should watch closely. IF YOU'RE EVER THE ONE ON THAT ROAD Save this section. Someday, someone reading it will need it. Put your safety first. Pull over where it's safe and turn on your hazard lights before anything else. A second accident helps no one. Do not chase. A frightened dog runs faster than you and directly into the worst possible place. Chasing turns a rescue into a pursuit. Get low and go slow. Sit down if you can. Turn your body sideways. Avoid direct staring. Speak softly, or don't speak at all. Use food, if you have any. Something plain, tossed a little closer each time, works better than any technique. Check for a tag and, if you can get near enough, ask a vet or shelter to scan for a microchip. Someone may be looking for this animal right now. Call for help early. Local rescues, animal control, and vets can handle what you cannot. Sometimes the bravest thing you can do is make the right phone call. Take photos and note the location. If you can't keep the animal, those details are what let someone else finish the job. None of this is complicated. The reason it is rare is that most people have never been told that it is allowed. You are allowed. THE REAL STAKES OF A SMALL DOG Here is a bigger picture, and it's a heavy one. Millions of companion animals enter shelters every year in the United States alone. That is just one country. Many are lost pets that never get reclaimed. Many are strays. Many are animals whose owners ran out of money, time, or hope. Shelters are often crowded, underfunded, and staffed by people running on love and very little else. Every animal that finds a home, or a foster, or a stranger with ninety seconds to spare, frees up a space for the next one in line. That means every single rescue is bigger than the animal in it. It is a small change to a very large system, and the system is nothing but small changes stacked on top of one another. This is not an argument for guilt. It's an argument for scale. One dog saved is one dog saved, but it is also proof of concept, a demonstration that the chain can hold, that the odds can be beaten, that a person and a road and a decision can end well. And proof of concept is contagious. That is why you are seeing it. WHO REALLY GOT RESCUED? If you talk to people who have taken in strays, you'll hear the same sentence over and over, in different words. "I thought I was saving him. It turned out he was saving me." Skeptics roll their eyes at that. It sounds like a greeting card. And research on pets and wellbeing is more mixed than social media would like. It doesn't say every dog fixes every life. But there is something real underneath it, and it's not mystical. A dog is a machine for creating routine, attention, and reasons to leave the house. It needs you at a certain hour. It notices when you come home. It doesn't care about your job title, your follower count, or what you failed at last week. For some people, that is the first unconditional witness they have had in years. The rescue, in this light, is not one-way. Two lonely creatures, one who knew it and one who didn't, found out that they could take care of each other. Nobody can prove that from a video. But there is a version of the story that runs in the background of every rescue, and you can feel it if you let yourself. Tell me whether you feel it here. THE ATTENTION PARADOX Here is a strange fact about the platform you're reading this on. The average post gets a glance. A few words, a flick of the thumb, gone. Brands spend billions every year trying to buy three seconds of your attention, and most of what they buy evaporates before it lands. And yet a video of one dog, with no budget, no celebrity, and no script, can hold a stranger for a full minute. Without a single trick. Why? Because attention is not really about tricks. It is about stakes. Your brain is built to track living things whose outcome is uncertain. The moment there is a creature on screen and you don't yet know if it will be okay, some ancient part of you leans in and refuses to look away. That is the secret behind every great story ever told. Someone we care about. Something that could go wrong. A question we need answered. Marketers call it a hook. Your nervous system calls it worry. This video has both, and it pays off the worry honestly, which is why you leave feeling better instead of used. That is rare enough to deserve a full minute of your life. HOW TO WATCH THIS Most people will watch it wrong. They'll half-look at it between two other things, mid-scroll, thumb already moving. Here is how to get the actual effect. Turn the sound on. There is more happening in the audio than you expect. Make it full screen. This is a story about faces, and faces need room. Watch the first ten seconds without expecting anything. The film is quiet at the start. That is deliberate, or at least it works as if it were. Do not skip ahead. The whole thing depends on the distance between where it starts and where it ends. Skip the middle and the ending is just a nice clip. Then, once it's over, watch it again. The second time, you won't be watching for the story. You'll be watching for the small things you missed: a hesitation, a glance, a change in how a body carries itself. That second watch is where it gets you. I said I have watched it more times than I'll admit. That is the honest reason. It doesn't