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This hurdy-gurdy performance is straight-up mesmerizing 🔥🎶 That rich, droning wheel-turned sound mixed with haunting melodies — every musical instrument really does have its own unique way of expressing pure beauty!

Roy Rogers Happy Trails Music Shop

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54,376 Aufrufe • vor 2 Monaten •via X (Twitter)

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This Cantareel performance is straight-up hypnotic 🔥 An “inside-out hurdy-gurdy” with that rich, droning sound and beautiful crank-driven melody — pure medieval magic in action! The way it fills the room is next-level 🎶 Obsessed with these unique folk instruments lately.

This Cantareel performance is straight-up hypnotic 🔥 An “inside-out hurdy-gurdy” with that rich, droning sound and beautiful crank-driven melody — pure medieval magic in action! The way it fills the room is next-level 🎶 Obsessed with these unique folk instruments lately.

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Jimmy Page & Robert Plant absolutely CRUSHING “When The Levee Breaks” live in 1995 — with Nigel Eaton’s hypnotic hurdy-gurdy 🔥 That swampy blues riff meets the ancient, droning folk sound of the hurdy-gurdy is pure magic. Raw power, Plant’s howl, Page’s guitar mastery… Zeppelin energy at its finest!

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Oregon Democratic socialist State rep Farrah Chaichi on Iran: "This isn't an Orange man, bad problem either. I'm real tired of hearing that. Deporter in chief is a moniker that we the left, came up with for President Obama. I remember President Obama droning a wedding party. This is not Orange man bad. This is US Imperialism is bad. Until the US minds its own business and foreign policies, or gets over its greed, its capitalist drive to take over everything, to call it their own, to have it for themselves. We are going to continue to create immigrants and refugees. And I think we should all grow up and love our frigging neighbors."

Oregon Democratic socialist State rep Farrah Chaichi on Iran: "This isn't an Orange man, bad problem either. I'm real tired of hearing that. Deporter in chief is a moniker that we the left, came up with for President Obama. I remember President Obama droning a wedding party. This is not Orange man bad. This is US Imperialism is bad. Until the US minds its own business and foreign policies, or gets over its greed, its capitalist drive to take over everything, to call it their own, to have it for themselves. We are going to continue to create immigrants and refugees. And I think we should all grow up and love our frigging neighbors."

Winter

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Concerto in A minor, BWV 1065 for four harpsichords is one of Johann Sebastian Bach's most remarkable works. Although it is an arrangement of Antonio Vivaldi's concerto for four violins, in Bach's hands the work becomes far more than a change of instrumentation. It is transformed into a musical structure shaped by his distinctive contrapuntal imagination and architectural conception of form. The performance featured in this video is a live recording by the Netherlands Bach Society (2013), using period instruments and a historically informed approach that recreates a sound world close to Bach's own. With a chamber-sized string ensemble and four harpsichords sharing the solo role, the performance reveals the balance, dialogue and interdependence between the musical voices—precisely the principles upon which Bach built the concerto itself. To understand why this work has retained its vitality for nearly three centuries, one must begin with its most concrete musical details. What strikes the listener from the opening bars is that no single harpsichord remains the centre of attention for long. The principal subject passes continuously from one instrument to another. As soon as one completes its phrase, another immediately continues the musical thought. At times all four instruments speak together. At others, only two or three remain in conversation. Their roles are constantly changing. Yet the musical current is never interrupted. This immediately reveals one of the concerto's most distinctive qualities. Bach does not conceive the work as a competition between virtuoso soloists. He shapes it instead as a dialogue. Each musical voice possesses its own individual character. Yet none seeks to dominate the others. Even the most dazzling passages of rapid figurations are never displays of virtuosity for their own sake. Every gesture serves the larger movement of the whole structure. At a deeper level, the force that binds everything together is counterpoint. A theme never remains isolated once it appears. It immediately enters into relationship with other themes. One voice continues. Another answers. Another complements. Another supports. Each melodic line follows its own internal logic. Yet each is continually adapting itself to the needs of the larger design. Gradually, the listener ceases to follow individual melodies in isolation. Instead, the ear begins to perceive the entire web of relationships between the voices. This is what gives the concerto its extraordinary character. If one were to listen to each harpsichord separately, much of the work's meaning would disappear. Its persuasive power lies precisely in the continual interaction between the parts. Every musical movement feels purposeful. No voice enters without reason. No voice exists merely for its own sake. The entire concerto resembles a living organism in constant motion. At a deeper level still, the work reflects a universal principle found in every enduring whole. A complete and harmonious order does not achieve its greatest strength by making all its parts identical. It reaches its fullest richness when genuine differences cooperate within a shared order. If every voice were to play the same musical line, the music would lose its vitality. If every voice were entirely independent, the structure would dissolve. Only when each part preserves its own identity while continually listening, responding and contributing to the others does the whole attain both unity and richness. This principle extends far beyond music. It may also be observed throughout the natural world. A living body does not exist because every organ performs the same function. The heart, lungs, brain, liver and circulatory system each fulfil entirely different tasks. It is precisely this diversity that makes life so rich. Yet life is sustained not by difference alone. It depends upon every organ functioning within the same underlying order, constantly exchanging, regulating and supporting one another. When each part acts only for itself, the entire body falls into disorder. When every part serves the life of the whole, each organ is able to fulfil its own purpose most completely. BWV 1065 is constructed according to precisely this principle. The four harpsichords do not merge into one another and lose their individuality. Nor do they compete to become the centre of attention. Instead, they continually listen, respond, exchange and support one another. Each voice possesses its own distinct place. Yet the full value of each voice becomes apparent only within its relationship to the whole. Perhaps it is because the concerto reflects this principle that it continues to command such admiration after nearly three centuries. What ultimately inspires the listener is not merely Bach's astonishing contrapuntal craftsmanship, nor simply the precision of the four soloists. The work's true beauty lies in the way Bach demonstrates that unity does not require the elimination of difference. On the contrary, a whole achieves its highest beauty when many distinct voices freely submit themselves to a common order.

