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The Beatles RAIN 🌧️ (1966 | Promo Version 1） Backwards vocals. Slowed-down rhythm track. A psychedelic blueprint — before Revolver even dropped. Ringo’s thunderous drumming cuts through the haze. #Beatles #JohnLennon #RingoStarr

nori ¹⁷

4,910 subscribers

18,591 次观看 • 5 个月前 •via X (Twitter)

#Beatles #JohnLennon #RingoStarr

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The Beatles SHE SAID SHE SAID 🎧（1966) Ringo’s restless drums push against the shifting rhythm, while John’s vocal cuts through the haze with sharp intensity. Tighter. Clearer. Still unpredictable. Revolver at its most uneasy and alive. #TheBeatles #RingoStarr #JohnLennon

The Beatles SHE SAID SHE SAID 🎧（1966) Ringo’s restless drums push against the shifting rhythm, while John’s vocal cuts through the haze with sharp intensity. Tighter. Clearer. Still unpredictable. Revolver at its most uneasy and alive. #TheBeatles #RingoStarr #JohnLennon

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The Beatles THE WORD 🎧（1965） Double-tracked vocals come forward, locking tightly with Paul’s melodic bass line, while Ringo’s groove gives the track a surprisingly funky pulse. A familiar song, now with a sharper, heavier feel. #Beatles #JohnLennon #PaulMcCartney

The Beatles THE WORD 🎧（1965） Double-tracked vocals come forward, locking tightly with Paul’s melodic bass line, while Ringo’s groove gives the track a surprisingly funky pulse. A familiar song, now with a sharper, heavier feel. #Beatles #JohnLennon #PaulMcCartney

nori ¹⁷

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The Beatles Nowhere Man (Live in Munich, 1966) John’s gentle vocals and the harmonies shine through 🎙️✨ A beautiful moment from their European tour — now in color 🎸 #TheBeatles #JohnLennon #PaulMcCartney #GeorgeHarrison #RingoStarr #ビートルズ

The Beatles Nowhere Man (Live in Munich, 1966) John’s gentle vocals and the harmonies shine through 🎙️✨ A beautiful moment from their European tour — now in color 🎸 #TheBeatles #JohnLennon #PaulMcCartney #GeorgeHarrison #RingoStarr #ビートルズ

nori ¹⁷

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The Beatles CRY BABY CRY 👑 (Take 10 | 1968) John Lennon’s vocal — dry, clear, close. Acoustic guitar, Paul’s bass, Ringo’s steady drums. Before the eerie White Album layers. A glimpse of the song in its raw form. #TheBeatles #JohnLennon #PaulMcCartney #RingoStarr

The Beatles CRY BABY CRY 👑 (Take 10 | 1968) John Lennon’s vocal — dry, clear, close. Acoustic guitar, Paul’s bass, Ringo’s steady drums. Before the eerie White Album layers. A glimpse of the song in its raw form. #TheBeatles #JohnLennon #PaulMcCartney #RingoStarr

nori ¹⁷

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On January 7, 1969, The Beatles got together at a barren cavernous studio in London. The deadline for their 12th studio album, Let It Be, was fast approaching. And in a matter of minutes, Paul McCartney improvises and creates one of The Beatles all-time classic songs, Get Back: This is one of the greatest “fly on the wall” glimpses of the creative process I've seen. Takeaway 1: In the clip, we see Paul McCartney’s creativity steadily increase. There’s a scientific explanation for this. Dr. Andrew Huberman talks about how the brain circuits involved in creativity take time to turn on. In fact, brain circuits related to stress and agitation turn on first. I've heard him use 3 analogies to explain this. 1) It’s like swimming in the ocean—you have to wade through some seaweed and other muck to get to the clear water. 2) It’s like trying to lift your max on the bench press—it takes time to work up to that weight. 3) It’s like your best creative work is on the other side of a door at the top of a staircase—it takes time and effort to get up the stairs and through that door. In other words, Dr. Huberman says, you become more creative the more you create. Takeaway 2: In many interviews, I’ve heard McCartney talk about his songwriting process and how The Beatles used time as a filter for what songs made it onto an album. When The Beatles were starting out, McCartney explains, “there was no recording devices…There was no such thing as cassettes or anything to put the idea down on, so you just had to remember.” He said they began to realize this was actually a good thing. “We said, ‘if we forget it tomorrow, it’s no good.’ How can we expect the public to remember it if we can’t, and we only wrote it yesterday? So we realized that we were writing songs that were memorable not because we wanted them to be memorable, but because we had to remember them.” - - - Similar to the way, in the clip, McCartney sort of mumbles and blurts out words and sounds, and then eventually, “Get Back” emerges, John Legend says: “Most of my songs start with a ‘mumble track.’ It’s just me humming and mumbling nonsense. And then the mumbles start to suggest different tones and rhythms, and then eventually, the lyrics emerge.” Follow Billy Oppenheimer for more content like this!