wear out. It gets deeper. THE CHALLENGE I want to try something with this post. If the video moved you, leave one comment: the second it happened. Not a review, not an analysis. Just the moment. I'm curious whether it's the same one for everyone. My guess is that it isn't, and that the spread of answers will say more about what people carry around with them than about the video. If it didn't move you, that is fine too. I'd like to hear that as well. Honest is better than polite. And if you have ever been the one who stopped, and I know some of you have, write that instead. Tell the story in two lines. No one has ever regretted the ninety seconds. Someone reading this thread might need to know that. Reposting this is the simplest way to put it in front of someone who's scrolling right now, in a bad week, thinking that nothing good happens by accident anymore. Something did. THE LAST THING Let me end where I started. A dog made a decision on an empty road. It could not have known how it would turn out. It had no reason to believe that the next hand would be different from the last. It went ahead anyway. That is the whole difference between a life that changes and one that doesn't. Not certainty. Not a plan. A willingness to move toward the unknown when the alternative is more of the same. The animal in this video did that. Then someone did the same in return. That's it. That's the entire story. Two beings, each of whom took a small, terrifying step toward the other, and a road that was, for a few seconds, the most important place in the world. Scroll up. Press play. Watch the ending. Then come back and tell me I was exaggerating. P.S. If you read all of this, you are exactly the kind of person this video was made for. Most people never make it past the first screen of a long post. You did. That tells me you are someone who stays: through the slow part, through the uncertain part, all the way to the end. Which is, when you think about it, the only quality that mattered in the story you're about to watch. Follow for more like this. I only post the ones that earn it. Bookmark it for days you forget the feeling. #Rescue #DogsOfX #SecondChances #AdoptDontShop #Dogs #AnimalRescue #RescueDog

Earth Unveiled

13,921 views • 2 days ago

The Altar for sacrificing the red heifers in Jerusalem has just been built, and they are saying the ceremony may take place any day as I've been warning about for many years now. But what exactly does this all mean? Let's talk about how it relates to biblical prophecy and how even most professing Christians are missing the deeper biblical narrative unfolding beyond what's just on the surface. The Red Heifer prophecy from the Book of Numbers involves a unique ritual for purification in Jewish tradition. A completely red heifer is sacrificed and burned, and its ashes are mixed with water to create a "water of cleansing" for those who've touched a corpse, which symbolizes purification from death's impurity. This commandment is linked to Messianic hopes and the rebuilding of the Temple in Jerusalem. Jews are awaiting a Messiah who aligns with specific prophecies, such as bringing peace to the Middle East and the world through his political power. They believe Jesus didn't fulfill these expectations during his first coming, but we as Christians hold that He will achieve this in his Second Coming as He told the apostles and explained in Revelation 19. The Red Heifer ritual taking place now is seen as part of their preparations for this future era. We as Christians, however, obviously believe Jesus is the Messiah and see His rejection as setting the stage for the rise of their false messiah. John 5, particularly verses 43-47, where Jesus says, "I have come in my Father's name, and you do not accept me; but if someone else comes in his own name, you will accept him," The New Testament, especially the Gospels, tells a story of how Jewish leaders and many people didn't recognize Jesus as the Messiah, symbolizing a common human struggle to see divine truth. This theme is captured in John 1:11, where despite Jesus coming to His own, He was not accepted. This led to the destruction of the Temple in 70 AD, which was divine judgment for this rejection. Here's where people really need to pay attention as to not be deceived by this deception as most people will: I want people to keep in mind that God used rebellious, pagan nations such as Rome and Assyria as instruments of wrath against Jerusalem for her harlotry, illustrating His supreme sovereignty and His unique capability to employ the wicked to enact judgment on the wicked. What we are about to witness is a repeat of the judgement cycles on Israel. In the book of Amos, the prophet warns Israel of a coming "Day of the Lord" where they will face punishment for their disobedience (Amos 5:18-20). Similarly, the prophet Zephaniah uses the term to describe a day of wrath and distress that will come upon Jerusalem (Zephaniah 1:14-18). That’s what brought the day of the Lord, was their harlotry, God delivered Israel into the hands of their enemies because she played the harlot. And so it will be at the end, when the Great day of the Lord comes in the final days and the Lord God delivers Jerusalem, the harlot, into the hands of her enemies, which will ultimately be the beast and his kings as described in Revelation 17:16. If we interpret the Bible with the Bible, as we should, you will see that the harlot of Babylon, can only be Jerusalem. Let’s first look at Revelation 11:8 which speaks of the death of the two witnesses. “And their dead bodies shall lie in the street of THE GREAT CITY, which spiritually is called Sodom and Egypt, where also OUR LORD WAS CRUCIFIED.” So obviously “that great city” is also where Our Lord was crucified. Now keep in mind the phrase ‘the great city.’ Let’s look at Revelation 14:8, “And there followed another angel, saying, Babylon is fallen, is fallen, that great city, because she made all nations drink of the wine of the wrath of her fornication.” In Revelation 17:18 we read, “And the woman which thou sawest is that great city, which reigneth over the kings of the earth.” So we can see in when speaking about Babylon or the harlot, the same phrase, ‘the great city’ is also used. In chapter 11 ‘the great city’ is identified as Jerusalem, and the great city is also used in chapters 14 and 17 when speaking of Babylon. If we let the Bible interpret the Bible, we can’t come to any other conclusion than that the harlot of Babylon is Jerusalem. Which also makes because Jerusalem is the only city that God would call a harlot, because it’s the only city that God ever made a Holy Covenant with. It’s the only city that He tried to make His bride. The martial analogy is used throughout scripture both with Jerusalem and Israel as well as the general body of believers who become part of Israel spiritually. The body of believers, both Jew and gentile make up God’s bride. And so there’s really no reason for God to call a city a harlot unless that city or the people of it betrayed a holy covenant with God. And there’s only one nation God made a covenant with, which is Jerusalem and the nation of Israel. Harlotry is not a reference to mere wicked acts, it’s specifically a reference to betrayal. I think it’s pretty clear that Jerusalem is that great city, Babylon the harlot, the unfaithful wife who has continually betrayed her marriage with God. And of course Jerusalem and Israel are referred to a harlot in Isaiah 1:21, Jer 2;20, 3:1-11, Ez. 16;1-43, and Gal. 4:25. Revelation 17:7 shows the beast initially supporting the harlot, symbolizing their alliance in the beginning. The beast's backing is key for the harlot's power, indicating they start off in a partnership where they rely on each other. The partnership between Jerusalem (Mystery Babylon) and the beast kicks off with a phase of mutual support, where the beast's political might boosts Jerusalem's position. This alliance, rooted in common goals, political gain, or perhaps mutual respect, sees Jerusalem siding with the beast, likely aiming to ensure a prominent and secure spot on the world stage. The turning point comes as an unholy, multi-faith gentile alliance, led by the beast, becomes "awakened" to the dark agenda of Mystery Babylon (the Zionist, Talmudic-led New World Order). This realization or awakening leads them to view Jerusalem not as a city to be protected or championed but as the source of crimes against humanity by Mystery Babylon, Jerusalem. This shift reflects a broader disillusionment with the initial alliance, as the true nature and consequences of Jerusalem's actions and influence become apparent to the beast and his coalition. Driven by their realization, the beast and its allies turn against Jerusalem, fulfilling Revelation 17:16's prophecy. Their initial partnership ends dramatically as they destroy the harlot, judging Jerusalem for her crimes and dark agendas. This act is depicted as complete and ruthless, demonstrating the intensity of the betrayal and the beast's deep hostility after the alliance dissolves. After destroying Jerusalem (Mystery Babylon), the beast and its allies bring about a short-lived period of false peace. This time, free from the harlot's influence, feels like a victory and freedom from her tyrannical agenda. However, this peace is not genuine but a poor imitation of God's true kingdom. It marks the height of the beast's power, where his rule goes unopposed. But this phase is temporary, serving as a calm before the storm of ultimate divine judgment and intervention. And that's exactly why, towards the end of the tribulation, after the harlot is taken down, they'll start declaring "peace and safety." (1 Thessalonians 5:3) They'll be under the impression that Satan's empire has been toppled and that the Millennium (1,000 Years of peace) is about to kick off. But that's when they're going to be hit with a harsh reality check as Christ makes His entrance, coming in the clouds to crash their party, which is the sudden destruction talked about in 1 Thess 5:3. And I believe that's exactly what Christians are unknowingly getting involved in when they only focus on the great reset and the whole tyrannical leftist/communist/zionist NWO agenda. They do not even realize the full scope of what they're gradually aligning themselves with. People who hyper-fixate on the obvious dark side believe they're revealing the impending kingdom of the beast, but in reality, they're actually uncovering the harlot, the very adversary that the beast is destined to destroy as told in Revelation 17:16. That explains why many people, including dominionist proponents of the NAR and seven-mountain mandate, like Lance Wallnau from