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My cousin be blessing me like a mf while im at work #thick #bbw #blackbunny #ebony #bigbooty #ass
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Ebony Mystique explained that she has worked with both Brickzilla and Dredd, describing their d|ck as different in size and proportions. She said Brickzilla is large, thick and curvy, while Dredd is longer but less thick. She also explained that she finds curved anatomy creates a different sensation because of the way it makes contact, requiring different movement to find what feels best. “It hits the walls differently… the straight one is just like bow bow bow so you kind of gotta move to get it right”
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Sounds that every steak lover craves ; butter slowly melting in a blazing hot cast-iron skillet over an outdoor fire. Fresh rosemary, green onions, garlic, and spices tumble into the bubbling butter, releasing a rich smoky aroma that practically drifts through the screen. The herbs crackle and dance in the heat while the golden butter turns deeply infused and fragrant. Then a thick tomahawk steak lowered into the skillet with a loud, aggressive sizzle. Instantly, flames lick the edges as the fat begins to render, creating that mouthwatering crust. Every second sounds like pure heaven: the popping butter, the hiss of searing meat, the crackling fire underneath. The steak goes to the skillet for the final sear. Butter is spooned repeatedly over the meat, coating it in glossy richness while the rosemary brushes against the crust, adding smoky herbal flavor. Once perfectly charred outside and juicy inside, the tomahawk is sliced open. The knife glides through effortlessly, revealing a tender, pink center glistening with juices. Steam rises into the cool outdoor air while melted butter drips across the cutting board. Each slice looks impossibly juicy, packed with smoky flavor, crispy edges, and rich buttery goodness — the kind of steak that makes your mouth water instantly.
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Sounds that every steak lover craves ; butter slowly melting in a blazing hot cast-iron skillet over an outdoor fire. Fresh rosemary, green onions, garlic, and spices tumble into the bubbling butter, releasing a rich smoky aroma that practically drifts through the screen. The herbs crackle and dance in the heat while the golden butter turns deeply infused and fragrant. Then a thick tomahawk steak lowered into the skillet with a loud, aggressive sizzle. Instantly, flames lick the edges as the fat begins to render, creating that mouthwatering crust. Every second sounds like pure heaven: the popping butter, the hiss of searing meat, the crackling fire underneath. The steak goes to the skillet for the final sear. Butter is spooned repeatedly over the meat, coating it in glossy richness while the rosemary brushes against the crust, adding smoky herbal flavor. Once perfectly charred outside and juicy inside, the tomahawk is sliced open. The knife glides through effortlessly, revealing a tender, pink center glistening with juices. Steam rises into the cool outdoor air while melted butter drips across the cutting board. Each slice looks impossibly juicy, packed with smoky flavor, crispy edges, and rich buttery goodness — the kind of steak that makes your mouth water instantly.

