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Without taking accountability for The View's own incendiary and dehumanizing rhetoric against Trump, Alyssa Farah Griffin bloviates about how we need to bring the temperature down: "I know we will talk a lot about this so I won't steal the microphone, but we have a problem with political violence...

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Nicholas Fondacaro

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55,133 görüntüleme • 3 ay önce •via X (Twitter)

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"There are over a thousand Taliban and ISKP operatives in the United States. We let too many people in this country that we don't even know who's here." "Isn't Tom Homan doing this? It was 14 million people. So we're not doing it. And what I was saying to an Intel agency just a week ago, I said, we need to be running against this threat. Like, this needs to be fast forward, the toughest thing we ever did. We're not picking up and deporting fast enough. And Trump says that himself." Legend @RooftopLeader
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"There are over a thousand Taliban and ISKP operatives in the United States. We let too many people in this country that we don't even know who's here." "Isn't Tom Homan doing this? It was 14 million people. So we're not doing it. And what I was saying to an Intel agency just a week ago, I said, we need to be running against this threat. Like, this needs to be fast forward, the toughest thing we ever did. We're not picking up and deporting fast enough. And Trump says that himself." Legend @RooftopLeader

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"I was getting on [Melyssa Ford] for hiding it, not doing it. I just felt like if you're doing this and this is all the rave out in the street and everybody is doing it, then come in there and tell us about it. ... If I'm watching you go in another room, throwing up, cramps, and whatever you're doing, it's like, 'Okay, something's going on over there.' I get people want to keep a secret. I'm not mad at that. Not me. If I'm on it, you're going to hear about it from me." - Joe Budden

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🎥| “Already I fucking love this city. I love this country. I love the people. This was the first country as a band when I was about, when I was about 19 years old, I think. Um, it was pretty much one of the only countries I've ever been to really outside of the UK. It was the first country as a band. You don't have to cheer for me. I do appreciate it though. It was the first time as a band that, you know, it felt like maybe might have a few fans outside of the UK and I remember that being really, really excited. And I think we were here for about four or five weeks. We actually recorded What Makes You Beautiful. I know you like it but shit song. So... it was so this is, this is one of, there's not many countries that kind of grab me with nostalgia like this. And it's also not many countries that I would go out and have about a two hour walk, which I did yesterday. I'm not much of a walker, but I wanted to get myself out. It was really cool to see. It was really, really cool to see it with this, this country had a massive, massive impression on me as a young lad and I have it to have a lot to thank this country for. So, yeah, thank you. Thank you for being cool. Alright, it's emotional.” Louis Tomlinson on stage at #HDWGHWTStockholm (Via centr_mass)
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🎥| “Already I fucking love this city. I love this country. I love the people. This was the first country as a band when I was about, when I was about 19 years old, I think. Um, it was pretty much one of the only countries I've ever been to really outside of the UK. It was the first country as a band. You don't have to cheer for me. I do appreciate it though. It was the first time as a band that, you know, it felt like maybe might have a few fans outside of the UK and I remember that being really, really excited. And I think we were here for about four or five weeks. We actually recorded What Makes You Beautiful. I know you like it but shit song. So... it was so this is, this is one of, there's not many countries that kind of grab me with nostalgia like this. And it's also not many countries that I would go out and have about a two hour walk, which I did yesterday. I'm not much of a walker, but I wanted to get myself out. It was really cool to see. It was really, really cool to see it with this, this country had a massive, massive impression on me as a young lad and I have it to have a lot to thank this country for. So, yeah, thank you. Thank you for being cool. Alright, it's emotional.” Louis Tomlinson on stage at #HDWGHWTStockholm (Via centr_mass)

World Tomlinson

35,330 görüntüleme • 4 ay önce

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”
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Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”

neandrewthal

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Chuck Todd slams Trump as the only one who can turn down the temperature on incendiary rhetoric in the country — says he refuses to do it: "Presidents are in charge of the thermostat of the political temperature of the country. Period." “We haven't had the moment where this president has said, this isn't who we are. This is not acceptable. Maybe it's time to take a breath here. I know we've all allowed political rhetoric to get out of hand. Right. And yet, that's not the instinct right now, is it? And that's the problem." So. Trump’s response is the real problem here in all of this, according to Chuck. Of course it is.
1:12

Chuck Todd slams Trump as the only one who can turn down the temperature on incendiary rhetoric in the country — says he refuses to do it: "Presidents are in charge of the thermostat of the political temperature of the country. Period." “We haven't had the moment where this president has said, this isn't who we are. This is not acceptable. Maybe it's time to take a breath here. I know we've all allowed political rhetoric to get out of hand. Right. And yet, that's not the instinct right now, is it? And that's the problem." So. Trump’s response is the real problem here in all of this, according to Chuck. Of course it is.

