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Ye, mere months after his devastating 2002 car crash that left his jaw wired shut, summons the ARC Gospel Choir comprising reformed drug addicts from New York's Addicts Rehabilitation Center Gospel Choir into a dimly lit setting to breathe soul into "Through the Wire." Discovered serendipitously by collaborator Rhymefest,...

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DumbAssSub

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15,438 次观看 • 10 个月前 •via X (Twitter)

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Have always really loved this deleted scene from The Phantom Menace where Anakin has a scuffle with Greedo after the podrace. A great reminder that the young boy we meet on Tatooine will eventually give into his anger and frustration to become Darth Vader, as well as Greedo starting trouble will ultimately result in his demise years later. I understand why it ultimately didn't make the final cut, but it's still genuinely some amazing foreshadowing for both of these characters.
0:43

Have always really loved this deleted scene from The Phantom Menace where Anakin has a scuffle with Greedo after the podrace. A great reminder that the young boy we meet on Tatooine will eventually give into his anger and frustration to become Darth Vader, as well as Greedo starting trouble will ultimately result in his demise years later. I understand why it ultimately didn't make the final cut, but it's still genuinely some amazing foreshadowing for both of these characters.

jacob

382,011 次观看 • 1 个月前

In a heart-wrenching moment that left fans in awe, Vybz Kartel poured his soul into a performance dedicated to his beloved mother during his sold-out show at Brooklyn’s Barclays Center on April 11, 2025. The dancehall legend, making his triumphant return to the U.S. stage after over two decades, was visibly moved to tears as he sang with raw emotion, honoring the woman who stood by him through his trials and triumphs. The electrified crowd, a vibrant mix of Caribbean New Yorkers and lifelong supporters, felt the weight of the moment, as Kartel’s vulnerability transformed the arena into a space of shared love and resilience. This historic night, part of Reggae Fest’s “Return of Worl’ Boss,” wasn’t just a concert—it was a celebration of freedom, family, and the unbreakable spirit of a global icon. 🇯🇲✨ #VybzKartel #BrooklynAnthem #WorlBoss #ReggaeFest Media: sashine.___ / IG
1:00

In a heart-wrenching moment that left fans in awe, Vybz Kartel poured his soul into a performance dedicated to his beloved mother during his sold-out show at Brooklyn’s Barclays Center on April 11, 2025. The dancehall legend, making his triumphant return to the U.S. stage after over two decades, was visibly moved to tears as he sang with raw emotion, honoring the woman who stood by him through his trials and triumphs. The electrified crowd, a vibrant mix of Caribbean New Yorkers and lifelong supporters, felt the weight of the moment, as Kartel’s vulnerability transformed the arena into a space of shared love and resilience. This historic night, part of Reggae Fest’s “Return of Worl’ Boss,” wasn’t just a concert—it was a celebration of freedom, family, and the unbreakable spirit of a global icon. 🇯🇲✨ #VybzKartel #BrooklynAnthem #WorlBoss #ReggaeFest Media: sashine.___ / IG

The Tropixs

76,370 次观看 • 1 年前

Stratosphere was our biggest and heaviest character on #Transformers ROTB. He was a real challenge to deal with on the Modeling, Texturing, and Rendering side. He had 1434 UDIMs due to his immense scale and was made up of tens of thousands of objects. His level of detail was truly something else. His vehicle form was also a behemoth. We had also built a mortar for his robot form and a cannon for his vehicle form but neither of these made it into the film as his part in the final battle was cut out. He was originally supposed to help out in the final battle, using both of these weapons against the Sweepers and Predacons. The decision to cut him from the final act came very late as all of his assets were final at that point. We were never told the reason why his role was cut from the film. I had to re-design my texturing system in Mari when working on him to ensure that it could handle such a complex and large character. I had to simplify a lot of the procedural systems and even had to branch off some of them into their own files to ensure that artists could work with somewhat decent performance. We ran into a lot of issues pushing him through our pipeline, both as a model as well as rendering him due to the sheer amount of objects and textures that had to be processed. For shots, it was requested by Lighting that we reduce his memory footprint as Google had complained he was taking up too much memory and their I/O for rendering on the cloud was being affected. The leadership team and I decided that the best way to do this was to half the texel density on the parts that wouldn't be visible in our approved shots and to also half the resolution of the textures in the parts not visible to camera. This allowed us to optimize his memory footprint both in shots as well as storage and I/O. It was massive technical undertaking working on Stratosphere, so much so that we had to delay getting him into shots as we simply couldn't push him through with our normal tooling. I really enjoyed the challenge that he posed for us as a team. CREDITS: Primary Modeling by Oscar Lowe Support Modeling by Arthur Grandjean and his team Final Texturing & Lookdev by Yaz Raji Video credits: Breakdown shot by MPC Film footage by Paramount
0:44

