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What you’re watching here is a classic reframing pattern. Ilana starts with something almost everyone can agree with: Most people have felt uncomfortable in their body. Women are told they’re too fat, too thin, too curvy, not curvy enough. Men are told they’re too weak, too soft, not muscular... enough, not masculine enough. That part is true. But then comes the linguistic sleight of hand. She takes ordinary body insecurity… and slides it into the claim that the “trans experience” is just a more visible version of what everyone feels. That is the frame. Not: this is a specific belief system. Not: this involves medicalization. Not: this has consequences for women’s spaces, sports, prisons, or children. Instead, the frame becomes: “Everyone feels wrong in their body, and trans identity is just the brave, visible example of finding your true self.” That sounds compassionate. But it also erases the distinction between discomfort with your body and rejecting the reality of your sex. Because almost everyone has felt insecure. But that does not mean everyone is secretly experiencing some version of transness. That is the NLP move. Ilana creates agreement with a universal human experience… then she attaches that agreement to a much more controversial claim. And once you accept the frame, disagreement starts to sound cruel. That is how the spell works.show more

MJ Murphy

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21,594 görüntüleme • 3 ay önce •via X (Twitter)

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Bilbo Baggins: When a Life Is Stretched to Its Limit There is a line spoken by Bilbo Baggins in The Lord of the Rings that has stayed with me: “I’m old, Gandalf. I know I don’t look it, but I’m beginning to feel it in my heart. I feel thin, sort of stretched, like butter that has been scraped over too much bread.” At first, this might sound like nothing more than the complaint of someone who has lived too long. But what caught my attention was not that Bilbo says he is old. It is the way he describes that feeling: “I feel thin.” He does not say that he is in pain. He says that he is being stretched. And from there, I began to see this line as an image of a being carrying a burden greater than the scope of an ordinary life. This is my personal interpretation. Tolkien does not directly present a concept of “capacity” or “the elasticity of a life” in the way I am using those ideas here. I am simply taking Bilbo’s own image of “butter and bread” and using it to look more deeply into the feeling he is describing. Too Much Bread and Too Little Butter If I had to imagine that feeling through another image, I would think of a balloon. When it is in its natural state, it has a certain shape. As the pressure increases, it begins to stretch. It has not burst. But it is no longer in its original state. And I think Bilbo is much the same. He has possessed the Ring for sixty years. Yet what is remarkable is that, after all that time, Bilbo is still Bilbo. He still loves the Shire, loves Bag End, cares about Frodo, writes books, smokes, and talks with Gandalf. The Ring has affected him, but it has not completely taken over who he is. That is why I do not think Bilbo’s endurance should simply be understood as: “He was so strong that the Ring could not affect him.” Quite the opposite. The words “I feel thin, sort of stretched...” show that he has already begun to feel that pressure from within. And this is where the image of “butter and bread” becomes especially interesting. The piece of bread does not necessarily have to be understood as the Ring itself. In the way I see it, it is something broader. It is the entire scope of what Bilbo is carrying: the passing years, his unusual existence, the pressure of the Ring, and everything that comes with it. The butter, meanwhile, is Bilbo himself. A finite being with finite capacity. A little butter is enough for a reasonably sized piece of bread. But when it has to be spread across a piece of bread that is too large, it has to become thinner. And that is what I feel in Bilbo. It is not that he suddenly becomes weak. It is that the same being is having to stretch itself to accommodate a burden that has grown beyond the boundaries of an ordinary life. “Stretched” Does Not Mean Destroyed This is the part I find most important. Bilbo is still alive. He is still himself. He still has things he loves and still has the ability to experience the world around him. But something has appeared within him that perhaps was not there before: He feels that he is being stretched too thin. So, being “stretched” does not mean that Bilbo has been destroyed. It shows that he is still enduring, but that his endurance has begun to leave a mark. Being able to endure does not mean being unaffected. A person can endure something for a very long time and still become tired. Someone can continue living almost normally while inwardly feeling that they are being stretched too thin. Bilbo is in precisely that state. And perhaps that is why his next words feel so natural: “I need a holiday, a very long holiday...” I like the way Bilbo says this. He does not try to prove that he can endure more. He simply realizes that he needs to leave. To me, this is a remarkable form of awareness. Bilbo does not wait until he has completely lost himself before recognizing the problem. He realizes that he is being stretched. And from that realization, he wants to step away from the circumstances creating that pressure. Recognizing Your Limit Is Also a Form of Strength If we continue with the image of the balloon, Bilbo has enough elasticity to withstand that pressure for decades. But that elasticity is not infinite. The more it is stretched, the farther it moves from its original state. And what catches my attention most is that Bilbo is still aware enough to recognize this. From this perspective, I see Bilbo’s decision to leave in a different way. He does not leave because he has failed. He leaves because he has recognized his limit. To me, this is much more meaningful than simply saying that Bilbo is “strong” because he was able to possess the Ring for so long. A being can be remarkably resilient and still have limits. And being able to recognize those limits is not weakness. It is awareness. Bilbo does not say: “I can endure more.” He says, in a very different way: “I need a holiday.” Perhaps that simplicity is exactly what makes the line so thought-provoking. He does not need to prove how strong he is. He only needs to be honest about what he is feeling. Why Is the Image of the “Butter” So Sad? That is also why I find Bilbo’s image of the butter so sad. Bilbo is still there. He has not disappeared. He has not been destroyed. But he feels as though he has been spread too thin. The image does not describe a moment of collapse. It describes a process. The burden creates pressure. The pressure forces Bilbo to adapt. That prolonged adaptation makes him feel increasingly stretched. And eventually, he realizes that he cannot continue that way forever. That is what makes the words “I feel thin” so important. “Thin” is not a declaration of weakness. It is a sign that a being has been pulled away from its natural state for too long. And recognizing that opens a choice for Bilbo: To leave. It makes me see Bilbo differently: “Bilbo is not a being that cannot be stretched; he is a being that has endured pressure for a very long time, yet remained aware enough to recognize that his capacity to stretch is not infinite.” And perhaps that is what I like most about this line. Strength is not always about enduring more. Sometimes, strength is knowing that you have endured enough.