Concerto in A minor, BWV 1065 for four harpsichords is one of Johann Sebastian Bach's most remarkable works. Although it is an arrangement of Antonio Vivaldi's concerto for four violins, in Bach's hands the work becomes far more than a change of instrumentation. It is transformed into a musical structure shaped by his distinctive contrapuntal imagination and architectural conception of form. The performance featured in this video is a live recording by the Netherlands Bach Society (2013), using period instruments and a historically informed approach that recreates a sound world close to Bach's own. With a chamber-sized string ensemble and four harpsichords sharing the solo role, the performance reveals the balance, dialogue and interdependence between the musical voices—precisely the principles upon which Bach built the concerto itself. To understand why this work has retained its vitality for nearly three centuries, one must begin with its most concrete musical details. What strikes the listener from the opening bars is that no single harpsichord remains the centre of attention for long. The principal subject passes continuously from one instrument to another. As soon as one completes its phrase, another immediately continues the musical thought. At times all four instruments speak together. At others, only two or three remain in conversation. Their roles are constantly changing. Yet the musical current is never interrupted. This immediately reveals one of the concerto's most distinctive qualities. Bach does not conceive the work as a competition between virtuoso soloists. He shapes it instead as a dialogue. Each musical voice possesses its own individual character. Yet none seeks to dominate the others. Even the most dazzling passages of rapid figurations are never displays of virtuosity for their own sake. Every gesture serves the larger movement of the whole structure. At a deeper level, the force that binds everything together is counterpoint. A theme never remains isolated once it appears. It immediately enters into relationship with other themes. One voice continues. Another answers. Another complements. Another supports. Each melodic line follows its own internal logic. Yet each is continually adapting itself to the needs of the larger design. Gradually, the listener ceases to follow individual melodies in isolation. Instead, the ear begins to perceive the entire web of relationships between the voices. This is what gives the concerto its extraordinary character. If one were to listen to each harpsichord separately, much of the work's meaning would disappear. Its persuasive power lies precisely in the continual interaction between the parts. Every musical movement feels purposeful. No voice enters without reason. No voice exists merely for its own sake. The entire concerto resembles a living organism in constant motion. At a deeper level still, the work reflects a universal principle found in every enduring whole. A complete and harmonious order does not achieve its greatest strength by making all its parts identical. It reaches its fullest richness when genuine differences cooperate within a shared order. If every voice were to play the same musical line, the music would lose its vitality. If every voice were entirely independent, the structure would dissolve. Only when each part preserves its own identity while continually listening, responding and contributing to the others does the whole attain both unity and richness. This principle extends far beyond music. It may also be observed throughout the natural world. A living body does not exist because every organ performs the same function. The heart, lungs, brain, liver and circulatory system each fulfil entirely different tasks. It is precisely this diversity that makes life so rich. Yet life is sustained not by difference alone. It depends upon every organ functioning within the same underlying order, constantly exchanging, regulating and supporting one another. When each part acts only for itself, the entire body falls into disorder. When every part serves the life of the whole, each organ is able to fulfil its own purpose most completely. BWV 1065 is constructed according to precisely this principle. The four harpsichords do not merge into one another and lose their individuality. Nor do they compete to become the centre of attention. Instead, they continually listen, respond, exchange and support one another. Each voice possesses its own distinct place. Yet the full value of each voice becomes apparent only within its relationship to the whole. Perhaps it is because the concerto reflects this principle that it continues to command such admiration after nearly three centuries. What ultimately inspires the listener is not merely Bach's astonishing contrapuntal craftsmanship, nor simply the precision of the four soloists. The work's true beauty lies in the way Bach demonstrates that unity does not require the elimination of difference. On the contrary, a whole achieves its highest beauty when many distinct voices freely submit themselves to a common order.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