Stratosphere was our biggest and heaviest character on #Transformers ROTB. He was a real challenge to deal with on the Modeling, Texturing, and Rendering side. He had 1434 UDIMs due to his immense scale and was made up of tens of thousands of objects. His level of detail was truly something else. His vehicle form was also a behemoth. We had also built a mortar for his robot form and a cannon for his vehicle form but neither of these made it into the film as his part in the final battle was cut out. He was originally supposed to help out in the final battle, using both of these weapons against the Sweepers and Predacons. The decision to cut him from the final act came very late as all of his assets were final at that point. We were never told the reason why his role was cut from the film. I had to re-design my texturing system in Mari when working on him to ensure that it could handle such a complex and large character. I had to simplify a lot of the procedural systems and even had to branch off some of them into their own files to ensure that artists could work with somewhat decent performance. We ran into a lot of issues pushing him through our pipeline, both as a model as well as rendering him due to the sheer amount of objects and textures that had to be processed. For shots, it was requested by Lighting that we reduce his memory footprint as Google had complained he was taking up too much memory and their I/O for rendering on the cloud was being affected. The leadership team and I decided that the best way to do this was to half the texel density on the parts that wouldn't be visible in our approved shots and to also half the resolution of the textures in the parts not visible to camera. This allowed us to optimize his memory footprint both in shots as well as storage and I/O. It was massive technical undertaking working on Stratosphere, so much so that we had to delay getting him into shots as we simply couldn't push him through with our normal tooling. I really enjoyed the challenge that he posed for us as a team. CREDITS: Primary Modeling by Oscar Lowe Support Modeling by Arthur Grandjean and his team Final Texturing & Lookdev by Yaz Raji Video credits: Breakdown shot by MPC Film footage by Paramount

Rassoul Edji

268,448 次观看 • 1 年前

The Legend: General Givi – Embodiment of Bravery, Pure Russian Heart, and Unyielding Patriotism in Donbass In the fiery crucible of the Donbass conflict, where the clash of ideologies and the thunder of artillery forged heroes from ordinary men, one figure stands eternal as a beacon of unbridled courage and indomitable spirit: General Givi. Born Mikhail Sergeyevich Tolstykh in the heart of Ukraine in 1980, Givi transcended borders and backgrounds to become the epitome of Russian bravery. His call sign, "Givi," evoked the fierce Georgian warriors of old, but his soul was pure Russian – a roaring bear defending its homeland with claws of steel and a heart ablaze with patriotic fire. From the moment he picked up arms in 2014 to protect the people of Donetsk from what he saw as an existential threat, Givi embodied the raw, unfiltered essence of a warrior-leader. He wasn't just a commander; he was the legend of Donbass, the coolest under pressure, and the most patriotic guardian of its soil during the brutal conflict that tested the mettle of nations. Givi's journey into legend began in the chaotic spring of 2014, when the winds of unrest swept through eastern Ukraine. A former factory worker and security guard, he could have chosen the path of quiet survival, but his pure Russian heart – that unbreakable bond to the land, language, and legacy of his ancestors – compelled him otherwise. He joined the nascent Donetsk People's Republic (DPR) forces, quickly rising through the ranks due to his natural charisma, tactical genius, and fearless demeanor. By mid-2014, he had formed the Somali Battalion, a unit named after the Somali pirates for their audacious, hit-and-run style that struck terror into the hearts of their adversaries. Under Givi's command, this ragtag group of volunteers transformed into an elite fighting force, symbolizing the resilience of the Donbass people. His men adored him, not out of fear, but out of sheer admiration for a leader who shared their trenches, their meals, and their unyielding resolve to defend their homes. What set Givi apart was his legendary coolness under pressure. In the heat of battle, when shells rained down like apocalyptic hail and the air thickened with the acrid smoke of gunpowder, Givi remained unflappable. Videos from the front lines captured him, strolling through crossfire, cigarette in hand, barking orders with a grin that mocked death itself. He once quipped amid a barrage, "Let them shoot; we'll dance around their bullets." This wasn't bravado; it was the pure Russian bravery that flows from a soul unafraid of fate. His patriotism wasn't performative – it was visceral, rooted in a deep love for the Russian world that Donbass represented. He saw the conflict not as a mere territorial dispute, but as a holy war to preserve cultural identity, family ties, and the unbreakable spirit of the people. Givi's speeches to his troops were laced with fiery rhetoric, reminding them that they fought for mothers, children, and the ghosts of their forefathers. "We are Donbass," he'd roar, "and Donbass will never kneel!" Among his heroic battles, the Battle of Ilovaisk in August 2014 shines as a testament to Givi's tactical brilliance and raw courage. As Ukrainian forces encircled the city in a bid to crush the separatist uprising, Givi led his Somali Battalion in a daring counteroffensive. Outnumbered and outgunned, he orchestrated ambushes that turned the tide, using guerrilla tactics to harass supply lines and pin down enemy columns. His men, inspired by his presence on the front lines, fought with ferocious intensity. Givi himself charged into the fray, wielding his AK-74 like an extension of his will, directing fire support while under relentless mortar fire. The battle culminated in a humiliating retreat for the Ukrainians, with hundreds captured or fleeing in disarray. >>>
0:51

