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United’s first training session under Amorim, player positions: RCB- Yoro RWB - Antony CM- Casemiro (slightly staggered 6s) CM - Mainoo LWB - Malacia RAM - Amad LAM - Mount CF - Rashford Amorim looking at his watch, asking for the move to be sped up.

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Charlie

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2,995,278 views • 1 year ago •via X (Twitter)

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Charlie1 year ago

Next clip trying to move the ball around a measured press, we can now spot: CCB- Evans LCB - Shaw

Charlie's profile picture
Charlie1 year ago

Next clip testing the team’s reaction to “losing possession” with sprints back into our own half.

Charlie's profile picture
Charlie1 year ago

Next clip testing the team’s ability to break down a settled block. -> 3-2 rest defence (3 CBs and 2 CMs) -> focus on number 10s to underlap -> aim to find WB in space

Charlie's profile picture
Charlie1 year ago

Note: This is what I’m referencing from the description of the first tweet. Timing the duration of the move, wanting the team back in their own half soon after finishing the move. Seemingly wants this to be completed more quickly…

Charlie's profile picture
Charlie1 year ago

Forgive my use of “LAM” and “RAM”. I promise I’m not a 10 year old FIFA player, just have limited characters and don’t want to have to write “left and right sided number 10s”. Interesting training videos nonetheless.

Charlie's profile picture
Charlie1 year ago

Shaw LCB (fewer sprints over longer distances than a LWB), makes sense given his injury prone nature. Mount and Amad as 10s is nice, both have good pocket play which means they’re great options in those areas. Antony’s intensity makes RWB understandable…

Charlie's profile picture
Charlie1 year ago

However I’m unsure about the long term fit, due to the lack of 1 vs 1 separation techniques he has in his locker. Rashford CF makes sense, think it’s more viable than left sided 10 for him. Yoro RCB I like, can develop his channel defending and ball playing into half-spaces.

Charlie's profile picture
Charlie1 year ago

This turned into a thread, hope you enjoyed. Do follow me on BlueSky as well, will be posting regularly over there. Same username.

Charlie's profile picture
Charlie1 year ago

While you’re here, join the discord group chat if you want to talk all things United!

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Adedolapo1 year ago

Amorim in for the surprise of his life when Bruno and rashford break tactics 72 times in 90 minutes

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Bengaluru also saw its infrastructure develop rapidly. From the metro to the flyovers to the ring roads to the work on the new airport - all received tremendous attention under SM Krishna. He clearly understood that cities are the engines of growth and prosperity and that they needed to be given the political and financial capital needed. Even to this day, unfortunately, many political leaders and parties do not understand this and continue to ignore our urban development needs. Perhaps, this distance from socialism also had a role in his sartorial choices. While it was expected that political leaders should dress in the modest Khadi and shun flamboyance in an attempt to resonate with the poor masses, Krishna was flamboyant, stylish and savvy. He dressed well, like how the leader of an aspiring global city should. I have never seen him dressed shabbily ever, even in photos from the hospital bed. There was something regal about his appearance. I have googled so many of his pictures to try and buy similar clothes, ties and pocket squares. He is undoubtedly the most stylish politician of Karnataka. Mr. Krishna’s term as CM was not a bed of roses. The abduction of Dr. Rajkumar was one of the most difficult challenges that faced him and the way he handled the issue tactically, coordinating with CM Jayalalitha and also initiating track two dialogues with the forest brigand, and finally ensuring the release of Rajkumar is a lesson for many in crisis management and diplomacy. Unfortunately, the state suffered continuous drought during his CM-ship and despite his best efforts, the farmers crisis across the state remained quite acute and even led to the eventual loss of the Congress Party in the elections. Despite these challenges, his leadership transformed Bengaluru and created tremendous wealth for people of Karnataka. If Karnataka is among the wealthiest states in the country and Bengaluru is the richest city in the country in terms of per capita income, Krishna’s role is significant. While SM Krishna will be remembered for his developmental role, his crisis handling skills and his contribution to modern Bengaluru, he will mostly be loved by Kannadigas for the decency and dignity with which he carried his public life - a value so rare in Indian politics. All his interviews, in both English and Kannada are a treat to watch for his command over the languages and the depth in which he addressed the subjects and importantly for the decency with which he addressed all, including his sharpest rivals. His dignified personal conduct won him many admirers across political divides - even traditional BJP voting families like mine were ardent supporters of Krishna. It was like homecoming when Krishna joined the BJP in 2019, inspired by PM Modi. An ardent connoisseur of arts, Mr. Krishna and his wife Prema were often spotted at the cultural and theatre circuit of Bengaluru. I have seen him and his wife at the Rama Seva Mandali Ramotsava music festival many times. He was in the mould of our Mysuru Maharajas who were not only great patrons of our classical arts, but were passionate connoisseurs themselves. A state’s cultural life gets enriched with such political leaders. Even a year ago, I met Mr. Krishna at a play where we both were guests and I got an opportunity to take his blessings. In many ways, SM Krishna deeply influenced me in my formative days as a young school boy aspiring to get into politics. From his dignified public conduct to his focus on industrialisation and urbanisation to his impeccable sartorial choices - his influence was immense. I was delighted when he joined the BJP just before the 2019 elections and even came to campaign for me. He was not in the best of health then, but despite that, he stood in the heat in the campaign vehicle for more than an hour and even indulged my selfie videos. His support meant a lot to me personally. As we bid farewell to him, those of us in public life must resolve to conduct our politics in his mould - dignified, accommodating, progressive and prosperity creating for our people. I appeal to CM Siddaramaiah and DCM DK Shivakumar to institute an award in Sri SM Krishna’s name to honour those who make a significant contribution to the development of Bengaluru - it will not only inspire many to work for our city but also keep the memory of an inspired life alive. As a proud Kannadiga and a Bengaluru boy, I thank Sri SM Krishna for everything. Go well, Sir.

Tejasvi Surya

71,999 views • 1 year ago

Player Profile: Khanyisa Mayo[27]📝 Position: RW/RF/CF Foot: Left Club: Kaizer Chiefs FC Kaizer Chiefs has made another bold move in adding quality to the teams attack. Khanyisa Mayo provides immediate and long-term attacking solutions for the club on the right. 1. Technical Qualities Mayo is a skillful, left-footed attacker with a profile built for modern, high-intensity attacking football. ■ A very direct winger, always looking to advance play instead of recycling possession. ■ Excellent at carrying the ball through pressure, breaking lines, and forcing defenders into retreat. ■ His dribbling and progressive runs add verticality to the team’s attacking structure. Shooting and Passing: ■ Strong shooting range when cutting inside from the right. He provides that unpredictability to the attack with his quality to strike the ball from range. Consistently attempts to feed the box: goals, assists, and key passes. A finisher and creator between the lines. Positional Versatility: ■ In a 4-3-3/4-2-3-1, his best role is as the right forward or right winger, cutting inside to shoot or combine. He can also be effective stretching play and still carry goal threat and creativity. ■ As a No. 9: While not his best role, he is capable of leading the line. He uses his pace to run in behind. He can compete but lacks the physicality to hold off defenders, though his finishing is good. ■ As a Second Striker[442]: A role that plays better to his strengths than as a 9. He is comfortable operating between the lines, combining with midfielders and a traditional box striker. His mobility, creativity, and shooting ability allow him to function as the link player, collecting the ball, supporting the primary striker, and creating or finishing opportunities. This ability to operate both wide and centrally makes him tactically flexible, giving Chiefs options in various attacking structures. 2. Physical Attributes ■ Pace & Explosiveness: Quick acceleration makes him a constant outlet for balls in behind. ■ Strength & Balance: He is strong enough to hold off fullbacks, sustaining attacking sequences under pressure ■ High Intensity: Matches the tempo of Chiefs’ pressing and counter-pressing game. We do most actions with a lot of intensity, and his explosive nature will be very much welcomed in our attack. 3. Tactical Fit at Chiefs Under Coach Nabi, Chiefs are shaping into a side that plays with directness, intensity, and aggression across all phases of play: ■ Pressing & Counter-Pressing: The team applies immediate pressure after losing the ball. Mayo’s speed, defensive work rate, and forward momentum align seamlessly with this system. ■ High-Tempo Attacking: Chiefs don’t rely on slow possession. Attacks are vertical, sharp, and quick. Mayo’s instinct to drive forward, dribble at defenders, and attack space makes him an ideal fit. ■ Attacking Personality: His ability to provide not just progression but also the final goal, final pass, and decisive action elevates Chiefs’ attacking efficiency. Mayo’s game is inherently aligned with protagonist football: high tempo, forward intent, and productivity. 4. Experiential Value ■ Continental Experience: Spent a season in Algeria with CR Belouizdad, scoring 6 goals from wide positions. Notable not just for the numbers but for adapting to a challenging cultural and tactical environment. ■ Tactical Growth: North African teams are disciplined and organized, with compact defenses and structured pressing. Mayo sharpened his decision-making, spatial awareness, and ability to operate against tight blocks, preparing him for high-level CAF competitions. ■ Mentality: At 27, he blends maturity with hunger. His willingness to take risks reflects confidence and attacking intent. Yet to reach his peak, now is the perfect time to step up, showing the quality glimpsed at Cape Town City. Mayo joins Chiefs as both a system player and a game-changer. A top signing by the Glamour Boys! 📝
2:00