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🚨👀 A few months ago, JAY-Z did an interview with The New York Times where he spoke about older artists trying to make younger music, saying: 🗣️“If you’re tryna make young music and you’re not young, it’s gonna be inauthentic, and people can feel that.” Well today, JAY-Z hopped on the re-released, remixed version of Beyoncé’s “Morning Dew / Donk,” and from the lyrics, it appears he may be taking shots at people on Twitter/X and podcast personalities. While continuing his often used braggadocious rap style. 🚨👀 This is what 56-year-old JAY-Z had to say in his verse: 👀 “Bihh so bad I had to give her my last name.” 👀 “If you ain’t riding for the gang, shut the fk up.”** 👀 “You niggas tweet a lot, all you do is twit. Pop it on the pods, but you ain’t doing shit. We just making love. We just getting rich. Y’all keep doing that, we keep doing this.” He also appears to continue flexing his wealth and success with bars like: 👀 “I caught a fk nigga hating on my wrist. I caught a ho nigga hating on my bitch.”** 🧐 So the question is: Is JAY-Z being hypocritical after saying older artists shouldn’t make music that sounds inauthentic when trying to appeal to younger audiences? Or do you think this record still sounds authentic for a 56-year-old artist? 🤔 Lastly. Some interesting lines and production choices in this track makes me wonder could they be subtle responses to Drake’s recent lyrics on ICEMAN. Drake previously rapped: “You boys got big off my name, that’s big enough… We know how you OGs rockin’ already, my nigga, the jig is up.” Now,hearing certain jabs in the song and random sample and production choices makes me wonder. JAY-Z may have responded by flipping familiar samples, including what sounds like a Biggie “Big Poppa”/ Isley brothers interpolation. And a Sheck Wes “Mo Bamba” sample we know Sheck Wes being braggadocios in the Mo Bamba track about being really rich. That sample choice feels strategically used to maybe respond to Drake’s Iceman Line Where He Says “ I got real numbers on niggas claiming to have billions.” 🤔
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🚨👀 A few months ago, JAY-Z did an interview with The New York Times where he spoke about older artists trying to make younger music, saying: 🗣️“If you’re tryna make young music and you’re not young, it’s gonna be inauthentic, and people can feel that.” Well today, JAY-Z hopped on the re-released, remixed version of Beyoncé’s “Morning Dew / Donk,” and from the lyrics, it appears he may be taking shots at people on Twitter/X and podcast personalities. While continuing his often used braggadocious rap style. 🚨👀 This is what 56-year-old JAY-Z had to say in his verse: 👀 “Bihh so bad I had to give her my last name.” 👀 “If you ain’t riding for the gang, shut the fk up.”** 👀 “You niggas tweet a lot, all you do is twit. Pop it on the pods, but you ain’t doing shit. We just making love. We just getting rich. Y’all keep doing that, we keep doing this.” He also appears to continue flexing his wealth and success with bars like: 👀 “I caught a fk nigga hating on my wrist. I caught a ho nigga hating on my bitch.”** 🧐 So the question is: Is JAY-Z being hypocritical after saying older artists shouldn’t make music that sounds inauthentic when trying to appeal to younger audiences? Or do you think this record still sounds authentic for a 56-year-old artist? 🤔 Lastly. Some interesting lines and production choices in this track makes me wonder could they be subtle responses to Drake’s recent lyrics on ICEMAN. Drake previously rapped: “You boys got big off my name, that’s big enough… We know how you OGs rockin’ already, my nigga, the jig is up.” Now,hearing certain jabs in the song and random sample and production choices makes me wonder. JAY-Z may have responded by flipping familiar samples, including what sounds like a Biggie “Big Poppa”/ Isley brothers interpolation. And a Sheck Wes “Mo Bamba” sample we know Sheck Wes being braggadocios in the Mo Bamba track about being really rich. That sample choice feels strategically used to maybe respond to Drake’s Iceman Line Where He Says “ I got real numbers on niggas claiming to have billions.” 🤔

Cousin Tino ™️

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🥒HIGH PROTEIN MEDITERRANEAN CUCUMBER SALAD This is super fresh, crunchy, creamy, packed with protein, and one of those easy meals you can throw together in under 15 minutes and feel really good after eating. It’s light but filling, loaded with texture, and gives serious Mediterranean food vibes without needing a ton of ingredients. Makes 2 huge servings. This is such a great healthy easy lunch or light high protein dinner. Here is how I made it: 1.Start by browning 12oz of lean ground beef (I used 90/10) in a pan over medium heat. Season it with 1 tbsp oregano, 1 tbsp sweet paprika, 1 tbsp onion powder, 1/2 tbsp garlic powder, and generous salt and pepper. Cook until browned and fully cooked through. I go a little longer here at the end on medium-high heat at the end for about 5-7 mins to almost crisp up the beef. 2.While that’s going. slice 5-6 Persian cucumbers and add them to a large bowl or 2 jars with 1/4 finely diced red onion and 1 small cubed avocado. Add the cooked ground beef on top. with 3 tbsp thick greek yogurt, 2-3 tbsp finely chopped fresh parsley and mint, a couple squeezes of fresh lemon juice, 2 tbsp crumbled feta, 1 tsp red chili flakes, and a pinch of salt and pepper. 4.Toss everything together really well, and enjoy immediately. This is one of those easy healthy meals that’s light, high protein, but also refreshing and helps you feel good after! If you make it, let me know on SHREDHAPPENS! ENJOY! . . . . . . #healthyrecipes #healthyfoodshare #lowcarb #lowcarbrecipes #keto
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🥒HIGH PROTEIN MEDITERRANEAN CUCUMBER SALAD This is super fresh, crunchy, creamy, packed with protein, and one of those easy meals you can throw together in under 15 minutes and feel really good after eating. It’s light but filling, loaded with texture, and gives serious Mediterranean food vibes without needing a ton of ingredients. Makes 2 huge servings. This is such a great healthy easy lunch or light high protein dinner. Here is how I made it: 1.Start by browning 12oz of lean ground beef (I used 90/10) in a pan over medium heat. Season it with 1 tbsp oregano, 1 tbsp sweet paprika, 1 tbsp onion powder, 1/2 tbsp garlic powder, and generous salt and pepper. Cook until browned and fully cooked through. I go a little longer here at the end on medium-high heat at the end for about 5-7 mins to almost crisp up the beef. 2.While that’s going. slice 5-6 Persian cucumbers and add them to a large bowl or 2 jars with 1/4 finely diced red onion and 1 small cubed avocado. Add the cooked ground beef on top. with 3 tbsp thick greek yogurt, 2-3 tbsp finely chopped fresh parsley and mint, a couple squeezes of fresh lemon juice, 2 tbsp crumbled feta, 1 tsp red chili flakes, and a pinch of salt and pepper. 4.Toss everything together really well, and enjoy immediately. This is one of those easy healthy meals that’s light, high protein, but also refreshing and helps you feel good after! If you make it, let me know on SHREDHAPPENS! ENJOY! . . . . . . #healthyrecipes #healthyfoodshare #lowcarb #lowcarbrecipes #keto