Bilbo Baggins: When a Life Is Stretched to Its Limit There is a line spoken by Bilbo Baggins in The Lord of the Rings that has stayed with me: “I’m old, Gandalf. I know I don’t look it, but I’m beginning to feel it in my heart. I feel thin, sort of stretched, like butter that has been scraped over too much bread.” At first, this might sound like nothing more than the complaint of someone who has lived too long. But what caught my attention was not that Bilbo says he is old. It is the way he describes that feeling: “I feel thin.” He does not say that he is in pain. He says that he is being stretched. And from there, I began to see this line as an image of a being carrying a burden greater than the scope of an ordinary life. This is my personal interpretation. Tolkien does not directly present a concept of “capacity” or “the elasticity of a life” in the way I am using those ideas here. I am simply taking Bilbo’s own image of “butter and bread” and using it to look more deeply into the feeling he is describing. Too Much Bread and Too Little Butter If I had to imagine that feeling through another image, I would think of a balloon. When it is in its natural state, it has a certain shape. As the pressure increases, it begins to stretch. It has not burst. But it is no longer in its original state. And I think Bilbo is much the same. He has possessed the Ring for sixty years. Yet what is remarkable is that, after all that time, Bilbo is still Bilbo. He still loves the Shire, loves Bag End, cares about Frodo, writes books, smokes, and talks with Gandalf. The Ring has affected him, but it has not completely taken over who he is. That is why I do not think Bilbo’s endurance should simply be understood as: “He was so strong that the Ring could not affect him.” Quite the opposite. The words “I feel thin, sort of stretched...” show that he has already begun to feel that pressure from within. And this is where the image of “butter and bread” becomes especially interesting. The piece of bread does not necessarily have to be understood as the Ring itself. In the way I see it, it is something broader. It is the entire scope of what Bilbo is carrying: the passing years, his unusual existence, the pressure of the Ring, and everything that comes with it. The butter, meanwhile, is Bilbo himself. A finite being with finite capacity. A little butter is enough for a reasonably sized piece of bread. But when it has to be spread across a piece of bread that is too large, it has to become thinner. And that is what I feel in Bilbo. It is not that he suddenly becomes weak. It is that the same being is having to stretch itself to accommodate a burden that has grown beyond the boundaries of an ordinary life. “Stretched” Does Not Mean Destroyed This is the part I find most important. Bilbo is still alive. He is still himself. He still has things he loves and still has the ability to experience the world around him. But something has appeared within him that perhaps was not there before: He feels that he is being stretched too thin. So, being “stretched” does not mean that Bilbo has been destroyed. It shows that he is still enduring, but that his endurance has begun to leave a mark. Being able to endure does not mean being unaffected. A person can endure something for a very long time and still become tired. Someone can continue living almost normally while inwardly feeling that they are being stretched too thin. Bilbo is in precisely that state. And perhaps that is why his next words feel so natural: “I need a holiday, a very long holiday...” I like the way Bilbo says this. He does not try to prove that he can endure more. He simply realizes that he needs to leave. To me, this is a remarkable form of awareness. Bilbo does not wait until he has completely lost himself before recognizing the problem. He realizes that he is being stretched. And from that realization, he wants to step away from the circumstances creating that pressure. Recognizing Your Limit Is Also a Form of Strength If we continue with the image of the balloon, Bilbo has enough elasticity to withstand that pressure for decades. But that elasticity is not infinite. The more it is stretched, the farther it moves from its original state. And what catches my attention most is that Bilbo is still aware enough to recognize this. From this perspective, I see Bilbo’s decision to leave in a different way. He does not leave because he has failed. He leaves because he has recognized his limit. To me, this is much more meaningful than simply saying that Bilbo is “strong” because he was able to possess the Ring for so long. A being can be remarkably resilient and still have limits. And being able to recognize those limits is not weakness. It is awareness. Bilbo does not say: “I can endure more.” He says, in a very different way: “I need a holiday.” Perhaps that simplicity is exactly what makes the line so thought-provoking. He does not need to prove how strong he is. He only needs to be honest about what he is feeling. Why Is the Image of the “Butter” So Sad? That is also why I find Bilbo’s image of the butter so sad. Bilbo is still there. He has not disappeared. He has not been destroyed. But he feels as though he has been spread too thin. The image does not describe a moment of collapse. It describes a process. The burden creates pressure. The pressure forces Bilbo to adapt. That prolonged adaptation makes him feel increasingly stretched. And eventually, he realizes that he cannot continue that way forever. That is what makes the words “I feel thin” so important. “Thin” is not a declaration of weakness. It is a sign that a being has been pulled away from its natural state for too long. And recognizing that opens a choice for Bilbo: To leave. It makes me see Bilbo differently: “Bilbo is not a being that cannot be stretched; he is a being that has endured pressure for a very long time, yet remained aware enough to recognize that his capacity to stretch is not infinite.” And perhaps that is what I like most about this line. Strength is not always about enduring more. Sometimes, strength is knowing that you have endured enough.

