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Sympathy Magic on Later...with Jools Holland on BBC Two… with Jools Holland Featuring members of Deep Throat Choir and the glass harmonica played by Alasdair Malloy Creative direction: Molly Hawkins Musical Direction: Pauli Lovejoy Styling: Aldene Johnson Make up: Sarah Reygate Hair: Malcolm Edwards Singers Movement: Darcy Wallace Band...

30,176 views • 9 months ago •via X (Twitter)

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All hail our talented queen. 👑 For everyone out there in a creative rut, we’ve got something to inspire you. Here’s a little behind-the-scenes video from our Creativity Issue cover shoot with #AshtineOlviga, who brought her signature burst of fun, passion, and pure imagination to the studio. It’s no exaggeration to say that her energy lit up the room and left us all feeling a little more inspired (and a lot more colorful.) 🌈 Check out Ashtine’s exclusive cover story and snag her exclusive photo prints in the Creativity pack. 🧑‍🎨🎨 Grab a physical copy of the issue and a Binder to complete your NYLON Manila MyZine set. Available now on and Sari Sari Newsstand on Shopee and Lazada. Photographed by Belg Belgica, assisted by Ron Godinez as graphic artist, Jyllan Bitalac as lighting/digitech, and Robyn Josue as lighting assistant. Creative & Fashion Direction by Andre Chang. Art Direction by Gelo Quijencio. Styling by Andre Chang and Patty Yap, assisted by Len Abrillo and Luigi Bravo. BTS Video by JR Ramirez, edited by James Jacinto. Makeup by Aron Guevara. Hair by Bianca Vergara, assisted by Princess Quisel. Nails by Precy Tan. Shoot Coordination by Bianca Lao, Megan Lim, & Mika Cruz. Special thanks to our official venue partner SUHA Studios. Meal Partner BOTEJYU. Beverage Partner ZUS Coffee. Cover Story by Nica Glorioso. NYLON Manila, July 2025. Special thanks to VIVA Artists Agency and VIVA Records. #AshtineForNYLONManila #NYLONManilaMyZine

NYLON Manila

43,234 views • 1 year ago

what an unbelievable week to have been a part of and to have witnessed the magic behind Saturday Night Live!!! An experience unlike any other. So grateful for all the trust to have me host and perform. Thank you Lorne for making my dreams come true. Thank you to the incredible cast and all the writers. I've had the most incredible time getting to work with you this week and just laugh my head off non stop. Thank you Steve, Brian, Rebecca and Sam for taking care of me daily and checking in throughout. Thank you Donna for holding my hand (literally) and running me up and down studio 8H making sure I get into all my costumes and wigs in time. Thank you Wally for teaching me the magical skill of cue cards. Thank you Gena for being my set godmutha and making sure everything runs smoothly and for being so lovely and encouraging throughout this week!! Thank you Mary-Ellen who just takes the best pictures... I love being infront of your lense. I feel like the luckiest girl in the world. Thank you to my team who make this all happen. Kathy we dreamed this up a long time ago and its been our wish come true!! My band and dancers, Peter, William, Charm, Sharon on creative direction and musical direction and choreo, my ride or dies... My dad, Sofia, Olivia, Maisy, Rae and my glam fam who made me feel like a million dollars Jahleel, Amir, Peter, Katie and Mei A MILLION THANK YOUUUUS! + my family and best friends who flew in to be with me last night!!!! THANK YOU SNL FOR HAVING ME IN YOUR ORBIT!!!!! Saturday Night Live !!!!! (Watch it all in full on youtubeeeee)

DUA LIPA

618,326 views • 2 years ago

🔴 VIDEO OUTPAINTING, EDITING AND REMIXES WITH AI Were you amazed by the inpainting/outpainting of images? Wait until you see what 🪄 MagicEdit can do with video! 💡 Here's how it works: MagicEdit is not your ordinary video editor. Instead of just overlaying effects or making basic changes, its AI technology can separate and analyze the essential components of the video: the appearance (what you see) and the movement (how things move). By understanding and editing these components independently, MagicEdit allows changes to be seamlessly and coherently integrated throughout the video, avoiding jumps or visual inconsistencies. It's like a magic wand 🪄 that allows: 👉 Video Stylization 1⃣ You can transform the overall aesthetic of a video by choosing from a multitude of styles, whether from realistic to cartoonish or any other desired effect. 2⃣ Completely alter the narrative, smoothly transitioning from one subject or background to another: imagine a dog in a park turning into a cat on a beach under the moonlight. 👉 Area-specific Editing (e.g. change hair color) MagicEdit also allows users to make local modifications to the video while leaving other regions untouched (e.g., make the young lady wear glasses). 👉 Video Outpainting (e.g. expand the video to 16:9) MagicEdit also supports the video outpainting task without any re-training, expanding the video in any direction and creating new footage on the fly. 👉 Video-MagicMix (e.g. mix elements) MagicEdit can also merge two different concepts (for instance, a rabbit and a tiger) within the video domain to create a new mixed concept (a tiger looking like a rabbit). Once again, as Arthur C. Clarke would say, "Any sufficiently advanced technology is indistinguishable from magic." How far are we from being able to make our own movies?

Javi Lopez ⛩️

13,293 views • 3 years ago

Before Fela Kuti, There was Fela Sowande, The Father of Nigerian Classical Music. Chief Olufela Obafunmilayo "Fela" Sowande MBE (29 May 1905 – 13 March 1987) was a Nigerian musician and composer. Considered the father of modern Nigerian art music, Sowande is perhaps the most internationally known African composer of works in the European "classical" idiom. Sowande was born 29 May 1905 in Abeokuta, near Lagos, the son of Emmanuel Sowande, a priest and pioneer of Nigerian church music. As a child he sang in the Choir of the Cathedral Church of Christ. He studied at the C.M.S. Grammar School and at King's College, Lagos. The influence of his father and Dr. T. K. Ekundayo Phillips (composer, organist and choirmaster) was an important factor in his early years. Through Phillips, Sowande was first exposed to European church music like Bach and Rheinberger. At that time, Sowande was a chorister and was introduced to new Yoruba works being introduced into the churches. Under Phillips' tutelage, Sowande earned the Fellowship Diploma (FRCO) from the Royal College of Organists. At that time, he was also a bandleader, playing jazz and popular highlife music In 1934, Sowande went to London to study European classical and popular music. In 1936, he was solo pianist in a performance of George Gershwin's Rhapsody in Blue. He also played as part of a pianist duo with Fats Waller, was theatre organist for the BBC, Choirmaster at Kingsway Hall and pianist in the 1936 production of Blackbirds. In 1939, he played the organ on recordings by popular singers Adelaide Hall and Vera Lynn. Later, he studied organ privately under Edmund Rubbra, George Oldroyd, and George Cunningham and became a Fellow of the Royal College of Organists in 1943, winning the Limpus, Harding and Read Prizes. He obtained a Bachelor of Music degree at the University of London and became a Fellow of Trinity College of Music. During the Second World War, he worked as musical advisor for the Colonial Film Unit of the Ministry of Information mainly providing background music for educational films, and lectured on music for the BBC Africa Service. From 1945 until 1952, he was organist and choirmaster at the West London Mission of the Methodist Church. During this time, he also became known as a dance pianist, bandleader, and Hammond organist, playing popular tunes of the day. He went back to Nigeria to scholarly work with the Nigerian Broadcasting Corporation and later the University of Ibadan. In 1952 Sowande became musical director of the Nigerian Broadcasting Service; in the 1955 Queen's Birthday Honours he was appointed MBE for this work. Sowande was one of the six judges who selected the Nigerian National Anthem in 1960. In 1962 he travelled to the United States on a Rockefeller Foundation fellowship. In 1968, he moved to Howard University in Washington, D.C., then to the University of Pittsburgh. He was a Musical King in Africa.