Western Lensman

58,898 görüntüleme • 3 ay önce

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This Is An American Business Owner “The majority of my employees are under the age of 25 and I was having a conversation with a few of them the other day about just their futures” The answers were “so heartbreaking, like there's no hope” We NEED leadership change She asked “What are they saving for buying a home starting families that kind of thing and it was overwhelming The responses were just what's the point? They're like we work all the time. Half of our checks just get taken to taxes and sent overseas. Like they even see it and they're young, not even paying attention. Like we can't even buy a house so we're not even gonna try to save. We can barely think about starting a family because I can barely afford to live on my own.” “Just, it's so heartbreaking. Like there's no hope. But even when I was in college and I was able to buy a home and my friends, you know, they were able to do the same and start families. It was feasible, it was doable. And it's so disgusting the damage has been done in such a short period of time and it blows my mind that people are still going to vote for it” “it's so prevalent and it's so obvious now damage the just destruction of this poor country and what it's doing to a generation that are growing up trying to do their best and there's nothing for them. There's no future for them. What are they saving for? Like if we continue, if in November this happens again, we won't make it out. Like this is, this is, I mean, this is so sad.”

Wall Street Apes

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Juancho Hernangomez at SDNA. #28_Φλεβαρη “We saw that all Greek people came together for this important thing. It’s huge. We are humans, what happened two years ago was a tragedy. Seeing people in the streets, fighting for the same right, is pretty big. I was impressed with the pictures. I wish I was there, to try to go there and try to help. This game and this win is for them, for the victims, for the families. We cannot forget about it. Even with years passing by we will remember it and help the families. I really believe in democracy, all the humans got the power. We have to come as a union, as one. It’s important fighting for these rights, fighting for justice, fighting for the right thing”. Full story:
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Juancho Hernangomez at SDNA. #28_Φλεβαρη “We saw that all Greek people came together for this important thing. It’s huge. We are humans, what happened two years ago was a tragedy. Seeing people in the streets, fighting for the same right, is pretty big. I was impressed with the pictures. I wish I was there, to try to go there and try to help. This game and this win is for them, for the victims, for the families. We cannot forget about it. Even with years passing by we will remember it and help the families. I really believe in democracy, all the humans got the power. We have to come as a union, as one. It’s important fighting for these rights, fighting for justice, fighting for the right thing”. Full story:

George Zakkas

78,479 görüntüleme • 1 yıl önce

Angelina Jolie Has Finally Woken Up To The Fact The United Nations & Governments Are Run By Heartless Criminals There’s No Accountability For Crimes “If There’s A Business Interest Involved” “That is the biggest that is the most disheartening thing of I think we we or I thought at least even 20 years ago when I started to work internationally that there was this I in my head, some weird idea of good guys. You know? Some idea of those whether it be certain countries or certain people's maybe it was this holdover from World War 2 and this thought that this was, like so that the lines were clear and that there was going to be these human rights goals laid out and that there would be things stood up for, and that if these things weren't done, there would be pushback, and these were the and I really thought that's what it was. I even thought that's what the United Nations was… And I thought, okay. There's a there's some lines in the sand. There's some understanding. We're gonna grow and fight for improvements in these areas. And and to watch to watch and understand more and more how it's just simply that's not what it is. That's not the world. The world is not these are human rights. It is these are human rights sometimes for these people, maybe sometimes for these people, never for these people. Yeah. It's food aid, 6% for these people, 50% for these people, it's justice for these people, but not these people. Accountability for this crime, but not that crime if there's business interest. And this is truly the ugly state of of so much of the world that we are just becoming more and more aware of for just about every I mean, I don't know any countries that are are clean of it and, um, and willing to hold a line really consistently hand on behalf of the of human rights and laws”
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Angelina Jolie Has Finally Woken Up To The Fact The United Nations & Governments Are Run By Heartless Criminals There’s No Accountability For Crimes “If There’s A Business Interest Involved” “That is the biggest that is the most disheartening thing of I think we we or I thought at least even 20 years ago when I started to work internationally that there was this I in my head, some weird idea of good guys. You know? Some idea of those whether it be certain countries or certain people's maybe it was this holdover from World War 2 and this thought that this was, like so that the lines were clear and that there was going to be these human rights goals laid out and that there would be things stood up for, and that if these things weren't done, there would be pushback, and these were the and I really thought that's what it was. I even thought that's what the United Nations was… And I thought, okay. There's a there's some lines in the sand. There's some understanding. We're gonna grow and fight for improvements in these areas. And and to watch to watch and understand more and more how it's just simply that's not what it is. That's not the world. The world is not these are human rights. It is these are human rights sometimes for these people, maybe sometimes for these people, never for these people. Yeah. It's food aid, 6% for these people, 50% for these people, it's justice for these people, but not these people. Accountability for this crime, but not that crime if there's business interest. And this is truly the ugly state of of so much of the world that we are just becoming more and more aware of for just about every I mean, I don't know any countries that are are clean of it and, um, and willing to hold a line really consistently hand on behalf of the of human rights and laws”

Wall Street Apes

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Trump Lies and Says it was NOT Jesus, it was him as a Doctor You really can't make this crap up POTUS: I did post it, and I thought it was me as a doctor and had to do with the Red Cross as a Red Cross worker there, which we support, and only the fake news could come up with that one (that he is depicted as Jesus Christ). So I had just heard about it, and I said, how did they come up with that? It's supposed to be me as a doctor making people better, and I do make people better. I make people a lot better.
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Trump Lies and Says it was NOT Jesus, it was him as a Doctor You really can't make this crap up POTUS: I did post it, and I thought it was me as a doctor and had to do with the Red Cross as a Red Cross worker there, which we support, and only the fake news could come up with that one (that he is depicted as Jesus Christ). So I had just heard about it, and I said, how did they come up with that? It's supposed to be me as a doctor making people better, and I do make people better. I make people a lot better.

Ryan Rozbiani

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Brian Armstrong (Brian Armstrong ) on why founder-led companies are special: Brian: We thought maybe 50% of the company would resign. David: What would've happened if 50% of the company resigned? Brian: We would've built it all back. This is actually a very important point because I think there's a big difference between a founder and a presider of a company. I know that I could build it back because I started it when it was just me on a laptop. And I was there when it was 10 people and 100 people and 1,000 people. And if we need to go from 2000 to 1000 that's not a big deal to me. I could go back to being on my laptop again if I had to. There's this great Lee Kuan Yew [founder of Singapore] speech that he gave when he was dealing with a strike that was happening. He says in this speech, and it gives me chills every time, he says I sat across the table from them and said get back to work. I will not allow you to bring this country down. And if you don’t do it, I’m prepared to rebuild it all from scratch again. And he said anyone who rules Singapore has to have iron in their veins. I will rebuild it all from scratch. I was watching videos like that and was like this is what I need to do as a leader. It was very inspiring. There are moments like that. You have to stand up and say: We're going in this direction and if you're not on board with it, that’s okay, you can leave. But we're going this way. That's leadership.
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Brian Armstrong (Brian Armstrong ) on why founder-led companies are special: Brian: We thought maybe 50% of the company would resign. David: What would've happened if 50% of the company resigned? Brian: We would've built it all back. This is actually a very important point because I think there's a big difference between a founder and a presider of a company. I know that I could build it back because I started it when it was just me on a laptop. And I was there when it was 10 people and 100 people and 1,000 people. And if we need to go from 2000 to 1000 that's not a big deal to me. I could go back to being on my laptop again if I had to. There's this great Lee Kuan Yew [founder of Singapore] speech that he gave when he was dealing with a strike that was happening. He says in this speech, and it gives me chills every time, he says I sat across the table from them and said get back to work. I will not allow you to bring this country down. And if you don’t do it, I’m prepared to rebuild it all from scratch again. And he said anyone who rules Singapore has to have iron in their veins. I will rebuild it all from scratch. I was watching videos like that and was like this is what I need to do as a leader. It was very inspiring. There are moments like that. You have to stand up and say: We're going in this direction and if you're not on board with it, that’s okay, you can leave. But we're going this way. That's leadership.