Player Profile: Khanyisa Mayo[27]📝 Position: RW/RF/CF Foot: Left Club: Kaizer Chiefs FC Kaizer Chiefs has made another bold move in adding quality to the teams attack. Khanyisa Mayo provides immediate and long-term attacking solutions for the club on the right. 1. Technical Qualities Mayo is a skillful, left-footed attacker with a profile built for modern, high-intensity attacking football. ■ A very direct winger, always looking to advance play instead of recycling possession. ■ Excellent at carrying the ball through pressure, breaking lines, and forcing defenders into retreat. ■ His dribbling and progressive runs add verticality to the team’s attacking structure. Shooting and Passing: ■ Strong shooting range when cutting inside from the right. He provides that unpredictability to the attack with his quality to strike the ball from range. Consistently attempts to feed the box: goals, assists, and key passes. A finisher and creator between the lines. Positional Versatility: ■ In a 4-3-3/4-2-3-1, his best role is as the right forward or right winger, cutting inside to shoot or combine. He can also be effective stretching play and still carry goal threat and creativity. ■ As a No. 9: While not his best role, he is capable of leading the line. He uses his pace to run in behind. He can compete but lacks the physicality to hold off defenders, though his finishing is good. ■ As a Second Striker[442]: A role that plays better to his strengths than as a 9. He is comfortable operating between the lines, combining with midfielders and a traditional box striker. His mobility, creativity, and shooting ability allow him to function as the link player, collecting the ball, supporting the primary striker, and creating or finishing opportunities. This ability to operate both wide and centrally makes him tactically flexible, giving Chiefs options in various attacking structures. 2. Physical Attributes ■ Pace & Explosiveness: Quick acceleration makes him a constant outlet for balls in behind. ■ Strength & Balance: He is strong enough to hold off fullbacks, sustaining attacking sequences under pressure ■ High Intensity: Matches the tempo of Chiefs’ pressing and counter-pressing game. We do most actions with a lot of intensity, and his explosive nature will be very much welcomed in our attack. 3. Tactical Fit at Chiefs Under Coach Nabi, Chiefs are shaping into a side that plays with directness, intensity, and aggression across all phases of play: ■ Pressing & Counter-Pressing: The team applies immediate pressure after losing the ball. Mayo’s speed, defensive work rate, and forward momentum align seamlessly with this system. ■ High-Tempo Attacking: Chiefs don’t rely on slow possession. Attacks are vertical, sharp, and quick. Mayo’s instinct to drive forward, dribble at defenders, and attack space makes him an ideal fit. ■ Attacking Personality: His ability to provide not just progression but also the final goal, final pass, and decisive action elevates Chiefs’ attacking efficiency. Mayo’s game is inherently aligned with protagonist football: high tempo, forward intent, and productivity. 4. Experiential Value ■ Continental Experience: Spent a season in Algeria with CR Belouizdad, scoring 6 goals from wide positions. Notable not just for the numbers but for adapting to a challenging cultural and tactical environment. ■ Tactical Growth: North African teams are disciplined and organized, with compact defenses and structured pressing. Mayo sharpened his decision-making, spatial awareness, and ability to operate against tight blocks, preparing him for high-level CAF competitions. ■ Mentality: At 27, he blends maturity with hunger. His willingness to take risks reflects confidence and attacking intent. Yet to reach his peak, now is the perfect time to step up, showing the quality glimpsed at Cape Town City. Mayo joins Chiefs as both a system player and a game-changer. A top signing by the Glamour Boys! 📝

El Capitano⚪

89,575 views • 1 year ago

Today feels like watching history settle into its rightful place. The Bhagwan Shri Ram Mandir in Ayodhya now stands complete, crowned with the Dharma Dhwaj. That flag is not just fabric. The rising sun on it reminds us that Prabhu Shri Ram belongs to the royal Suryavansh, a line that upheld truth and duty. The sacred Om at the centre speaks of awareness, devotion and the unbroken connection between the devotee and the divine. The Kovidar tree symbol carries the promise of Ram Rajya, good governance and prosperity as described in our ancient texts. Every symbol on that flag tells the story of a civilisation that refused to forget its ideals. On this day my first instinct is to bow my head to those who carried this struggle on their shoulders. From Advani ji, Modi ji, the sadhus and sadhvis who set out on the Rath Yatra, to countless kar sevaks who slept on railway platforms, walked in the heat, faced lathis and bullets. Many of them never came back. We owe a special salute to those who were shot dead when Mulayam Singh ordered firing on Ram bhakts. Their blood is part of the foundation of this temple. We should also remember who stood on the other side of this story. Lalu Yadav stopped the Rath Yatra. Sonia Gandhi’s party tried in court to argue that Bhagwan Ram was only a myth. Kapil Sibal used every technical trick available to keep the case hanging so that a verdict never came in our lifetime. For years this was the pattern. Delay, mock, insult, block. Yet in one moment it all felt worth it. When Narendra Modi ji was hoisting the Dharma Dhwaj, look closely at his hands. They are trembling slightly, the way any devotee shakes when the heart is overflowing. In that instant he looked less like a Prime Minister and more like a common kar sevak who finally got to see the dream completed. I come from a Sanghi household. We have lived through 1984, 1990, 1992, through the years when talking about Ram Mandir in public invited abuse and threats. My father was a swayamsevak and also an Arya Samaji, deeply committed to Hindutva in the purest sense of service and sacrifice. He gave months and years of his life to Dharma, organising, travelling, working day and night for a vision he was not sure he would see fulfilled. He kept that tapasya going till his last breath. Today I feel he is standing in Ayodhya with all of us. Anyone who grew up in the 90s and early 2000s will remember the conversations at home. We would say in simple words “When BJP comes, all this will change. Just once let BJP form a strong government and Ram Mandir will happen.” It sounded childish to some, but it was the only hope millions held on to. When I started campaigning myself, our discussions were always about Article 370, Ram Mandir and many other issues linked to justice for Hindus. Friends would laugh and taunt me. “Neither will BJP come to power nor will any of this happen,” they would say. As a young volunteer I once gathered the courage to ask Advani ji: “Sir, will we really be able to build the temple, looking at how Congress plays politics?” He replied with total confidence, with the voice of a man who had already seen the future in his mind. “No matter what happens, the temple will be built, and it will be built at that very spot.” Today those words echo in Ayodhya. We are fortunate to live in the time of Narendra Modi as Prime Minister, Amit Shah as Home Minister and Yogi Adityanath ji in Uttar Pradesh. Along with the tireless efforts of countless unnamed workers, they turned a five hundred year old wound into a centre of pride. Until 2014 it felt like the story would never move forward. There were only court dates, politics, editorials and insults for believers. Today the chapter has finally turned. The birthplace of Shri Ram once again has a grand mandir, and above it the Dharma Dhwaj that announces to the world that Sanatan faith is alive, awake and standing tall. This is not only about architecture. It is about self respect. It is about telling every kar sevak who walked in the dust of Ayodhya, every swayamsevak who gave their youth, every father and mother who whispered “Mandir wahin banega” to their children, that their trust was not misplaced. I feel grateful to be alive to see this day. Grateful to my father’s generation for keeping the flame burning. Grateful to this nation for never letting the memory of Shri Ram’s birthplace fade. Today, the flag on the shikhara carries the stories of five centuries of struggle and the promise of a new era of confidence. This story needs to be told again and again so that our current generation knows that none of this came easily or on a platter. Jai Shri Ram #Ayodhya Shri Ram Janmbhoomi Teerth Kshetra
0:27