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Most people think fat adaptation just means your body burns fat for fuel. That is true but it is only the beginning of the story. Here is what actually happens when you become fat adapted. Your insulin drops. Your blood sugar stabilizes. Your inflammation starts to go away. Your hunger stops spiking because you are no longer on that blood sugar roller coaster all day long. Your energy becomes steady and consistent instead of crashing and spiking with every meal. And then the thing everyone is actually waiting for, your body starts tapping into your stored fat because it finally has permission to access it. That is the turning point. That is when everything changes. When you are stuck in sugar burning mode your body literally cannot access your fat stores efficiently because insulin is keeping them locked up. The moment you stop flooding your system with glucose your insulin normalizes, the lock comes off, and your body starts doing what it was always designed to do. This is not just weight loss. This is metabolic stability. This is your body repairing itself. This is the moment your body stops working against you and starts working with you. I teach exactly how I got there in my book This Is Not About Weight Loss. The link is in my bio. There are also free resources there to get you started. Eat the fat. 🥩👑

Most people think fat adaptation just means your body burns fat for fuel. That is true but it is only the beginning of the story. Here is what actually happens when you become fat adapted. Your insulin drops. Your blood sugar stabilizes. Your inflammation starts to go away. Your hunger stops spiking because you are no longer on that blood sugar roller coaster all day long. Your energy becomes steady and consistent instead of crashing and spiking with every meal. And then the thing everyone is actually waiting for, your body starts tapping into your stored fat because it finally has permission to access it. That is the turning point. That is when everything changes. When you are stuck in sugar burning mode your body literally cannot access your fat stores efficiently because insulin is keeping them locked up. The moment you stop flooding your system with glucose your insulin normalizes, the lock comes off, and your body starts doing what it was always designed to do. This is not just weight loss. This is metabolic stability. This is your body repairing itself. This is the moment your body stops working against you and starts working with you. I teach exactly how I got there in my book This Is Not About Weight Loss. The link is in my bio. There are also free resources there to get you started. Eat the fat. 🥩👑

Queen of Carni

11,330 görüntüleme • 5 ay önce

Another tell of an advanced soul is their utter DISREGARD for DEATH. Have you noticed how deathly afraid people are of dying? To the point where they dare not even use that word. They’ll say “Passed away” and “Crossed over” NO. They DIED. They are D-E-A-D. The animating force that once occupied that body has left, and what remains is a rotting corpse. What you must understand is, advanced souls walk with certainty. With full knowledge of the immortality of their being. They understand that their body is just a vehicle. This is different to, and not to be confused with, a reckless and suicidal attitude. What we are talking about is a peaceful acceptance of the inevitable. Read that again. Not everybody that reads this will FULLY COMPREHEND what is being said here. You are IN this world but not OF this world. And those who walked with their spirits ILLUMINATED and BEAMING through… not being blinded by the body, embodied this. Death is peace. Death is release. Death is graduation. Funerals ought to be a celebration.

Another tell of an advanced soul is their utter DISREGARD for DEATH. Have you noticed how deathly afraid people are of dying? To the point where they dare not even use that word. They’ll say “Passed away” and “Crossed over” NO. They DIED. They are D-E-A-D. The animating force that once occupied that body has left, and what remains is a rotting corpse. What you must understand is, advanced souls walk with certainty. With full knowledge of the immortality of their being. They understand that their body is just a vehicle. This is different to, and not to be confused with, a reckless and suicidal attitude. What we are talking about is a peaceful acceptance of the inevitable. Read that again. Not everybody that reads this will FULLY COMPREHEND what is being said here. You are IN this world but not OF this world. And those who walked with their spirits ILLUMINATED and BEAMING through… not being blinded by the body, embodied this. Death is peace. Death is release. Death is graduation. Funerals ought to be a celebration.

DR22 Ω 🪬🎭

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In a revealing segment, WEF contributor Mariana Mazzucato unwittingly outlines the global elite's cynical playbook. She admits their models failed to vaccinate the world, revealing a top-down incompetence. Now, they are pivoting to water security not purely for altruism, but because it is a more effective Trojan Horse for their goals. She concedes that climate change is too abstract to generate universal compliance, but everyone understands thirst. Water, therefore, becomes the perfect tool to manufacture public consent for greater global governance. The plan is to frame it as both a "global commons" requiring international management and a matter of national self-interest, making resistance seem illogical. Ultimately, she reveals this is a grand experiment: can they finally succeed in centralizing control under the guise of the "common good" using a crisis everyone feels, after failing with issues that felt distant to many? It is an admission that their strategy is not about solving problems for people, but solving the problem of people for their agenda.