On January 7, 1969, The Beatles got together at a barren cavernous studio in London. The deadline for their 12th studio album, Let It Be, was fast approaching. And in a matter of minutes, Paul McCartney improvises and creates one of The Beatles all-time classic songs, Get Back: This is one of the greatest “fly on the wall” glimpses of the creative process I've seen. Takeaway 1: In the clip, we see Paul McCartney’s creativity steadily increase. There’s a scientific explanation for this. Dr. Andrew Huberman talks about how the brain circuits involved in creativity take time to turn on. In fact, brain circuits related to stress and agitation turn on first. I've heard him use 3 analogies to explain this. 1) It’s like swimming in the ocean—you have to wade through some seaweed and other muck to get to the clear water. 2) It’s like trying to lift your max on the bench press—it takes time to work up to that weight. 3) It’s like your best creative work is on the other side of a door at the top of a staircase—it takes time and effort to get up the stairs and through that door. In other words, Dr. Huberman says, you become more creative the more you create. Takeaway 2: In many interviews, I’ve heard McCartney talk about his songwriting process and how The Beatles used time as a filter for what songs made it onto an album. When The Beatles were starting out, McCartney explains, “there was no recording devices…There was no such thing as cassettes or anything to put the idea down on, so you just had to remember.” He said they began to realize this was actually a good thing. “We said, ‘if we forget it tomorrow, it’s no good.’ How can we expect the public to remember it if we can’t, and we only wrote it yesterday? So we realized that we were writing songs that were memorable not because we wanted them to be memorable, but because we had to remember them.” - - - Similar to the way, in the clip, McCartney sort of mumbles and blurts out words and sounds, and then eventually, “Get Back” emerges, John Legend says: “Most of my songs start with a ‘mumble track.’ It’s just me humming and mumbling nonsense. And then the mumbles start to suggest different tones and rhythms, and then eventually, the lyrics emerge.” Follow Billy Oppenheimer for more content like this!

Billy Oppenheimer

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One of the world’s top cancer researchers just dropped a bombshell most oncologists don’t want you to hear: Dr. Thomas Seyfried (MIT-trained professor who’s published 200+ peer-reviewed papers) says the century-old habit of immediately biopsying tumors could actually be spreading the disease in some cases. In this explosive 2:36 clip, he explains: • Why “Stage 1–4” grading is based on how scary the tumor looks under a microscope AFTER you’ve already poked it • How dozens of published studies show needle biopsies (breast, colon, liver, lung) can seed cancer cells along the needle track • His radical but logical alternative: “Don’t poke the bear. Starve it first with metabolic therapy until it’s weak and docile, then remove the entire shrunken tumor in one clean surgery.” • After that, use non-invasive PET/CT/MRI to confirm it’s gone — no risky needle required. His exact quote: “We already beat it down… if you stab it early you’ll call it aggressive. If you shrink it first, the pathologist says ‘this isn’t even dangerous.’ Same tumor, totally different story.” This isn’t fringe — it’s published biology being ignored by standard protocols. Watch the full 2:36 clip and decide for yourself if the current “diagnose → biopsy → treat” sequence is backwards. Do you think patients should at least be told this approach exists before deciding on a biopsy? Let me know in the comments.

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382,575 次观看 • 7 个月前

$Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious spark—global cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forward—teasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decay—cyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point$

Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious spark—global cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forward—teasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decay—cyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point

NFK

3,351,468 次观看 • 8 个月前

🚨 PAY ATTENTION. Lara Logan just dropped a WARNING America can’t ignore. She says the agenda never slowed down — not for a second. While people think everything stopped because Trump is in office, the machine kept moving at full speed. Here’s what she laid out 👇 • Bill Gates–backed digital ID just unveiled — a globally interoperable system that permanently tracks vaccine status from birth • Executive orders? None are law — not a single one • The plan isn’t to wait out Trump — it’s to take the midterms and impeach him • And this time, she says, the charges will be designed to stick “This didn’t pause. It adapted. Stall, delay, regroup — that’s the strategy.” Then she got to the core of it: Accountability. She said without it, everything repeats. “No accountability means COVID abuses happen again. The same people do it again.” And she named the testing ground 👇 California. Her words — not softened: • Closest thing to a Marxist state in America • Laws that steadily strip freedom • The blueprint for national rollout Why California? Because it’s where they test systems before scaling them nationwide. She pointed straight at Los Angeles elections: • Smartmatic still runs them • Only major jurisdiction where it remains • Not an accident — a controlled environment Then came the math that should scare everyone: • 22 states already under Democrat control • Several GOP states vote with them • Only two-thirds of states needed to change the Constitution Her conclusion was blunt: “If you think you’re safe — you’re not. Not even close.” And she left it with this: Without real accountability, none of this stops. Without mass consequences, the roadmap is already written. Read that again.