Today feels like watching history settle into its rightful place. The Bhagwan Shri Ram Mandir in Ayodhya now stands complete, crowned with the Dharma Dhwaj. That flag is not just fabric. The rising sun on it reminds us that Prabhu Shri Ram belongs to the royal Suryavansh, a line that upheld truth and duty. The sacred Om at the centre speaks of awareness, devotion and the unbroken connection between the devotee and the divine. The Kovidar tree symbol carries the promise of Ram Rajya, good governance and prosperity as described in our ancient texts. Every symbol on that flag tells the story of a civilisation that refused to forget its ideals. On this day my first instinct is to bow my head to those who carried this struggle on their shoulders. From Advani ji, Modi ji, the sadhus and sadhvis who set out on the Rath Yatra, to countless kar sevaks who slept on railway platforms, walked in the heat, faced lathis and bullets. Many of them never came back. We owe a special salute to those who were shot dead when Mulayam Singh ordered firing on Ram bhakts. Their blood is part of the foundation of this temple. We should also remember who stood on the other side of this story. Lalu Yadav stopped the Rath Yatra. Sonia Gandhi’s party tried in court to argue that Bhagwan Ram was only a myth. Kapil Sibal used every technical trick available to keep the case hanging so that a verdict never came in our lifetime. For years this was the pattern. Delay, mock, insult, block. Yet in one moment it all felt worth it. When Narendra Modi ji was hoisting the Dharma Dhwaj, look closely at his hands. They are trembling slightly, the way any devotee shakes when the heart is overflowing. In that instant he looked less like a Prime Minister and more like a common kar sevak who finally got to see the dream completed. I come from a Sanghi household. We have lived through 1984, 1990, 1992, through the years when talking about Ram Mandir in public invited abuse and threats. My father was a swayamsevak and also an Arya Samaji, deeply committed to Hindutva in the purest sense of service and sacrifice. He gave months and years of his life to Dharma, organising, travelling, working day and night for a vision he was not sure he would see fulfilled. He kept that tapasya going till his last breath. Today I feel he is standing in Ayodhya with all of us. Anyone who grew up in the 90s and early 2000s will remember the conversations at home. We would say in simple words “When BJP comes, all this will change. Just once let BJP form a strong government and Ram Mandir will happen.” It sounded childish to some, but it was the only hope millions held on to. When I started campaigning myself, our discussions were always about Article 370, Ram Mandir and many other issues linked to justice for Hindus. Friends would laugh and taunt me. “Neither will BJP come to power nor will any of this happen,” they would say. As a young volunteer I once gathered the courage to ask Advani ji: “Sir, will we really be able to build the temple, looking at how Congress plays politics?” He replied with total confidence, with the voice of a man who had already seen the future in his mind. “No matter what happens, the temple will be built, and it will be built at that very spot.” Today those words echo in Ayodhya. We are fortunate to live in the time of Narendra Modi as Prime Minister, Amit Shah as Home Minister and Yogi Adityanath ji in Uttar Pradesh. Along with the tireless efforts of countless unnamed workers, they turned a five hundred year old wound into a centre of pride. Until 2014 it felt like the story would never move forward. There were only court dates, politics, editorials and insults for believers. Today the chapter has finally turned. The birthplace of Shri Ram once again has a grand mandir, and above it the Dharma Dhwaj that announces to the world that Sanatan faith is alive, awake and standing tall. This is not only about architecture. It is about self respect. It is about telling every kar sevak who walked in the dust of Ayodhya, every swayamsevak who gave their youth, every father and mother who whispered “Mandir wahin banega” to their children, that their trust was not misplaced. I feel grateful to be alive to see this day. Grateful to my father’s generation for keeping the flame burning. Grateful to this nation for never letting the memory of Shri Ram’s birthplace fade. Today, the flag on the shikhara carries the stories of five centuries of struggle and the promise of a new era of confidence. This story needs to be told again and again so that our current generation knows that none of this came easily or on a platter. Jai Shri Ram #Ayodhya Shri Ram Janmbhoomi Teerth Kshetra

Sandiip Gandotra

437,490 views • 9 months ago

🚨🗣️Darwin Nunez on his time at Liverpool: • Darwin, you arrived at Liverpool as a big-money signing with huge expectations. Looking back now, how do you feel about those years? Nunez🗣️: “I gave everything to Liverpool. Every training session, every match, every time I was told to wait my turn. I never hid from the responsibility. But when I left, I left knowing the club never fully decided what they actually wanted from me. Under Klopp the system was chaos. High line, aggressive pressing, second balls, transitions. That was my game. I could run in behind, I could stretch defences, I could make things uncomfortable. Then Slot arrived and the football became more controlled, more positional, more about perfect link-up and decision-making in tight spaces. Suddenly the same player who was signed for chaos was being asked to become a technical, structured number nine. That is not how I am built. The spaces disappeared. The trust disappeared with them. I still scored important goals. I still created chances. But the first name people wanted off the pitch was always mine. Other players made the same mistakes and got protected. I became the meme. When the manager publicly questioned my work rate, that stayed with me. I know how hard I worked. Maybe my body language after missing a chance was not perfect. Maybe I got frustrated. But to hear that after everything I gave… it tells you everything about how I was viewed. Liverpool demand perfection every week. That is fine. But sometimes a player needs belief more than another lecture about intensity. I needed the system to fit me, not the other way around. When it stopped fitting, the belief from the people in charge started disappearing. I left with respect for the club and the fans who always backed me. But I also left knowing I never really got the full chance to be the player I know I am when the football actually suits me. Some people will say I was not good enough. That’s fine. They never truly trusted me anyway.”
0:30

🚨🗣️Darwin Nunez on his time at Liverpool: • Darwin, you arrived at Liverpool as a big-money signing with huge expectations. Looking back now, how do you feel about those years? Nunez🗣️: “I gave everything to Liverpool. Every training session, every match, every time I was told to wait my turn. I never hid from the responsibility. But when I left, I left knowing the club never fully decided what they actually wanted from me. Under Klopp the system was chaos. High line, aggressive pressing, second balls, transitions. That was my game. I could run in behind, I could stretch defences, I could make things uncomfortable. Then Slot arrived and the football became more controlled, more positional, more about perfect link-up and decision-making in tight spaces. Suddenly the same player who was signed for chaos was being asked to become a technical, structured number nine. That is not how I am built. The spaces disappeared. The trust disappeared with them. I still scored important goals. I still created chances. But the first name people wanted off the pitch was always mine. Other players made the same mistakes and got protected. I became the meme. When the manager publicly questioned my work rate, that stayed with me. I know how hard I worked. Maybe my body language after missing a chance was not perfect. Maybe I got frustrated. But to hear that after everything I gave… it tells you everything about how I was viewed. Liverpool demand perfection every week. That is fine. But sometimes a player needs belief more than another lecture about intensity. I needed the system to fit me, not the other way around. When it stopped fitting, the belief from the people in charge started disappearing. I left with respect for the club and the fans who always backed me. But I also left knowing I never really got the full chance to be the player I know I am when the football actually suits me. Some people will say I was not good enough. That’s fine. They never truly trusted me anyway.”

Vfynn_🥷🏼 𐙚

160,785 views • 1 month ago

There’s Something About Watching Someone Who Really Knows How to Dance The first thing I noticed was how little he seemed to care about the camera. He was dressed in a black suit and a fedora, dancing in front of some old-looking buildings, and at first I thought I would watch for a few seconds and move on. But then one step caught my attention. He slid into the beat, stopped almost exactly where the music seemed to ask him to, and moved on without making the transition look difficult. What I liked most was that you could actually see the dancing. His feet were doing the work. His shoulders moved with the music, his weight shifted from one side to the other, and every turn seemed to have a reason for being there. Nothing felt thrown in just to make the routine look complicated. I ended up watching the clip a few times, and that was when I realized what I found so satisfying about it. The movements were precise, but they didn’t look stiff. He had obviously spent a lot of time learning how to control his body, yet none of that effort was visible anymore. He looked relaxed. That kind of ease is difficult to fake. It also made me think about how differently we usually watch dance online. So many videos are built around quick cuts and short bursts of movement. You see a few seconds, get the most exciting part, and then the video moves on to something else. This one gives the dancing room to breathe. You can follow an entire sequence instead of trying to piece it together from edits. Maybe that is why the old-fashioned details work so well here. The suit and fedora, the architecture behind him, and the rhythm of the music all give the performance a particular character. But I don't think I enjoyed it simply because it reminded me of another era. The interesting thing is that the movement itself doesn't feel dated. A good dancer still looks like a good dancer. What surprised me most, though, was how much enjoyment seemed to be in it. He wasn’t dancing as if he were trying to prove something. There was a lightness to the performance, almost as if he knew the rhythm well enough that he could stop thinking about the steps and simply enjoy them. That is probably what kept me there. We spend so much time online watching people trying to catch our attention that it can be refreshing to watch someone who has already earned it without asking for it. No dramatic setup. No complicated explanation. Just music, movement, and someone who clearly knows what he is doing. And maybe that is why I watched it more than once. Not because it was spectacular. Because it was satisfying to watch someone be genuinely good at something. Have you ever stopped scrolling because a person was simply so good at what they were doing that you wanted to watch the whole thing?
0:59