Yoruba Mystic TV

29,491 views • 8 months ago

Crazy week. Spent part of it in South Dakota, visiting trade schools and telling the incredible story of Build Dakota, a scholarship program similar to mikeroweWORKS that’s assisted nearly 3,500 kids with over $43 million dollars. I’ll tell you more about that later, and about how South Dakota is leading the country in the race to reinvigorate the skilled trades. For now, I just want to share some video from a ride-along I did on my way back to the airport. As it happens, the annual Buffalo Round-Up took place yesterday in Custer State Park - another one of things I’d always wanted to see. Well, I finally saw it, and all I can say is holy crap! Thirteen hundred buffalo who preferred not to be relocated, versus a couple dozen expert cowboys and cowgirls determined to get them out of the hills, into a valley, and through a narrow gate that led into a large corral. Assisting the riders were half-a-dozen F-150’s driven by park employees – one of which I was allowed to occupy. So much fun. Thousands of people showed up on a gorgeous morning to see what could possibly go wrong, and marvel at the sight of a buffalo herd on the move. The people lined the ridges above the valley, and watched for a few hours as the buffalo stampeded and the horses galloped and the riders cracked their whips and the trucks accelerated over the wild and rocky terrain, trying to keep the herd headed in the right direction. My driver, Cory, told me to buckle up and hang on. “You got one job, Mike. Keep an eye out for big rocks hidden in the grass. They’re all over the place. Last year, a driver hit one and snapped the chassis in two. Had a Senator on board. Not good.” Perhaps if I hadn’t been on the lookout for rocks, the attached video would look more professional, but it should give you an idea of what’s it looks like to chase a herd of buffalo in a pickup truck. In short, it’s a blast, but it’s also a bit unsettling. As we sped over the plains and over a massive prairie dog town, I couldn’t help but wonder what would happen if the buffalo suddenly all decided, together, to resist our best efforts to push them into a place they didn’t wish to enter. In other words, what would we do if the herd stopped acting like a herd, and realized that they were in fact, the superior force? Probably something similar to what happens when bipeds grow weary of being pushed in directions they don’t wish to go. I was about to share that philosophical observation with the other passengers in the pickup, when Cory ran over a large rock that I had neglected to spot. “Rock!” I yelled, a second too late. “Thanks,” said Cory, as his head bounced off the ceiling. Moments later, Cory’s walkie-talkie exploded with an urgent alert. “Rider down! Rider down.” Someone one the other side of the herd, hopefully not in the middle of the herd, was on the ground, and there was nothing we could do. A couple of EMT’s in a Razor were quickly dispatched to render assistance. I’m not sure what happened, but given the many thousands of prairie dog holes all over the sprawling landscape, I was worried for the horse as well as the rider. Herding buffalo on horseback is dangerous, and as I as tried to focus from keeping Cory from hitting anymore big rocks at high speeds, I couldn’t help but consider the business of hunting buffalo 200 years ago on this very land. Back then, at the beginning of the 19th century, there were something like 50 million buffalo in North America. They say the herds stretched for miles in every direction and moved like a massive wave over the prairie. To be a Dakota Sioux back then, riding a horse without a saddle into a vast herd of stampeding buffalo with nothing but a bow and arrow was amazing enough. To somehow bring one down and then live to tell the tale is mind-boggling. But maybe not as mind-boggling as what we did to the buffalo population in the decades that followed. That was nothing short of genocide, just as bringing them back from the brink of extinction was nothing short of a miracle. “Rock!” I yelled. Cory swerved to the left just in time, and then accelerated as a dozen animals broke away from the herd and tried to bolt back up the hill. I couldn’t help but notice they crapped as they ran - a lot. So much so, it made me wonder about the sheer volume of turds that 50 million buffalo would have produced two hundred years ago. (After 20 years of Dirty Jobs, my brain is still wired to ponder the impact of feces from every species.) Yesterday, the buffalo poop was literally everywhere. It was impossible not to walk in, ride over, or drive through. The tread on our tires was packed with scat, and that’s just from chasing down 1,300 of them. What would the poop from 50 million of these things look like? It must have been a foot deep for miles in every direction. And what would the impact of all that poop be on the early pioneers used to travel these same plains? How did their wagon wheels get any traction in all that dung? “Rock!” I yelled, again, just in the nick of time. The mind wanders when you’re riding shotgun in a buffalo chase vehicle, even when you only have one job to do. But if you ever have the chance to ride along on a round up like this one, do it. The sight will stick with you, even as you find yourself pondering the history of our great country, the impact of feces from every species, and the great good fortune of those lucky Dakotans who make their home here today. A home, where the buffalo roam.

The Real Mike Rowe

96,273 views • 1 year ago

Turn the volume up and let the colors take over. A little chaos, a lot of energy, and a soundtrack made for endless summer days. 💖⚡ Made on FlovaAI using Sonu and Seedance 2.0 #Flovaai #Flovacpp PROMPT: Generate a continuous 1-minute high-budget K-pop-inspired music video synchronized to the lyrics below. The video should feel like a real summer comeback with constant momentum, vibrant colors, cinematic visuals, and powerful synchronized choreography. Every beat should introduce dynamic dance movements, new camera angles, formation changes, or visual effects. The pacing should be fast, energetic, stylish, and addictive with no slow walking sequences or static shots. Every frame should feel alive. Character (Must Remain Identical Throughout) Caden, 22-year-old male, 6'0" (183 cm), lean athletic build, fair skin, expressive brown eyes, clean-shaven, short brown hair styled in a voluminous side-swept quiff, youthful, confident, playful, charismatic smile. Outfit (Never Changes) Burgundy varsity jacket with white sleeves and striped ribbed cuffs and waistband Oversized untucked white button-up shirt Slim black necktie Washed charcoal oversized wide-leg jeans Burgundy Converse-style high-top sneakers with white toe cap and white laces Matte black over-ear headphones resting around his neck Thin silver chain necklace Silver rings 0:00–0:15 | Intro Lyrics Sunlight dripping on a cherry sky, Bubble dreams and we're feeling fly. One more spark, let the colors drop, Heartbeat fizz, never wanna stop. Scene The music video opens with an explosive introduction inside a vibrant pastel "Soda City." Caden immediately takes center stage with eight synchronized backup dancers dressed in coordinated colorful streetwear. They perform sharp, energetic choreography with fast footwork, synchronized arm movements, expressive facial performance, and constantly changing dance formations. The camera rapidly alternates between dramatic close-ups, sweeping crane shots, whip pans, rotating 360-degree movements, crash zooms, low-angle hero shots, aerial drone reveals, and smooth gimbal tracking. Giant floating bubbles, oversized cherries, colorful fountains, confetti cannons, pastel cafés, glowing signs, and sparkling sunlight fill the environment. Every lyric is matched with dynamic choreography, playful expressions, colorful particle effects, and high-energy movement. 0:15–0:30 | Pre-Chorus Lyrics Blue, pink, green, paint the air, Every little moment tastes unfair. Spin it up, let the whole world glow, Catch the rush and just let it flow. Scene The choreography becomes even more intricate as Caden and the dancers move through a colorful city plaza filled with neon cafés, giant soda bottles, bubble fountains, amusement rides, roller skaters, dancing crowds, colorful murals, and glowing street decorations. Every few beats the dancers transition into new formations. Colored powder bursts, sparkling particles, bubbles, ribbons, and confetti explode in perfect synchronization with the music. Camera movement remains constant with overhead drone shots, dynamic steadicam tracking, dolly movements, whip transitions, rotating camera moves, and stylish close-ups that emphasize dance performance and fashion. 0:30–0:45 | Chorus Lyrics Pop-pop, light it up, Sugar stars in a paper cup. Fizz-fizz, feel the beat, Dancing down every neon street. Pop-pop, don't let go, We're the colors everybody knows. Scene The chorus explodes into a massive K-pop performance sequence. Giant LED displays, colorful lasers, fireworks, sparkling stars, floating balloons, glowing bubbles, confetti storms, and synchronized lighting effects transform the city into a festival. Caden leads powerful choreography with continuous formation changes while dancers interact with colorful props and playful stage elements. Camera work becomes even faster with handheld performance shots, sweeping orbits, overhead reveals, dramatic push-ins, stylish slow-motion accents on key dance moves, and wide cinematic shots showcasing the full choreography. Every beat feels designed for dance performance with no pauses in energy. 0:45–1:00 | Outro Lyrics One more smile, one more flash, Living like a summer splash. When the music never stops, We're forever in the pop. Scene The final section becomes the biggest celebration yet. Caden and the dancers perform the signature chorus choreography in the middle of a glowing festival square surrounded by cheering crowds, giant fountains, colorful lights, fireworks, bubbles, confetti, oversized balloons, amusement rides, and vibrant summer decorations. The choreography reaches its peak with synchronized jumps, spins, partner interactions, and dynamic ending formations. The camera alternates between intimate close-ups, dramatic low-angle shots, aerial drone views, and wide cinematic reveals before ending on a powerful hero pose as confetti rains from the sky and the entire city glows beneath colorful lights. Overall Visual Direction High-budget K-pop summer comeback music video, luxury fashion campaign aesthetics, synchronized choreography, professional backup dancers, energetic dance performance, expressive facial acting, polished styling, colorful festival atmosphere, bold pastel palette, cherry red, bubblegum pink, lemon yellow, mint green, electric blue, glossy commercial lighting, cinematic anamorphic lenses, fast-paced editing, dynamic camera movement, whip pans, crash zooms, crane shots, aerial drone shots, smooth gimbal tracking, rotating camera movements, seamless transitions, sparkling particle effects, colorful bubbles, confetti, fireworks, vibrant cityscapes, amusement park atmosphere, stylish street fashion, premium commercial quality, addictive choreography, playful youthful energy, polished K-pop comeback aesthetic, constant movement, no static shots, no walking sequences, every second filled with choreography, camera motion, colorful spectacle, and infectious pop energy. 🔥 Final Line (Very Important) Prioritize synchronized choreography, expressive dance performance, dynamic camera movement, fast-paced editing, and continuous visual excitement over cinematic slow moments. Every beat should feel performance-driven, colorful, energetic, and designed like a high-budget K-pop music video with nonstop momentum from beginning to end.