🚨 PAY ATTENTION. Lara Logan just dropped a WARNING America can’t ignore. She says the agenda never slowed down — not for a second. While people think everything stopped because Trump is in office, the machine kept moving at full speed. Here’s what she laid out 👇 • Bill Gates–backed digital ID just unveiled — a globally interoperable system that permanently tracks vaccine status from birth • Executive orders? None are law — not a single one • The plan isn’t to wait out Trump — it’s to take the midterms and impeach him • And this time, she says, the charges will be designed to stick “This didn’t pause. It adapted. Stall, delay, regroup — that’s the strategy.” Then she got to the core of it: Accountability. She said without it, everything repeats. “No accountability means COVID abuses happen again. The same people do it again.” And she named the testing ground 👇 California. Her words — not softened: • Closest thing to a Marxist state in America • Laws that steadily strip freedom • The blueprint for national rollout Why California? Because it’s where they test systems before scaling them nationwide. She pointed straight at Los Angeles elections: • Smartmatic still runs them • Only major jurisdiction where it remains • Not an accident — a controlled environment Then came the math that should scare everyone: • 22 states already under Democrat control • Several GOP states vote with them • Only two-thirds of states needed to change the Constitution Her conclusion was blunt: “If you think you’re safe — you’re not. Not even close.” And she left it with this: Without real accountability, none of this stops. Without mass consequences, the roadmap is already written. Read that again.

MAGA Storm

458,172 次观看 • 7 个月前

♾Infinity Nikki Version 2.6 Outfit Preview: Soundless Dawn Tender notes drift and unfold, echoing through a grand, hushed silence. As the melody rises, vines unfurl into bloom; as starlight falls, all living things still their steps. Listen—this is a song of farewell, and the prelude to reunion. >> Main Attribute: Elegant >> Outfit Ability: [Tranquil Resonance] After using the [Tranquil Resonance] ability, Nikki summons [Tranquil Strings]. The melody draws nearby animals to gather and listen, though Legendary Creatures are not affected. While listening, the animals drop their guard, allowing Nikki to approach and groom them. Up to four [Tranquil Strings] can be summoned at a time, and they will remain even while offline. This ability cannot be used in Home or in indoor stages. Approach the [Tranquil Strings] to switch main instruments from existing performance abilities. Wherever the melody travels, it brings tranquility to all beings. Summoned [Tranquil Strings] are shown on the map. Select the icons to track or retrieve them, or approach a [Tranquil Strings] and interact with it to retrieve it. >> Decoration: [Radiant Chorus Court] Can be placed in open spaces. Golden radiance pours down from the high platform, like the dawn breaking through the long night of reincarnation. The sound of chanting echoes between heaven and earth, accompanying wandering souls through the darkness to reach the other shore of their journey. ❖ Available after reaching 160 Resonances in the limited-time Resonance [Lingering Aftersong]. >> Evolution Rewards ◆ Evolving the outfit to Stage 1 unlocks the pose [Echo Tracing]. ◆ Evolving the outfit to Stage 2 unlocks the Framed Moment item [Joyful Dance Invitation]. You can also use Tidal Pulse Heartchime in Clothing Evolution > Decoration: Radiance to obtain [Radiant Chorus Court: Radiance]. ◆ Evolving the outfit to Stage 3 unlocks [Tomorrow's Blossom: Makeup], a new idle animation, poses, enhanced special effects, and alternative details for certain pieces. ♾Follow Infinity Nikki and retweet this post with your UID, and we'll randomly select 10 lucky stylists to win 1 Infinity Nikki Aeroplane Chess Set each! —— ➤ Infinity Nikki Version 2.6 Until Tide Ends launches globally on May 28 (UTC-7)! ➤ Download Now: ➤ Join us on Discord: #InfinityNikki #UntilTideEnds

