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While I have Solaris 7 up & running, let's also take a look at Amaya, an old web browser/editor from the W3C itself. 🤓🌐✍️ Amaya existed for many years but was sadly discontinued in 2012. More history here: Here's a clip of me using Amaya 4.0 for Solaris, released... show more

Andreas Kling

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12,900 Aufrufe • vor 3 Jahren •via X (Twitter)

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I must confess that i have been having some fun here in the US, for the better part of, close to two weeks -now in the city so good they named it twice. Guess where is that? Here is a Behind-the-Scene clip with my great friend and brother (Ademola Bello-not in clip but see old photo as well) who was helping me with the Teleprompter as we spent time rehearsing My Take for yesterday's edition of @InsideSource01 on Channels Television I also add here the photograph of me receiving the "Voice of Truth Award" last week in Washington DC at the SAVE NIGERIA COALITION Gala. Presenting me the award there is Mr. Douglas Burton, a US journalist and editor of And the answer to the question above is New York, New York! I love this city & state so much, which explains why I spent 15 of the 17 years -in America-here with my wife & children. Expect more of such biographical stories in my forthcoming book, MY PASSION FOR NIGERIA & THE BUHARI CABAL, hopefully before the 2027 polls.

I must confess that i have been having some fun here in the US, for the better part of, close to two weeks -now in the city so good they named it twice. Guess where is that? Here is a Behind-the-Scene clip with my great friend and brother (Ademola Bello-not in clip but see old photo as well) who was helping me with the Teleprompter as we spent time rehearsing My Take for yesterday's edition of @InsideSource01 on Channels Television I also add here the photograph of me receiving the "Voice of Truth Award" last week in Washington DC at the SAVE NIGERIA COALITION Gala. Presenting me the award there is Mr. Douglas Burton, a US journalist and editor of And the answer to the question above is New York, New York! I love this city & state so much, which explains why I spent 15 of the 17 years -in America-here with my wife & children. Expect more of such biographical stories in my forthcoming book, MY PASSION FOR NIGERIA & THE BUHARI CABAL, hopefully before the 2027 polls.

Laolu Akande

15,357 Aufrufe • vor 2 Monaten

I just interviewed Andrej Karpathy for the first time in my life at 1X. Right after he got a demo. I will have his video up later but turn up the audio and listen to what I have learned. The event here is sick. A robot checked me in. In my life I went from building Apple IIs to this. What a time to be alive!

I just interviewed Andrej Karpathy for the first time in my life at 1X. Right after he got a demo. I will have his video up later but turn up the audio and listen to what I have learned. The event here is sick. A robot checked me in. In my life I went from building Apple IIs to this. What a time to be alive!

Robert Scoble

61,547 Aufrufe • vor 10 Monaten

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

DepressedBergman

198,415 Aufrufe • vor 9 Monaten

18 year old Sheridan Gorman's dad reveals her illegal alien kiIIer Jose Medina shot her in the BACK while masked What a coward. DAD: "I don't understand what kind of person could SHOOT A CHILD IN THE BACK as they are running away. I don't know where that comes from." MOM: "It's a depravity. In the courthouse, he did not look at us. I don't know if I wanted him to look at me, but he didn't look at us. At one point I did see his face. He turned presumably to see if someone was in the courthouse... but nobody was there for him."

18 year old Sheridan Gorman's dad reveals her illegal alien kiIIer Jose Medina shot her in the BACK while masked What a coward. DAD: "I don't understand what kind of person could SHOOT A CHILD IN THE BACK as they are running away. I don't know where that comes from." MOM: "It's a depravity. In the courthouse, he did not look at us. I don't know if I wanted him to look at me, but he didn't look at us. At one point I did see his face. He turned presumably to see if someone was in the courthouse... but nobody was there for him."