10,541 Aufrufe • vor 10 Tagen

I love music most when it’s live, in the moment, and expressing something personal. This is why I’m psyched about the new “DJ mode” we developed for MusicFX: It’s an infinite AI jam that you control 🎛️. Try mixing your unique 🌀 of instruments, genres, or favorite foods--whatever your 💚 desires. Hone your skills as a prompt DJ to create a smooth, consistent set. I’ve been having a blast learning to express my own musical ideas with this unique instrument, and I’m stoked to see how others use it! We’re working on lots more features to unlock your creativity, so stay tuned!

I love music most when it’s live, in the moment, and expressing something personal. This is why I’m psyched about the new “DJ mode” we developed for MusicFX: It’s an infinite AI jam that you control 🎛️. Try mixing your unique 🌀 of instruments, genres, or favorite foods--whatever your 💚 desires. Hone your skills as a prompt DJ to create a smooth, consistent set. I’ve been having a blast learning to express my own musical ideas with this unique instrument, and I’m stoked to see how others use it! We’re working on lots more features to unlock your creativity, so stay tuned!

Adam Roberts

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Not this guy casually telling his friends he’s still going to have sex with his wife and he’ll catch up with them when he’s done 😭 Eish, South Africa really is a country of its own sometimes. The confidence, the timing, and the way he just said it like it’s the most normal update ever has me weak.

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Not this guy casually telling his friends he’s still going to have sex with his wife and he’ll catch up with them when he’s done 😭 Eish, South Africa really is a country of its own sometimes. The confidence, the timing, and the way he just said it like it’s the most normal update ever has me weak.

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Someone in Cape Town just took delivery of a Pagani Utopia Roadster 😮‍🔥 A machine that sits comfortably in the R50 million to R62 million range. This is not just a car, it’s pure art on wheels blended with insane performance. From the design to the sound of that V12, everything about it screams exclusivity and power. Some people are really living the dream for real 🔥

Someone in Cape Town just took delivery of a Pagani Utopia Roadster 😮‍🔥 A machine that sits comfortably in the R50 million to R62 million range. This is not just a car, it’s pure art on wheels blended with insane performance. From the design to the sound of that V12, everything about it screams exclusivity and power. Some people are really living the dream for real 🔥

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When a show tune turns rock. “I have grown up with a healthy diet of show tunes and movies like Cabaret, musicals in general... ‘Alabama Song’ by The Doors is obviously a cover but their take on this Kurt Weil song was really inspiring. I felt, that this was a sound that needed to be reinterpreted, captured.” -Gerard Way #TheDoors

When a show tune turns rock. “I have grown up with a healthy diet of show tunes and movies like Cabaret, musicals in general... ‘Alabama Song’ by The Doors is obviously a cover but their take on this Kurt Weil song was really inspiring. I felt, that this was a sound that needed to be reinterpreted, captured.” -Gerard Way #TheDoors

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What I really miss from the old WWE games is how every superstar felt unique. Back in HCTP, Brock Lesnar, Goldberg, Undertaker, Kane all had their own playstyle and personality that made them feel different. In WWE 2K26, I finally felt that again with Great Khali. His animations perfectly match his real-life character from his unique wake up grab animations to his ring movement and even his special pin animation with the leg on the chest. I really hope every superstar gets this level of personality and uniqueness in future games. Like if you agree 👍🏻 #WWE2K26 #WWERaw