David Senra

100,936 görüntüleme • 5 ay önce

Emil Michael: “If you don’t want your software to be used for Department of War stuff, you shouldn't be selling to the Department of War.” Under Secretary of War Emil Michael on his frustrations with Anthropic: “We started these negotiations, and it took three months, and I had to sort of give them scenarios, like this Chinese hypersonic missile example.” “And they're like, ‘Okay, we'll give you an exception for that.’ Well, how about this drone swarm? ‘We'll give you an exception for that.’” “And I was like, exceptions don't work. I can't predict for the next 20 years all the things we might use AI for.” @jason: “If you find out there's another 9/11 unique black swan event that's going to occur, you’d have to go clear it with them?” Emil: “That was literally the comment. It was in a room of 20 people, so this is undeniable if Dario wants to deny it, and I was giving these scenarios, these Golden Dome scenarios, and so on, and he's like, ‘Just call me if you need another exception.’” “And I'm like, ‘But what if the balloon's going up at that moment and it's a decisive action we have to take?’ Like, I'm not gonna call you to do something. It's not rational. And that was another ‘holy cow’ moment of, like, how they think about it.”
1:07

Emil Michael: “If you don’t want your software to be used for Department of War stuff, you shouldn't be selling to the Department of War.” Under Secretary of War Emil Michael on his frustrations with Anthropic: “We started these negotiations, and it took three months, and I had to sort of give them scenarios, like this Chinese hypersonic missile example.” “And they're like, ‘Okay, we'll give you an exception for that.’ Well, how about this drone swarm? ‘We'll give you an exception for that.’” “And I was like, exceptions don't work. I can't predict for the next 20 years all the things we might use AI for.” @jason: “If you find out there's another 9/11 unique black swan event that's going to occur, you’d have to go clear it with them?” Emil: “That was literally the comment. It was in a room of 20 people, so this is undeniable if Dario wants to deny it, and I was giving these scenarios, these Golden Dome scenarios, and so on, and he's like, ‘Just call me if you need another exception.’” “And I'm like, ‘But what if the balloon's going up at that moment and it's a decisive action we have to take?’ Like, I'm not gonna call you to do something. It's not rational. And that was another ‘holy cow’ moment of, like, how they think about it.”

The All-In Podcast

211,202 görüntüleme • 5 ay önce

Chanhyuk: Company doesn’t matter, but it’s about the people you work with. “There’s also something like this. Even though we say we created a “company,” we just used that word because it’s easier for people to understand. But in the end, it’s not really about the company, it’s about the people. Like, who you work with. And what kind of experiences you share with them, that’s what really matters the most. So with these people, whether we go, volunteering or travel somewhere, we always move together as one group. Because if not and later on, when I write and release a song, if we hadn’t shared those experiences, I’d have to explain everything. Like, “I went somewhere and had this kind of experience…” But since we’ve all lived it together, I can just say, “Hey, I wrote this kind of song this time,” and they’ll be like, “Oh, yeah, I get it. I know exactly what that is.” It just makes everything so much faster, right?”
0:47

Chanhyuk: Company doesn’t matter, but it’s about the people you work with. “There’s also something like this. Even though we say we created a “company,” we just used that word because it’s easier for people to understand. But in the end, it’s not really about the company, it’s about the people. Like, who you work with. And what kind of experiences you share with them, that’s what really matters the most. So with these people, whether we go, volunteering or travel somewhere, we always move together as one group. Because if not and later on, when I write and release a song, if we hadn’t shared those experiences, I’d have to explain everything. Like, “I went somewhere and had this kind of experience…” But since we’ve all lived it together, I can just say, “Hey, I wrote this kind of song this time,” and they’ll be like, “Oh, yeah, I get it. I know exactly what that is.” It just makes everything so much faster, right?”