Nick Sortor

77,853 Aufrufe • vor 4 Monaten

🚨 JD VANCE: Here's why the presidential 2028 focus is bad. If you wake up in my job...asking yourself, 'What's good for my future in a few years?' You won't do a good job RIGHT NOW. I ask myself, 'What's good for the president, the people, right NOW.' PERFECTLY said. "That's what I have to be focused on. So long as I do that, politics will take care of itself." 💯

🚨 JD VANCE: Here's why the presidential 2028 focus is bad. If you wake up in my job...asking yourself, 'What's good for my future in a few years?' You won't do a good job RIGHT NOW. I ask myself, 'What's good for the president, the people, right NOW.' PERFECTLY said. "That's what I have to be focused on. So long as I do that, politics will take care of itself." 💯

Eric Daugherty

107,102 Aufrufe • vor 10 Monaten

This is a very nice description of the problem. I think the first part of the solution is to not give into the hyper productivity hype: running a gazillion things in parallel. There's likely only a handful of humans that have the mental make-up to survive the permanent context switches. You can train your brain to become better at it, but there's a limit to that, and I found that it will lead to much worse outcomes in terms of output quality of both you and your clanker. I'm no neuroscientist, but I would assume there's a hard limit on how many things your brain can juggle at a time, probably made worse by the complexity that is code. I generally don't do more than 2-3 things in parallel. I use virtual desktops as "bundle of things that belong to a task", so terminals + editor + browser. Works fine, doesn't need any special OS support, expose on the virtual desktop let's me quickly switch to the task specific app I need. I also have a little pi extension that shows me what GH issue/PR the clanker session is about, with a link I can click to open the issue/PR in the browser. Plus 1 virtual desktop for entertainment, so the brain can get some rest. (better alternative: get up and walk a bit every 45 minutes) Video: - First desktop: pi session for a PR, extension shows me what PR I work on, can click to open in browser, aux terminal for random BS, editor, browser. Yes, I could split instead of having two terminal windows. I'm old. - Second desktop: clawdbot pi session, aux terminal for testing, editor, browser - Third desktop: entertainment booth

This is a very nice description of the problem. I think the first part of the solution is to not give into the hyper productivity hype: running a gazillion things in parallel. There's likely only a handful of humans that have the mental make-up to survive the permanent context switches. You can train your brain to become better at it, but there's a limit to that, and I found that it will lead to much worse outcomes in terms of output quality of both you and your clanker. I'm no neuroscientist, but I would assume there's a hard limit on how many things your brain can juggle at a time, probably made worse by the complexity that is code. I generally don't do more than 2-3 things in parallel. I use virtual desktops as "bundle of things that belong to a task", so terminals + editor + browser. Works fine, doesn't need any special OS support, expose on the virtual desktop let's me quickly switch to the task specific app I need. I also have a little pi extension that shows me what GH issue/PR the clanker session is about, with a link I can click to open the issue/PR in the browser. Plus 1 virtual desktop for entertainment, so the brain can get some rest. (better alternative: get up and walk a bit every 45 minutes) Video: - First desktop: pi session for a PR, extension shows me what PR I work on, can click to open in browser, aux terminal for random BS, editor, browser. Yes, I could split instead of having two terminal windows. I'm old. - Second desktop: clawdbot pi session, aux terminal for testing, editor, browser - Third desktop: entertainment booth

Mario Zechner

40,284 Aufrufe • vor 7 Monaten

Nina Lin got rejected from Kai's Streamer University for misspelling the word Chinese while wanting to be a language professor In the interview, Lin offered a response to the controversies she's had in the past year "I'm ngl it was a lot, even for me personally and I go through mad sh*t so I was like d*mn what do I do..and in moment I was like I did not bust my a*s for all this for no reason, yes I may have messed up but I try to do right so I hit up all these ppl..talk to them..anything I can do to make it right..obviously they don't have to reply" "What I thought is, the only way I can make it better..I have a platform..for them to see the difference, the changes..see me be a better person but at the same time keep going with what I got going on"