In a revealing segment, WEF contributor Mariana Mazzucato unwittingly outlines the global elite's cynical playbook. She admits their models failed to vaccinate the world, revealing a top-down incompetence. Now, they are pivoting to water security not purely for altruism, but because it is a more effective Trojan Horse for their goals. She concedes that climate change is too abstract to generate universal compliance, but everyone understands thirst. Water, therefore, becomes the perfect tool to manufacture public consent for greater global governance. The plan is to frame it as both a "global commons" requiring international management and a matter of national self-interest, making resistance seem illogical. Ultimately, she reveals this is a grand experiment: can they finally succeed in centralizing control under the guise of the "common good" using a crisis everyone feels, after failing with issues that felt distant to many? It is an admission that their strategy is not about solving problems for people, but solving the problem of people for their agenda.

Camus

350,932 görüntüleme • 11 ay önce

It's very easy to fall into the trap of thinking that everything is a cynical power game, and that everyone is out to get everyone else – but this is just not true. From the People by WTF podcast with Nikhil Kamath. Watch the whole thing:

It's very easy to fall into the trap of thinking that everything is a cynical power game, and that everyone is out to get everyone else – but this is just not true. From the People by WTF podcast with Nikhil Kamath. Watch the whole thing:

Yuval Noah Harari

56,667 görüntüleme • 5 ay önce

You may not agree with me, but you will always know where you stand with me. Today in Billericay, a heckler tried to shout me down as I spoke about the normalisation of hatred towards Jews. I did not back down, because it needs to be said. British Jews are being targeted and too many people are pretending this is the same experience of other minorities. This lady implied Muslims are being similarly targeted. This is simply not true. Let's be honest about what is happening. Certain groups (in particular but not solely Islamic Extremists) are creating a climate of fear and intimidation that is normalising Jew hatred. I will never stand for that. Governments have spent too long hand-wringing, making excuses and hoping it would go away. It is time to call this what it is: a national emergency in our attitude, our urgency and our response. I will always engage with people who disagree with me. That is politics. But there is a difference between argument and intimidation. Shouting does not make a bad case good. It's done to silence others. And it certainly does not change the truth. The truth is that British Jews have been made to feel less safe in their own country. Our country. They are being singled out, threatened and harassed in ways that should shame everyone in public life. If we do not stand up now and stop this rise in antisemitism, then why bother saying "Never Again" at Holocaust Memorial Day? Because this is how it starts. I am not prepared to play along with the pretence that this is normal, or manageable, or just another example of tension between groups. It really is not. It is targeted hatred and it is getting worse. So my message is simple. Not here. Not in Britain. And not on our watch. We need to stop the hand-wringing and start doing the right thing. That means standing with British Jews openly, unapologetically and without fear.

You may not agree with me, but you will always know where you stand with me. Today in Billericay, a heckler tried to shout me down as I spoke about the normalisation of hatred towards Jews. I did not back down, because it needs to be said. British Jews are being targeted and too many people are pretending this is the same experience of other minorities. This lady implied Muslims are being similarly targeted. This is simply not true. Let's be honest about what is happening. Certain groups (in particular but not solely Islamic Extremists) are creating a climate of fear and intimidation that is normalising Jew hatred. I will never stand for that. Governments have spent too long hand-wringing, making excuses and hoping it would go away. It is time to call this what it is: a national emergency in our attitude, our urgency and our response. I will always engage with people who disagree with me. That is politics. But there is a difference between argument and intimidation. Shouting does not make a bad case good. It's done to silence others. And it certainly does not change the truth. The truth is that British Jews have been made to feel less safe in their own country. Our country. They are being singled out, threatened and harassed in ways that should shame everyone in public life. If we do not stand up now and stop this rise in antisemitism, then why bother saying "Never Again" at Holocaust Memorial Day? Because this is how it starts. I am not prepared to play along with the pretence that this is normal, or manageable, or just another example of tension between groups. It really is not. It is targeted hatred and it is getting worse. So my message is simple. Not here. Not in Britain. And not on our watch. We need to stop the hand-wringing and start doing the right thing. That means standing with British Jews openly, unapologetically and without fear.

Kemi Badenoch

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The body does not heal because of medicine. It heals because you believe it can. Medicine can support. But it is your consciousness, your belief, and your inner authority that determine how healing unfolds. This is not new knowledge. Ancient civilizations understood that the mind and body are inseparable, and that true healing begins within. What have you experienced in your own healing journey when your mindset shifted? ✨🙌🏾💫

The body does not heal because of medicine. It heals because you believe it can. Medicine can support. But it is your consciousness, your belief, and your inner authority that determine how healing unfolds. This is not new knowledge. Ancient civilizations understood that the mind and body are inseparable, and that true healing begins within. What have you experienced in your own healing journey when your mindset shifted? ✨🙌🏾💫

🧬Maxpein🧬

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“People think Palantir is this spying tool, but that’s just not true. Palantir is not about mass surveillance — it’s about stitching together information in a way that helps keep people safe. The biggest misconception is that they’re watching everyone, and that’s just not reality.” Trae Stephens

“People think Palantir is this spying tool, but that’s just not true. Palantir is not about mass surveillance — it’s about stitching together information in a way that helps keep people safe. The biggest misconception is that they’re watching everyone, and that’s just not reality.” Trae Stephens

Shawn Ryan

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"People claim that users don't ultimately care about privacy. That may be true when it comes to some of the more incidental data about their lives. But I don't believe it is true when it comes to finance." on why crypto needs privacy to become mainstream: "In order for crypto to actually become mainstream and to be used for real applications, it's going to have to have privacy. People will care that their salary is not visible to everyone. They will care that the transactions they make online are not visible to everyone."