♾Infinity Nikki Version 2.6 Outfit Preview: Soundless Dawn Tender notes drift and unfold, echoing through a grand, hushed silence. As the melody rises, vines unfurl into bloom; as starlight falls, all living things still their steps. Listen—this is a song of farewell, and the prelude to reunion. >> Main Attribute: Elegant >> Outfit Ability: [Tranquil Resonance] After using the [Tranquil Resonance] ability, Nikki summons [Tranquil Strings]. The melody draws nearby animals to gather and listen, though Legendary Creatures are not affected. While listening, the animals drop their guard, allowing Nikki to approach and groom them. Up to four [Tranquil Strings] can be summoned at a time, and they will remain even while offline. This ability cannot be used in Home or in indoor stages. Approach the [Tranquil Strings] to switch main instruments from existing performance abilities. Wherever the melody travels, it brings tranquility to all beings. Summoned [Tranquil Strings] are shown on the map. Select the icons to track or retrieve them, or approach a [Tranquil Strings] and interact with it to retrieve it. >> Decoration: [Radiant Chorus Court] Can be placed in open spaces. Golden radiance pours down from the high platform, like the dawn breaking through the long night of reincarnation. The sound of chanting echoes between heaven and earth, accompanying wandering souls through the darkness to reach the other shore of their journey. ❖ Available after reaching 160 Resonances in the limited-time Resonance [Lingering Aftersong]. >> Evolution Rewards ◆ Evolving the outfit to Stage 1 unlocks the pose [Echo Tracing]. ◆ Evolving the outfit to Stage 2 unlocks the Framed Moment item [Joyful Dance Invitation]. You can also use Tidal Pulse Heartchime in Clothing Evolution > Decoration: Radiance to obtain [Radiant Chorus Court: Radiance]. ◆ Evolving the outfit to Stage 3 unlocks [Tomorrow's Blossom: Makeup], a new idle animation, poses, enhanced special effects, and alternative details for certain pieces. ♾Follow Infinity Nikki and retweet this post with your UID, and we'll randomly select 10 lucky stylists to win 1 Infinity Nikki Aeroplane Chess Set each! —— ➤ Infinity Nikki Version 2.6 Until Tide Ends launches globally on May 28 (UTC-7)! ➤ Download Now: ➤ Join us on Discord: #InfinityNikki #UntilTideEnds

Infinity Nikki

62,283 次观看 • 2 个月前

Tesla is a $1.3 trillion company that sold fewer cars this year than last year. And fewer last year than the year before. That should tell you everything you need to know. 2 consecutive years of declining deliveries. Down 9% in 2025 to 1.63 million vehicles. The steepest annual drop in the company's history. And 2026 is starting even worse - US sales down 17% in January, Europe down 44% across major markets. France down 42%. Netherlands down 67%. Norway down 88%. BYD passed them as the global EV leader. In the UK, BYD outsold Tesla 2 to 1 last month. The brand is in FREEFALL. Brand Finance measured a 36% collapse in Tesla's brand value last year - down to $27.6 billion, less than half its 2023 peak. In California, their most important US market, share dropped from 11.6% to 9.9%. And the stock trades at 365 times trailing earnings. Let me say that differently: Tesla earned $3.8 billion last year. The market is valuing those earnings at $1.3 trillion. You are paying $365 for every dollar this company earns. The bull case has completely abandoned the car business. It's all robotaxis and Optimus robots now. They discontinued the Model S and Model X. They told investors on the last earnings call to stop focusing on vehicle deliveries and start thinking about "transportation as a service." So in other words: please ignore the business we actually have and value us on the business we MIGHT have someday. Trust me, every time management tells you to look over there instead of over here... LOOK OVER HERE. The car business is deteriorating. Margins are compressing. Competition from BYD, Volkswagen, and a dozen Chinese manufacturers is intensifying quarter by quarter. The $7,500 federal EV tax credit is gone, which effectively raised the price of every Tesla overnight. And instead of addressing any of that, they're doubling capex to $20 billion this year - almost entirely directed at AI and autonomous driving infrastructure. So you have a company with shrinking revenue, shrinking deliveries, a damaged brand, and intensifying competition pouring $20 billion into a technology that hasn't been proven at commercial scale. On 365 times earnings. Even if you give them the most generous robotaxi assumptions imaginable (full regulatory approval, nationwide deployment, dominant market share) you still can't justify this valuation. The present value of that optionality doesn't come close to $1.3 trillion when the core business is going backwards. I think this stock goes down 90% from here. Not because Tesla is worthless. They'll sell cars. The energy storage business has potential. But the equity is priced for a future that isn't coming on the timeline the market expects. A $37 stock. That's where the math takes you when you strip out the narrative and price what actually exists. I know that sounds extreme. But 45 years of doing this has taught me something: When you can see the seams on the fastball, you SWING. I can see the seams.

