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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 просмотров • 3 месяцев назад •via X (Twitter)

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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!

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."

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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!

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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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Johann Sebastian Bach’s Brandenburg Concerto No. 3: Beauty Born from the Order of Relationships The most remarkable aspect of Johann Sebastian Bach’s Brandenburg Concerto No. 3 does not lie in the presence of a dominant soloist, but in the fact that no single voice stands alone. From the very first sounds, the listener is drawn into the powerful movement of the string instruments. The three groups of violins, violas, and cellos continuously engage in dialogue, passing ideas between one another and supporting each other. Each musical line has its own character, yet none exists apart from the greater flow. This organization reveals a profound principle of beauty: Beauty does not exist only within individual parts; it emerges when different elements discover a harmonious way to connect with one another. The performance by Voices of Music in the Historically Informed Performance (HIP) style highlights this quality. By presenting each musical line with greater clarity in the spirit of the Baroque tradition, the listener can perceive how Bach allows every instrument to maintain its own voice while participating in a larger structure. No Single Note Creates Beauty on Its Own A single note, no matter how beautiful, cannot create the depth of an entire musical work. The meaning of Bach’s music does not lie in isolated elements, but in the way those elements respond to, complement, and illuminate one another. A single stone does not create the beauty of a building; a single brushstroke cannot represent the full value of a painting. Only when each detail is placed in its proper position within a larger structure does beauty truly emerge. In Brandenburg Concerto No. 3, a violin line does not gain value because it stands above the other voices. It becomes meaningful because of the role it plays within the overall movement of the composition. Independent, Yet Not Separate This is one of the defining qualities of Bach’s contrapuntal art. Each musical line in the work possesses its own character. A musical idea may appear in the violins, be taken up by the violas, and then answered by the cellos. The voices do not simply merge together; they continuously engage in dialogue and develop alongside one another. If all instruments played the same melody, the music would lose its depth. Yet if every line existed completely independently, the work would lose its balance. Bach creates a delicate middle ground: each element preserves its own identity, but none exists as an isolated individual. It is this interaction that enriches every musical voice. No part needs to overpower another in order to become significant; the value of each element is revealed through its contribution to the entire composition. A Structure Always in Motion The vitality of Brandenburg Concerto No. 3 comes from continuous movement, but this movement is never without direction. Each musical phrase opens the way for the next. Every moment of tension prepares for a moment of release. Within the ritornello structure, the main theme returns repeatedly, yet each appearance carries a new character after undergoing processes of development and transformation. Bach does not create beauty through the simple repetition of a fixed idea. Instead, he allows a familiar theme to be rediscovered in different contexts. This is also a characteristic of sustainable systems in nature: they do not exist by remaining unchanged, but by maintaining balance throughout transformation. A healthy living organism is not a state of stillness. It constantly adjusts, adapts, and renews itself while preserving inner stability. If nothing changes, life loses its ability to develop. But if every change occurs without a guiding principle, balance cannot be maintained. Sustainability requires both a stable foundation and the ability to move. This is precisely what Bach achieves in Brandenburg Concerto No. 3. A musical idea does not merely return; it is transformed through interaction with other voices before appearing again. He creates a structure that possesses both order and vitality — a world where change does not destroy balance, but instead enriches it. Why Do We Experience This as Beautiful? When we listen to music, we do not simply receive individual sounds. We naturally search for relationships, hidden patterns, and the ways in which different elements connect. A completely chaotic work would struggle to create a sense of wholeness. Yet a work that only repeats without development would easily become monotonous. The appeal of Bach’s music lies in the balance between predictability and surprise. The listener senses a familiar foundation while simultaneously being led toward new possibilities of development. When every element in a composition appears to have a meaningful purpose, we experience a structure in which complexity has been transformed into harmony. A Principle Beyond Music What Bach expresses is not only a mastery of counterpoint, but also a vision of harmony itself. A powerful whole is not created by eliminating differences between its parts. Instead, those differences create depth when they are placed within the right relationships. In Brandenburg Concerto No. 3, the violins, violas, and cellos do not lose their individual qualities when combined. Through their dialogue, the unique colors of each instrumental group become even more apparent. Beauty therefore does not arise from absolute uniformity, but from the ability to transform many different elements into a unified balance. Conclusion Brandenburg Concerto No. 3 is not merely a masterpiece of the Baroque era. Through the organization of multiple independent melodic lines into a harmonious flow, Bach reveals a profound principle of beauty: Each element reaches its fullest expression when it is placed within the proper relationship to the whole to which it belongs. The power of the work does not lie in a single melody or a single technique, but in the way all its elements coexist, respond, and support one another. More than three centuries later, Brandenburg Concerto No. 3 continues to move listeners because it expresses a fundamental truth: beauty emerges when diversity finds a harmonious form — when each part preserves its own identity while contributing to a whole greater than itself.