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THE CONSTANT CURRENT AND THE SHIFTING RIVERBED: Decoding the Artistic Identity of the Prelude to Cello Suite No. 1 (BWV 1007) With just the first four notes of the Prelude BWV 1007, many recognize it instantly as Bach—yet very few can articulate why it possesses an identity so unmistakable from any other prelude by the composer himself. The answer does not lie in generalized concepts such as polyphony or the resonance of the instrument. Those are compositional methodologies and instrumental characteristics in a broad sense, not the unique identifier of this specific piece. One of the things that makes the Prelude BWV 1007 always feel extraordinary to the listener, from the perspective of this essay, lies in an architectural illusion: a structural pattern that remains nearly invariant on the surface, yet continuously generates harmonic shifts underneath—a vast polyphonic space born from a strictly monophonic line. In other words, it offers the sensation of a current that always flows in the exact same manner, while the riverbed beneath is in constant flux. While keyboard preludes like BWV 846 also utilize the repetition of an arpeggiated pattern to shift harmony, BWV 1007 exhibits a vital qualitative difference. In keyboard music, the majority of the harmonic structure is already directly present in the acoustic output, so the listener does not have to actively reconstruct it to the degree required when listening to BWV 1007. Here, Bach binds himself to a rigorous constraint: writing a continuous chain of arpeggios for a solo instrument that is inherently monophonic. At any given moment, only a single note sounds, requiring the brain to engage at a much higher level to co-create and complete the harmonic structure. To shape this structural signature, Bach establishes a wave-like, symmetrical arpeggio pattern on the auditory surface: ascending from the bass, peaking at the top, and curving back down, repeating steadily in a relentless stream of sixteenth notes. Maintaining this precise "footstep" so radically creates a surface illusion of stillness, lulling the listener into a state akin to stasis. Yet right within that surface stillness, the harmonic riverbed of G major underneath is constantly shifting through different harmonic degrees (from I to ii, V, vi, IV). The foundation speeds ahead while the external form remains completely unchanged. To allow the harmonic riverbed to shift continuously without shattering the serenity of the surface current, Bach employs the master tool of voice leading. Through it, Bach creates the sensation that each movement arises organically from the one preceding it. When moving between harmonic blocks, he always chooses the smoothest path: retaining the common tone, while the remaining voices move only by microscopic intervals—half steps or whole steps. This delicate voice-leading structure pairs perfectly with a highly transparent harmonic density and the natural breathing room of the cello's open registration. The piece demands absolute control over the continuity of the bow (legato) and leverages the deep resonance of the open strings (G - D - A). Ascending from the lowest open G string, the acoustic space opens up luminous, direct, and vast, ensuring that any micro-shift in the riverbed below becomes a major event to the ear. Why did Bach choose this specific mode of motion instead of creating dramatic narrative twists? The answer lies in the artistic intent of an opening movement. This Prelude was not built to surprise; it opens the entire cycle of Cello Suites as the most natural point of departure. Instead of ostentation on the surface, Bach places the entirety of the vital force into the subterranean shifting of the harmony. The listener is not dragged along by external incidents but is guided by the natural logic of unified causality. Because the piece is written as a sequence of single notes rather than a simultaneous presentation of chords, the listener's brain is forced into a task of "co-creation." The audience must hold the note that just sounded in short-term memory, connecting it to the next to deduce the harmonic block within the mind. The listener is not handed a fully built house; they construct it themselves from the bricks Bach offers at a flawless tempo. From this perspective, the composition evokes an inherent philosophical principle deeply rooted in the Baroque spirit: the creation of order within diversity, and movement within stillness. A current that continuously alters both its form and content becomes chaos; conversely, one that stands completely still becomes dead. Bach achieves the sublime because his musical architecture finds life precisely at the intersection: a current that can maintain its external form while constantly renewing itself from within. The tight fusion between this underlying harmonic structure, the characteristic warmth of the cello's timbre, the pristine opening interval of G major, and the generous resonance of the open strings are precisely what allow a mere few opening measures to summon the distinct artistic identity of BWV 1007. A steadfast imagery, born of a seemingly constant current and a riverbed always shifting from deep within a solo monophonic instrument.
2:56