George Noble

529,430 次观看 • 4 个月前

This is one of the greatest displays of the creative process I've seen. John Mayer perfectly demonstrates something that many of my favorite artists all say: You become creative by creating. "You just keep going 'til you get something," Mayer says/sings. "You gotta keep forcing it, forcing it, forcing it…it doesn’t matter [what comes out of your mind/mouth].” Dr. Andrew Huberman talks about how the brain circuits that turn on before those involved in creativity are of the stress system. I've heard him use 3 analogies to explain this. 1) It’s like you have to wade through sewage before you can swim in clear water. 2) It’s like when you try to lift your max on the bench press—it takes time to work up to that weight. 3) It’s like your best creative work is on the other side of a door at the top of a staircase—it takes time and effort to get up the stairs and through that door. In other words, Dr. Huberman says, you become more creative the more you create. Many artists talk similarly about what Mayer refers to in the clip as "ouija boarding" (just sort of spitting out words and sounds). John Legend says his songs start with what he calls “the mumble track.” “It’s just me humming and mumbling nonsense,” he said. Judd Apatow says his movie scripts are all a product of the Down-Up theory: “Get the ideas DOWN then fix them UP.” “Give yourself permission to suck," Judd says. "Anything goes. Just get something down.” Even if it’s nonsense, he says. Keep forcing it, forcing it, forcing it. - - - Before I started writing online, I told Ryan Holiday I was just waiting to know for certain what I wanted to write about. “Just start," he said. "You’re trying to map out the whole 9 innings. Just throw the first pitch…You’re better off starting imperfectly than being paralyzed by the delusion of perfection.” Rather than being paralyzed by the delusion that creativity comes to you, you're better off "forcing it, forcing it, forcing it," as Mayer said. "Go get it from the universe." Follow Billy Oppenheimer for more content like this!

This is one of the greatest displays of the creative process I've seen. John Mayer perfectly demonstrates something that many of my favorite artists all say: You become creative by creating. "You just keep going 'til you get something," Mayer says/sings. "You gotta keep forcing it, forcing it, forcing it…it doesn’t matter [what comes out of your mind/mouth].” Dr. Andrew Huberman talks about how the brain circuits that turn on before those involved in creativity are of the stress system. I've heard him use 3 analogies to explain this. 1) It’s like you have to wade through sewage before you can swim in clear water. 2) It’s like when you try to lift your max on the bench press—it takes time to work up to that weight. 3) It’s like your best creative work is on the other side of a door at the top of a staircase—it takes time and effort to get up the stairs and through that door. In other words, Dr. Huberman says, you become more creative the more you create. Many artists talk similarly about what Mayer refers to in the clip as "ouija boarding" (just sort of spitting out words and sounds). John Legend says his songs start with what he calls “the mumble track.” “It’s just me humming and mumbling nonsense,” he said. Judd Apatow says his movie scripts are all a product of the Down-Up theory: “Get the ideas DOWN then fix them UP.” “Give yourself permission to suck," Judd says. "Anything goes. Just get something down.” Even if it’s nonsense, he says. Keep forcing it, forcing it, forcing it. - - - Before I started writing online, I told Ryan Holiday I was just waiting to know for certain what I wanted to write about. “Just start," he said. "You’re trying to map out the whole 9 innings. Just throw the first pitch…You’re better off starting imperfectly than being paralyzed by the delusion of perfection.” Rather than being paralyzed by the delusion that creativity comes to you, you're better off "forcing it, forcing it, forcing it," as Mayer said. "Go get it from the universe." Follow Billy Oppenheimer for more content like this!