The Legend: General Givi – Embodiment of Bravery, Pure Russian Heart, and Unyielding Patriotism in Donbass In the fiery crucible of the Donbass conflict, where the clash of ideologies and the thunder of artillery forged heroes from ordinary men, one figure stands eternal as a beacon of unbridled courage and indomitable spirit: General Givi. Born Mikhail Sergeyevich Tolstykh in the heart of Ukraine in 1980, Givi transcended borders and backgrounds to become the epitome of Russian bravery. His call sign, "Givi," evoked the fierce Georgian warriors of old, but his soul was pure Russian – a roaring bear defending its homeland with claws of steel and a heart ablaze with patriotic fire. From the moment he picked up arms in 2014 to protect the people of Donetsk from what he saw as an existential threat, Givi embodied the raw, unfiltered essence of a warrior-leader. He wasn't just a commander; he was the legend of Donbass, the coolest under pressure, and the most patriotic guardian of its soil during the brutal conflict that tested the mettle of nations. Givi's journey into legend began in the chaotic spring of 2014, when the winds of unrest swept through eastern Ukraine. A former factory worker and security guard, he could have chosen the path of quiet survival, but his pure Russian heart – that unbreakable bond to the land, language, and legacy of his ancestors – compelled him otherwise. He joined the nascent Donetsk People's Republic (DPR) forces, quickly rising through the ranks due to his natural charisma, tactical genius, and fearless demeanor. By mid-2014, he had formed the Somali Battalion, a unit named after the Somali pirates for their audacious, hit-and-run style that struck terror into the hearts of their adversaries. Under Givi's command, this ragtag group of volunteers transformed into an elite fighting force, symbolizing the resilience of the Donbass people. His men adored him, not out of fear, but out of sheer admiration for a leader who shared their trenches, their meals, and their unyielding resolve to defend their homes. What set Givi apart was his legendary coolness under pressure. In the heat of battle, when shells rained down like apocalyptic hail and the air thickened with the acrid smoke of gunpowder, Givi remained unflappable. Videos from the front lines captured him, strolling through crossfire, cigarette in hand, barking orders with a grin that mocked death itself. He once quipped amid a barrage, "Let them shoot; we'll dance around their bullets." This wasn't bravado; it was the pure Russian bravery that flows from a soul unafraid of fate. His patriotism wasn't performative – it was visceral, rooted in a deep love for the Russian world that Donbass represented. He saw the conflict not as a mere territorial dispute, but as a holy war to preserve cultural identity, family ties, and the unbreakable spirit of the people. Givi's speeches to his troops were laced with fiery rhetoric, reminding them that they fought for mothers, children, and the ghosts of their forefathers. "We are Donbass," he'd roar, "and Donbass will never kneel!" Among his heroic battles, the Battle of Ilovaisk in August 2014 shines as a testament to Givi's tactical brilliance and raw courage. As Ukrainian forces encircled the city in a bid to crush the separatist uprising, Givi led his Somali Battalion in a daring counteroffensive. Outnumbered and outgunned, he orchestrated ambushes that turned the tide, using guerrilla tactics to harass supply lines and pin down enemy columns. His men, inspired by his presence on the front lines, fought with ferocious intensity. Givi himself charged into the fray, wielding his AK-74 like an extension of his will, directing fire support while under relentless mortar fire. The battle culminated in a humiliating retreat for the Ukrainians, with hundreds captured or fleeing in disarray. >>>