There’s Something About Watching Someone Who Really Knows How to Dance The first thing I noticed was how little he seemed to care about the camera. He was dressed in a black suit and a fedora, dancing in front of some old-looking buildings, and at first I thought I would watch for a few seconds and move on. But then one step caught my attention. He slid into the beat, stopped almost exactly where the music seemed to ask him to, and moved on without making the transition look difficult. What I liked most was that you could actually see the dancing. His feet were doing the work. His shoulders moved with the music, his weight shifted from one side to the other, and every turn seemed to have a reason for being there. Nothing felt thrown in just to make the routine look complicated. I ended up watching the clip a few times, and that was when I realized what I found so satisfying about it. The movements were precise, but they didn’t look stiff. He had obviously spent a lot of time learning how to control his body, yet none of that effort was visible anymore. He looked relaxed. That kind of ease is difficult to fake. It also made me think about how differently we usually watch dance online. So many videos are built around quick cuts and short bursts of movement. You see a few seconds, get the most exciting part, and then the video moves on to something else. This one gives the dancing room to breathe. You can follow an entire sequence instead of trying to piece it together from edits. Maybe that is why the old-fashioned details work so well here. The suit and fedora, the architecture behind him, and the rhythm of the music all give the performance a particular character. But I don't think I enjoyed it simply because it reminded me of another era. The interesting thing is that the movement itself doesn't feel dated. A good dancer still looks like a good dancer. What surprised me most, though, was how much enjoyment seemed to be in it. He wasn’t dancing as if he were trying to prove something. There was a lightness to the performance, almost as if he knew the rhythm well enough that he could stop thinking about the steps and simply enjoy them. That is probably what kept me there. We spend so much time online watching people trying to catch our attention that it can be refreshing to watch someone who has already earned it without asking for it. No dramatic setup. No complicated explanation. Just music, movement, and someone who clearly knows what he is doing. And maybe that is why I watched it more than once. Not because it was spectacular. Because it was satisfying to watch someone be genuinely good at something. Have you ever stopped scrolling because a person was simply so good at what they were doing that you wanted to watch the whole thing?

Music over time🎻

47,345 views • 5 days ago

🚨Wow. 60 Minutes mildly pressed Kamala Harris on why she opened the southern border and then waited 3.5 years to reverse course, and she completely melted down in response. Kamala is not ready for primetime: 60 Minutes: "You recently visited the southern border and-- embraced President Biden's recent crackdown on asylum seekers. And that crackdown produced an almost immediate and dramatic decrease in the number of border crossings. If that's the right answer now, why didn't your administration take those steps in 2021?" Kamala: "The first bill we proposed to Congress was to fix our broken immigration system, knowing that if you want to actually fix it, we need Congress to act. It was not taken up. Fast forward to a moment when a bipartisan group of members of the United States Senate, including one of the most conservative members of the United States Senate, got together, came up with the border security bill. Well, guess what happened? Donald Trump got word that this bill was afoot and could be passed and he wants to run on a problem instead of fixing a problem, so he told his buddies in Congress, 'Kill the bill. Don't let it move forward.'" 60 Minutes: "But I've been covering the border for-- for years. And so I know this is not a problem that started with your administration." Kamala: "Correct. Correct." 60 Minutes: "But there was an historic flood of undocumented immigrants coming across the border the first three years of your administration. As a matter of fact, arrivals quadrupled from the last year of President Trump. Was it a mistake to loosen the immigration policies as much as you did?" Kamala: "It's a longstanding problem. And solutions are at hand. And from day one, literally, we have been offering solutions." 60 Minutes: "What I was asking was, was it a mistake to kind of allow that flood to happen in the first place?" Kamala: "I think-- the policies that we have been proposing are about fixing a problem, not promoting a problem, okay?" 60 Minutes: "But the numbers did quadruple under your watch." Kamala: "Because of what we have done-- we have cut the flow of illegal immigration by half. We have cut the flow of fentanyl by half. But we need Congress to be able to act to actually fix the problem."
2:24

🚨Wow. 60 Minutes mildly pressed Kamala Harris on why she opened the southern border and then waited 3.5 years to reverse course, and she completely melted down in response. Kamala is not ready for primetime: 60 Minutes: "You recently visited the southern border and-- embraced President Biden's recent crackdown on asylum seekers. And that crackdown produced an almost immediate and dramatic decrease in the number of border crossings. If that's the right answer now, why didn't your administration take those steps in 2021?" Kamala: "The first bill we proposed to Congress was to fix our broken immigration system, knowing that if you want to actually fix it, we need Congress to act. It was not taken up. Fast forward to a moment when a bipartisan group of members of the United States Senate, including one of the most conservative members of the United States Senate, got together, came up with the border security bill. Well, guess what happened? Donald Trump got word that this bill was afoot and could be passed and he wants to run on a problem instead of fixing a problem, so he told his buddies in Congress, 'Kill the bill. Don't let it move forward.'" 60 Minutes: "But I've been covering the border for-- for years. And so I know this is not a problem that started with your administration." Kamala: "Correct. Correct." 60 Minutes: "But there was an historic flood of undocumented immigrants coming across the border the first three years of your administration. As a matter of fact, arrivals quadrupled from the last year of President Trump. Was it a mistake to loosen the immigration policies as much as you did?" Kamala: "It's a longstanding problem. And solutions are at hand. And from day one, literally, we have been offering solutions." 60 Minutes: "What I was asking was, was it a mistake to kind of allow that flood to happen in the first place?" Kamala: "I think-- the policies that we have been proposing are about fixing a problem, not promoting a problem, okay?" 60 Minutes: "But the numbers did quadruple under your watch." Kamala: "Because of what we have done-- we have cut the flow of illegal immigration by half. We have cut the flow of fentanyl by half. But we need Congress to be able to act to actually fix the problem."

Steve Cortes

2,169,629 views • 1 year ago

✨Star Atlas Crew - Solana's Next Generation Of PFPs 🚀 Crew are the foundation for all activities within the Star Atlas metaverse !🌌 Who's ready for a Star Atlas Crew Airdrop?!? Currently Known Info On Star Atlas Crew:🧐 🔸Crew will be coming in the form of Crew Packs 🔸Crew will also be a PFP 🔸Players will be airdropped Crew Packs for the amount of crew slots their ships have at the time the snapshot is taken 🔸The snapshot has not been taken yet 🔸1 Crew member for each crew slot 🔸You will be able to buy crew packs 🔸There will be a way to get 1 free crew member when players download the Companion App 🔸The first wave of crew members airdropped to players will be primary MUD 🔸In the future ships will not come with crew 🔸There are chances of anomaly level crew members in future packs 🔸Players can onboard by getting a level 0 crew member for free, after leveling it up, if the player wants to sell or trade the crew, or get into the economy the player will have to mint the crew member/s 🔸Crew will upgrade Star Atlas into a Role-Playing-Game as you can play with every crew member 🔸Universal crew rewards 🔸Mobile Crew XP 🔸Crew members have different: Personalities, back stories, aptitudes, rarities, levels 🔸Every crew member will have their one backstory that's based on where they were born within the Galia Expanse lore, events, planets, political groups, where & who they trained under... 🔸Rarity is tied to the aptitudes 🔸The level rarity of a crew member applies to how well they will perform their assigned roles 🔸Crew members' will have unique personalities and traits based off the Ocean methodology (timeline unknown). 🔸Personalities will impact future game mechanics and are categorized into 5 major traits of the human condition: ▪️Openness to experience ▪️Conscientiousness ▪️Extraversion ▪️Agreeableness ▪️Neuroticism 🔸Getting the correct crew, with every different species, with traits and personalities that work well with one another could give ships additional buffs 🔸7 aptitudes (crew inclinations) apply to 14 different roles 🔸Different buffs for different roles based on crew members aptitude (flight aptitude = buff for flight roles) 🔸Major & minor aptitudes are linked with crew member rarity and quality 🔸Aptitudes will significantly improve how the crew member will perform and how fast they improve in the areas where they have an aptitude in game 🔸Crew members don't get weapons for free but this is tied to the crew app 🔸Move to progress your crew member training and getting items, weapons and accessories that will influence crew stats in-game To hear 👆 information for yourself watch/listen to the latest Atlas Brew: Star Atlas' closed access release 2.1.9 is Now Live!🚀 #WeAreStarAtlas #Solana #Gamefi #P2E #NFTs #Crypto #StarCitizen #Starfield #Web3gaming #UE5 ⚠️Be aware that all information above is subject to change 📽️Majority of video footage is from my own live gameplay
2:22