What I really miss from the old WWE games is how every superstar felt unique. Back in HCTP, Brock Lesnar, Goldberg, Undertaker, Kane all had their own playstyle and personality that made them feel different. In WWE 2K26, I finally felt that again with Great Khali. His animations perfectly match his real-life character from his unique wake up grab animations to his ring movement and even his special pin animation with the leg on the chest. I really hope every superstar gets this level of personality and uniqueness in future games. Like if you agree 👍🏻 #WWE2K26 #WWERaw

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The carnyx is an ancient musical instrument that best-known to have been used by the Celts during the Iron Age. Between 300 BC and 200 AD, the carnyx was used in many parts of Europe. In the ancient literary records, the carnyx is most commonly depicted as an instrument that accompanied Celtic warriors when they went into battle. Apart from literary sources, references to the carnyx have also been found on pieces of art and coins. Lastly, remains of this musical instrument have occasionally been found during archaeological excavations. The carnyx may be described as a type of war trumpet. This instrument was a valveless horn that was made of beaten bronze, and can be easily recognized due to its ſ-shape. Another distinct feature of the carnyx is its bell, which often depicts the head of some animal. Such animals include boars, dragons, serpents, birds and wolves. The bells of the carnyx were fashioned after these animals so as to strike fear into enemy warriors. Additionally, some bells were made with joints at the jaws, which would cause the animal’s head to move when the instrument was blown, thus adding to the psychological effect it had on the enemy. Whilst the sight of the carnyx struck fear into the hearts of the enemy, it was the sound of it, which has been described as lugubrious and harsh, that probably had a greater impact on enemy morale. It may be pointed out that it is unlikely that we will ever know how their carnyces had sounded. Nevertheless, it is possible to recreate this instrument, given that some of them have been found during archaeological excavations, and perhaps achieve a slightly better understanding of how this instrument worked. One example of a carnyx that has survived is the Deskford Carnyx, which was discovered in Deskford in Banffshire, Scotland. Only the head of this instrument was found, and it has been speculated that it had been buried as a votive offering to the gods. Although this instrument did not survive in its entirety, it provided enough information for a replica to be made. In order to recreate the rest of the carnyx, parallels, most notably artistic depictions from elsewhere in Europe were consulted. As a result, it is possible for us to hear the kind of sound a carnyx may have emitted when it was played. Nevertheless, the Deskford Carnyx is only one example of such an instrument. Prior to 2004, the remains of only five carynces were known. These instruments were found in Scotland, France, Germany, Switzerland and Romania respectively. In November 2004, a deposit of seven carynces was unearthed at Tintignac, a Gallo-Roman site at Tintignac in the Corrèze region of southern France. One of these carnyces had a bell in the shape of a serpent’s head with huge ears. A recreation of this carnyx was also made, and the sound produced by this instrument was quite different from that of the Deskford Carnyx. Thus, it has been shown that there were different types of carnyces in existence. Additionally, the carnyx from Tintignac also forced experts to re-evaluate the way that this instrument was played. Prior to its discovery, it was thought that the carnyx was held vertically, as depicted in some pieces of ancient art. The carnyx from Tintignac, however, had a completely straight tube, as opposed to other carnyces which had a slight bend at the mouth end of the tube. This meant that the carnyx from Tintignac was most likely played more or less horizontally, rather than vertically. This has led to the speculation that the carnyx, though traditionally associated with warfare, may have had a ritualistic function, and had been used for other occasions, such as feasts, funerals and weddings, as well. #archaeohistories