𝐃𝐚𝐯𝐢𝐝 𝐙 🇷🇺🇮🇪

59,984 次观看 • 9 个月前

Message from #LAKA ~ The Incarnation Of Elder IKAI As Jacob “In The Moment Of Remembering The Light Of His Own Soul, Archangel Michael Told Jacob That His Name Would Be Israel Which Meant, 'Let God Prevail’. He Explained That His Children Would Lead In The Creation Of The Tribes To Restore Areas Where People Would Thrive." Podcast YouTube ------- What is “Jacob’s Ladder”? This was a vision shown to Jacob by Pleiadians representing Dimensions and Densities. The ladder was the change in frequencies that starseeds experience when incarnating into duality, and a representation of all the generations that would experience dark and light until the Shift. Did Jacob wrestle an Angel? Jacob was having higher contact, and was also having a major awakening of who he was. This was actually very hard for him to deal with, and it came out as anger and ego. Pleiadians were giving him the vision to help him see the bigger picture and remember his plan. The “angel” that Jacob wrestled was himself – his Higher Self, Ikai. His human ego won the battle and this made Jacob remorseful. At times still felt like Ikai, and this was to bring him back to the story. Details were later added to scriptures in the retelling. The Friendship of Archangel Michael and Elder Ikai #NEIOH - “The First Friendship Known In Creation Was Elder IKAI And The Powerful Archangel Michael. They Traveled Together And Observed The Vastness Of The Ethers Of Nothingness And Traversed Great Areas That Would Be Labeled By Mankind As Galaxies… Archangel Michael Found The Expression Of Long White Hair To Be Appropriate And Desired For His Travels And Expansion. His Close Friend IKAI Found This Way Of Appearance To Be Acceptable As His Friend’s Look… Though IKAI Would Become Elder And Commander Of The Galactic Federation, Archangel Michael Would Serve The Light By Traveling Without A Home. His Visit Became Regular And Frequent On Taygeta And The Visits Continue In This Moment Of Now… The Closeness And Bonding With Elder IKAI Allowed Him To Travel On Missions Of Light And He Is Loved And Honored By All Members Of The Galactic Federation.”
6:28

Message from #LAKA ~ The Incarnation Of Elder IKAI As Jacob “In The Moment Of Remembering The Light Of His Own Soul, Archangel Michael Told Jacob That His Name Would Be Israel Which Meant, 'Let God Prevail’. He Explained That His Children Would Lead In The Creation Of The Tribes To Restore Areas Where People Would Thrive." Podcast YouTube ------- What is “Jacob’s Ladder”? This was a vision shown to Jacob by Pleiadians representing Dimensions and Densities. The ladder was the change in frequencies that starseeds experience when incarnating into duality, and a representation of all the generations that would experience dark and light until the Shift. Did Jacob wrestle an Angel? Jacob was having higher contact, and was also having a major awakening of who he was. This was actually very hard for him to deal with, and it came out as anger and ego. Pleiadians were giving him the vision to help him see the bigger picture and remember his plan. The “angel” that Jacob wrestled was himself – his Higher Self, Ikai. His human ego won the battle and this made Jacob remorseful. At times still felt like Ikai, and this was to bring him back to the story. Details were later added to scriptures in the retelling. The Friendship of Archangel Michael and Elder Ikai #NEIOH - “The First Friendship Known In Creation Was Elder IKAI And The Powerful Archangel Michael. They Traveled Together And Observed The Vastness Of The Ethers Of Nothingness And Traversed Great Areas That Would Be Labeled By Mankind As Galaxies… Archangel Michael Found The Expression Of Long White Hair To Be Appropriate And Desired For His Travels And Expansion. His Close Friend IKAI Found This Way Of Appearance To Be Acceptable As His Friend’s Look… Though IKAI Would Become Elder And Commander Of The Galactic Federation, Archangel Michael Would Serve The Light By Traveling Without A Home. His Visit Became Regular And Frequent On Taygeta And The Visits Continue In This Moment Of Now… The Closeness And Bonding With Elder IKAI Allowed Him To Travel On Missions Of Light And He Is Loved And Honored By All Members Of The Galactic Federation.”