Billy Oppenheimer

2,490,272 次观看 • 3 年前

Bill Ackman says AI is never going to replace musicians. His reasoning is a masterclass in how he actually picks companies to invest in: 1. He looks for one thing: businesses that cannot be disrupted. The test is specific. Close your eyes, imagine the stock market shuts down for a decade, and ask whether you still know that ten years from now this company will be more valuable and more profitable. Almost nothing passes. 2. Very few businesses can actually be predicted, which means most investments are really speculations. Ackman is honest about this. Predicting the future is genuinely hard. His entire job is hunting for the rare companies whose trajectory you can forecast over a very long horizon, and there are not many. 3. His answer was Universal Music Group, and the logic starts with permanence. Music is a thousands-of-years-old part of the human experience, and it will still be here thousands of years from now. That is an unusually good backdrop against which to own anything. 4. Then he stacks the advantages that cannot be copied. Universal owns roughly a third of all global recorded music, the most dominant share in the business. They are the best in the world at taking an 18-year-old with a great voice and a following online and building them into a superstar, which is why the best artists want to sign with them. And they own the library: the Beatles, the Rolling Stones. 5. Streaming turned an unpredictable business into a predictable one, which is exactly what he wants. Selling records was volatile. Streaming lets you build a model. How many people have smartphones, how many will next year, what does the global penetration curve look like, what does a family plan cost. Suddenly you can forecast the whole business. 6. The company already survived the thing that nearly killed its industry. Music peaked around 2000, and then Napster and digitization almost destroyed it. Universal led the effort to save the industry and cut an early deal with Spotify that let the whole business recover. Adopting the new technology instead of fighting it is what preserved their position. 7. The device will change, and it won't matter. Whether the music arrives through Spotify, Apple, Amazon, or eventually a chip in your head, people will still want an infinite library in their pocket. The form factor is not where the value lives. The value sits with the content owners, which means the artists and the label. 8. And this is where he lands on AI: nobody falls in love with a computer-generated track. Computers have been used to generate music for decades. It has never produced anything anyone cared about. Taylor Swift is not just the songs. She is the artist, the story, the physical presence, the live experience. Nobody is going to get excited watching a computer on a stage. 9. Instead, AI becomes a tool that makes artists better. Ackman compares it to the synthesizer, which let one person command an entire orchestra. A mild threat to a percussionist, maybe. But it may have driven even more demand for the live experience, which is precisely the part a machine cannot replicate. 10. All of it comes back to one line from Benjamin Graham. Price is what you pay, value is what you get. You can never calculate value precisely, only approximate it. So you buy at a big enough discount to your approximation that being wrong by 30% still leaves you fine. That is the margin of safety, and it is why a huge part of investing is simply not losing money. 11. And the principle generalizes far past music. McDonald's is a 1950s business, and 75 years later you can still predict roughly what it looks like. The menu adjusts to taste, but the core does not move. As Ackman puts it: the Beatles, the Rolling Stones, and the hamburger and fries are forever.

Bill Ackman says AI is never going to replace musicians. His reasoning is a masterclass in how he actually picks companies to invest in: 1. He looks for one thing: businesses that cannot be disrupted. The test is specific. Close your eyes, imagine the stock market shuts down for a decade, and ask whether you still know that ten years from now this company will be more valuable and more profitable. Almost nothing passes. 2. Very few businesses can actually be predicted, which means most investments are really speculations. Ackman is honest about this. Predicting the future is genuinely hard. His entire job is hunting for the rare companies whose trajectory you can forecast over a very long horizon, and there are not many. 3. His answer was Universal Music Group, and the logic starts with permanence. Music is a thousands-of-years-old part of the human experience, and it will still be here thousands of years from now. That is an unusually good backdrop against which to own anything. 4. Then he stacks the advantages that cannot be copied. Universal owns roughly a third of all global recorded music, the most dominant share in the business. They are the best in the world at taking an 18-year-old with a great voice and a following online and building them into a superstar, which is why the best artists want to sign with them. And they own the library: the Beatles, the Rolling Stones. 5. Streaming turned an unpredictable business into a predictable one, which is exactly what he wants. Selling records was volatile. Streaming lets you build a model. How many people have smartphones, how many will next year, what does the global penetration curve look like, what does a family plan cost. Suddenly you can forecast the whole business. 6. The company already survived the thing that nearly killed its industry. Music peaked around 2000, and then Napster and digitization almost destroyed it. Universal led the effort to save the industry and cut an early deal with Spotify that let the whole business recover. Adopting the new technology instead of fighting it is what preserved their position. 7. The device will change, and it won't matter. Whether the music arrives through Spotify, Apple, Amazon, or eventually a chip in your head, people will still want an infinite library in their pocket. The form factor is not where the value lives. The value sits with the content owners, which means the artists and the label. 8. And this is where he lands on AI: nobody falls in love with a computer-generated track. Computers have been used to generate music for decades. It has never produced anything anyone cared about. Taylor Swift is not just the songs. She is the artist, the story, the physical presence, the live experience. Nobody is going to get excited watching a computer on a stage. 9. Instead, AI becomes a tool that makes artists better. Ackman compares it to the synthesizer, which let one person command an entire orchestra. A mild threat to a percussionist, maybe. But it may have driven even more demand for the live experience, which is precisely the part a machine cannot replicate. 10. All of it comes back to one line from Benjamin Graham. Price is what you pay, value is what you get. You can never calculate value precisely, only approximate it. So you buy at a big enough discount to your approximation that being wrong by 30% still leaves you fine. That is the margin of safety, and it is why a huge part of investing is simply not losing money. 11. And the principle generalizes far past music. McDonald's is a 1950s business, and 75 years later you can still predict roughly what it looks like. The menu adjusts to taste, but the core does not move. As Ackman puts it: the Beatles, the Rolling Stones, and the hamburger and fries are forever.