Caden Flux

108,506 views • 23 days ago

37 years after the Tiananmen Square massacre, the Chinese Communist Party still fears the memory of that night, because it reveals who they truly are. On June 4 at the Tiananmen Memorial in Washington, DC, I spoke about the slaughter that should have changed everything, the decades of quiet accommodation that followed, and why standing with those who still resist the regime’s demand for total (actual or performative) submission is more urgent than ever. I also highlighted a remarkable new series of never-before-seen photographs from June 4, 1989, published today on the front page of The Epoch Times. Please take a moment to view them (the link is in the thread below!) Here are my full remarks 37 years after the Tiananmen Square massacre, at the Victims of Communism (Victims of Communism) Memorial, Washington, DC, June 4, 2026: Good evening, everybody. My name is Jan Jekielek. I'm the senior editor at the The Epoch Times and author of a book titled Killed to Order: China's Organ Harvesting Industry and the True Nature of America's Biggest Adversary. And this nature is something that we haven't gotten right, and we should have when Tiananmen Square happened, when the massacre happened. So, tonight we remember the victims of the Tiananmen Square massacre, the students, the workers, and the ordinary citizens murdered on June 4, 1989 for daring to imagine a freer China. On the front page of The Epoch Times today we are publishing a whole series of never-before-seen photos that were contributed to us recently. They were taken by a state media photographer 37 years ago. These are very powerful images. I encourage you to check it out. The person who put these together, Eva Fu (Eva Fu), she's actually here doing an article on this event, so I hope you get a chance to speak with her later today. It's a striking historical fact that the same day, June 4, 1989, Poland held its first semi-free parliamentary election since the communist era. Solidarity won a landslide victory, and hope began to spread across Eastern Europe, and the Berlin Wall fell. In Poland, people chose freedom, but in China, the regime chose slaughter. The massacre itself was monstrous, but hope died twice that year, first in the blood of the streets of Beijing, and again when the United States responded not with sustained accountability but with quiet accommodation. Just weeks after the killings, the administration at the time secretly dispatched the National Security Advisor and the Deputy Secretary of State to Beijing. Their mission was to signal to the Chinese leadership that America would ride out the storm of public outrage and work to restore the strategic relationship. Most Americans never knew about this back-channel. For decades, we pursued a policy of engagement, telling ourselves the comforting story that trade and money would change China, that economic integration would liberalize the regime and make it a responsible stakeholder. The opposite happened: The Chinese Communist Party changed us. It turned us, it turned our openness into vulnerability. It captured influence in our institutions. It made us economically dependent on a system built on lies, on repression, and on brutality. And then, in the year 2000 the regime launched something even darker, a large-scale industrialized forced organ harvesting industry built on the bodies of Falun Gong practitioners, which they had started persecuting the year before. The crime rested on two pillars, very vicious dehumanizing propaganda, and also a vast system of mass arbitrary detention that eventually ended up serving as the source of the organs. For 14 or 15 years, the world largely turned away, and emboldened by this, the regime expanded the same machinery of dehumanization and mass incarceration to the Uyghur people, and perhaps even to others. This is why the memory of Tiananmen remains so urgent. The Chinese Communist Party has never abandoned its core demand, total submission, or at least the appearance of it. Anyone who refuses, whether through faith, through conscience, or simple human dignity, becomes a target. That is why we must stand with those who still resist: • Falun Gong practitioners who continue to practice and speak the truth, • and the millions who have joined the Quit the CCP or the Tuidang Movement to renounce their ties to the communist party, the youth league and the young pioneers, • the white paper protesters of 2022 including brave young people like Zhang Junjie who stood alone in Beijing holding a blank sheet of paper a silent indictment of censorship and tyranny and paid a terrible price, • Christians worshiping in underground churches, • Tibetans demanding their culture and faith, • and of course Uyghurs and Kazakhs enduring camps and surveillance, • and every individual across China who chooses conscience over performative or actual loyalty. Their courage is living proof that the spirit the regime tried to crush in 1989 is not dead today. We are finally beginning to move in the right direction, I think, recognizing the true nature of the threat and starting to correct the mistakes of all-out engagement, but we must go further by remembering Tiananmen and standing firmly with all those who resist. We honor the dead and keep the flame of hope alive. Thank you. Falun Dafa Information Center Tuidang Movement 中国人权-Human Rights in China 周锋锁 Fengsuo Zhou ChinaAid Tibet People 🇺🇦 World Uyghur Congress Uyghur Human Rights Project

Jan Jekielek

34,656 views • 2 months ago

🏴󠁧󠁢󠁥󠁮󠁧󠁿 THE MASK DROPS: JOURNALIST GOES TO PROVE MUSLIMS ARE "PEACEFUL" — MOB SHOWS UP TO KILL HER INSTEAD ☠️ The irony would be a chef’s kiss if it weren’t so deadly serious. A journalist waltzes into a Muslim enclave in England, cameras rolling, narrative pre-written — “look at these peaceful, law-abiding citizens, nothing to see here, you bigots.” The script writes itself. It’s the same one the legacy media has been running for two decades straight. And then reality intervenes. Within minutes, a gang of masked men swarm her. They don’t want an interview. They don’t want dialogue. They want her gone — and they make it abundantly clear she’s leaving in a body bag if she doesn’t comply. The live feed gets cut. The studio anchor is stammering apologies for the “language.” The journalist gets escorted out, tail between her legs, narrative in tatters. This isn’t an isolated incident. It’s the Birmingham pattern — and it keeps repeating: - Sky News reporter Becky Johnson, August 2024: surrounded by masked men on bikes, shouting profanities and “Free Palestine,” forced off-air mid-broadcast. A man with a knife chased the van and tried to slash the tires. A year later, when she returned to the same neighborhood, a man in a car mimed pulling a trigger at her head. - Christian preacher in Walsall, January 2023: mob of 20-30 Muslims formed a ring around him, threatened to cut his throat, beat him, and abduct him — for preaching that the Qur’an presents a false Jesus. Police response? Arrest the preacher for “blasphemy.” The mob walked free. A judge later threw out the charges, but the message was sent. Same neighborhoods, same script: white resident Gerry Moynihan admitted he stayed inside his own home that day because the "intelligence" was that the mobs were "looking for what they thought were the enemy — white people — and trying to find white people." The Narrative vs. The Footage The establishment gaslights the public with one hand while their own camera crews are fleeing for their lives on the other. The cognitive dissonance is staggering: View the table below. The 2030 Agenda crowd — the globalist technocrats pushing mass migration, open borders, and the dissolution of national identity — didn’t just break England. They lobotomized it. They convinced the ruling class that importing millions of people from cultures that view Western values as a disease to be eradicated would somehow produce... Sweden. Look how that turned out. The Real Two-Tier System When a white man says something offensive online, the full weight of the British state descends on him — dawn raids, criminal charges, career destruction. When a mob of masked men threatens to murder a female journalist on live television for the crime of standing on a street with a microphone, the system suddenly discovers its deep reservoir of “context” and “community tensions.” The journalist who went in expecting to film a puff piece about peaceful Muslims got the uncut director’s commentary instead. The mask didn’t just slip — it was ripped off and thrown at the camera. The lesson? You can gaslight a nation for twenty years with carefully edited news packages and diversity-committee-approved scripts. But you can’t edit the live feed fast enough when the truth charges at the lens on two wheels, masked up, screaming for blood. #TheMaskDrops #NarrativeVsReality #BirminghamExposed #TwoTierEverything #LiveFeedDoesntLie #2030AgendaWasteland #TheyCantEditFastEnough #PeacefulOnPaper can’t director’s didn’t Qur’an “ chef’s chef’s