✨Star Atlas Crew - Solana's Next Generation Of PFPs 🚀 Crew are the foundation for all activities within the Star Atlas metaverse !🌌 Who's ready for a Star Atlas Crew Airdrop?!? Currently Known Info On Star Atlas Crew:🧐 🔸Crew will be coming in the form of Crew Packs 🔸Crew will also be a PFP 🔸Players will be airdropped Crew Packs for the amount of crew slots their ships have at the time the snapshot is taken 🔸The snapshot has not been taken yet 🔸1 Crew member for each crew slot 🔸You will be able to buy crew packs 🔸There will be a way to get 1 free crew member when players download the Companion App 🔸The first wave of crew members airdropped to players will be primary MUD 🔸In the future ships will not come with crew 🔸There are chances of anomaly level crew members in future packs 🔸Players can onboard by getting a level 0 crew member for free, after leveling it up, if the player wants to sell or trade the crew, or get into the economy the player will have to mint the crew member/s 🔸Crew will upgrade Star Atlas into a Role-Playing-Game as you can play with every crew member 🔸Universal crew rewards 🔸Mobile Crew XP 🔸Crew members have different: Personalities, back stories, aptitudes, rarities, levels 🔸Every crew member will have their one backstory that's based on where they were born within the Galia Expanse lore, events, planets, political groups, where & who they trained under... 🔸Rarity is tied to the aptitudes 🔸The level rarity of a crew member applies to how well they will perform their assigned roles 🔸Crew members' will have unique personalities and traits based off the Ocean methodology (timeline unknown). 🔸Personalities will impact future game mechanics and are categorized into 5 major traits of the human condition: ▪️Openness to experience ▪️Conscientiousness ▪️Extraversion ▪️Agreeableness ▪️Neuroticism 🔸Getting the correct crew, with every different species, with traits and personalities that work well with one another could give ships additional buffs 🔸7 aptitudes (crew inclinations) apply to 14 different roles 🔸Different buffs for different roles based on crew members aptitude (flight aptitude = buff for flight roles) 🔸Major & minor aptitudes are linked with crew member rarity and quality 🔸Aptitudes will significantly improve how the crew member will perform and how fast they improve in the areas where they have an aptitude in game 🔸Crew members don't get weapons for free but this is tied to the crew app 🔸Move to progress your crew member training and getting items, weapons and accessories that will influence crew stats in-game To hear 👆 information for yourself watch/listen to the latest Atlas Brew: Star Atlas' closed access release 2.1.9 is Now Live!🚀 #WeAreStarAtlas #Solana #Gamefi #P2E #NFTs #Crypto #StarCitizen #Starfield #Web3gaming #UE5 ⚠️Be aware that all information above is subject to change 📽️Majority of video footage is from my own live gameplay

Siggy

45,438 views • 2 years ago

🚨BREAKING: The SHABBAT SHALOM Psyop Fails — Blake Neff Finally Breaks His SILENCE (And It's HILARIOUS) Candace Owens just absolutely lit up TPUSA’s Blake Neff on The Bride of Charlie, and it is a masterclass in exposing a manufactured PR narrative.🔥 For months, we have been asking Turning Point USA leadership serious, hard-hitting questions to get to the bottom of what really happened to Charlie Kirk. And for months, Blake Neff has been dead silent. What Blake Has Completely IGNORED: Why TPUSA refused to release any security footage, medical reports, or autopsy results from the day Charlie Kirk died at UVU? Why did the organization immediately block and threaten legal action against anyone asking for transparency? Why was Blake Neff even with Charlie that day at UVU since Blake historically does does NOT attend college campus events? The Missing Donor Millions: $4–10 million+ in unexplained "printing" and vendor payments to shell companies seems to be accounted for, So where did that donor money actually go, and why has TPUSA never addressed or refuted these specific financial red flags? Why did TPUSA immediately install Erika Kirk as CEO within days of Charlie's death—before any independent investigation or even a public explanation? Why has TPUSA continued to use Charlie's name and likeness on "The Charlie Kirk Show" despite fan demands to stop exploiting his death for revenue? Why is TPUSA now using the "Ghost" of Charlie to push pro-war narratives that directly contradict his final public positions? These seven questions are the most repeated, most damaging, and the ones TPUSA and Blake Neff have pointedly refused to answer for over five months. If asked in a public setting, they would be impossible to dodge without looking even more guilty. THE FINAL STRAW: What Finally Triggered Blake to Speak Out though was Candace making fun of Erika Kirk saying "Shabbat Shalom."😂 You literally cannot make this up. Blake Neff forwarded all of the serious investigative questions about fraud and military intelligence to a snippy lawyer, but he had to rush to X to fiercely defend the narrative that Charlie's final legacy was a book about the Sabbath. Candace called it exactly what it is: a coordinated Psy-Op. The timing is undeniable. Within 48 hours of Charlie's murder, Bibi Netanyahu was releasing statements to remind the world how much Charlie loved Israel. Immediately, Erika and TPUSA began aggressively pushing this "Shabbat Shalom" book to rebrand Charlie's legacy the second he was gone. As Candace hilariously pointed out: She was the one who originally told Charlie to turn his phone off on Saturdays years ago. But Blake and Erika desperately want the public to believe Charlie was suddenly operating like an Orthodox rabbi right before his assassination. Candace: "Charlie loved dreidel dreidel dreidel... He loved latkes... Shabbat Shalom, Daddy's home, throw away the phone." Watching Candace ruthlessly mock the absolute absurdity of TPUSA's priorities was incredible. The Psy-Op failed. The America First movement sees right through it. If the only thing TPUSA leadership will publicly defend is a fabricated PR narrative while ignoring massive fraud, military ties, and questions about their founder's death... we have all the answers we need. FOLLOW Candace Owens and go watch the latest FULL explosive episode of her critically acclaimed Erika Kirk docuseries "The Bride Of Charlie" linked down below.👇
3:54

🚨BREAKING: The SHABBAT SHALOM Psyop Fails — Blake Neff Finally Breaks His SILENCE (And It's HILARIOUS) Candace Owens just absolutely lit up TPUSA’s Blake Neff on The Bride of Charlie, and it is a masterclass in exposing a manufactured PR narrative.🔥 For months, we have been asking Turning Point USA leadership serious, hard-hitting questions to get to the bottom of what really happened to Charlie Kirk. And for months, Blake Neff has been dead silent. What Blake Has Completely IGNORED: Why TPUSA refused to release any security footage, medical reports, or autopsy results from the day Charlie Kirk died at UVU? Why did the organization immediately block and threaten legal action against anyone asking for transparency? Why was Blake Neff even with Charlie that day at UVU since Blake historically does does NOT attend college campus events? The Missing Donor Millions: $4–10 million+ in unexplained "printing" and vendor payments to shell companies seems to be accounted for, So where did that donor money actually go, and why has TPUSA never addressed or refuted these specific financial red flags? Why did TPUSA immediately install Erika Kirk as CEO within days of Charlie's death—before any independent investigation or even a public explanation? Why has TPUSA continued to use Charlie's name and likeness on "The Charlie Kirk Show" despite fan demands to stop exploiting his death for revenue? Why is TPUSA now using the "Ghost" of Charlie to push pro-war narratives that directly contradict his final public positions? These seven questions are the most repeated, most damaging, and the ones TPUSA and Blake Neff have pointedly refused to answer for over five months. If asked in a public setting, they would be impossible to dodge without looking even more guilty. THE FINAL STRAW: What Finally Triggered Blake to Speak Out though was Candace making fun of Erika Kirk saying "Shabbat Shalom."😂 You literally cannot make this up. Blake Neff forwarded all of the serious investigative questions about fraud and military intelligence to a snippy lawyer, but he had to rush to X to fiercely defend the narrative that Charlie's final legacy was a book about the Sabbath. Candace called it exactly what it is: a coordinated Psy-Op. The timing is undeniable. Within 48 hours of Charlie's murder, Bibi Netanyahu was releasing statements to remind the world how much Charlie loved Israel. Immediately, Erika and TPUSA began aggressively pushing this "Shabbat Shalom" book to rebrand Charlie's legacy the second he was gone. As Candace hilariously pointed out: She was the one who originally told Charlie to turn his phone off on Saturdays years ago. But Blake and Erika desperately want the public to believe Charlie was suddenly operating like an Orthodox rabbi right before his assassination. Candace: "Charlie loved dreidel dreidel dreidel... He loved latkes... Shabbat Shalom, Daddy's home, throw away the phone." Watching Candace ruthlessly mock the absolute absurdity of TPUSA's priorities was incredible. The Psy-Op failed. The America First movement sees right through it. If the only thing TPUSA leadership will publicly defend is a fabricated PR narrative while ignoring massive fraud, military ties, and questions about their founder's death... we have all the answers we need. FOLLOW Candace Owens and go watch the latest FULL explosive episode of her critically acclaimed Erika Kirk docuseries "The Bride Of Charlie" linked down below.👇