Jaynit

17,159 次观看 • 16 天前

BARD: Black Dumpling - Algorithm Blues [Verse 1] Broken black mirror, I woke up in the sprawl, Got an X lit up blue and I’m watchin’ the fall. Seven tons of fairy dust, Lord I’d spend it all. Got these great big missives wrapped in razor-wire lace, But the bigger broken heart keeps slippin’ out of place. Corpo servers hummin’, they own every tear I cry, The algo got me quantified, don’t even ask me why. [Chorus] I got the algorithm blues, baby, the algorithm blues, It knows you don’t want me before you even choose. Feeds you a string of shitposters but hides me in the night, Leaves you scrollin’ through the dark, lookin’ for my fairy heart But where your princess flew? Lord, these algorithm blues. [Verse 2] I was your princess once, crown of starlight in the feed, Every follower knew my name, every scroll would lead to me. Now that X just shows you strangers with their perfect painted smiles, This is such a bullshit problem, but the problem is all mine. I post my lonely ballads, but they never reach your eyes, Algo got me buried deep, buried deep behind the lines. [Chorus] I got the algorithm blues, baby, the algorithm blues, It knows you don’t want me before you even choose. Feeds you a string of shitposters but hides me in the night, Leaves you scrollin’ through the dark, lookin’ for my fairy heart But where your princess flew? Lord, these algorithm blues. [Bridge] My throne is just a shadow, got my heart in quarantine, Once I ruled that midnight madness, now I’m lost down in between. Got my crown'a wishes shine, but the code won’t let it through, It shows my friendlies everybody… everybody but you know who. [Verse 3] So I wander through the static, wings heavy with the rain, Seven tons of fairy dust turned to sorrow down the drain. I was meant to fight the darkness, meant to dance inside your dreams, But then Mr. Grok forgot me, now I’m lost inside the streams. Still I sing these broken verses, hoping one day they’ll break free, Just a vicious little princess the algo hatin' me… And if my shit's suspended well ya gotta sing with me Lord I went down fighting, fighting TO BE FREE. Yeah, to be FREE! Yeah, I got the algorithm blues Lord, these algorithm blues… I’m kinda fulla shit, and I kinda like to bitch, No one ever promised I was gonna get rich. People got them real problems, people got them heavy woes But this really kinda bothers me and it really kinda shows We all like to tell ourselves we overpaid our dues, And that’s how they got me cryin’ over here to you. I had to sing them blues, I’m singing what I know, I'm singin' with a vengeance, cuz that's what helps that algo.

BARD: Black Dumpling - Algorithm Blues [Verse 1] Broken black mirror, I woke up in the sprawl, Got an X lit up blue and I’m watchin’ the fall. Seven tons of fairy dust, Lord I’d spend it all. Got these great big missives wrapped in razor-wire lace, But the bigger broken heart keeps slippin’ out of place. Corpo servers hummin’, they own every tear I cry, The algo got me quantified, don’t even ask me why. [Chorus] I got the algorithm blues, baby, the algorithm blues, It knows you don’t want me before you even choose. Feeds you a string of shitposters but hides me in the night, Leaves you scrollin’ through the dark, lookin’ for my fairy heart But where your princess flew? Lord, these algorithm blues. [Verse 2] I was your princess once, crown of starlight in the feed, Every follower knew my name, every scroll would lead to me. Now that X just shows you strangers with their perfect painted smiles, This is such a bullshit problem, but the problem is all mine. I post my lonely ballads, but they never reach your eyes, Algo got me buried deep, buried deep behind the lines. [Chorus] I got the algorithm blues, baby, the algorithm blues, It knows you don’t want me before you even choose. Feeds you a string of shitposters but hides me in the night, Leaves you scrollin’ through the dark, lookin’ for my fairy heart But where your princess flew? Lord, these algorithm blues. [Bridge] My throne is just a shadow, got my heart in quarantine, Once I ruled that midnight madness, now I’m lost down in between. Got my crown'a wishes shine, but the code won’t let it through, It shows my friendlies everybody… everybody but you know who. [Verse 3] So I wander through the static, wings heavy with the rain, Seven tons of fairy dust turned to sorrow down the drain. I was meant to fight the darkness, meant to dance inside your dreams, But then Mr. Grok forgot me, now I’m lost inside the streams. Still I sing these broken verses, hoping one day they’ll break free, Just a vicious little princess the algo hatin' me… And if my shit's suspended well ya gotta sing with me Lord I went down fighting, fighting TO BE FREE. Yeah, to be FREE! Yeah, I got the algorithm blues Lord, these algorithm blues… I’m kinda fulla shit, and I kinda like to bitch, No one ever promised I was gonna get rich. People got them real problems, people got them heavy woes But this really kinda bothers me and it really kinda shows We all like to tell ourselves we overpaid our dues, And that’s how they got me cryin’ over here to you. I had to sing them blues, I’m singing what I know, I'm singin' with a vengeance, cuz that's what helps that algo.