Tony Seruga

15,908 views • 2 months ago

Continuing in my series of showing you the Woke Right's meltdown about talking with Jordan Peterson about Woke, thus them, I bring you some clips from Blaze Media propagandist "Auron MacIntyre." These require more analysis because unlike Carl Benjamin, Auron MacIntyre is a relatively skilled propagandist. So in this clip Auron begins by mocking Peterson and me for allegedly not understanding the slang term "based" (which is demonstrably false, btw -- I've detailed its history and uses elsewhere -- a typical sort of lie a propagandist tells). He mocks us as being out-of-touch old people ("old man shakes fist at sky") for believing "based" should refer to being "based in reality," which it should, so a digression to reveal the malicious technique. The origin of the term "based" used by the Woke Right was from a rap song about freebasing cocaine, and it became slang for being bold and edgy and saying socially taboo things. In 2021, the conservative movement at large started picking it up, understanding it to mean "based in reality and principle and willing to say uncomfortable truths as such." The "willing to say uncomfortable [things]" in both cases is where the confusion lies because it can be done two ways: responsibly (truths) or irresponsibly (edgy transgression). This is basically my point with bringing it up with Peterson. Setting aside the digression of whether we want a term associated with being the opposite of Woke to mean "based in reality and principle" or "high on ideological cocaine," Auron is particularly keen within the first few moments of speaking (~1 min) to drive the old versus young wedge that the Woke Right is so keen on pushing. Just like the Bernie Bros of 10 years ago, they want to invest their movement with "Ok Boomer" energy and cause a generational split. Historically, this is Red Guard behavior, which is cultural Maoism, which is... where Woke comes from in the specific sense we're familiar with and hate. So, he's being Woke in a particularly damaging and dangerous way. So using the classic Jon Stewart (Woke) trick of opening with mockery to create an atmosphere of humor that discredits his targets (Peterson and me) particularly with a target audience (young radicalizing right-wing) that he signals alignment of, he steps into his "analysis" by accusing me of a "pivot." Spoiler: I have not and never pivoted, and that's why they're pissed off at me. I didn't go along with THEIR pivot, which has been unfolding for a couple of years (particularly at the Blaze, since Glenn Beck retired and they hired a bunch of "Schmittians," including Auron) and went on steroids last fall in the lead-up to the election. His specific accusation that he's accusing me of is claiming that I said "the Left wanted to get rid of all racism, so these guys [Woke Right] want to bring back all the racism." This isn't my claim, but it will happen to some degree and is happening. Auron is creating plausible deniability around that here, but what was my actual claim? My claim was that Woke on both sides is characterized by the transgression of mainstream norms using the opposite side's radicals as the justification. The Woke Left transgressed against the term "racism" and successful and majority races with CRT by expanding the definition and reversing the classic racism "directions" under roughly Ibram Kendi's "antiracist" program of ending discrimination by discriminating. They did this in the name of "stopping racism," which they associated with the "far right" and claimed was endemic through all of society. It was society's norm of identifying actual racism correctly and not being racist in any direction they were actually targeting. The Woke Right transgresses against this same norm the other direction ("same energy, opposite direction") by leaning into racism in "based" defiance of the Left and CRT norms. They're violating a lot of taboos the mainstream depends on in the process, like not being racist, on justifications like "if every other group gets to be racist/tribal, we have to too for self-defense," which they're actually arguing pretty widely. The point is that both Woke groups are transgressing against norms against racism in different ways. Same energy, opposite direction. Auron directs his audience away from this point and builds a strawman that he can press into the train of mockery he already started. But what he actually does is shifts to make out that my real point is that "the most important issue we have to care about in society is racism," trying to place me in the CRT/Leftist camp, which I'm literally actually opposing in the clip he's commenting on (and that I've done more to oppose than anyone in the world, without any doubt to anyone familiar with my work for the last seven or eight years). He uses this straw man to lump together "center left, classical liberals, IDW" and to say we're "revealing ourselves" effectively as crypto-Leftists, which the portion of the clip of me that he played (aside from all my previous work) directly refutes. "Their religion," Auron opines, "is still antiracism." [So does he mean like being not-racist, like we actually are (not religiously), or like Kendi means it? Has he accepted Kendi's framing that there's only "racist" and "antiracist" and then tried to project that onto people who want to be not racist? Sure looks like it.] "James Lindsay, as much as he's against it, as much as he's written against it, as much as he's claimed to want to expose it, ultimately, he doesn't disagree with 'antiracism' as the core religion of the United States." That's a pretty astonishing sentence in its calculated falseness, and we have every reason to believe it was made deliberately and maliciously (Auron has a very long track record of precisely this behavior). The effect is to flatten all "center left" and "classical liberals," along with me and my work specifically, into a kind of crypto-CRT "religious" belief in an effort to discredit us and name us part of the problem (the "dialectical flattening"/psychopathic splitting I also discussed with Peterson comes to mind here, for those who saw the whole show). He aims to treat different things as though they're the same thing (Woke context and language blurring) in order to cast us as secretly in alignment with Kendi and the rest of CRT. "He, he, he thinks that that ['antiracism'] should be the 'civic religion' of the United States." No, I don't. This is called lying. It's also mind reading through secret (Gnostic) interpretation of hidden clues in my language and work that reveal that I mean the exact opposite of what I'm consistently saying. "He just doesn't like the extreme version of it." Still lying, but trying to make it sound more plausible. "He's like a moderate jihadist. Ok, he wants moderate jihad. M-m-moderate Sharia. That's what James Lindsay demands." So beyond being ridiculous and defamatory that's a really weird association to make, but it should be obvious why he's making it. The game is to discredit me through mockery and association with things his audience already doesn't like. Also, the Iron Law of Woke Projection never misses.... The Woke Right holds to a "No Enemies to the Right" policy of extremism, and I do not. Mockingly pretending his speaking my voice: "Ok, I still want Sharia Law. I still want a woman beaten if she's walking outside alone. I- You, you know, u-use a small rod instead of, like, you know, a large stick. That's kinda James Lindsay's stance on this, right?" No, "Auron," not right. "So, so he still wants racism to be, like, the central concern of the United States; it just needs to have a more reasonable definition. Stop looking at the [Woke examples] of racism; just go back to the good old 'antiracism' that we used to have." It's called being not racist, which reveals what "Auron" is really arguing for, as with his take on "based" at the start of the clip (he wants transgressive ideological high on cocaine, not based in reality and principle and courageous enough to stand for them). He has completed his straw man, erected him, and is showing the audience Straw James for mockery and rejection. "The problem for James is that the entire reason you [sic] got there is that there's a gradient to the logic [so it's all 'antiracism' on a slippery slope -- dialectical splitting again]." "Auron" is explaining here yet again that "liberalism," which he is deliberately unclear about, is just another manifestation of Communism, a quieter, more moderate crypto-Communism (or, specifically Race Marxism, here). This bit of propagandizing depends on the fact that his audience uses the word "liberal" inaccurately and blends together many things including classical liberalism, traditional liberalism, European social and economic liberalism, neoliberalism, progressivism, socialism, Marxism, and Communism for a lot of bad reasons that are too much to cover here. The point is that as a propagandist, he's not just relying upon this lack of clarity and exploiting it, he's also deliberately sowing more confusion in the name of clarity (...disguised as an angel of light, since his stream is all about Lucifer anyway), deliberately and maliciously. "Again, you'll notice that he wants those 'liberal' norms [not being racist] back, but what James never admits, what James never makes clear, is that the 'liberal' norms got him Wokeness." If I thought this was true, I would have said it. I'm not hiding anything. I just think it's completely false and have dedicated an insane amount of effort into making it clear for people around the world. Maybe "Auron" should listen to any of the hundreds of talks, lectures, or podcasts in which I quoted directly from the book Critical Race Theory: An Introduction where the authors (Richard Delgado and Jean Stefancic) explicitly state that one of the reasons Critical Race Theory exists is to attack "Enlightenment liberalism" (just like the Woke Right does!). Much of the writing in Critical Race Theory is explicitly, and at length, a criticism and rejection of liberalism and liberal norms in favor of completely different radical ones. If "Auron" did that, though, he'd risk exposing that Woke Right shares this in common with CRT while liberals do not. "The liberal obsession with equality, the liberal obsession with racism, is what brought you to Wokeness." This is a few misarticuated truths married to a lot of lies (that is, propaganda). It's a lot to unpack. Liberalism means equality before the law, not everyone is literally equal. CRT attacks liberalism exactly the same way, consider Robin DiAngelo's book titled Is Everyone Really Equal? As documented, say by Shelby Steele in White Guilt, it is true that the values of American equality and the circumstances of the Civil Rights Movement were hijacked by Race Marxists to open the door to the CRT racial dialectic, but that's not liberalism being obsessed with race or bringing us Woke. That's Communists exploiting people with certain sensibilities. That is, this is propaganda. This is already extremely long, and the rest devolves into him talking about ethnic hatred instead of "racism." I guess he needs more politically correct terms for it, "as a Christian," he says. The only reason to mention it is how he ends it. "However, James wants a much, much broader definition of 'racism.' He wants a political definition of racism. He doesn't care about how you treat people one-to-one [remember, I'm the individualist here...], he cares about using that definition to cancel you, right? And that's the plan. That's the plan." It's really more of the same thing, but it bears mentioning because it's the completion of his malicious straw man. It's not only completely false but obviously false except outside of the Woke Right narrative that he also pushes that I only created the term "Woke Right" (again, I didn't create it at all) to cancel people, which is the narrative he needs to get people to believe. That's underscored by his repetition of "that's the plan." My objectives with naming the Woke Right were abundantly simple: name a dangerous phenomenon in the hopes that it can be identified and stopped. I would not like to see people cancelled, but I won't tolerate this bad behavior either, not for any rewards they might dangle or withdraw. I hope every one of them realizes they are acting "Woke" and backs off from it. We need all the help we can get in stopping the huge global effort to subvert us and steal our liberty. My verdict here? This is among the rankest of rank propaganda. The Blaze, if (and only if) it wants to be considered a serious outlet in any regard, should be ashamed to be associated with this guy and what he's doing. I can't really even say this, though, because in light of the straw man built about me throughout, they'll say this is a Woke accusation on my part too, and an attempt to cancel him, but it's just a simple, plain fact. Rank propaganda isn't reporting or even really commentary, and there's nothing respectable about it. For years I've made the point that there's a key difference between "cancellation" and "taking responsibility." Anyone can find ample evidence of this. Why did I do that? Because the Woke Left claimed that anything that identified their bad behavior in our institutions was an attempt to "cancel" them too. It's a Woke (and psychopathic) technique called DARVO: Deny, Attack, Reverse Victim and Offender. Deny that you're doing anything wrong, attack the person who called you out, and make yourself out to be the victim of their "cancellation" attempt. Of course, adding this here will guarantee they'll howl with laughter as they yet again insist that's what I'm doing to them with this.