THE CONSTANT CURRENT AND THE SHIFTING RIVERBED: Decoding the Artistic Identity of the Prelude to Cello Suite No. 1 (BWV 1007) With just the first four notes of the Prelude BWV 1007, many recognize it instantly as Bach—yet very few can articulate why it possesses an identity so unmistakable from any other prelude by the composer himself. The answer does not lie in generalized concepts such as polyphony or the resonance of the instrument. Those are compositional methodologies and instrumental characteristics in a broad sense, not the unique identifier of this specific piece. One of the things that makes the Prelude BWV 1007 always feel extraordinary to the listener, from the perspective of this essay, lies in an architectural illusion: a structural pattern that remains nearly invariant on the surface, yet continuously generates harmonic shifts underneath—a vast polyphonic space born from a strictly monophonic line. In other words, it offers the sensation of a current that always flows in the exact same manner, while the riverbed beneath is in constant flux. While keyboard preludes like BWV 846 also utilize the repetition of an arpeggiated pattern to shift harmony, BWV 1007 exhibits a vital qualitative difference. In keyboard music, the majority of the harmonic structure is already directly present in the acoustic output, so the listener does not have to actively reconstruct it to the degree required when listening to BWV 1007. Here, Bach binds himself to a rigorous constraint: writing a continuous chain of arpeggios for a solo instrument that is inherently monophonic. At any given moment, only a single note sounds, requiring the brain to engage at a much higher level to co-create and complete the harmonic structure. To shape this structural signature, Bach establishes a wave-like, symmetrical arpeggio pattern on the auditory surface: ascending from the bass, peaking at the top, and curving back down, repeating steadily in a relentless stream of sixteenth notes. Maintaining this precise "footstep" so radically creates a surface illusion of stillness, lulling the listener into a state akin to stasis. Yet right within that surface stillness, the harmonic riverbed of G major underneath is constantly shifting through different harmonic degrees (from I to ii, V, vi, IV). The foundation speeds ahead while the external form remains completely unchanged. To allow the harmonic riverbed to shift continuously without shattering the serenity of the surface current, Bach employs the master tool of voice leading. Through it, Bach creates the sensation that each movement arises organically from the one preceding it. When moving between harmonic blocks, he always chooses the smoothest path: retaining the common tone, while the remaining voices move only by microscopic intervals—half steps or whole steps. This delicate voice-leading structure pairs perfectly with a highly transparent harmonic density and the natural breathing room of the cello's open registration. The piece demands absolute control over the continuity of the bow (legato) and leverages the deep resonance of the open strings (G - D - A). Ascending from the lowest open G string, the acoustic space opens up luminous, direct, and vast, ensuring that any micro-shift in the riverbed below becomes a major event to the ear. Why did Bach choose this specific mode of motion instead of creating dramatic narrative twists? The answer lies in the artistic intent of an opening movement. This Prelude was not built to surprise; it opens the entire cycle of Cello Suites as the most natural point of departure. Instead of ostentation on the surface, Bach places the entirety of the vital force into the subterranean shifting of the harmony. The listener is not dragged along by external incidents but is guided by the natural logic of unified causality. Because the piece is written as a sequence of single notes rather than a simultaneous presentation of chords, the listener's brain is forced into a task of "co-creation." The audience must hold the note that just sounded in short-term memory, connecting it to the next to deduce the harmonic block within the mind. The listener is not handed a fully built house; they construct it themselves from the bricks Bach offers at a flawless tempo. From this perspective, the composition evokes an inherent philosophical principle deeply rooted in the Baroque spirit: the creation of order within diversity, and movement within stillness. A current that continuously alters both its form and content becomes chaos; conversely, one that stands completely still becomes dead. Bach achieves the sublime because his musical architecture finds life precisely at the intersection: a current that can maintain its external form while constantly renewing itself from within. The tight fusion between this underlying harmonic structure, the characteristic warmth of the cello's timbre, the pristine opening interval of G major, and the generous resonance of the open strings are precisely what allow a mere few opening measures to summon the distinct artistic identity of BWV 1007. A steadfast imagery, born of a seemingly constant current and a riverbed always shifting from deep within a solo monophonic instrument.

🎼🌺Music Love♥️

14,302 görüntüleme • 1 ay önce