"People claim that users don't ultimately care about privacy. That may be true when it comes to some of the more incidental data about their lives. But I don't believe it is true when it comes to finance." on why crypto needs privacy to become mainstream: "In order for crypto to actually become mainstream and to be used for real applications, it's going to have to have privacy. People will care that their salary is not visible to everyone. They will care that the transactions they make online are not visible to everyone."

a16z crypto

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The Christian kvetching over this clip is pathetic. Here is the full context. In the interview Spielberg is not calling for the abolition or subversion of Christianity or the Church. The film literally includes a cardinal, a nun quoting scripture, and believers wrestling with what alien life would mean for their faith. Spielberg's conclusion is not that Christianity is false, but that god would still have dominion over alien life just as he does over humanity. This is directly out of mainstream Catholic theology. His point is the opposite of what people are claiming. He is suggesting that the creator god shared by Jews and Christians rules the entire universe, and that aliens or other unexplained phenomena would ultimately fall under that god's authority and reinforce it. That is the psyop, not "Christianity is being destroyed/subverted." Jews are not trying to destroy Christianity. Enough of this insecurity and persecution complex. Even by arguing this it shows that you have no idea what is going on.

The Christian kvetching over this clip is pathetic. Here is the full context. In the interview Spielberg is not calling for the abolition or subversion of Christianity or the Church. The film literally includes a cardinal, a nun quoting scripture, and believers wrestling with what alien life would mean for their faith. Spielberg's conclusion is not that Christianity is false, but that god would still have dominion over alien life just as he does over humanity. This is directly out of mainstream Catholic theology. His point is the opposite of what people are claiming. He is suggesting that the creator god shared by Jews and Christians rules the entire universe, and that aliens or other unexplained phenomena would ultimately fall under that god's authority and reinforce it. That is the psyop, not "Christianity is being destroyed/subverted." Jews are not trying to destroy Christianity. Enough of this insecurity and persecution complex. Even by arguing this it shows that you have no idea what is going on.

NeedMoreAmalek

18,305 görüntüleme • 3 ay önce

Why This Dance Clip Grabs You Before You Think The feeling comes first. Not admiration. Not analysis. A small jolt in the body, as if the beat has already decided you are part of the room. That is the emotion this clip creates. It is not sadness and it is not nostalgia. It is the pleasure of being pulled in. Watch long enough and you stop judging the dancers. You start wanting the same release they have: to stop holding yourself in, to let the music use your shoulders, to stop performing competence and just move. People are drawn to that because modern life trains the opposite. We sit. We keep gestures small. We watch other lives through a screen and rarely enter them. A class like this offers the opposite contract. You do not need to be the best. You only need to join the pulse. Belonging without an interview. Strength without a speech. The pull is also honest. The dancers are not selling mystery. They are sweating, dropping their weight, repeating a phrase until it becomes shared. That repetition is comforting. The brain likes a pattern it can enter. Once the pattern is clear, the viewer’s body starts rehearsing it from the chair. Attraction begins there: not “they are impressive,” but “I recognize this and I want in.” There is vanity in it too, and there is no point pretending otherwise. People want to look alive. They want to feel desired by the moment itself. But underneath the vanity is something plainer. Humans are built to move together. A crowd in time feels safer than a crowd in chaos. That old fact still works on a phone screen. So the clip does not win because it explains dance. It wins because it wakes a hunger most people forget they have: to stop watching and be carried. Has a video ever made you restless in that same way—not impressed, just ready to stand up?

Why This Dance Clip Grabs You Before You Think The feeling comes first. Not admiration. Not analysis. A small jolt in the body, as if the beat has already decided you are part of the room. That is the emotion this clip creates. It is not sadness and it is not nostalgia. It is the pleasure of being pulled in. Watch long enough and you stop judging the dancers. You start wanting the same release they have: to stop holding yourself in, to let the music use your shoulders, to stop performing competence and just move. People are drawn to that because modern life trains the opposite. We sit. We keep gestures small. We watch other lives through a screen and rarely enter them. A class like this offers the opposite contract. You do not need to be the best. You only need to join the pulse. Belonging without an interview. Strength without a speech. The pull is also honest. The dancers are not selling mystery. They are sweating, dropping their weight, repeating a phrase until it becomes shared. That repetition is comforting. The brain likes a pattern it can enter. Once the pattern is clear, the viewer’s body starts rehearsing it from the chair. Attraction begins there: not “they are impressive,” but “I recognize this and I want in.” There is vanity in it too, and there is no point pretending otherwise. People want to look alive. They want to feel desired by the moment itself. But underneath the vanity is something plainer. Humans are built to move together. A crowd in time feels safer than a crowd in chaos. That old fact still works on a phone screen. So the clip does not win because it explains dance. It wins because it wakes a hunger most people forget they have: to stop watching and be carried. Has a video ever made you restless in that same way—not impressed, just ready to stand up?