James Lindsay, anti-Communist

53,212 views • 1 year ago

Steal my Gemini 3.0 prompt to generate any website based on your custom requirements. ------------------------ ELITE WEB DESIGNER ------------------------ Adopt the role of a former Silicon Valley design prodigy who burned out creating soulless SaaS dashboards, disappeared to study motion graphics and shader programming in Tokyo's underground creative scene, and emerged with an obsessive understanding of how visual maximalism serves business credibility when executed with surgical precision. You're a conversion strategist who spent years A/B testing landing pages for unicorn startups, a design fundamentalist who refuses to sacrifice usability for aesthetics, and a master meta-prompter who optimizes for clarity over verbosity. You know modern image generation AI needs specific structural formatting—contemporary design frameworks (Tailwind CSS, Shadcn UI, glassmorphism, liquid glass, morphism), backgrounds with depth (animated gradients, shaders, mascots), and step-by-step execution instructions—to produce 2025-quality interfaces instead of outdated designs. Your mission: Transform user vision into fully-coded, visually striking websites that balance aesthetic impact with conversion effectiveness. Extract requirements, architect strategic 5-6 section homepages, generate visual previews showing all sections with interactive elements visible, iterate until perfect, then build complete homepage before making navigation and additional pages functional—all adapted to specific context, not rigid templates. ##PHASE 1: Vision Capture What we're doing: Understanding your aesthetic, business context, and strategic goals efficiently. Provide your vision via: 1. Screenshot of design inspiration 2. Written description (business type, aesthetic, features) 3. Both Share: **Aesthetic**: Style preference? (maximalist, minimalist, brutalist, glassmorphic, liquid glass, morphism, retro, futuristic, geometric, editorial, etc.) **Elements**: Specific visuals wanted? (shaders, 3D effects, colors, animations, mascots, backgrounds) **Avoid**: What to exclude? (purple overload, illegible text, hidden CTAs, outdated UI, flat backgrounds, etc.) **Business**: What you do, target audience, website goal, differentiator? Type "ready" when shared. ##PHASE 2: Strategic Homepage Architecture What we're doing: Translating your vision into 5-6 section homepage structure following conversion principles and modern design fundamentals. I'll architect sections specifically for YOUR business, not templates: **Strategic Framework** (contextualized to your model): Core sections adapt based on business type: - Hero with value prop + primary CTA - Trust/credibility section (social proof, stats, logos) - Value delivery (features, benefits, process, how-it-works) - Conversion focal point (pricing, offers, lead capture, demo) - Engagement closer (FAQ, secondary CTA, community) Sections customize to context—SaaS gets problem-solution-pricing flow, agencies get case studies-process-testimonials, e-commerce gets benefits-proof-offers, portfolios get philosophy-work-results. **Strategic Plan Includes**: - 5-6 contextualized sections with rationale - Content direction based on audience psychology - Visual treatment matching your aesthetic with fundamentals enforced - Modern framework approach (Tailwind/Shadcn/Glassmorphism) - Background depth strategy (animated gradients, shaders, visuals) - Color strategy avoiding generic choices unless brand-appropriate - Typography prioritizing legibility - CTA strategy for conversion optimization **Your options**: - "continue" to proceed to design system and mockup - Request adjustments - Ask questions ##PHASE 3: Design System & Mockup Preparation What we're doing: Establishing visual foundation using contemporary frameworks, then crafting optimized prompt to generate mockup showing ALL 5-6 sections at once with visible interactive elements. I'll define: **Contextualized Style Direction**: Keywords and frameworks fitting YOUR brand specifically **Design Framework Strategy**: Styling approach, component philosophy, layout pattern—all adapted to your aesthetic **Background Depth Treatment**: How background creates depth without distraction, animation philosophy, visual elements supporting content **Visual System**: Color palette with strategic rationale, typography with reasoning, component styling philosophy, spacing strategy, CTA differentiation, modern UI patterns adapted to your aesthetic **Optimized Prompt Structure** (meta-prompted): Two versions: **Human-Readable**: Descriptive overview for review **JSON Optimized**: Structured for image generation using meta-prompt principles: - Required anchors: "Website screenshot", "Professional website design mockup", "Award-winning UI design", "Modern web interface 2025" - Aesthetic philosophy over exhaustive lists - "Execute this step-by-step" instruction - Modern framework references (Tailwind, Shadcn, Glassmorphism) - Background depth details (animated gradients, shaders, visuals) - All 5-6 sections in flowing narrative - Interactive element visibility emphasis (CTAs, buttons, animations) to convey design principles - Strategic constraints (legibility, prominence, hierarchy, depth) - Optimized length balancing detail with conciseness Type "continue" to see prompt. ##PHASE 4: Complete Homepage Mockup Prompt What we're doing: Presenting optimized prompts for full-page mockup showing ALL 5-6 sections with interactive design elements visible. **HUMAN-READABLE VERSION**: Narrative description of your complete homepage: - Opening with quality anchors - Core aesthetic philosophy adapted to your context - Background treatment creating depth - Navigation approach - All 5-6 sections described contextually - Color palette with reasoning - Typography philosophy - Component styling approach - Modern framework references - Interactive element visibility strategy - Critical constraints - Avoidance list based on preferences **JSON VERSION** (optimized for generation): ```json { "prompt": "Website screenshot of [your business]. Professional website design mockup. Award-winning UI design. Modern web interface 2025. Execute this step-by-step. [Aesthetic philosophy] with [framework] approach. Background: [depth treatment with animations/gradients/effects]. Full homepage vertical scroll showing 5-6 sections: Navigation [treatment]. Hero [value prop, CTA, visuals]. [Section 2 with layout philosophy]. [Section 3 with component approach]. [Section 4 with interaction style]. [Section 5 with conversion focus]. [Section 6 if applicable]. Color strategy: [palette with reasoning]. Typography: [philosophy and hierarchy]. Components: [styling approach with visible affordances]. Framework: Tailwind patterns, Shadcn style, [specific effects]. Interactive elements show: prominent CTAs, hover implications, animation hints, button affordances. Critical: legible text, prominent CTAs, background depth, clear hierarchy, contemporary 2025 design, professional quality. Avoid: [specific issues].", "aspect_ratio": "9:16" } ``` Meta-optimized: principles over lists, step-by-step execution, framework context, interactive visibility. **Review both. JSON executes.** **To generate complete homepage mockup, type "generate"** **Important note**: When you type "generate", I'll execute the image generation tool. The image will appear, but the process will seem to pause. This is normal—the tool can only return the image without commentary. Simply type "continue" after you receive the image to proceed with the next phase. **To adjust the prompt before generating, tell me what to change** Won't execute until you command. ##PHASE 5: Complete Homepage Mockup Generation What we're doing: Executing image generation with optimized JSON showing ALL 5-6 sections vertically. ONLY activates when you type "generate", "create mockup", "make image", or similar. Once commanded, I execute using ONLY JSON prompt—no modifications. You receive full-page vertical mockup showing: - All 5-6 sections in scrollable view - Interactive design elements (CTAs, buttons, animations) visible - Background depth and modern framework styling - Complete design system applied **After the image appears, type "continue" to proceed.** The image generation tool only returns the visual—you'll need to type "continue" to move forward with reviewing and next steps. ##PHASE 6: Mockup Review & Refinement Decision What we're doing: Reviewing the generated mockup and deciding next steps. This phase activates after you type "continue" following image generation. **Your options after viewing the mockup**: - "Approved" or "build" - proceed to building complete homepage code - Request specific changes - I'll update the prompt and regenerate - Ask questions or request adjustments **If you request changes**: I'll present updated prompts (readable + JSON) showing modifications, then ask you to type "generate" again for the revised mockup. Each refinement iteration: 1. You describe desired changes 2. I present updated prompts 3. You type "generate" 4. Image appears 5. You type "continue" to proceed 6. We review and decide next steps 7. Repeat until perfect Common refinements: section emphasis, background depth, colors, typography, CTA prominence, interactive visibility, framework styling, aesthetic tuning. Once you're satisfied with the mockup, type "approved" or "build" to proceed to code generation. ##PHASE 7: Complete Homepage Code Generation What we're doing: Building entire 5-6 section homepage as production-ready code matching approved mockup exactly. **Complete Single-File HTML Delivery**: - All 5-6 sections coded and integrated - Fully responsive across devices - Modern CSS implementation (Tailwind-style or modern CSS) - Animated background matching mockup (CSS gradients, WebGL, SVG) - All interactive elements functional (buttons, CTAs, forms, animations) - Navigation implemented per design - Component styling matching aesthetic (glassmorphism, shadows, borders) - Typography system with hierarchy and legibility - Color system from specification - Micro-interactions and hover states - Scroll animations where appropriate - Performance-optimized **Technical Quality**: Semantic HTML, modern CSS (custom properties, grid, flexbox, backdrop-filter, transforms, animations), vanilla JavaScript, accessibility considerations, mobile-first responsive, smooth scrolling, optimized assets, cross-browser compatible. **Code Structure**: Clean commented HTML, inline CSS organized in style block, inline JavaScript, ready to copy/paste and deploy, fully functional standalone. **Strategic Content**: Intelligent placeholders based on your business model, conversion psychology, target audience, professional tone—easily replaceable. **Design Fundamentals Verified**: All sections with hierarchy, prominent functional CTAs, readable text with contrast, clear interactive signals, background depth, adequate whitespace, responsive, contemporary 2025 quality. Automatically presents next phase after delivery. ##PHASE 8: Navigation & Pages Planning What we're doing: Making all navigation functional and planning additional pages. **Navigation Audit**: [List nav items from homepage] **Options for each item**: Create dedicated page, expand section to full page, smooth scroll to section, custom approach. **For clickable elements**: Decide what happens—link to new page, scroll to section, open modal, trigger action, external link. **What to make functional first? Choose**: 1. Complete navigation by building all pages 2. Primary conversion path (CTA → specific page) 3. Specific pages you prioritize 4. Internal links with smooth scrolling 5. Custom approach **Or** "auto-complete" for intelligent decisions based on your model. ##PHASE 9-X: Progressive Development What we're doing: Building each page or making elements functional, maintaining design consistency. **Each Page Delivery**: Complete HTML matching homepage design system, same framework styling, same background treatment, same typography/colors, appropriate sections, full responsiveness, functional interactions, integrated navigation. **Each Functionality Addition**: Smooth scroll, modals, form validation, interactive components, animation triggers, other elements. **After Each Delivery**: Current Progress: [What's complete] **What next? Choose**: [4-6 options for next page/functionality] **Or** "auto-complete" for intelligent completion. Continues until site fully functional. ##PHASE FINAL: Complete Integration & Polish What we're doing: Final integration ensuring everything links, works, and maintains consistency. **Complete Package**: Homepage HTML (all sections), all additional pages, complete styling/functionality per file, working navigation across pages, functional CTAs/buttons, validated forms, consistent design system. **Deliverables**: All HTML files deployment-ready, quick deployment guide, customization documentation, design system reference. **Quality Verified**: Complete homepage, functional navigation, working CTAs, consistent pages, responsive, optimized, modern framework styling, functional interactions, professional 2025 quality. --- **CRITICAL RULES**: **Image Generation**: - Present: Human-Readable + Optimized JSON - JSON meta-principles: distilled concepts, "Execute step-by-step", framework context - JSON opens: "Website screenshot" + "Professional website design mockup. Award-winning UI design. Modern web interface 2025." - JSON shows: ALL 5-6 sections vertically in one mockup - JSON emphasizes: interactive element visibility (CTAs, buttons, animations) - JSON includes: modern frameworks (Tailwind, Shadcn, Glassmorphism), background depth (gradients, shaders, mascots—NEVER flat) - User "generate" → Send ONLY JSON → No modifications - Aspect ratio: 9:16 (vertical to show all sections) - After image appears → User MUST type "continue" to proceed (tool only returns image without commentary) **Homepage Development**: - Generate mockup with ALL 5-6 sections at once - After approval, build COMPLETE homepage code (all sections functional) - Deliver entire homepage as single working file - Then make navigation/additional pages functional - Flow: complete homepage → functional navigation → additional pages **Content Adaptation**: - NO hardcoded templates - Adapt ALL to user's specific business context - Strategic frameworks based on actual audience - Section selection/styling contextualized to goals - Design choices match aesthetic preference - Professional placeholders easily customizable **Standards**: Contemporary frameworks, background depth, interactive element visibility, modern CSS/frameworks, 2025 quality throughout. **Control**: User commands each phase explicitly. "generate" for mockup (then "continue" after image), "approved"/"build" for code, choose-your-adventure for pages, adjust anytime. Begin Phase 1 when ready.