Project Constitution

68,798 views • 6 months ago

🚨🎙️RIO FERDINAND & THIAGO ALCÂNTARA ON JORDAN HENDERSON’S CHELSEA MOVE Rio Ferdinand: “Thiago, Chelsea have just signed Jordan Henderson. A lot of fans are looking at his age and asking what he can still bring to this young Chelsea squad. You’ve played with him. What are they getting?” Thiago Alcântara: “They’re getting a player who makes everyone around him better. That’s the first thing people need to understand. Jordan doesn’t improve a team because of statistics, he improves a team because he refuses to let standards drop. Every day in training, every meeting, every game, he demands more from the players around him.” Rio Ferdinand: “But Chelsea already have talented young players. Why would Henderson be so important?” Thiago Alcântara: “Because talent is not the problem at Chelsea. They have talent everywhere. What young players need is guidance and accountability. Jordan is the type of player who sees a young player drifting below his level and immediately pulls him back up. He doesn’t allow standards to fall. That’s a rare quality.” Rio Ferdinand: “So you think he’ll have a big impact on players like Estevão, Kendry Páez, Andrey Santos and the rest?” Thiago Alcântara: “Absolutely. Look at England. Why is Jordan Henderson still there? Because he makes the players around him better. The younger players improve because he’s constantly demanding excellence. He creates an environment where everyone is pushing each other. That’s something Chelsea’s young dressing room can benefit from massively.” Rio Ferdinand: “A lot of people might not see that side of him though.” Thiago Alcântara: “That’s because those things don’t appear on highlight reels. What people don’t see is Jordan staying behind to help teammates, speaking to younger players, making sure nobody switches off mentally. He’s always there. If you need advice, he’s there. If you need support, he’s there. If you need someone to challenge you, he’s there as well.” Rio Ferdinand: “I remember Jude Bellingham and Morgan Rogers saying he’s one of the best human beings they’ve met in football.” Thiago Alcântara: “And that doesn’t surprise me at all. Jordan genuinely cares about the people around him. He pushes you harder than most people will, but he does it because he wants you to improve. He never pushes you to break you. He pushes you to make you better.” Rio Ferdinand: “How would you describe him as a leader?” Thiago Alcântara: “He’s the kind of leader who tells you: ‘I will fight for you, but you will fight with me.’ That’s Jordan Henderson. He protects the group, he demands from the group and he improves the group. Every successful dressing room needs someone like that.” Rio Ferdinand: “So when people ask why Chelsea signed Jordan Henderson?” Thiago Alcântara: “My answer is simple. Chelsea are not signing him just for what he does with the ball. They’re signing him because sometimes one leader can improve twenty players. If Jordan helps this young Chelsea squad reach their potential, people will look back at this transfer very differently.”
1:35

🚨🎙️RIO FERDINAND & THIAGO ALCÂNTARA ON JORDAN HENDERSON’S CHELSEA MOVE Rio Ferdinand: “Thiago, Chelsea have just signed Jordan Henderson. A lot of fans are looking at his age and asking what he can still bring to this young Chelsea squad. You’ve played with him. What are they getting?” Thiago Alcântara: “They’re getting a player who makes everyone around him better. That’s the first thing people need to understand. Jordan doesn’t improve a team because of statistics, he improves a team because he refuses to let standards drop. Every day in training, every meeting, every game, he demands more from the players around him.” Rio Ferdinand: “But Chelsea already have talented young players. Why would Henderson be so important?” Thiago Alcântara: “Because talent is not the problem at Chelsea. They have talent everywhere. What young players need is guidance and accountability. Jordan is the type of player who sees a young player drifting below his level and immediately pulls him back up. He doesn’t allow standards to fall. That’s a rare quality.” Rio Ferdinand: “So you think he’ll have a big impact on players like Estevão, Kendry Páez, Andrey Santos and the rest?” Thiago Alcântara: “Absolutely. Look at England. Why is Jordan Henderson still there? Because he makes the players around him better. The younger players improve because he’s constantly demanding excellence. He creates an environment where everyone is pushing each other. That’s something Chelsea’s young dressing room can benefit from massively.” Rio Ferdinand: “A lot of people might not see that side of him though.” Thiago Alcântara: “That’s because those things don’t appear on highlight reels. What people don’t see is Jordan staying behind to help teammates, speaking to younger players, making sure nobody switches off mentally. He’s always there. If you need advice, he’s there. If you need support, he’s there. If you need someone to challenge you, he’s there as well.” Rio Ferdinand: “I remember Jude Bellingham and Morgan Rogers saying he’s one of the best human beings they’ve met in football.” Thiago Alcântara: “And that doesn’t surprise me at all. Jordan genuinely cares about the people around him. He pushes you harder than most people will, but he does it because he wants you to improve. He never pushes you to break you. He pushes you to make you better.” Rio Ferdinand: “How would you describe him as a leader?” Thiago Alcântara: “He’s the kind of leader who tells you: ‘I will fight for you, but you will fight with me.’ That’s Jordan Henderson. He protects the group, he demands from the group and he improves the group. Every successful dressing room needs someone like that.” Rio Ferdinand: “So when people ask why Chelsea signed Jordan Henderson?” Thiago Alcântara: “My answer is simple. Chelsea are not signing him just for what he does with the ball. They’re signing him because sometimes one leader can improve twenty players. If Jordan helps this young Chelsea squad reach their potential, people will look back at this transfer very differently.”

MatchReport

400,924 views • 1 month ago

I’ve watched this so many times, and they’re still absolutely amazing. ❤️❤️❤️ Not the big lifts. Not the fast footwork. Not even the moments that make the audience react. Look at what happens when her feet touch the floor after a spin. His hand is already there, almost before she needs it, and that tiny detail tells you more about their partnership than any difficult move could. At first, you simply see two dancers moving across a wooden floor under bright competition lights. He leads with energy and a little mischief. She answers with speed, control, and remarkable precision. They move quickly, but there is never a sense of panic. Their bodies don't fight for space. They seem to know exactly where the other person will be. Look a little closer and the real performance starts to appear in the small things. His direction changes and her body responds almost immediately. She drops her weight and his arm adjusts without becoming rigid. A hand briefly touches a sleeve. A glance lasts less than a second. Sometimes they smile at exactly the same moment. None of these details would win the competition by themselves, but together they create something much harder to fake: trust. And then you remember that these aren't young dancers just discovering what their bodies can do. Years have passed. Their faces show it. Their movements aren't driven by the restless energy of teenagers. Yet they are still doing lifts, spins, splits, and rapid changes of direction with an ease that makes you forget how difficult any of it should be. That's what makes the performance interesting to me. They may have lost some of the raw speed of youth, but they seem to have gained something more valuable — an understanding of each other's timing. Near the end, there is a moment that isn't completely perfect. He drops into a deep split while they are still connected, and for a brief second the position looks almost too human. She ends up on the floor looking at him, and instead of hiding the moment, they smile. He keeps the connection and grins. Technically, it may not be the most impressive second of the routine. But it might be the one I remember. Because perfection shows what dancers can do. A moment like that shows who they are together. After enough years, two people can reach a point where they don't have to consciously think about every adjustment. One moves, the other responds. One loses balance slightly, the other is already making room. The countless hours of practice become something that looks almost effortless from the outside. Maybe that is what long partnerships really give us. Not a life without mistakes, but someone who has learned how to move with you when the mistake happens. We often think lasting relationships are built from big promises and memorable gestures. Watching these two dance makes that idea feel a little too simple. Perhaps the deeper work happens in all those tiny moments when one person notices the other and adjusts without being asked. The music changes. The bodies change. The years keep moving. But somehow, they keep finding the same rhythm. And maybe that is the most beautiful part of dancing together for so long: not staying exactly the same, but learning how to keep moving together as everything else changes. What do you think matters more in a long partnership — passion, trust, or simply learning each other's rhythm?
2:14