akmerch ⚔️

194,144 görüntüleme • 4 ay önce

🦁: don't worry, guys. we do communicate with it. 🦁: we have an actual roleplay channel where we talk about rp, like what we plan to do and we ask people if it's okay to do this and this and this. we do communicate. there is communication. it's not just, "i'm gonna log in today and just like terrorize the town", you know? 🦁: it's mainly used for... just kinda letting people know what you are up to today or something. i think people can choose to be a part of it. 🦁: i guess the only thing that i really do need to do better next time is maybe things like big groups and stuff, like big expeditions. i feel like that needs to be limited to only maybe six people 🦁: i'm pretty sure it could coexist. you have crimp over here just building her circus. you have a lot of people seriously roleplaying over there. i think people can just take their business elsewhere, you know? 🦁: and again, i think we learned a lot trying this for the first time. it's definitely a good experience. #lucalive #VcraftEnchanted
2:01

🦁: don't worry, guys. we do communicate with it. 🦁: we have an actual roleplay channel where we talk about rp, like what we plan to do and we ask people if it's okay to do this and this and this. we do communicate. there is communication. it's not just, "i'm gonna log in today and just like terrorize the town", you know? 🦁: it's mainly used for... just kinda letting people know what you are up to today or something. i think people can choose to be a part of it. 🦁: i guess the only thing that i really do need to do better next time is maybe things like big groups and stuff, like big expeditions. i feel like that needs to be limited to only maybe six people 🦁: i'm pretty sure it could coexist. you have crimp over here just building her circus. you have a lot of people seriously roleplaying over there. i think people can just take their business elsewhere, you know? 🦁: and again, i think we learned a lot trying this for the first time. it's definitely a good experience. #lucalive #VcraftEnchanted

reese 💫

72,477 görüntüleme • 10 ay önce

Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”
1:44

Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”

David Senra

12,759 görüntüleme • 2 ay önce

“What I think SPX is, is a wake-up call. And I think for the normie, the average person, it literally is best described as being the next Bitcoin, because that's literally what it is. Bitcoin was a wake-up call to show people that value is subjective. And SPX is the next iteration of that. And once you get enough people to understand that the value of the dollar is subjective. It only has value because people believe in it. Bitcoin only has value because people believe in it. SPX has value because people believe in it. And the next step is Well, it's not just money that is subjective in value. It is literally everything is subjective. The entire universe is this subjective entity that is created from our own consciousness. And that's what Like, the purpose of this vehicle, yes, it's going to make a lot of people a lot of money, but the point of that is to wake people up to the fact that the entire universe is this subjective entity. It is not just this, like, empirical machine with interlocking gears and like this orderly machine that proceeds from just like the sum of its parts like no like we are literally the universe creating the universe and that's what spx is meant to wake people up to.” — Crypto Maxi 💹🧲
1:36

“What I think SPX is, is a wake-up call. And I think for the normie, the average person, it literally is best described as being the next Bitcoin, because that's literally what it is. Bitcoin was a wake-up call to show people that value is subjective. And SPX is the next iteration of that. And once you get enough people to understand that the value of the dollar is subjective. It only has value because people believe in it. Bitcoin only has value because people believe in it. SPX has value because people believe in it. And the next step is Well, it's not just money that is subjective in value. It is literally everything is subjective. The entire universe is this subjective entity that is created from our own consciousness. And that's what Like, the purpose of this vehicle, yes, it's going to make a lot of people a lot of money, but the point of that is to wake people up to the fact that the entire universe is this subjective entity. It is not just this, like, empirical machine with interlocking gears and like this orderly machine that proceeds from just like the sum of its parts like no like we are literally the universe creating the universe and that's what spx is meant to wake people up to.” — Crypto Maxi 💹🧲

Tanz Cho 💹🧲

12,294 görüntüleme • 1 ay önce

People always ask me: But how could AI kill us all? So, here is how I think AI will literally kill us all. It's just a guess, I'm just a human. I wrote this essay for a book nearly two years ago. It's not something I like to talk about. But the academic presentation of AI risk is just not working. We need real human emotion in this debate. When we say we're all going to die if we don't change course, and our faces don't show it, it doesn't connect.
5:10

People always ask me: But how could AI kill us all? So, here is how I think AI will literally kill us all. It's just a guess, I'm just a human. I wrote this essay for a book nearly two years ago. It's not something I like to talk about. But the academic presentation of AI risk is just not working. We need real human emotion in this debate. When we say we're all going to die if we don't change course, and our faces don't show it, it doesn't connect.