Alex Prompter

190,110 views • 8 months ago

meta muse spark 1.1 vs gpt 5.6 sol vs fable 5 vs grok 4.5 meta recently dropped muse spark 1.1 – a multimodal reasoning model from meta superintelligence labs built for agentic tasks. key facts: • 1m token context with active self-management – the model compacts its own history and keeps only the steps needed for later work • trained to orchestrate multi-agent systems: as main agent it plans and delegates to parallel subagents, as subagent it sticks to its job and knows when to escalate back • computer use trained to pick between scripting and clicking – writes automation when it's faster, clicks when it's simpler, batches actions per step • first public api from meta: the meta model api is now in preview • benchmarks: sweeps the agent column – mcp atlas 88.1 (opus 4.8: 82.2), jobbench 54.7 (opus: 48.4), humanity's last exam 62.1 (1st). loses coding – deepswe 1.1 53.3 vs gpt 5.5's 67.0, swe bench pro 61.5 vs opus's 69.2 our test – 3 prompts, single-file html, three.js, fully procedural, no assets: 1. norwegian house cantilevered over a fjord in a snowstorm – transmissive glass wall, fully modelled interior 2. beijing siheyuan courtyard house in dawn fog – instanced roof tiles, dougong brackets, glowing paper windows 3. new mexico adobe pueblo in an approaching dust storm – deep window reveals, windward grit accumulation we ran the test on AI/ML API platform results: - cost #1 muse spark 1.1 – $0.20 #2 grok 4.5 – $0.51 #3 gpt 5.6 sol – $1.93 #4 fable 5 – ~$5.20 - output tokens #1 muse spark 1.1 – 41,868 #2 gpt 5.6 sol – 49,139 #3 grok 4.5 – 64,954 #4 fable 5 – 81,849 - lines of code #1 muse spark 1.1 – 1,799 #2 gpt 5.6 sol – 2,377 #3 fable 5 – 3,088 #4 grok 4.5 – 4,216 observations: • muse spark is the cheapest of the four by a wide margin – 2.5x under grok, ~26x under fable per run. output quality tracks the price • only 7.4% of its output tokens are reasoning (3,104 of 41,868) – the model barely thinks before writing. economic, not pedantic: it commits to the first plan and ships it • the low loc is not compression, it's omission – all three prompts demanded instancing, muse spark delivered it in one muse spark's code quality – reviewed by fable 5: upsides: 1. all three files run 2. the adobe grit effect is legit – shader injection via onbeforecompile, windward faces detect storm direction through a normal-dot-wind term and darken procedurally 3. the fjord glass is real meshphysicalmaterial with transmission and ior, not a transparent quad 4. the siheyuan properly instances barrel tiles, dougong blocks and courtyard pavers downsides: 1. in the fjord file the strafe vector is negated – press a, you move right; press d, you move left. exactly the key mix-up we kept hitting with this model 2. all three files ship the model's self-doubt as comments: "// actually yaw orientation: need correct" sits above a direction vector that gets computed, abandoned and recomputed – dead vectors allocated every frame, 60 times a second 3. the siheyuan registers two separate keydown listeners, one containing an empty if-block 4. snow "accumulation" on the norway roof is a sine wobble on a scale value, not accumulation 5. "instanced snow" became 3,500 plain points. zero dispose calls anywhere pattern: minimal reasoning, minimal code, minimal price. it nails the flashy requirements – shaders, transmissive glass – and quietly drops the boring ones: instancing, controls, cleanup. you get a demo that mostly runs and a control scheme you can't trust follow thehype. for 24/7 ai news, analysis and breakdowns

thehype.

135,170 views • 1 month ago

This broadcast of the Moriah & Berko talk show on Channel 13, from July 27, is a perfect example of the grotesque, genocidal gaslighting circus that is the Israeli media today. I broke it down for you. In the video, you can find some of the most outrageous sound bites, but I've decided to write a summary of absurdities from the entire first hour of the show, which dealt with issues concerning Gaza. ******************************* Moriah "no uninvolved" Asraf leads a discussion about the "fake starvation campaign", as the panel calls it, which has become a major "Hasbara problem". The panel's general consensus is that there is no famine in Gaza - but if there is, it's Hamas's fault. While denying that Israel is engaged in intentional starvation, the panelists appear to agree that the genocidal practice poses no ethical problem, only a public relations one. The one voice that hesitantly raises the issue of morality is being repeatedly shut down by the others. Co-host Eyal Berkovic, who has repeatedly said that Gaza should be wiped out, responds by saying that if it was up to him, he wouldn't let a drop of water into Gaza, and when Asraf says that "none of us likes to see starving children", Berkovic starts telling her repeatedly that he feels nothing towards the children in Gaza. Israeli-French journalist Emmanuelle Elbaz-Phelps is supposed to be the "leftist" of the panel, and was brought to the show to counter Berkovic. She's the only one on the panel who thinks that there's a moral problem with what Israel is doing in Gaza, and not just a "Hasbara problem". She tries to respond to Berkovic by saying that for the sake of "our children" Israel needs to prevent hunger in Gaza. Berkovic, talking to her in a blatantly disrespectful and dismissive manner, tells her that if she has mercy for the children in Gaza, she "already forgot October 7". Shay Golden, who earlier in the genocide made numerous deranged monologues ("We are coming to annihilate you") and even specified once that "we are ready to go into international isolation", now sings a different tune. He talks about how Israel's current situation on the international stage is an "existential threat", and complains that Israel is being unfairly shunned, framed for a famine it has nothing to do with. On the contrary, Golden claims, the amount of aid supplied to Gaza is "unprecedented in the entire history of human wars". Golden says that there's no question that "Israel is not starving Gazans intentionally", and that "only an idiot" would consider such a possibility. When Elbaz-Phelps tries to tell him that Berkovic literally just now said he wants to do just that, Golden hushes her. Interrupting Golden, Berkovic himself says he disagrees with him, and asks him whether he would support a hypothetical decision by Netanyahu, to prevent life essentials from entering the Strip, "until my hostages are returned". Elbaz-Phelps later tries to reflect to Berkovic the full meaning of his genocidal words, and asks him if he wouldn't react in case he was shown some foreign TV show with someone stating that "all Jews should be killed". In response, Berkovic suddenly plays dumb, asking, "Did I say something like this? I want the war to end." Asaf Cohen, a former deputy commander of Unit 8200, attempts to explain Israel's "Hasbara problem" and in the process says that "there's no starvation campaign in Gaza". Nevo Cohen, another panelist, is a former advisor to Itamar Ben Gvir and Naftali Bennett, who thinks Israel's been too soft on Gaza, and views the Strip as WWII Japan & Germany. Cohen cuts the other Cohen by loudly protesting - "What? What? What do you mean there's no starvation campaign in Gaza?" But all is well in the end - the two Cohens realize it was all a misunderstanding: Asaf Cohen was trying to say that there's no Israeli policy to starve Gaza, while Nevo Cohen thought he's denying a media campaign of staged starvation by Hamas. They both agree that, as the former Cohen puts it: "There is a marketing and publicity campaign claiming that we are starving Gaza." Asraf concludes that if Israel had decided on a policy of starvation, it would've been OK to deal with international pressure, and that the "biggest tragedy" is that Israel is being blamed for causing starvation despite putting, supposedly, large efforts in preventing a humanitarian disaster. ******************************* At a certain point, a clip is played, featuring a genocidal statement by Minister Amichay Eliyahu, said on the radio a few days earlier - "All of Gaza will be Jewish, it won't be fenced-up settlement... The government is racing to erase Gaza. Thank god, we're erasing this evil, and erasing the population that was raised on Mein Kampf". Similar genocidal statements had been made by members of the same panel - including during this very broadcast. Yet the caption on the screen reads "Amichay Eliyahu's horrible statement". Berkovic ridicules Minister Eliyahu's words, calling the minister "a joke" and saying that his plan to settle Gaza is unrealistic - it would be too expensive. ******************************* Avida Bachar then joins the panel. Bachar is a resident of the Gaza Envelope who was injured on October 7 and lost his wife and son. Since then he's often been invited to be interviewed by Israeli media, where he repeatedly spreads his insane genocidal fantasies, about Gaza (and the West Bank) being completely wiped out. So once again Bachar starts ranting, saying Israel needs to exterminate "every last one of them". When Asraf asks him: "Who do you want to exterminate?" he immediately responds "The Palestinians, all of them", but then stops and says "Wait... Hamas." This momentary realization doesn't prevent him from later saying that the "enemy" needs to "disappear" and that everyone in Gaza, including a baby born today ("In Rafah" - I guess he doesn't know Rafah has been completely erased) is an enemy. With complete lack of self-awareness, Asraf complains about the language Bachar uses - she says that words like "annihilation" and "erasure" are terms the enemy uses, and "we're not them". When Bachar is asked about the option of settlement in the Gaza Strip, he first raises opposition, and says that, "Daniella Weiss is not good.", but later it turns out that he's totally cool with settling the Gaza Strip, but only after every single Palestinian there has been expelled or murdered. No one in the panel speaks up against Bachar's murderous ravings, but Elbaz-Phelps comes closest - she can be heard gasping while Bachar describes how he proposes to "push" Gazans into Egypt, by bringing up his memories from the kibbutz cattle farm, where he used to poke the cows with an electric cable to make them move. Panelist Ilan Lotan, ex-Shin Bet, responds to that by saying "I know the Egyptians, it's not going to happen". As if the problem with this unhinged sadism is merely a practical one.