Nina Lin got rejected from Kai's Streamer University for misspelling the word Chinese while wanting to be a language professor In the interview, Lin offered a response to the controversies she's had in the past year "I'm ngl it was a lot, even for me personally and I go through mad sht so I was like dmn what do I do..and in moment I was like I did not bust my a*s for all this for no reason, yes I may have messed up but I try to do right so I hit up all these ppl..talk to them..anything I can do to make it right..obviously they don't have to reply" "What I thought is, the only way I can make it better..I have a platform..for them to see the difference, the changes..see me be a better person but at the same time keep going with what I got going on"

yeet

78,385 Aufrufe • vor 3 Monaten

🇬🇧🇺🇸 TRUMP: OCTOBER 7TH WAS ONE OF THE WORST DAYS IN WORLD HISTORY "I remember October 7th, one of the worst, most violent days in the history of the world, not just there, but in the history of the world. And I got to see the tapes, and I wish I hadn’t, actually, but I did. And I want an end. I want the hostages released. And I think it’s going to be OK. But it has been a brutal period of time. This has been going on for a long time. This is not something from just the last year or 2 years. This has been going on for decades and decades." Source: Rapid Response 47

🇬🇧🇺🇸 TRUMP: OCTOBER 7TH WAS ONE OF THE WORST DAYS IN WORLD HISTORY "I remember October 7th, one of the worst, most violent days in the history of the world, not just there, but in the history of the world. And I got to see the tapes, and I wish I hadn’t, actually, but I did. And I want an end. I want the hostages released. And I think it’s going to be OK. But it has been a brutal period of time. This has been going on for a long time. This is not something from just the last year or 2 years. This has been going on for decades and decades." Source: Rapid Response 47

Mario Nawfal

88,617 Aufrufe • vor 11 Monaten

I've been playing with a feature for my prose editor, I call "ghost cut". Y'all know how to cut and paste. You hit ctrl+x, the text disappears and goes into the clipboard. Then you move the caret and ctrl+v to paste it into a new location. You've done that a bazillion times, I bet. An annoyance I have with this is that as soon as you cut, the text reflows—and you have to reorient yourself in the "page". The solution I'm playing with is to ghost the text that was just cut. It only disappears from view once you paste it. I'm kinda liking it so far. But there is more testing to be done. Does anyone know of any precedence for this? I've not seen this in any editor or word processor.

I've been playing with a feature for my prose editor, I call "ghost cut". Y'all know how to cut and paste. You hit ctrl+x, the text disappears and goes into the clipboard. Then you move the caret and ctrl+v to paste it into a new location. You've done that a bazillion times, I bet. An annoyance I have with this is that as soon as you cut, the text reflows—and you have to reorient yourself in the "page". The solution I'm playing with is to ghost the text that was just cut. It only disappears from view once you paste it. I'm kinda liking it so far. But there is more testing to be done. Does anyone know of any precedence for this? I've not seen this in any editor or word processor.

Will McGugan

20,249 Aufrufe • vor 2 Monaten

I am not some sensationalist who produces excitable content just for the sake of it. Take a look at this clip from a video I produced in 2024 in which Dr ‘t Hooft makes it clear as to what went down in the 1979 Nobel. I have thoroughly researched this topic and produced an entire series on it. The link is available in the first comment below.

I am not some sensationalist who produces excitable content just for the sake of it. Take a look at this clip from a video I produced in 2024 in which Dr ‘t Hooft makes it clear as to what went down in the 1979 Nobel. I have thoroughly researched this topic and produced an entire series on it. The link is available in the first comment below.

Qaiser Ahmed Raja

15,877 Aufrufe • vor 9 Monaten

“I am not aware that I am a fugitive, I am not aware that I am running away from the law, I have been visiting Nigeria for 25 years. I have had a bookshop at the NLC offices right at the centre of Abuja for seven years and all that time, of course, the security forces have paid no interest in me,'' - Andrew Wynne, who is wanted by the Police for allegedly trying to topple the Tinubu administration #PoliticsToday

“I am not aware that I am a fugitive, I am not aware that I am running away from the law, I have been visiting Nigeria for 25 years. I have had a bookshop at the NLC offices right at the centre of Abuja for seven years and all that time, of course, the security forces have paid no interest in me,'' - Andrew Wynne, who is wanted by the Police for allegedly trying to topple the Tinubu administration #PoliticsToday

Channels Television

422,107 Aufrufe • vor 2 Jahren

I have an important update to the "debate." Blake directed me to look at the "rpoof frames" which Crowdsource The Truth presented as "irrefutable proof of a shot from behind." But there's a fatal flaw in that argument, in that for some reason, Jason presented the frame out of order.