Bethel Church, often emphasize the idea of "invading Babylon", which he wrote a book about. Because, in essence, what they're building isn't the millennial kingdom of Christ but rather a counterfeit version of it by defeating Babylon and inadvertently ushering in the beast. The world's current turmoil: moral decline, societal upheaval, and the emergence of charismatic leaders promising restoration, isn't new, it's a repeat of history and biblical narratives. This scenario often splits into two camps: those pushing boundaries towards blatant immorality and those advocating for a return to moral and national pride, albeit sometimes through questionable means. Consider Jezebel's story as a metaphor for today's extreme immorality, countered by a force that, while claiming to champion morality, mistakenly aligns with spiritual adversaries in a false unity known as ecumenism. Jehu's story in the Old Testament is a fascinating case of the difference between outward actions and inner spiritual commitment. Externally, Jehu appeared passionate about serving God, notably in his actions against Ahab's family, Jezebel and Baal worship, which might seem like true righteousness. Yet, Jehu's heart wasn't completely devoted to God. His main issue was his selective enthusiasm: he was eager to get rid of God's foes but failed to address the need for his own spiritual purification and that of Israel. Jehu's neglect becomes clear with his acceptance of the golden calf idols in Dan and Bethel. These idols, created by Jeroboam to keep Israelites from worshiping in Jerusalem, were a major departure from genuine worship. Jehu's decision to let these idols stay showed a compromised version of Judaism—one that appeared to respect God on the surface but was fundamentally flawed. The Antichrist reflects a larger, more deceptive version of Jehu's conflict. He will perform actions that look good, like destroying foreign idols and transparently dark agendas, seeming to follow God's will. Yet, his critical failure, akin to Jehu's, will be in what he neglects. He'll ignore the modern-day "golden calves" — subtler forms of idolatry that are not as easy to spot or discern. These may not be as obvious as the overt darkness of Mystery Babylon but are just as offensive to God. This misleading form of Christianity, similar to Jehu's insincere Judaism, will display an outward show of being righteous by targeting external foes while neglecting the deep, inner changes true faith demands, such as the need for sincere repentance and humbling of the heart. It serves as a powerful call for ongoing self-reflection and realignment with God's will, demonstrating that real righteousness involves not just fighting visible wrongs but also facing and rejecting the subtler forms of idolatry that can seep into our lives without us realizing it. This eerily mirrors the Weimar Republic, a period before Nazi Germany, where a struggle between societal depravity and a flawed sense of virtue set the stage for disaster. Jehu's and Jezebel's biblical showdown, where Jehu becomes a vessel of judgment against Jezebel, parallels the rise of figures like Hitler. Hitler, driven by a distorted zeal, identified Judah as the enemy, which history is poised to repeat through unveiling the dark agendas of Mystery Babylon, Jerusalem. Today, we see a cultural war marked by extreme stances on issues like LGBT rights, violence, racism, and especially abortion, which are akin to Jezebel's overt wickedness. The real threat lies not just in the cultural shift towards immorality but in the response it provokes—an ecumenical movement that, though aimed at combating immorality, risks aligning with deceit, setting the stage for the rise of the Antichrist kingdom, a counterfeit kingdom of God as imagined by humanity through defeating Mystery Babylon, which will be misperceived as Satan's ultimate empire. This figure will likely emerge, claiming to oppose these immoral forces, only to lead people into a new and subtler form of idolatry, much like Jehu's false zeal. There's something about standing up against these glaringly obvious social wrongs and oppressive forces that really inflates one's ego. The more time you spend hyper-focused on obvious evils and tyranny the more you'll start to feel not so evil, just like the Pharisee in Luke 18. He convinced himself he was righteous simply because he wasn't as bad as "those other people." Another lesson from history, like King Ahaz's unholy alliance with Assyria, warns us against forming alliances with spiritual enemies for worldly security against physical threats that stem from fearing the world, rather than fearing the Lord. At its heart, the Red Heifer ceremony is more than just a ritual; it's a chapter in the bigger story of faith and prophecy that's been unfolding throughout human history. It's a sign to look inward, to really think about where we stand and what we believe in. It's a pivotal moment that challenges us to choose: Do we follow the path of patience, perseverance, repentance and not following the world's desire for peace and safety as Jesus says, or do we get lost chasing shadows? As we make our way through these stormy times, let's hold tight to the promise of a redemption that goes beyond the chaos surrounding us. Please pray on all of this, my brothers and sisters. May God bless each and every one of you.