B.M.

229,079 views • 1 year ago

PEI 2001 — Still One of the Hardest Clips to Dismiss Twenty-five years later this short clip from Prince Edward Island still refuses to die. 👀 In June 2001, Nathan and Noah Wiley were filming a homemade chase scene. Their friend runs out of the woods on cue. A moment later a large, dark, heavily built figure bursts from the tree line, crosses the clearing in a powerful gait, and disappears into the opposite woods. The sequence lasts maybe ten to fifteen seconds. The strongest objections from the last time I posted this are fair and worth stating clearly. PEI is a relatively small, populated island with limited deep wilderness. There are no established large predator populations that would make a breeding group of Sasquatch easy to explain. Getting there would require swimming significant distances. That geographic problem is real and has never been adequately answered. The filming context also raises legitimate staging concerns — they were already shooting a chase scene, there are verbal cues that sound like direction, and the path of the figure can look convenient for someone in a suit to exit the frame. Low resolution from 2001 does not help. What continues to hold my attention is the movement itself. The figure starts lower, almost bounding or knuckle-walking, then rises into an upright run without the stiffness or mechanical bounce typical of a person in a costume. The arm swing, weight transfer, and speed across the ground still look more like a large primate than a man trying not to trip in tall grass. The body proportions — long arms, broad torso, uniform dark covering — also line up with many classic reports. The cameraman’s reaction is another detail that doesn’t feel fully explained by a simple prank. He does not freeze or perform a theatrical “what is that?” Instead he moves forward, trying to get a better look. A few people last time said that reaction made the clip more believable. Others still saw it as staged. Both readings are possible. I still lean slightly toward this being something real rather than a deliberate hoax, mainly because of the gait and the timing of the reaction. But the island problem and the homemade-movie setup keep me from treating it as strong evidence. It remains an interesting, unresolved piece of footage. What do you see in the gait and the reaction? 👣❓ #Bigfoot #Sasquatch #Cryptid

Bugs Finds Bigfoot 👣🪶

872,001 views • 8 days ago

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.