I have an important update to the "debate." Blake directed me to look at the "rpoof frames" which Crowdsource The Truth presented as "irrefutable proof of a shot from behind." But there's a fatal flaw in that argument, in that for some reason, Jason presented the frame out of order.

Chris Martenson

62,000 Aufrufe • vor 11 Monaten

NEW: Jay Bhattacharya says Warp Speed was the right call in 2020 — but the real trouble began when the data from the Vax came in 2021 and the mandates began. “I think Operation Warp Speed was absolutely the right thing to do in 2020. If you are in the middle of a new novel virus spreading around and you have the capacity to deploy amazing scientists to try to address that at a rapid pace, it was definitely the right call to make in 2020.” “When the data started coming in 2021, and the mandates started going out—well that’s when we started getting into a lot of trouble.” “Having an understanding of what was known, at what points in time and also making sure the people who were injured get an honest, an honest take rather than censor, the kind of the way they were in the Biden administration.” “For me, the most important thing is we need to have public health be honest with the American public. To me that’s upshot of the president’s take, which I really just admire.”

NEW: Jay Bhattacharya says Warp Speed was the right call in 2020 — but the real trouble began when the data from the Vax came in 2021 and the mandates began. “I think Operation Warp Speed was absolutely the right thing to do in 2020. If you are in the middle of a new novel virus spreading around and you have the capacity to deploy amazing scientists to try to address that at a rapid pace, it was definitely the right call to make in 2020.” “When the data started coming in 2021, and the mandates started going out—well that’s when we started getting into a lot of trouble.” “Having an understanding of what was known, at what points in time and also making sure the people who were injured get an honest, an honest take rather than censor, the kind of the way they were in the Biden administration.” “For me, the most important thing is we need to have public health be honest with the American public. To me that’s upshot of the president’s take, which I really just admire.”

The Vigilant Fox 🦊

161,943 Aufrufe • vor 1 Jahr

ELON: I LIVED IN THE FACTORY FOR 3 YEARS STRAIGHT “I was living in the factory in Fremont and the one in Nevada for three years straight. It was my primary residence. I actually slept on a couch and, at one point, in a tent on the roof. But for a while there, I was just sleeping under my desk, which is out in the open in the factory, for an important reason. So that during shift change, the entire team could see me. They knew I was there, and that made a huge difference, and then they gave it their all.” Source: Baron Investment Conference, November 2022

ELON: I LIVED IN THE FACTORY FOR 3 YEARS STRAIGHT “I was living in the factory in Fremont and the one in Nevada for three years straight. It was my primary residence. I actually slept on a couch and, at one point, in a tent on the roof. But for a while there, I was just sleeping under my desk, which is out in the open in the factory, for an important reason. So that during shift change, the entire team could see me. They knew I was there, and that made a huge difference, and then they gave it their all.” Source: Baron Investment Conference, November 2022

Mario Nawfal

1,207,611 Aufrufe • vor 2 Jahren

Some of the recent arrivals in Doncaster are making themselves feel right at home. I grew up in similar housing years ago, but I’ve never seen anything like this. Sadly, an elderly lady who has lived here her whole life is forced to endure this misery. Watch the full clip and tell me what you think.

Some of the recent arrivals in Doncaster are making themselves feel right at home. I grew up in similar housing years ago, but I’ve never seen anything like this. Sadly, an elderly lady who has lived here her whole life is forced to endure this misery. Watch the full clip and tell me what you think.

'Seeing is believing'

52,950 Aufrufe • vor 1 Monat

Amaya Battle on staying home to play for Minnesota and the legacy she left for other players from MN: “There's a ton of talent in Minnesota, and growing up watching the Gophers play in high school, a lot of talent would leave. There are some players that would stick around. So I think all of us from Minnesota who stuck around me show that you can leave a legacy here at home, and then kind of just make it cool to stay here again.”

Amaya Battle on staying home to play for Minnesota and the legacy she left for other players from MN: “There's a ton of talent in Minnesota, and growing up watching the Gophers play in high school, a lot of talent would leave. There are some players that would stick around. So I think all of us from Minnesota who stuck around me show that you can leave a legacy here at home, and then kind of just make it cool to stay here again.”

GopherHole.com

201,354 Aufrufe • vor 5 Monaten