4:35

The Altar for sacrificing the red heifers in Jerusalem has just been built, and they are saying the ceremony may take place any day as I've been warning about for many years now. But what exactly does this all mean? Let's talk about how it relates to biblical prophecy and how even most professing Christians are missing the deeper biblical narrative unfolding beyond what's just on the surface. The Red Heifer prophecy from the Book of Numbers involves a unique ritual for purification in Jewish tradition. A completely red heifer is sacrificed and burned, and its ashes are mixed with water to create a "water of cleansing" for those who've touched a corpse, which symbolizes purification from death's impurity. This commandment is linked to Messianic hopes and the rebuilding of the Temple in Jerusalem. Jews are awaiting a Messiah who aligns with specific prophecies, such as bringing peace to the Middle East and the world through his political power. They believe Jesus didn't fulfill these expectations during his first coming, but we as Christians hold that He will achieve this in his Second Coming as He told the apostles and explained in Revelation 19. The Red Heifer ritual taking place now is seen as part of their preparations for this future era. We as Christians, however, obviously believe Jesus is the Messiah and see His rejection as setting the stage for the rise of their false messiah. John 5, particularly verses 43-47, where Jesus says, "I have come in my Father's name, and you do not accept me; but if someone else comes in his own name, you will accept him," The New Testament, especially the Gospels, tells a story of how Jewish leaders and many people didn't recognize Jesus as the Messiah, symbolizing a common human struggle to see divine truth. This theme is captured in John 1:11, where despite Jesus coming to His own, He was not accepted. This led to the destruction of the Temple in 70 AD, which was divine judgment for this rejection. Here's where people really need to pay attention as to not be deceived by this deception as most people will: I want people to keep in mind that God used rebellious, pagan nations such as Rome and Assyria as instruments of wrath against Jerusalem for her harlotry, illustrating His supreme sovereignty and His unique capability to employ the wicked to enact judgment on the wicked. What we are about to witness is a repeat of the judgement cycles on Israel. In the book of Amos, the prophet warns Israel of a coming "Day of the Lord" where they will face punishment for their disobedience (Amos 5:18-20). Similarly, the prophet Zephaniah uses the term to describe a day of wrath and distress that will come upon Jerusalem (Zephaniah 1:14-18). That’s what brought the day of the Lord, was their harlotry, God delivered Israel into the hands of their enemies because she played the harlot. And so it will be at the end, when the Great day of the Lord comes in the final days and the Lord God delivers Jerusalem, the harlot, into the hands of her enemies, which will ultimately be the beast and his kings as described in Revelation 17:16. If we interpret the Bible with the Bible, as we should, you will see that the harlot of Babylon, can only be Jerusalem. Let’s first look at Revelation 11:8 which speaks of the death of the two witnesses. “And their dead bodies shall lie in the street of THE GREAT CITY, which spiritually is called Sodom and Egypt, where also OUR LORD WAS CRUCIFIED.” So obviously “that great city” is also where Our Lord was crucified. Now keep in mind the phrase ‘the great city.’ Let’s look at Revelation 14:8, “And there followed another angel, saying, Babylon is fallen, is fallen, that great city, because she made all nations drink of the wine of the wrath of her fornication.” In Revelation 17:18 we read, “And the woman which thou sawest is that great city, which reigneth over the kings of the earth.” So we can see in when speaking about Babylon or the harlot, the same phrase, ‘the great city’ is also used. In chapter 11 ‘the great city’ is identified as Jerusalem, and the great city is also used in chapters 14 and 17 when speaking of Babylon. If we let the Bible interpret the Bible, we can’t come to any other conclusion than that the harlot of Babylon is Jerusalem. Which also makes because Jerusalem is the only city that God would call a harlot, because it’s the only city that God ever made a Holy Covenant with. It’s the only city that He tried to make His bride. The martial analogy is used throughout scripture both with Jerusalem and Israel as well as the general body of believers who become part of Israel spiritually. The