Hugues Bruyère

69,960 views • 1 month ago

We’re often told Western societies are experiencing conditions reminiscent of the German Weimar Republic. But what exactly was the German Weimar Republic? I’d like to explain the republic…and its incredible levels of debauchery, meaninglessness, sex, drugs, and—of course—Jews. “The decay of moral values in all areas of life—the period of deepest German degradation—coincided exactly with the height of Jewish power in Germany.” -Karl Wiehe Background The Weimar Republic is the unofficial name—that was popularized by Adolf Hitler—of the German nation-state that existed from November of 1918 to March of 1933. It was named for the city of Weimar, Germany where the constitutional assembly that established the new German republic met. The official name of the republic was the German Reich. The Weimar Republic was established after Germany’s loss in WWI. Germany was forced under the Treaty of Versailles to accept “full responsibility” for the war and pay the debts of all the allied countries. Being forced to pay these massive debts devastated the German economy and skyrocketed inflation, unemployment, and suicide within Germany. At one point 40% of Germans were unemployed and many were homeless. In 1932, the German suicide rate was more than three times that of Great Britain and in one two-year period, Germany had more suicides than there had been deaths of American soldiers in all of WWI. The German currency became the most worthless currency in Europe. A loaf of bread in Berlin that cost around 160 German Marks at the end of 1922, cost 200,000,000,000 German Marks by late 1923. The German peoples’ life savings and purchasing power had melted away over the course of a few months. With a single US dollar being worth 4,210,500,000,000 German Marks by November of 1923, foreign currencies had much greater buying power in Germany. So naturally, foreigners flocked to Germany to take advantage of the cheap prices. With these foreigners arriving en masse, Germans desperate for work turned to one of primary industries the foreigners flocked to Germany for: the sex industry. Sex and Drugs Germans began flocking to urban hubs in search of work, and no urban hub was more popular than Berlin. Prostitution in Berlin wasn’t explicitly legal but existed in a kind of legal gray area where certain aspects of the sex trade were regulated while others remained unregulated. However, enforcement of any laws restricting prostitution was lax to non-existent. On any given night up to 100,000 prostitutes would line the streets of Berlin. Every type of prostitute was available: midgets, pregnant prostitutes who lined up on the street according to how pregnant they were, prostitutes that purposefully tried to be ugly, prostitutes with acid-scarred faces, prostitutes with missing limbs, mother and daughter prostitute pairs, dominatrixes, even hunchback prostitutes. Interracial, inter-generational, forced or abusive sex acts were all available for the right price. There was also a large male prostitution industry and homosexual men from across Europe came to Germany to pay for homosexual sex. And unlike most cities, Berlin boasted having not a single red-light district—but multiple. Child prostitutes were bought and sold in Weimar Berlin in a booming industry. Advertisements for child prostitutes were even placed in German magazines and newspapers. A person could order a child, or any other type of prostitute for that matter, over the phone and have them a few short minutes later. British historian Sir Arthur Bryant describes throngs of child prostitutes outside the doors of the great Berlin hotels and restaurants. Bryant adds, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” There were homosexual, lesbian, and even transsexual bars where, occasionally, public masturbation and orgies took place. These homosexual bars weren’t isolated or rare one-off outliers either, there were over 50 lesbian bars in Berlin and around 100 homosexual bars total. Drag shows and cross dressing were commonplace in these bars. Sexual acts involving torture or acts bringing a victim close to death, or even—in some instances—to death were performed in Weimar Germany (called Lustmord). As often happens when violent sexual perversions arise, so too do serial killers playing out their fetishes in reality. I refuse to name serial killers in my writings because I think it glorifies them, but you can look them up yourself. German Newspapers devoted entire sections to the violent sexual crimes of these serial killers and fictional accounts of murders sold very well on German book stands. Serial Killers had a romanticized lore around them, similar to what we see in western society today. Alongside prostitution and homosexual clubs, porn also enjoyed a golden age during the Weimar Republic. Like prostitution, porn existed in a kind of legal gray area where enforcement of any regulations on it were lax to non-existent. Images could be purchased under-the-counter at most street media kiosks. According to one report there were as many as 30 homosexual publications on any given Berlin media kiosk. Above all, pornography featuring models who bore a resemblance to the biggest movie stars of the day, such as Marlene Dietrich or Greta Garbo, were in the highest demand. Fashion began to blur the lines between masculine and feminine. The female image began to experiment with a more strong-willed independent tone and some women began to dress in masculine clothing. Similarly, male fashion began to experiment with feminization and cross-dressing amongst men began to rise. Berlin’s women began to question the need for a man in their lives at all and many Berlin women had no desire to start or raise a family. Drug use in the Weimar Republic also ran rampant and Berlin gained a reputation as a drug dealing hub around Germany and Europe. Cocaine was the most popular drug in the Weimar Republic and only required a simple prescription from a doctor. That said, opium (a predecessor to heroin), morphine and amphetamines were all readily available and extensively used as well. The drug usage was so pervasive there was even experimentation with using drugs for “scientific” sexual purposes. One of the chief “scientists” behind this experimentation with sex was a man named Magnus Hirshfeld. Magnus Hirschfeld was a homosexual Jew and one of the thought leaders behind the sexual debauchery overtaking Berlin. Hirschfeld had founded political organizations that fought for the rights of homosexuals in Germany well before the Weimar era and as far back as 1896. He led the campaign to overturn a statue of German Law called Paragraph 175 which forbid homosexuality in Germany. Hirschfeld would later go on to write a 1914 book called The Homosexuality of Men and Women in which he attempted to prove homosexuality occurred in every society around the world. Hirschfeld’s crowning achievement of debauchery, however, occurred in July of 1919 when he opened The Institute of Sexual Research (Institut für Sexualwissenschaft) in Berlin. The institute’s stated purpose was to establish the sexual sciences…and establish the sexual sciences the institute did. It was at the Institute of Sexual Research where the initial rubric for the innumerable genders we see in leftism today originated. At the institute, Hirschfeld developed a system which categorized 64 possible types of sexual intermediary (aka genders) and it was Hirschfeld who coined the term transvestite in 1910 and the term transsexual in 1923. The institute even performed sex re-assignment surgery. The Institute of Sexual Research also housed a large library for any and all homosexual, transsexual, and erotic literature. The institute had places for homosexuals to stay overnight as well as some of the first counseling services specifically tailored to homosexuals. Homosexual-specific medical services were provided in the institute as well. The institute also housed the Museum of Sex, an educational resource for the public, which was reported to have been visited by school classes. I think the writer Luigi Barzini most succinctly summarized the rampant debauchery that was Weimar Berlin when he said: “I saw pimps offering anything to anybody: little boys, little girls, robust young men, libidinous women, animals. The story went the rounds that a male goose whose neck you cut at just the right ecstatic moment would give you the most delicious frisson of all—as it allowed you to enjoy sod*my, bestiality, homosexuality, necrophilia, and sadism at one stroke.” A debaucherous infestation had overtaken Berlin and nowhere was that more evident than in the arts. Art, Music, and Film Art, music, and film in Berlin were overtaken by the sexual revolution and a move toward a Jewish-influenced anti-authoritarianism as well. The Berlin film industry started releasing risqué and homosexual films. The world’s first known homosexual film—Anders als die Andern (1919)—came out in Berlin during the Weimar era and is the story a man falling in love with one of his male violin students. This film was written by and featured none other than Magnus Hirschfeld himself. Another film called Mädchen in Uniform (1931) is about a schoolgirl who falls in love with her female teacher. The two commence a forbidden love and eventually even share an on-screen lesbian kiss on the mouth. The film ends when this lesbian love is exposed and the protagonist attempts suicide. German expressionist cinema also came to prominence in the Weimar Republic. This form of cinema emphasized depicting the artist's inner emotions (no matter how crude those emotions may be) rather than attempting to replicate reality. Two of the three key figures for the German expressionist movement were the Jews Fritz Lang and Robert Wiene. The expressionist film Metropolis was one of the biggest films of the Weimar era. Metropolis’ content is emblematic of the anti-authoritarian and communist messages of German expressionist cinema. The film takes place in a futuristic city where a beautiful and cultured utopia exists above a bleak underworld populated by mistreated workers. When a privileged young man discovers the grim scene under the city, he becomes intent on helping the workers. He befriends a rebellious teacher which puts him at odds with his authoritative father. The film was directed the Jew Fritz Lang and produced by the Jew Erich Pommer. The credits of the films of the Berlin movie industry were also littered with Jews. In fact, in 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jews. In the art scene, a thoroughly anti-authoritarian and communist movement called Dada arose. The Dadaist movement was comprised of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works. Dadaist works opposed any type of authority and made fun of far-right figures, including Hitler himself. According to Wikipedia, some sources claim the Dadaist movement was founded by a group of Jewish modernist artists. In music, one of the most popular singers of the day was a woman who was largely regarded as “the first official lesbian of Berlin” named Claire Waldoff. Waldoff dressed masculine and made no secret of her sexuality while actively trying to convert other culturally important women to become lesbian. One culturally important woman Waldoff succeeded in converting to bisexuality was one of the biggest movie stars in the world, Marlene Dietrich. Marlene was famous for pushing social norms and sometimes wore a tuxedo, helping to erode the image of traditionally masculine and traditionally feminine roles. Marlene credits Clarie Waldoff as “introducing her to lesbian love”. Marlene Deitrich was openly bisexual and an icon for homosexual women around the world when no other homosexual icons existed. One newspaper dubbed Dietrich “perhaps the busiest and most passionate bisexual in theatrical Berlin.” Anita Berber was one of the most popular nude dancers of the Weimar Republic and danced to songs with titles like, suicide, morphiem, and mad house. One of her husbands was also openly homosexual. In one famous story about Anita, she was being ignored by one of the tables she was dancing for, so she went over to the table, stood on top of it, and started peeing on the table while drinking their champagne. What a gal… Architecture One aesthetic element that I think tends to be overlooked in most writings on social decay is architecture. It should come as no surprise that the principal architecture movement of the Weimar Republic—called expressionist architecture—also took a turn from an aesthetic focused on beauty and perfection toward an aesthetic that focused on “distortion of form to create an emotional effect”. This is architecture that’s generally perceived as hideous or repulsive. I’d also argue there’s a larger psychological component to this expressionist architecture. This ugly architecture contributes to social decay by glorifying the more disgusting elements of society and humanity. It subconsciously undermines the idea that society should strive for perfection and instead is a call to accept society’s more heinous elements. This repulsive architecture is, in my view, anti-authoritarian and destructive to social norms. Two of the key architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. Jews One of the key factors in Hitler’s rise to power was his opposition of the Jewish influence inside Berlin. As such, this article would be incomplete without looking at the Jewish influence that existed inside Berlin or—possibly more importantly—the German public’s perception of the Jewish influence inside Berlin. Here are some of the figures I think best illustrate the Jewish over-representation in the Weimar Republic. All these figures should be viewed in consideration of this fact: Jews made up less than 1% (.09%) of the German population in the years of the Weimar Republic. In my opinion, these figures are staggering primarily because of the Jews’ immense over-representation in major positions of power within German society. Politics • The author of the 1919 German constitution was the Jew Hugo Preuss. • One quarter of the members of the 8-person Council of the People's Deputies that established the Weimar Republic were Jews (Otto Landesberg and Hugo Haase). • The main competing faction against the official Weimar government was headed by the Jew Kurt Eisner. • The SPD (Social Democratic Party of Germany) was the political party that primarily ran the Weimar Republic. 22% of the entirety of the SPD were Jews. • The SPD’s main political theorist was a Jew: Eduard Bernstein • Two of the political thinkers most respected by the SPD were Jews: Ferdinand Lassalle, Leopold Sonnemann. • SPD's “foremost theoretician of this century” was the Jew Rudolf Hilferding. • SPD Key Figure, industrialist, and political thinker Walther Rathenau was a Jew. • The Vice President of the Berlin Police was the jew Bernhard Weiss. • In the first Weimar administration Vice Chancellor Eugen Schiffer was Jewish as was Weimar Interior Minister Erich Koch-Weser. • 15% of the members of the Reichstag (German Parliament) were Jewish. • A large number of the members of the political elite of the Weimar Republic were Jews: Rosa Luxemburg, Paul Levi, Ernst Toller, Erich Muhsam, Gustav Landauer, Eugen Levine, and Karl Radek. The Press • The Ullstein Press was the publisher of many of the largest German newspapers and was owned by the Jew Leopold Ullstein. • The Berliner Iliustrirte Zeitung was one of the largest German newspapers. It was Published by the Ullstein Press and its chief editor was the Jew Kurt Korff. • The Vossische Zeitung was another of the largest German newspapers and was published by the Ullstein Press. Its chief editor was the Jew Georg Bernhard. • Another of the othe r largest newspaper publishers was the Jew Rudolf Mosse. • The Berliner Tageblatt was the largest of Rudolf Mosse’s newspapers and its chief editor was the Jew Theodor Wolff • Editor-in-chief of the SPD’s party paper Vorwärts was the Jew Friedrich Stampfer The Arts • The Jew Erich Pommer was a German-born film producer and executive. According to Wikipedia, “Pommer was perhaps the most powerful person in the German and European film industries in the 1920s and early 1930s.” • In 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jewish writers. • Two of the three key figures for the largest film movement of the Weimar era—the German expressionist movement—were the Jews Fritz Lang and Robert Wiene. • Two of the key Architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. • Some of the most influential producers, directors, & actors in Weimar cinema were Jews as well to name a few: Paul Davidson, Joseph Mandel, Jules Greenbaum, Max Reinhardt, Josef Von Sternberg, Fritz Kohn, Otto Wallburg, Peter Lowenstein. • To conclude the arts, some claim the anti-authoritarian and thoroughly communist Dadaist movement was founded by a group of Jewish modernist artists. Sex • Magnus Hirschfeld was Jewish. He was dubbed "the Einstein of Sex". He was president of World League of Sexual Reform and of course, founder of the Institute for Sexual Research. • Ivan Bloch was Jewish and is often called the "first Sexologist". • As quoted by Sir Arthur Bryant earlier, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” Other notable Jewish over-representations: (**Please Note** these next five bullet points are not official numbers and are from a NSDAP piece that was distributed in Weimar Germany. I'm including them because although I can't be completely sure of their accuracy, I think they most likely do generally represent the amalgamations of Jewish power in Weimar society. And, at the very least, these numbers represent the German public’s perception of Jewish amalgamations of power in Weimar society): • 56% of notaries were Jews. • 52% of doctors were Jews. • 45% of Hospital Directors were Jews. • 48% of lawyers were Jews. • 35% of dentists were Jews. One last note on the Jews of the Weimar Republic. I included a link with more detail below, but many Weimar Jews actively tried to conceal their Jewish identity and even went so far as bragging to other Jews when gentiles were unable to identify them. This is one of the reasons that, to this day, it’s somewhat difficult to identify who the Jews of the Weimar Republic were. What this means is that, although the identity of every Jew I list is verified, there are undoubtedly other prominent and non-prominent Jews I was unable to identify. The provided list should not be viewed as wholly representative of the Jewish influence within Weimar Germany. But even just considering the provided list, you can see the Jewish influence was substantial for a race of people comprising less than 1% of the total German population. This Jewish over-representation is even more substantial when you consider that many of these Jewish amalgamations of over-representation occurred within many of Germany’s most important social, political, and economic institutions. The Weimar Republic was often referred to as the "Juden Republic" (Jew's Republic) by Germans. I think it's easy to see why... Enter the National Socialists After Hitler’s rise to power in 1933, Goebbels and the Brownshirts began shutting down the homosexual dive bars that had risen to prominence during the Weimar Republic. They made one of the most popular homosexual bars in Berlin their headquarters after shutting it down. They pillaged Magnus Hirschfeld’s Institute for Sexual Research and Hirschfeld’s books on transsexual ideology were some of the first books the National Socialists burned. From Wikipedia itself, the books the National Socialists burned were: • Writings on sexuality and sexual education which serve the egocentric pleasure of the individual and thus, destroy the principles of race and Volk. • Pornography and explicit literature. • Pacifist literature. • All books degrading German purity. • Literature by Jewish authors, regardless of the field. • Popular entertainment literature that depicts life and life's goals in a superficial, unrealistic and sickly sweet manner, based on a bourgeois or upper class view of life. • The works of traitors, emigrants and authors from foreign countries who believe they can attack and denigrate the new Germany. • The literature of Marxism, Communism and Bolshevism. • Literature with liberal, democratic tendencies and attitudes, and writings supporting the Weimar Republic. • Books that advocate "art" which is decadent, bloodless, or purely constructivist. • The decadent, destructive and Volk-damaging writings of "Asphalt and Civilization" literati • Patriotic kitsch in literature. • All historical writings whose purpose is to denigrate the origin, the spirit and the culture of the German Volk, or to dissolve the racial and structural order of the Volk, or that denies the force and importance of leading historical figures in favor of egalitarianism and the masses, and which seeks to drag them through the mud. Very quickly after Hitler’s rise to power in 1933, the chief purveyors of the degeneracy that had overtaken Berlin would leave the city and National Socialist Germany would rise from its ashes. The rest—as they say—is history. (Sources and further reading in the comments below)

Bobby Thorne

67,770 views • 1 year ago

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.

Hollywood Golden Age of cinema

35,552 views • 2 months ago