Johann Sebastian Bach’s Brandenburg Concerto No. 3: Beauty Born from the Order of Relationships The most remarkable aspect of Johann Sebastian Bach’s Brandenburg Concerto No. 3 does not lie in the presence of a dominant soloist, but in the fact that no single voice stands alone. From the very first sounds, the listener is drawn into the powerful movement of the string instruments. The three groups of violins, violas, and cellos continuously engage in dialogue, passing ideas between one another and supporting each other. Each musical line has its own character, yet none exists apart from the greater flow. This organization reveals a profound principle of beauty: Beauty does not exist only within individual parts; it emerges when different elements discover a harmonious way to connect with one another. The performance by Voices of Music in the Historically Informed Performance (HIP) style highlights this quality. By presenting each musical line with greater clarity in the spirit of the Baroque tradition, the listener can perceive how Bach allows every instrument to maintain its own voice while participating in a larger structure. No Single Note Creates Beauty on Its Own A single note, no matter how beautiful, cannot create the depth of an entire musical work. The meaning of Bach’s music does not lie in isolated elements, but in the way those elements respond to, complement, and illuminate one another. A single stone does not create the beauty of a building; a single brushstroke cannot represent the full value of a painting. Only when each detail is placed in its proper position within a larger structure does beauty truly emerge. In Brandenburg Concerto No. 3, a violin line does not gain value because it stands above the other voices. It becomes meaningful because of the role it plays within the overall movement of the composition. Independent, Yet Not Separate This is one of the defining qualities of Bach’s contrapuntal art. Each musical line in the work possesses its own character. A musical idea may appear in the violins, be taken up by the violas, and then answered by the cellos. The voices do not simply merge together; they continuously engage in dialogue and develop alongside one another. If all instruments played the same melody, the music would lose its depth. Yet if every line existed completely independently, the work would lose its balance. Bach creates a delicate middle ground: each element preserves its own identity, but none exists as an isolated individual. It is this interaction that enriches every musical voice. No part needs to overpower another in order to become significant; the value of each element is revealed through its contribution to the entire composition. A Structure Always in Motion The vitality of Brandenburg Concerto No. 3 comes from continuous movement, but this movement is never without direction. Each musical phrase opens the way for the next. Every moment of tension prepares for a moment of release. Within the ritornello structure, the main theme returns repeatedly, yet each appearance carries a new character after undergoing processes of development and transformation. Bach does not create beauty through the simple repetition of a fixed idea. Instead, he allows a familiar theme to be rediscovered in different contexts. This is also a characteristic of sustainable systems in nature: they do not exist by remaining unchanged, but by maintaining balance throughout transformation. A healthy living organism is not a state of stillness. It constantly adjusts, adapts, and renews itself while preserving inner stability. If nothing changes, life loses its ability to develop. But if every change occurs without a guiding principle, balance cannot be maintained. Sustainability requires both a stable foundation and the ability to move. This is precisely what Bach achieves in Brandenburg Concerto No. 3. A musical idea does not merely return; it is transformed through interaction with other voices before appearing again. He creates a structure that possesses both order and vitality — a world where change does not destroy balance, but instead enriches it. Why Do We Experience This as Beautiful? When we listen to music, we do not simply receive individual sounds. We naturally search for relationships, hidden patterns, and the ways in which different elements connect. A completely chaotic work would struggle to create a sense of wholeness. Yet a work that only repeats without development would easily become monotonous. The appeal of Bach’s music lies in the balance between predictability and surprise. The listener senses a familiar foundation while simultaneously being led toward new possibilities of development. When every element in a composition appears to have a meaningful purpose, we experience a structure in which complexity has been transformed into harmony. A Principle Beyond Music What Bach expresses is not only a mastery of counterpoint, but also a vision of harmony itself. A powerful whole is not created by eliminating differences between its parts. Instead, those differences create depth when they are placed within the right relationships. In Brandenburg Concerto No. 3, the violins, violas, and cellos do not lose their individual qualities when combined. Through their dialogue, the unique colors of each instrumental group become even more apparent. Beauty therefore does not arise from absolute uniformity, but from the ability to transform many different elements into a unified balance. Conclusion Brandenburg Concerto No. 3 is not merely a masterpiece of the Baroque era. Through the organization of multiple independent melodic lines into a harmonious flow, Bach reveals a profound principle of beauty: Each element reaches its fullest expression when it is placed within the proper relationship to the whole to which it belongs. The power of the work does not lie in a single melody or a single technique, but in the way all its elements coexist, respond, and support one another. More than three centuries later, Brandenburg Concerto No. 3 continues to move listeners because it expresses a fundamental truth: beauty emerges when diversity finds a harmonious form — when each part preserves its own identity while contributing to a whole greater than itself.

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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

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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?

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14,608 просмотров • 5 месяцев назад

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

429,698 просмотров • 3 месяцев назад

🔥🚨DEVELOPING: Democrats on Kamala Harris’ Instagram have been criticizing her over her uploading this video for space week. In a surprising string of comments Liberals are upset with the way ‘Kamala carry herself’ and comments like “Is this supposed to be for the kids?’ ‘I just want serious Presidents.’ It does appear Democrats are really losing their supporters due to their own actions.

🔥🚨DEVELOPING: Democrats on Kamala Harris’ Instagram have been criticizing her over her uploading this video for space week. In a surprising string of comments Liberals are upset with the way ‘Kamala carry herself’ and comments like “Is this supposed to be for the kids?’ ‘I just want serious Presidents.’ It does appear Democrats are really losing their supporters due to their own actions.

Dom Lucre | Breaker of Narratives

3,391,393 просмотров • 2 лет назад

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

326,174 просмотров • 3 месяцев назад