body of believers, both Jew and gentile make up God’s bride. And so there’s really no reason for God to call a city a harlot unless that city or the people of it betrayed a holy covenant with God. And there’s only one nation God made a covenant with, which is Jerusalem and the nation of Israel. Harlotry is not a reference to mere wicked acts, it’s specifically a reference to betrayal. I think it’s pretty clear that Jerusalem is that great city, Babylon the harlot, the unfaithful wife who has continually betrayed her marriage with God. And of course Jerusalem and Israel are referred to a harlot in Isaiah 1:21, Jer 2;20, 3:1-11, Ez. 16;1-43, and Gal. 4:25. Revelation 17:7 shows the beast initially supporting the harlot, symbolizing their alliance in the beginning. The beast's backing is key for the harlot's power, indicating they start off in a partnership where they rely on each other. The partnership between Jerusalem (Mystery Babylon) and the beast kicks off with a phase of mutual support, where the beast's political might boosts Jerusalem's position. This alliance, rooted in common goals, political gain, or perhaps mutual respect, sees Jerusalem siding with the beast, likely aiming to ensure a prominent and secure spot on the world stage. The turning point comes as an unholy, multi-faith gentile alliance, led by the beast, becomes "awakened" to the dark agenda of Mystery Babylon (the Zionist, Talmudic-led New World Order). This realization or awakening leads them to view Jerusalem not as a city to be protected or championed but as the source of crimes against humanity by Mystery Babylon, Jerusalem. This shift reflects a broader disillusionment with the initial alliance, as the true nature and consequences of Jerusalem's actions and influence become apparent to the beast and his coalition. Driven by their realization, the beast and its allies turn against Jerusalem, fulfilling Revelation 17:16's prophecy. Their initial partnership ends dramatically as they destroy the harlot, judging Jerusalem for her crimes and dark agendas. This act is depicted as complete and ruthless, demonstrating the intensity of the betrayal and the beast's deep hostility after the alliance dissolves. After destroying Jerusalem (Mystery Babylon), the beast and its allies bring about a short-lived period of false peace. This time, free from the harlot's influence, feels like a victory and freedom from her tyrannical agenda. However, this peace is not genuine but a poor imitation of God's true kingdom. It marks the height of the beast's power, where his rule goes unopposed. But this phase is temporary, serving as a calm before the storm of ultimate divine judgment and intervention. And that's exactly why, towards the end of the tribulation, after the harlot is taken down, they'll start declaring "peace and safety." (1 Thessalonians 5:3) They'll be under the impression that Satan's empire has been toppled and that the Millennium (1,000 Years of peace) is about to kick off. But that's when they're going to be hit with a harsh reality check as Christ makes His entrance, coming in the clouds to crash their party, which is the sudden destruction talked about in 1 Thess 5:3. And I believe that's exactly what Christians are unknowingly getting involved in when they only focus on the great reset and the whole tyrannical leftist/communist/zionist NWO agenda. They do not even realize the full scope of what they're gradually aligning themselves with. People who hyper-fixate on the obvious dark side believe they're revealing the impending kingdom of the beast, but in reality, they're actually uncovering the harlot, the very adversary that the beast is destined to destroy as told in Revelation 17:16. That explains why many people, including dominionist proponents of the NAR and seven-mountain mandate, like Lance Wallnau from Bethel Church, often emphasize the idea of "invading Babylon", which he wrote a book about. Because, in essence, what they're building isn't the millennial kingdom of Christ but rather a counterfeit version of it by defeating Babylon and inadvertently ushering in the beast. The world's current turmoil: moral decline, societal upheaval, and the emergence of charismatic leaders promising restoration, isn't new, it's a repeat of history and biblical narratives. This scenario often splits into two camps: those pushing boundaries towards blatant immorality and those advocating for a return to moral and national pride, albeit sometimes through questionable means. Consider Jezebel's story as a metaphor for today's extreme immorality, countered by a force that, while claiming to champion