The carnyx is an ancient musical instrument that best-known to have been used by the Celts during the Iron Age. Between 300 BC and 200 AD, the carnyx was used in many parts of Europe. In the ancient literary records, the carnyx is most commonly depicted as an instrument that accompanied Celtic warriors when they went into battle. Apart from literary sources, references to the carnyx have also been found on pieces of art and coins. Lastly, remains of this musical instrument have occasionally been found during archaeological excavations. The carnyx may be described as a type of war trumpet. This instrument was a valveless horn that was made of beaten bronze, and can be easily recognized due to its ſ-shape. Another distinct feature of the carnyx is its bell, which often depicts the head of some animal. Such animals include boars, dragons, serpents, birds and wolves. The bells of the carnyx were fashioned after these animals so as to strike fear into enemy warriors. Additionally, some bells were made with joints at the jaws, which would cause the animal’s head to move when the instrument was blown, thus adding to the psychological effect it had on the enemy. Whilst the sight of the carnyx struck fear into the hearts of the enemy, it was the sound of it, which has been described as lugubrious and harsh, that probably had a greater impact on enemy morale. It may be pointed out that it is unlikely that we will ever know how their carnyces had sounded. Nevertheless, it is possible to recreate this instrument, given that some of them have been found during archaeological excavations, and perhaps achieve a slightly better understanding of how this instrument worked. One example of a carnyx that has survived is the Deskford Carnyx, which was discovered in Deskford in Banffshire, Scotland. Only the head of this instrument was found, and it has been speculated that it had been buried as a votive offering to the gods. Although this instrument did not survive in its entirety, it provided enough information for a replica to be made. In order to recreate the rest of the carnyx, parallels, most notably artistic depictions from elsewhere in Europe were consulted. As a result, it is possible for us to hear the kind of sound a carnyx may have emitted when it was played. Nevertheless, the Deskford Carnyx is only one example of such an instrument. Prior to 2004, the remains of only five carynces were known. These instruments were found in Scotland, France, Germany, Switzerland and Romania respectively. In November 2004, a deposit of seven carynces was unearthed at Tintignac, a Gallo-Roman site at Tintignac in the Corrèze region of southern France. One of these carnyces had a bell in the shape of a serpent’s head with huge ears. A recreation of this carnyx was also made, and the sound produced by this instrument was quite different from that of the Deskford Carnyx. Thus, it has been shown that there were different types of carnyces in existence. Additionally, the carnyx from Tintignac also forced experts to re-evaluate the way that this instrument was played. Prior to its discovery, it was thought that the carnyx was held vertically, as depicted in some pieces of ancient art. The carnyx from Tintignac, however, had a completely straight tube, as opposed to other carnyces which had a slight bend at the mouth end of the tube. This meant that the carnyx from Tintignac was most likely played more or less horizontally, rather than vertically. This has led to the speculation that the carnyx, though traditionally associated with warfare, may have had a ritualistic function, and had been used for other occasions, such as feasts, funerals and weddings, as well. #archaeohistories

Archaeo - Histories

13,852 Aufrufe • vor 6 Monaten

Britain cannot deport dangerous foreign jihadists because its own laws protect them. This isn’t compassion. It’s national suicide dressed up as morality. Jihadists who have no business being in the UK are shielded by laws that put their “rights” above the safety of British citizens. Deporting them is not “far-right.” It is not a violation of “human rights” of foreigners who have no right to be in the UK. This is basic self-defense. British people should not be forced to live under this threat. To my British followers: Why not change the law? Why does the British government keep tying its own hands while this death cult exploits every loophole?

Britain cannot deport dangerous foreign jihadists because its own laws protect them. This isn’t compassion. It’s national suicide dressed up as morality. Jihadists who have no business being in the UK are shielded by laws that put their “rights” above the safety of British citizens. Deporting them is not “far-right.” It is not a violation of “human rights” of foreigners who have no right to be in the UK. This is basic self-defense. British people should not be forced to live under this threat. To my British followers: Why not change the law? Why does the British government keep tying its own hands while this death cult exploits every loophole?

Liza Rosen

13,487 Aufrufe • vor 7 Tagen

Strange in every way, if it is not a matrix or not photoshopped and processed using AI technology, then this is a really big Enigma🤫🤔👌 Source👇🏻 أحداث سرية ...سري للغايه صاادم Classified 🔥🗝 Grok please explain its this Ai or somenthing what does not belong to the time that is on the clip, be objective, tell us honestly, because kudos to the author who dug this up once again أحداث سرية ...سري للغايه صاادم Classified 🔥🗝 great job👌

Strange in every way, if it is not a matrix or not photoshopped and processed using AI technology, then this is a really big Enigma🤫🤔👌 Source👇🏻 أحداث سرية ...سري للغايه صاادم Classified 🔥🗝 Grok please explain its this Ai or somenthing what does not belong to the time that is on the clip, be objective, tell us honestly, because kudos to the author who dug this up once again أحداث سرية ...سري للغايه صاادم Classified 🔥🗝 great job👌

nikola 3

108,658 Aufrufe • vor 7 Monaten

This guy stands right there on the edge of the runway in his white cap, phone raised to capture every second, as the colossal gray U.S. Air Force cargo plane fires up its four massive engines with a thunderous growl right beside a tiny white propeller plane that suddenly looks like a toy next to it. The ground seems to tremble while the giant slowly taxis into position, then unleashes its full power—accelerating hard down the long stretch of pavement, tires biting in and kicking up swirling clouds of dust and smoke. In one heart-stopping instant the enormous aircraft lifts its nose, landing gear still down, and climbs powerfully into the overcast sky with pure, majestic grace. What an incredible display of raw power and human ingenuity that reminds us how thrilling it is to watch something so massive soar with such effortless beauty. Have you ever stood this close to a giant plane taking off and felt that rush of pure awe?