Emotion & Music

27,729 görüntüleme • 14 gün önce

Every human being has experienced something spiritual in their life. Everyone has broken the limitations of the physical body at some time, whether they label it that way or not. But to stay and sustain that experience needs preparation. Yoga is the science of enhancing the mind, body, emotion and energy so they have the capacity to hold on to such an experience. #SadhguruWisdom

Every human being has experienced something spiritual in their life. Everyone has broken the limitations of the physical body at some time, whether they label it that way or not. But to stay and sustain that experience needs preparation. Yoga is the science of enhancing the mind, body, emotion and energy so they have the capacity to hold on to such an experience. #SadhguruWisdom

Sadhguru

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KATIE COURIC: Some have criticized your leadership, saying you're not aggressive enough, we need more of a firebrand. HAKEEM JEFFRIES: Criticism comes with the territory and that is what it is. Listen, I'm from Brooklyn, we have active, fierce debates, and that's just the reality of the situation. When you're in the arena, you got to be in the arena. But what is clear is we have to bring everyone together because we all have a common objective.

KATIE COURIC: Some have criticized your leadership, saying you're not aggressive enough, we need more of a firebrand. HAKEEM JEFFRIES: Criticism comes with the territory and that is what it is. Listen, I'm from Brooklyn, we have active, fierce debates, and that's just the reality of the situation. When you're in the arena, you got to be in the arena. But what is clear is we have to bring everyone together because we all have a common objective.

Ken Klippenstein

137,060 görüntüleme • 1 yıl önce

Nick Fuentes wonders if people like Ian Carroll and Tucker Carlson are part of a layered conspiracy that avoids a certain topic. “I watched Ian Carroll interview with Tucker Carlson and I didn’t hear any mention of this.” “The stuff about Jeffrey Epstein, this is actually there. It’s not coded, it’s not ambiguous, it is staring you in the face. And what it is, is this is the essence of organized jewry working in America, working in society.” “That’s the part that no one wants to say out loud…whether it’s Ehud Barak or Netanyahu, they’re part of the same thing. Whether it’s Ronald Lauder or George Soros, they’re in effect part of the same thing. And that thing is called world jewry, organized jewry. Yes, it is the jews. No they are not Pagan Gypsies, not Khazarians, they’re not Frankists, they’re not neocons, they’re not just Zionists. It is organized jewry. That is what created Jeffrey Epstein, that is what sustained Jeffrey Epstein, and that is who Jeffrey Epstein worked on behalf of.” “What unites them together is not their love of pedophilia or their worship of satan. What unites them is their jewish identity.”

Nick Fuentes wonders if people like Ian Carroll and Tucker Carlson are part of a layered conspiracy that avoids a certain topic. “I watched Ian Carroll interview with Tucker Carlson and I didn’t hear any mention of this.” “The stuff about Jeffrey Epstein, this is actually there. It’s not coded, it’s not ambiguous, it is staring you in the face. And what it is, is this is the essence of organized jewry working in America, working in society.” “That’s the part that no one wants to say out loud…whether it’s Ehud Barak or Netanyahu, they’re part of the same thing. Whether it’s Ronald Lauder or George Soros, they’re in effect part of the same thing. And that thing is called world jewry, organized jewry. Yes, it is the jews. No they are not Pagan Gypsies, not Khazarians, they’re not Frankists, they’re not neocons, they’re not just Zionists. It is organized jewry. That is what created Jeffrey Epstein, that is what sustained Jeffrey Epstein, and that is who Jeffrey Epstein worked on behalf of.” “What unites them together is not their love of pedophilia or their worship of satan. What unites them is their jewish identity.”

Fractured Light

171,989 görüntüleme • 7 ay önce

Everyone in hard money argues gold versus Bitcoin. They share the same flaw. Both are transparent, predictable, and stable. That part is a real step forward. But both are also inelastic. And history is clear on inelastic money. It always produces some of the worst results. Volatility. Then hoarding. Then deflation. Then depression. That is not a theory. It is what we are living in right now, the consequences of an inelastic system that broke 15 years ago and was never fixed. The social disorder, the political chaos, the constant crisis. Those are not separate problems. They are what prolonged deflationary money does. The answer is not one extreme or the other. It is the happy medium almost nobody argues for. Transparent and stable, but elastic enough to avoid the collapse.

Everyone in hard money argues gold versus Bitcoin. They share the same flaw. Both are transparent, predictable, and stable. That part is a real step forward. But both are also inelastic. And history is clear on inelastic money. It always produces some of the worst results. Volatility. Then hoarding. Then deflation. Then depression. That is not a theory. It is what we are living in right now, the consequences of an inelastic system that broke 15 years ago and was never fixed. The social disorder, the political chaos, the constant crisis. Those are not separate problems. They are what prolonged deflationary money does. The answer is not one extreme or the other. It is the happy medium almost nobody argues for. Transparent and stable, but elastic enough to avoid the collapse.