John Sherman

180,286 görüntüleme • 5 ay önce

OTD 28 years ago "The Strike" aired, and the world learned about "Festivus." We spoke with Dan O'Keefe whose father created Festivus. Dan was Not a fan of the episode, did Not want the episode to air, and to him, Festivus brings back deep rooted trauma. Dan explains: The way people adopted it, I didn’t see that coming. You gotta understand, I’ve been saying this for a while, yeah, that was my father, he was mentally ill and a drunk, but extremely brilliant. For whatever reason he invented this weird fucking extra holiday that was celebrated at random times. It did not have a set date. It was extremely upsetting. It was like borderline child endangerment, and it was not fun. So my brothers and I had this deal: you do not talk about it outside of the house, and we just try to pretend it’s not happening. But I didn’t pitch it, I didn’t want it to go in. I hoped it would fail and be edited out, and nevertheless, the damn thing survived. The reality is far weirder. I have the CDs that were remastered from the cassette tapes my dad used to make during the annual recording of this insanity, which is mostly him screaming about internal Reader’s Digest politics in a deep slur while my brothers are crying and my mom is telling him to simmer down. That was not something I agitated for, quite the reverse. So how do I feel about it taking off? I try to block it out. This holiday was basically an encapsulation of alcoholism and mental illness into one neat little wrapper. I was as surprised as anyone. I was not a booster of this. I was surprised it got on the air. I am beyond surprised that it seems to be something that has, to some extent, legs. There are still a few people who celebrate it. Good for them. I do not personally. I did my time on that in the ’70s and ’80s. Jerry Stiller made it fun. The real thing was terrifying, obviously, and you understood why George was not in favor of it. But he made it fun, and it was Jeff Schaffer’s joke—the idea to give it a pole. That was not the case. The real symbology of it was more peculiar and not as wholesome as an aluminum pole with a good strength-to-weight ratio.
0:33

OTD 28 years ago "The Strike" aired, and the world learned about "Festivus." We spoke with Dan O'Keefe whose father created Festivus. Dan was Not a fan of the episode, did Not want the episode to air, and to him, Festivus brings back deep rooted trauma. Dan explains: The way people adopted it, I didn’t see that coming. You gotta understand, I’ve been saying this for a while, yeah, that was my father, he was mentally ill and a drunk, but extremely brilliant. For whatever reason he invented this weird fucking extra holiday that was celebrated at random times. It did not have a set date. It was extremely upsetting. It was like borderline child endangerment, and it was not fun. So my brothers and I had this deal: you do not talk about it outside of the house, and we just try to pretend it’s not happening. But I didn’t pitch it, I didn’t want it to go in. I hoped it would fail and be edited out, and nevertheless, the damn thing survived. The reality is far weirder. I have the CDs that were remastered from the cassette tapes my dad used to make during the annual recording of this insanity, which is mostly him screaming about internal Reader’s Digest politics in a deep slur while my brothers are crying and my mom is telling him to simmer down. That was not something I agitated for, quite the reverse. So how do I feel about it taking off? I try to block it out. This holiday was basically an encapsulation of alcoholism and mental illness into one neat little wrapper. I was as surprised as anyone. I was not a booster of this. I was surprised it got on the air. I am beyond surprised that it seems to be something that has, to some extent, legs. There are still a few people who celebrate it. Good for them. I do not personally. I did my time on that in the ’70s and ’80s. Jerry Stiller made it fun. The real thing was terrifying, obviously, and you understood why George was not in favor of it. But he made it fun, and it was Jeff Schaffer’s joke—the idea to give it a pole. That was not the case. The real symbology of it was more peculiar and not as wholesome as an aluminum pole with a good strength-to-weight ratio.

This Podcast is Making Me Thirsty Seinfeld Podcast

103,005 görüntüleme • 8 ay önce

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'
3:56

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

23,149 görüntüleme • 7 ay önce