morality, mistakenly aligns with spiritual adversaries in a false unity known as ecumenism. Jehu's story in the Old Testament is a fascinating case of the difference between outward actions and inner spiritual commitment. Externally, Jehu appeared passionate about serving God, notably in his actions against Ahab's family, Jezebel and Baal worship, which might seem like true righteousness. Yet, Jehu's heart wasn't completely devoted to God. His main issue was his selective enthusiasm: he was eager to get rid of God's foes but failed to address the need for his own spiritual purification and that of Israel. Jehu's neglect becomes clear with his acceptance of the golden calf idols in Dan and Bethel. These idols, created by Jeroboam to keep Israelites from worshiping in Jerusalem, were a major departure from genuine worship. Jehu's decision to let these idols stay showed a compromised version of Judaism—one that appeared to respect God on the surface but was fundamentally flawed. The Antichrist reflects a larger, more deceptive version of Jehu's conflict. He will perform actions that look good, like destroying foreign idols and transparently dark agendas, seeming to follow God's will. Yet, his critical failure, akin to Jehu's, will be in what he neglects. He'll ignore the modern-day "golden calves" — subtler forms of idolatry that are not as easy to spot or discern. These may not be as obvious as the overt darkness of Mystery Babylon but are just as offensive to God. This misleading form of Christianity, similar to Jehu's insincere Judaism, will display an outward show of being righteous by targeting external foes while neglecting the deep, inner changes true faith demands, such as the need for sincere repentance and humbling of the heart. It serves as a powerful call for ongoing self-reflection and realignment with God's will, demonstrating that real righteousness involves not just fighting visible wrongs but also facing and rejecting the subtler forms of idolatry that can seep into our lives without us realizing it. This eerily mirrors the Weimar Republic, a period before Nazi Germany, where a struggle between societal depravity and a flawed sense of virtue set the stage for disaster. Jehu's and Jezebel's biblical showdown, where Jehu becomes a vessel of judgment against Jezebel, parallels the rise of figures like Hitler. Hitler, driven by a distorted zeal, identified Judah as the enemy, which history is poised to repeat through unveiling the dark agendas of Mystery Babylon, Jerusalem. Today, we see a cultural war marked by extreme stances on issues like LGBT rights, violence, racism, and especially abortion, which are akin to Jezebel's overt wickedness. The real threat lies not just in the cultural shift towards immorality but in the response it provokes—an ecumenical movement that, though aimed at combating immorality, risks aligning with deceit, setting the stage for the rise of the Antichrist kingdom, a counterfeit kingdom of God as imagined by humanity through defeating Mystery Babylon, which will be misperceived as Satan's ultimate empire. This figure will likely emerge, claiming to oppose these immoral forces, only to lead people into a new and subtler form of idolatry, much like Jehu's false zeal. There's something about standing up against these glaringly obvious social wrongs and oppressive forces that really inflates one's ego. The more time you spend hyper-focused on obvious evils and tyranny the more you'll start to feel not so evil, just like the Pharisee in Luke 18. He convinced himself he was righteous simply because he wasn't as bad as "those other people." Another lesson from history, like King Ahaz's unholy alliance with Assyria, warns us against forming alliances with spiritual enemies for worldly security against physical threats that stem from fearing the world, rather than fearing the Lord. At its heart, the Red Heifer ceremony is more than just a ritual; it's a chapter in the bigger story of faith and prophecy that's been unfolding throughout human history. It's a sign to look inward, to really think about where we stand and what we believe in. It's a pivotal moment that challenges us to choose: Do we follow the path of patience, perseverance, repentance and not following the world's desire for peace and safety as Jesus says, or do we get lost chasing shadows? As we make our way through these stormy times, let's hold tight to the promise of a redemption that goes beyond the chaos surrounding us. Please pray on all of this, my brothers and sisters. May God bless each and every one of you.

Donnie Discerned

715,507 views • 2 years ago