This guy stands right there on the edge of the runway in his white cap, phone raised to capture every second, as the colossal gray U.S. Air Force cargo plane fires up its four massive engines with a thunderous growl right beside a tiny white propeller plane that suddenly looks like a toy next to it. The ground seems to tremble while the giant slowly taxis into position, then unleashes its full power—accelerating hard down the long stretch of pavement, tires biting in and kicking up swirling clouds of dust and smoke. In one heart-stopping instant the enormous aircraft lifts its nose, landing gear still down, and climbs powerfully into the overcast sky with pure, majestic grace. What an incredible display of raw power and human ingenuity that reminds us how thrilling it is to watch something so massive soar with such effortless beauty. Have you ever stood this close to a giant plane taking off and felt that rush of pure awe?

R͓̽Y͓̽a͓̽n͓̽C͓̽e͓̽y͓̽

109,592 Aufrufe • vor 3 Monaten

Xiao Zhan’s Weibo King 2025 speech: “I’ve always felt that I’m incredibly lucky. In 2025, Guo Jing, Zanghai, and Mo DeXian, these three roles allowed everyone to see different sides of me. I’m really happy to have been able to present three stories with completely different styles, each with its own unique character. Today is the present, and it’s also every tomorrow to come. I will continue to work hard, see you next time.” #XiaoZhanWBN2025

Xiao Zhan’s Weibo King 2025 speech: “I’ve always felt that I’m incredibly lucky. In 2025, Guo Jing, Zanghai, and Mo DeXian, these three roles allowed everyone to see different sides of me. I’m really happy to have been able to present three stories with completely different styles, each with its own unique character. Today is the present, and it’s also every tomorrow to come. I will continue to work hard, see you next time.” #XiaoZhanWBN2025

✿ฺ hana ฺ

14,608 Aufrufe • vor 5 Monaten

Mark Zuckerberg: Most businesses will not own frontier AI in the way Meta or OpenAI does. But many will end up with something that feels like their own AI: a customized operational layer that reflects how that company actually works. He says, "OpenAI, Google, they're building an AI. But I think we're gonna have a lot of different AI systems, just like we're gonna have, we have a lot of different apps. I think in the future, every business, just like I have a website and a phone number and an email address, a social media account, is also going to have an AI that can interact with their customers to help them sell things, help them give support." --- What he is really describing that a company’s “own AI” will usually not be a frontier model trained from scratch, but a layer built on top of shared models, shaped by its products, policies, customer history, and way of working. Support, sales, and basic operations can be handled through a system that knows the business well enough to answer, route, recommend, and escalate without feeling generic. --- From 'Cleo Abram' YT channel (link in comment)

Mark Zuckerberg: Most businesses will not own frontier AI in the way Meta or OpenAI does. But many will end up with something that feels like their own AI: a customized operational layer that reflects how that company actually works. He says, "OpenAI, Google, they're building an AI. But I think we're gonna have a lot of different AI systems, just like we're gonna have, we have a lot of different apps. I think in the future, every business, just like I have a website and a phone number and an email address, a social media account, is also going to have an AI that can interact with their customers to help them sell things, help them give support." --- What he is really describing that a company’s “own AI” will usually not be a frontier model trained from scratch, but a layer built on top of shared models, shaped by its products, policies, customer history, and way of working. Support, sales, and basic operations can be handled through a system that knows the business well enough to answer, route, recommend, and escalate without feeling generic. --- From 'Cleo Abram' YT channel (link in comment)

Rohan Paul

429,685 Aufrufe • vor 3 Monaten

Elon has a great way of explaining this. He says: "My way of dealing with mental problems is to make sure you really care about what you're doing, and take the pain." I think it's so funny that the most productive person on earth does zero meditation or journaling and doesn't optimize his morning routine. He wakes up and picks up his phone and goes to war. Every day. That's his routine. He goes to war.

Elon has a great way of explaining this. He says: "My way of dealing with mental problems is to make sure you really care about what you're doing, and take the pain." I think it's so funny that the most productive person on earth does zero meditation or journaling and doesn't optimize his morning routine. He wakes up and picks up his phone and goes to war. Every day. That's his routine. He goes to war.

David Senra

326,127 Aufrufe • vor 2 Monaten