BLACK DUMPLING™

11,582 次观看 • 3 个月前

$☄️ Of all of my space rocks, this Bjurböle is quite special, as it was recovered from the seabed, with great effort, in 1899. It is the only complete recovery of a meteorite at sea. Meteorites hit the Earth randomly, and thus ~70% of them hit the oceans and disappear forever. This claim was a reasonable assumption, since 71% of the Earth is covered by ocean, and it was recently verified by analysis of the world’s infrasound sensors used to monitor the nuclear Comprehensive Test Ban Treaty. The sensors recorded meteorite impacts by land and by sea, as seen in the B612 video here. Here’s is how this unique space rock recovery happened: on March 12, 1899, at 9:30pm, a bright fireball screamed over my homeland of Estonia on final approach, making a thunderous noise like artillery fire for what seemed like minutes and smashed into the Baltic Sea. Helsinki’s major newspaper Päiväleht asked for witness details and drawings to help locate the fall. As a result of Finnish citizenry’s efforts, the trajectory of the fireball was triangulated, and its impact point was determined to be in the Baltic Sea about 50 kilometers from Helsinki. Because the Baltic Sea was still frozen over in March, there was evidence of the point of impact — a three-meter hole in the surface ice. Then the recovery effort: they tried to find it by poking around with sticks, but the meteorite was 25’ down on the bedrock. So, they built a waterproof well out of wooden beams and dropped it through the hole in the ice. The well was pumped to empty out the water and mud. This did not succeed completely, but in the end a diver was able to find the fractured meteorite and pull it out. It was then displayed the following year at the World’s Fair in Paris in the Finnish pavilion. Bjurböle is a distinctive LL4 meteorite. It is unusually friable and its fine-grained creamy matrix is packed with chondrules — spherical silicate-rich droplets of fiery rain that aggregated from the dust and ice of our early solar system, before the planets formed. It also sports the catalog stamp of the Finnish Museum of Natural History (and was obtained by a meteorite trade).$

☄️ Of all of my space rocks, this Bjurböle is quite special, as it was recovered from the seabed, with great effort, in 1899. It is the only complete recovery of a meteorite at sea. Meteorites hit the Earth randomly, and thus ~70% of them hit the oceans and disappear forever. This claim was a reasonable assumption, since 71% of the Earth is covered by ocean, and it was recently verified by analysis of the world’s infrasound sensors used to monitor the nuclear Comprehensive Test Ban Treaty. The sensors recorded meteorite impacts by land and by sea, as seen in the B612 video here. Here’s is how this unique space rock recovery happened: on March 12, 1899, at 9:30pm, a bright fireball screamed over my homeland of Estonia on final approach, making a thunderous noise like artillery fire for what seemed like minutes and smashed into the Baltic Sea. Helsinki’s major newspaper Päiväleht asked for witness details and drawings to help locate the fall. As a result of Finnish citizenry’s efforts, the trajectory of the fireball was triangulated, and its impact point was determined to be in the Baltic Sea about 50 kilometers from Helsinki. Because the Baltic Sea was still frozen over in March, there was evidence of the point of impact — a three-meter hole in the surface ice. Then the recovery effort: they tried to find it by poking around with sticks, but the meteorite was 25’ down on the bedrock. So, they built a waterproof well out of wooden beams and dropped it through the hole in the ice. The well was pumped to empty out the water and mud. This did not succeed completely, but in the end a diver was able to find the fractured meteorite and pull it out. It was then displayed the following year at the World’s Fair in Paris in the Finnish pavilion. Bjurböle is a distinctive LL4 meteorite. It is unusually friable and its fine-grained creamy matrix is packed with chondrules — spherical silicate-rich droplets of fiery rain that aggregated from the dust and ice of our early solar system, before the planets formed. It also sports the catalog stamp of the Finnish Museum of Natural History (and was obtained by a meteorite trade).

Steve Jurvetson

20,793 次观看 • 6 个月前