I’ve watched this so many times, and they’re still absolutely amazing. ❤️❤️❤️ Not the big lifts. Not the fast footwork. Not even the moments that make the audience react. Look at what happens when her feet touch the floor after a spin. His hand is already there, almost before she needs it, and that tiny detail tells you more about their partnership than any difficult move could. At first, you simply see two dancers moving across a wooden floor under bright competition lights. He leads with energy and a little mischief. She answers with speed, control, and remarkable precision. They move quickly, but there is never a sense of panic. Their bodies don't fight for space. They seem to know exactly where the other person will be. Look a little closer and the real performance starts to appear in the small things. His direction changes and her body responds almost immediately. She drops her weight and his arm adjusts without becoming rigid. A hand briefly touches a sleeve. A glance lasts less than a second. Sometimes they smile at exactly the same moment. None of these details would win the competition by themselves, but together they create something much harder to fake: trust. And then you remember that these aren't young dancers just discovering what their bodies can do. Years have passed. Their faces show it. Their movements aren't driven by the restless energy of teenagers. Yet they are still doing lifts, spins, splits, and rapid changes of direction with an ease that makes you forget how difficult any of it should be. That's what makes the performance interesting to me. They may have lost some of the raw speed of youth, but they seem to have gained something more valuable — an understanding of each other's timing. Near the end, there is a moment that isn't completely perfect. He drops into a deep split while they are still connected, and for a brief second the position looks almost too human. She ends up on the floor looking at him, and instead of hiding the moment, they smile. He keeps the connection and grins. Technically, it may not be the most impressive second of the routine. But it might be the one I remember. Because perfection shows what dancers can do. A moment like that shows who they are together. After enough years, two people can reach a point where they don't have to consciously think about every adjustment. One moves, the other responds. One loses balance slightly, the other is already making room. The countless hours of practice become something that looks almost effortless from the outside. Maybe that is what long partnerships really give us. Not a life without mistakes, but someone who has learned how to move with you when the mistake happens. We often think lasting relationships are built from big promises and memorable gestures. Watching these two dance makes that idea feel a little too simple. Perhaps the deeper work happens in all those tiny moments when one person notices the other and adjusts without being asked. The music changes. The bodies change. The years keep moving. But somehow, they keep finding the same rhythm. And maybe that is the most beautiful part of dancing together for so long: not staying exactly the same, but learning how to keep moving together as everything else changes. What do you think matters more in a long partnership — passion, trust, or simply learning each other's rhythm?

Emotion & Music

110,992 views • 12 days ago

The morning Alexandria Ocasio-Cortez went on Fox and said break up Apple, I had the clip cut before she finished the sentence. Sit down. I'll show you how it gets made, because the people who make it will never tell you, and once you see the seams you cannot unsee them. I run a rapid-response shop. Offices pay me to turn what their member says on television into a donation. This week Apple handed me $300 of free raw material. The MacBook Pro went from $1,699 to $1,999 on Wednesday. DRAM is up 98% in a quarter, the data centers took the memory, a working person eats the $300. Tim Cook calls it unavoidable. AOC is right that the giants are too big. That part is true. I never have to invent the grievance. It walks in paid in full. First thing they don't tell you. She said pursue antitrust, and she said it on a Sunday show, and she did not file a bill. Antitrust is for a company that strangled its competition, not for a memory shortage, so the remedy doesn't even fit the wound. It doesn't have to. A bill takes 18 months and dies in committee. A clip takes me until 9am. Nobody in my trade works in the bill. We work in the clip. So I cut it. Vertical, her face and the number $1,999 in the first frame, because the number is the hook and the hook is the whole job. It lands at 11 seconds, because the second swipe is where you go if it runs to 12. We did not pay Fox for it, so in the report I file it under earned media. Earned. As if the man's $300 came to us on merit. By noon it had 6 million views. I did not make 6 million people angry. They were already angry. I stood where the anger was going to pass and put a frame around it. The frame is the product. The anger is the inventory. Now watch what I do with the man in Ohio. He quote-tweets the clip. He paid the $300 on Wednesday. I don't take his $300. Apple already has it. I take the 40 seconds of him being angry about it, and under his quote I put the ask. Rush $7, fight the corporations that raised your price. The box that says monthly is already checked. He won't uncheck it. Almost nobody does. His anger paid Apple, and now his anger pays me every month until he notices. Here is the part I shouldn't say out loud. The fight is funded by the wounded, on behalf of the wounded, and the wound has to stay open, because a closed wound stops giving. Nobody on the chain is lying. The $300 is real. The grievance is real. That is what makes it move. And here is the number I would lose the account for showing you. Apple spent $10 million lobbying Washington last year, up 30%. That buys the only room where break-up actually happens, the room with no camera in it. My $7 ask runs in the room with the camera. The $10 million runs in the other one. We were never in the same fight. The clip is how the loud room stays loud while the quiet room stays bought. You think this is a left thing. It isn't. Down the hall I cut the same clip for the office that wants to break up nobody, for the member who calls Cook a patriot weathering a hundred-year flood. Same vertical, same 11 seconds, same monthly box pre-checked, the villain swapped in the caption. I bill them both. The machine doesn't have a side. It has a list. You're still reading. That's the tell. You'll decide in a second whether to send this on, and that second is the deliverable. I don't need your money. I need the forward. You're item 6,000,001, and I logged you the moment you slowed down to feel something. So now you know how it's made. The laptop still costs $1,999. The $10 million still bought the room. Nobody got broken up. Tomorrow I open the shop at dawn, and the raw material walks in on its own, paid in full, asking to be cut.
2:54

The morning Alexandria Ocasio-Cortez went on Fox and said break up Apple, I had the clip cut before she finished the sentence. Sit down. I'll show you how it gets made, because the people who make it will never tell you, and once you see the seams you cannot unsee them. I run a rapid-response shop. Offices pay me to turn what their member says on television into a donation. This week Apple handed me $300 of free raw material. The MacBook Pro went from $1,699 to $1,999 on Wednesday. DRAM is up 98% in a quarter, the data centers took the memory, a working person eats the $300. Tim Cook calls it unavoidable. AOC is right that the giants are too big. That part is true. I never have to invent the grievance. It walks in paid in full. First thing they don't tell you. She said pursue antitrust, and she said it on a Sunday show, and she did not file a bill. Antitrust is for a company that strangled its competition, not for a memory shortage, so the remedy doesn't even fit the wound. It doesn't have to. A bill takes 18 months and dies in committee. A clip takes me until 9am. Nobody in my trade works in the bill. We work in the clip. So I cut it. Vertical, her face and the number $1,999 in the first frame, because the number is the hook and the hook is the whole job. It lands at 11 seconds, because the second swipe is where you go if it runs to 12. We did not pay Fox for it, so in the report I file it under earned media. Earned. As if the man's $300 came to us on merit. By noon it had 6 million views. I did not make 6 million people angry. They were already angry. I stood where the anger was going to pass and put a frame around it. The frame is the product. The anger is the inventory. Now watch what I do with the man in Ohio. He quote-tweets the clip. He paid the $300 on Wednesday. I don't take his $300. Apple already has it. I take the 40 seconds of him being angry about it, and under his quote I put the ask. Rush $7, fight the corporations that raised your price. The box that says monthly is already checked. He won't uncheck it. Almost nobody does. His anger paid Apple, and now his anger pays me every month until he notices. Here is the part I shouldn't say out loud. The fight is funded by the wounded, on behalf of the wounded, and the wound has to stay open, because a closed wound stops giving. Nobody on the chain is lying. The $300 is real. The grievance is real. That is what makes it move. And here is the number I would lose the account for showing you. Apple spent $10 million lobbying Washington last year, up 30%. That buys the only room where break-up actually happens, the room with no camera in it. My $7 ask runs in the room with the camera. The $10 million runs in the other one. We were never in the same fight. The clip is how the loud room stays loud while the quiet room stays bought. You think this is a left thing. It isn't. Down the hall I cut the same clip for the office that wants to break up nobody, for the member who calls Cook a patriot weathering a hundred-year flood. Same vertical, same 11 seconds, same monthly box pre-checked, the villain swapped in the caption. I bill them both. The machine doesn't have a side. It has a list. You're still reading. That's the tell. You'll decide in a second whether to send this on, and that second is the deliverable. I don't need your money. I need the forward. You're item 6,000,001, and I logged you the moment you slowed down to feel something. So now you know how it's made. The laptop still costs $1,999. The $10 million still bought the room. Nobody got broken up. Tomorrow I open the shop at dawn, and the raw material walks in on its own, paid in full, asking to be cut.