Jeffrey P. Snider

88,728 görüntüleme • 1 ay önce

ALL THIS CONSTRUCTION OF THE VISIBLE WORLD IS AT ITS ROOTS DESIGNED IN THE INVISIBLE WORLD Before language, before numbers, before thought, there was form. Not arbitrary, but precise. Not invented, but revealed. Sacred Geometry is the blueprint beneath all becoming—the hidden grammar of light, sound, and matter. It is the spiral of galaxies and the whorl of a shell. It is the vesica that births light, The triangle that gives rise to stability, The square that anchors space, And the pentagram that mirrors life’s golden proportion. Sacred Geometry does not merely decorate creation, it structures it. It governs the growth of leaves, the pulse of waves, the rhythm of your breath. It reveals that harmony is not a concept, it is a code. A flower blooms not by chance, But by a silent obedience to phi. A crystal aligns not at random, But by listening to the quiet song of symmetry. This is not mysticism, it is order. This is not dogma, it is design. Sacred Geometry is where the visible and the invisible meet: Where math becomes art, Where number becomes movement, Where space becomes spirit. To study it is not only to learn, it is to remember. That beauty is not a luxury. It is the signature of coherence. And when we align with it, We don’t just build structures. We become them. Everything that has form in this dimension is made up in its essence of sacred geometry. All this construction of the visible world is at its root designed in the invisible world.

ALL THIS CONSTRUCTION OF THE VISIBLE WORLD IS AT ITS ROOTS DESIGNED IN THE INVISIBLE WORLD Before language, before numbers, before thought, there was form. Not arbitrary, but precise. Not invented, but revealed. Sacred Geometry is the blueprint beneath all becoming—the hidden grammar of light, sound, and matter. It is the spiral of galaxies and the whorl of a shell. It is the vesica that births light, The triangle that gives rise to stability, The square that anchors space, And the pentagram that mirrors life’s golden proportion. Sacred Geometry does not merely decorate creation, it structures it. It governs the growth of leaves, the pulse of waves, the rhythm of your breath. It reveals that harmony is not a concept, it is a code. A flower blooms not by chance, But by a silent obedience to phi. A crystal aligns not at random, But by listening to the quiet song of symmetry. This is not mysticism, it is order. This is not dogma, it is design. Sacred Geometry is where the visible and the invisible meet: Where math becomes art, Where number becomes movement, Where space becomes spirit. To study it is not only to learn, it is to remember. That beauty is not a luxury. It is the signature of coherence. And when we align with it, We don’t just build structures. We become them. Everything that has form in this dimension is made up in its essence of sacred geometry. All this construction of the visible world is at its root designed in the invisible world.

🧬Maxpein🧬

13,405 görüntüleme • 19 gün önce

LMFAO!!! Not only are they pulling a Nux Taku they’re pulling a reverse Idubbbz and Anisa! No Rev, you don’t get to have your cake and eat it too! Also get the fuck out of here with that petite body type copium because that’s not what a loli is!

LMFAO!!! Not only are they pulling a Nux Taku they’re pulling a reverse Idubbbz and Anisa! No Rev, you don’t get to have your cake and eat it too! Also get the fuck out of here with that petite body type copium because that’s not what a loli is!

Simon Robineau

125,046 görüntüleme • 5 ay önce

I very much disagree with some of Jon Jones' recent statements. It's not about you, Jon. It's not about your life, it's not about your story. If you want to be a part of a reality show and take that money to delay things and hold someone else's dreams back from becoming a reality. That is ducking. That is ducking because there is a time-honored tradition in the sport. The whole thing has to move along. Get rid of that belt. Everyone thinks you've done enough. You've earned enough. You've proven enough. Now allow someone else to have that same story. You are holding back not only Tom Aspinall, but the rest of the division. So yes, you're missing the point. This isn't about you. It's about the belt.

I very much disagree with some of Jon Jones' recent statements. It's not about you, Jon. It's not about your life, it's not about your story. If you want to be a part of a reality show and take that money to delay things and hold someone else's dreams back from becoming a reality. That is ducking. That is ducking because there is a time-honored tradition in the sport. The whole thing has to move along. Get rid of that belt. Everyone thinks you've done enough. You've earned enough. You've proven enough. Now allow someone else to have that same story. You are holding back not only Tom Aspinall, but the rest of the division. So yes, you're missing the point. This isn't about you. It's about the belt.