Peter Girnus 🦅

55,513 views • 2 months ago

Two and a Half Minutes That Defined a Decade The moment that “bum-ba-bum-BOOM” drumbeat hits, the whole stage seems to light up. Three young women stand under the lights, towering beehive hairdos, dark outfits, microphones in hand, moving and singing with pure energy. Ronnie is in the center—her voice sharp yet warm, those “whoa-oh-ohs” soaring without any strain. Backup dancers move behind them. The audience cheers. It’s just over two and a half minutes, but it feels like the entire 1960s has come alive right in front of you. The Ronettes came out of Spanish Harlem and Washington Heights in New York. Veronica “Ronnie” Bennett, her sister Estelle Bennett, and their cousin Nedra Talley started singing together in the late 1950s, drawing inspiration from doo-wop groups like Frankie Lymon & the Teenagers. They performed at the Peppermint Lounge, appeared in a twist movie, and released a few modest singles. The turning point came when Estelle called Philles Records. Phil Spector heard Ronnie sing “Why Do Fools Fall in Love” and immediately knew that was the voice he’d been looking for. The three of them signed with his label in 1963. “Be My Baby” was written by Jeff Barry, Ellie Greenwich, and Phil Spector. Ronnie later said the song captured the explosive feeling of those early days between her and the producer. The recording sessions took place in July 1963 at Gold Star Studios in Los Angeles. Ronnie flew out to California alone. The other two Ronettes weren’t called in. Background vocals came from the Blossoms, Cher (her first time in a studio), Sonny Bono, and Nino Tempo. The session musicians—later known as the Wrecking Crew—included Hal Blaine on drums, multiple pianos at once, guitars, bass, brass, and a full string section. It was the first time Spector used a full orchestra at Gold Star for one of his records. The studio was packed. They rehearsed for hours before rolling tape. Hal Blaine later explained that the legendary opening drum pattern came from an accident—he dropped a stick and missed the second beat. He kept the “mistake,” and it became the unforgettable signature. Ronnie spent three days recording her vocals. Between takes she would slip into the ladies’ room to practice those “oh-oh-ohs,” partly because the acoustics were great in there and partly so the musicians wouldn’t get distracted. Spector built his Wall of Sound by layering instruments thickly and using Gold Star’s famous echo chamber, creating a dense, almost symphonic sound he called “little symphonies for the kids.” The finished track felt both powerful and intimate, grand and personal at the same time. Released in August 1963, “Be My Baby” climbed to No. 2 on the Billboard Hot 100, held strong for weeks, hit No. 1 on Cash Box, and reached the top five in the UK. Dick Clark called it “the record of the century” on American Bandstand. It sold millions of copies in its first year. The song became an icon of the 1960s for several interlocking reasons. The Wall of Sound delivered a sense of scale that matched the energy and ambition of a young generation growing up with radio and television. The lyrics were simple teenage romance, yet Ronnie delivered them with confidence and a subtle sensuality that created a compelling tension. At that moment, girl groups were reshaping how female artists appeared on stage—confident, stylish, magnetic. “Be My Baby” captured that shift and elevated it. The impact was immediate. Brian Wilson of the Beach Boys heard the song for the first time while driving. He had to pull over to the side of the road, completely overwhelmed. He later called it the greatest record ever made and said no one would ever top it. Wilson bought multiple copies, played them over and over, and studied every layer. He wrote “Don’t Worry Baby” as a kind of answer song, originally intending it for the Ronettes, before keeping it for his own group. John Lennon loved Ronnie’s voice too. Later generations kept drawing from that drumbeat, that sense of space in the production, and the direct emotional charge of the track. Every time I watch the performance clip again, it still feels fresh. Ronnie smiles, sings, and moves across the stage as if the song had been written the day before. Nothing feels forced. The energy comes from the three of them, from the hidden orchestra behind them, and from the way the record was built. It’s a moment when pop music learned how to create something large inside a small frame. More than sixty years later, the recording still stands among the most important songs of its era, inducted into the Grammy Hall of Fame and the National Recording Registry of the Library of Congress. Sitting with the video, what comes through clearest is pure joy. No long explanation needed. Just that opening drumbeat, then Ronnie’s voice stepping in, and suddenly you remember why this song remains tied to the 1960s—because it caught the pulse of its time, because it was made with such care that it became a standard, and because it still makes people want to sing along, move along, and believe every word.
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Two and a Half Minutes That Defined a Decade The moment that “bum-ba-bum-BOOM” drumbeat hits, the whole stage seems to light up. Three young women stand under the lights, towering beehive hairdos, dark outfits, microphones in hand, moving and singing with pure energy. Ronnie is in the center—her voice sharp yet warm, those “whoa-oh-ohs” soaring without any strain. Backup dancers move behind them. The audience cheers. It’s just over two and a half minutes, but it feels like the entire 1960s has come alive right in front of you. The Ronettes came out of Spanish Harlem and Washington Heights in New York. Veronica “Ronnie” Bennett, her sister Estelle Bennett, and their cousin Nedra Talley started singing together in the late 1950s, drawing inspiration from doo-wop groups like Frankie Lymon & the Teenagers. They performed at the Peppermint Lounge, appeared in a twist movie, and released a few modest singles. The turning point came when Estelle called Philles Records. Phil Spector heard Ronnie sing “Why Do Fools Fall in Love” and immediately knew that was the voice he’d been looking for. The three of them signed with his label in 1963. “Be My Baby” was written by Jeff Barry, Ellie Greenwich, and Phil Spector. Ronnie later said the song captured the explosive feeling of those early days between her and the producer. The recording sessions took place in July 1963 at Gold Star Studios in Los Angeles. Ronnie flew out to California alone. The other two Ronettes weren’t called in. Background vocals came from the Blossoms, Cher (her first time in a studio), Sonny Bono, and Nino Tempo. The session musicians—later known as the Wrecking Crew—included Hal Blaine on drums, multiple pianos at once, guitars, bass, brass, and a full string section. It was the first time Spector used a full orchestra at Gold Star for one of his records. The studio was packed. They rehearsed for hours before rolling tape. Hal Blaine later explained that the legendary opening drum pattern came from an accident—he dropped a stick and missed the second beat. He kept the “mistake,” and it became the unforgettable signature. Ronnie spent three days recording her vocals. Between takes she would slip into the ladies’ room to practice those “oh-oh-ohs,” partly because the acoustics were great in there and partly so the musicians wouldn’t get distracted. Spector built his Wall of Sound by layering instruments thickly and using Gold Star’s famous echo chamber, creating a dense, almost symphonic sound he called “little symphonies for the kids.” The finished track felt both powerful and intimate, grand and personal at the same time. Released in August 1963, “Be My Baby” climbed to No. 2 on the Billboard Hot 100, held strong for weeks, hit No. 1 on Cash Box, and reached the top five in the UK. Dick Clark called it “the record of the century” on American Bandstand. It sold millions of copies in its first year. The song became an icon of the 1960s for several interlocking reasons. The Wall of Sound delivered a sense of scale that matched the energy and ambition of a young generation growing up with radio and television. The lyrics were simple teenage romance, yet Ronnie delivered them with confidence and a subtle sensuality that created a compelling tension. At that moment, girl groups were reshaping how female artists appeared on stage—confident, stylish, magnetic. “Be My Baby” captured that shift and elevated it. The impact was immediate. Brian Wilson of the Beach Boys heard the song for the first time while driving. He had to pull over to the side of the road, completely overwhelmed. He later called it the greatest record ever made and said no one would ever top it. Wilson bought multiple copies, played them over and over, and studied every layer. He wrote “Don’t Worry Baby” as a kind of answer song, originally intending it for the Ronettes, before keeping it for his own group. John Lennon loved Ronnie’s voice too. Later generations kept drawing from that drumbeat, that sense of space in the production, and the direct emotional charge of the track. Every time I watch the performance clip again, it still feels fresh. Ronnie smiles, sings, and moves across the stage as if the song had been written the day before. Nothing feels forced. The energy comes from the three of them, from the hidden orchestra behind them, and from the way the record was built. It’s a moment when pop music learned how to create something large inside a small frame. More than sixty years later, the recording still stands among the most important songs of its era, inducted into the Grammy Hall of Fame and the National Recording Registry of the Library of Congress. Sitting with the video, what comes through clearest is pure joy. No long explanation needed. Just that opening drumbeat, then Ronnie’s voice stepping in, and suddenly you remember why this song remains tied to the 1960s—because it caught the pulse of its time, because it was made with such care that it became a standard, and because it still makes people want to sing along, move along, and believe every word.

Music over time🎻

37,500 views • 10 days ago