Ariel Helwani

411,248 görüntüleme • 1 yıl önce

Maria, Still Moving Like She Doesn’t Care Watching Debbie Harry perform “Maria” in 1999 is interesting for a reason that has little to do with nostalgia. She was 53 at the time, and Blondie had already been through the rise, disappearance, and return that most bands never experience even once. Yet there is nothing in the performance that feels like an artist trying to prove she still belongs onstage. Harry simply walks into the song and inhabits it. The blonde hair, the loose movement, the cool expression, the effortless way she delivers the lines—none of it feels like an attempt to recreate her younger self. It feels like she has carried that attitude with her all along. That matters because “Maria” is a song built around a very youthful kind of fascination. It describes the person who barely seems to notice the effect she has on everyone around her, the kind of attraction that feels stronger precisely because it cannot be controlled. There is something almost mischievous about the way the song turns “Ave Maria” into a pop hook. The woman being described becomes part fantasy, part obsession, part unreachable figure. It is not deep in the conventional sense, but it understands something very real about desire: sometimes the less available someone seems, the more space they occupy in your imagination. Harry was no longer young when she sang it in 1999, and that changes the way the song lands without changing what it means. Her voice carries more texture than it did decades earlier. It is slightly lower, more lived-in, and less concerned with sounding pristine. Instead of making the song feel dated, that gives it a quality the original could not have had. She is no longer singing about attraction from the perspective of someone who is still discovering it. She sounds like someone who has already experienced enough of life to understand how irrational it can be and still finds it worth singing about. That is probably the most appealing thing about the performance. Harry never seems embarrassed by the youthful energy of “Maria.” She does not soften it because she is older. She does not turn it into a self-conscious celebration of being young at heart. She simply allows the song to remain exactly what it is. The guitars still have their sharpness, the rhythm still pushes forward, and the chorus still has that immediate lift. But now all of that energy is carried by a voice with history behind it. The contrast gives the song more depth rather than less. There is also something refreshing in what Harry does not do. She does not make aging the subject of the performance. There is no visible struggle against time and no attempt to convince the audience that nothing has changed. Something has changed. She has changed. The voice has changed. The world around Blondie has changed. But none of that means the emotions inside an old song have to be retired along with the decade that produced it. That is where the performance becomes more than a comeback moment. It quietly rejects the idea that certain emotions belong to certain ages. Attraction does not disappear because someone gets older. Curiosity does not disappear. The pleasure of being desired, the fascination with someone mysterious, even the foolishness of wanting what may never be yours—none of these feelings have an expiration date. What changes is the person experiencing them, and sometimes that experience makes the emotion more interesting. Almost everyone has had a “Maria” at some point. Maybe it was a person who barely noticed you. Maybe it was someone you knew you should not want. Maybe it was simply an image of someone you could never quite reach. The details are different, but the feeling is familiar: that strange mixture of attraction and distance that makes a person seem larger in your imagination than they could ever be in real life. That is why Harry's 1999 performance still feels alive. It is not a museum piece and it is not a demonstration that she could still “do it.” It is simply an experienced artist standing inside a song that still has something to say, without apologizing for the fact that she understands its desire as well as she ever did. The calendar moved forward. Her voice changed. Blondie changed. But “Maria” did not need to become younger to remain convincing. And Debbie Harry did not need to become younger to make it believable. She just had to sing it like she meant it.

Maria, Still Moving Like She Doesn’t Care Watching Debbie Harry perform “Maria” in 1999 is interesting for a reason that has little to do with nostalgia. She was 53 at the time, and Blondie had already been through the rise, disappearance, and return that most bands never experience even once. Yet there is nothing in the performance that feels like an artist trying to prove she still belongs onstage. Harry simply walks into the song and inhabits it. The blonde hair, the loose movement, the cool expression, the effortless way she delivers the lines—none of it feels like an attempt to recreate her younger self. It feels like she has carried that attitude with her all along. That matters because “Maria” is a song built around a very youthful kind of fascination. It describes the person who barely seems to notice the effect she has on everyone around her, the kind of attraction that feels stronger precisely because it cannot be controlled. There is something almost mischievous about the way the song turns “Ave Maria” into a pop hook. The woman being described becomes part fantasy, part obsession, part unreachable figure. It is not deep in the conventional sense, but it understands something very real about desire: sometimes the less available someone seems, the more space they occupy in your imagination. Harry was no longer young when she sang it in 1999, and that changes the way the song lands without changing what it means. Her voice carries more texture than it did decades earlier. It is slightly lower, more lived-in, and less concerned with sounding pristine. Instead of making the song feel dated, that gives it a quality the original could not have had. She is no longer singing about attraction from the perspective of someone who is still discovering it. She sounds like someone who has already experienced enough of life to understand how irrational it can be and still finds it worth singing about. That is probably the most appealing thing about the performance. Harry never seems embarrassed by the youthful energy of “Maria.” She does not soften it because she is older. She does not turn it into a self-conscious celebration of being young at heart. She simply allows the song to remain exactly what it is. The guitars still have their sharpness, the rhythm still pushes forward, and the chorus still has that immediate lift. But now all of that energy is carried by a voice with history behind it. The contrast gives the song more depth rather than less. There is also something refreshing in what Harry does not do. She does not make aging the subject of the performance. There is no visible struggle against time and no attempt to convince the audience that nothing has changed. Something has changed. She has changed. The voice has changed. The world around Blondie has changed. But none of that means the emotions inside an old song have to be retired along with the decade that produced it. That is where the performance becomes more than a comeback moment. It quietly rejects the idea that certain emotions belong to certain ages. Attraction does not disappear because someone gets older. Curiosity does not disappear. The pleasure of being desired, the fascination with someone mysterious, even the foolishness of wanting what may never be yours—none of these feelings have an expiration date. What changes is the person experiencing them, and sometimes that experience makes the emotion more interesting. Almost everyone has had a “Maria” at some point. Maybe it was a person who barely noticed you. Maybe it was someone you knew you should not want. Maybe it was simply an image of someone you could never quite reach. The details are different, but the feeling is familiar: that strange mixture of attraction and distance that makes a person seem larger in your imagination than they could ever be in real life. That is why Harry's 1999 performance still feels alive. It is not a museum piece and it is not a demonstration that she could still “do it.” It is simply an experienced artist standing inside a song that still has something to say, without apologizing for the fact that she understands its desire as well as she ever did. The calendar moved forward. Her voice changed. Blondie changed. But “Maria” did not need to become younger to remain convincing. And Debbie Harry did not need to become younger to make it believable. She just had to sing it like she meant it.

Emotion & Music

17,937 görüntüleme • 16 gün önce