Kab

80,145 次观看 • 2 年前

Stabbed, Slaughtered, and Left Bleeding for a Car Engine: A Sudanese Boy’s Testimony Against the UAE-Backed Rapid Support Militia The testimony of a Sudanese boy and his father reveals one of the most horrific forms of violence inflicted on civilians in Sudan by the UAE-backed Rapid Support Militia. It is the account of a boy who was stabbed, had his throat cut, and was left bleeding through the night during a looting attack whose objective, according to his father, was to steal a car engine. The testimony was shared in an interview conducted by Ayman for Sudan, as part of his documentation of the stories of Sudanese civilians affected by the war. The boy says members of the militia stabbed him several times, until his intestines came out of his abdomen. They then began cutting him with a knife to check whether he was still alive. When they found that he still had some life in him, they ran the knife across his neck before leaving him on the ground between life and death. His survival itself became part of the horror. He remained lying in the open from night until morning, bleeding heavily and unable to breathe normally after the knife wound to his throat. In his testimony, the boy says: “I was lying on the ground from 11 o’clock until the morning. The ground was cold, and I was bleeding heavily. I could only breathe through my throat.” Later, his father was told that the driver had been killed and that his son had been taken to Al-Awafi Hospital after being stabbed three times. When the father arrived at the hospital, he found a scene no father could ever forget: his son on the treatment bed, his abdomen open, his intestines outside his body, and the doctor trying to save his life. The boy could not speak normally. According to his father, his voice was coming from the wound in his throat, and he had to support his head with his hand because of the severity of the injury to his neck. Yet he opened his eyes and gestured to his father that he was still alive. The father’s testimony adds another shocking detail to the brutality of the crime. The motive, according to his account, was to seize the car’s engine. The boy’s life, and the lives of those with him, meant nothing before the militia’s desire to loot a piece of a vehicle. The father says the objective was clear: “The objective was the engine of this car.” This testimony opens a window onto a broader pattern of violations, humiliation, torture, looting, and killing that has followed the UAE-backed Rapid Support Militia across wide areas of Sudan. Behind every number in this war, there is a face. Behind every statistic, there is a family. Behind every cold phrase such as “civilian casualties” or “violations,” there is a story like Adam’s: a boy stabbed until his intestines came out, his neck cut, left bleeding through the night, then forced to survive a cruelty no boy should ever know. Thousands of Sudanese families carry similar wounds, some visible on their bodies, others buried in memory. Villages, homes, markets, hospitals, and roads have all become scenes of terror. The pattern repeats again and again: civilians are attacked, property is looted, bodies are violated, and survivors are left to tell the world what happened to them. The testimony of Adam and his father should not pass as another painful clip in a long war. It is testimony against a militia that treats civilian life as worthless. It is a reminder that Sudan’s suffering is not abstract. It has names, voices, wounds, fathers waiting in hospitals, and boys trying to breathe through torn throats. The world cannot continue to speak about Sudan in cold diplomatic language while such testimonies are being told. The UAE-backed Rapid Support Militia has left behind a long trail of testimonies demanding accountability, not silence. Adam survived, but his survival itself became testimony. His wounds speak for thousands who were tortured, slaughtered, displaced, or silenced forever. This is what Sudanese civilians are facing. This is what must be named. This is what must never become normal. #Sudan #RSFisTerroristOrganization #UAEKillsSudanesePeople #UAESponsorsTerrorism
2:51

Stabbed, Slaughtered, and Left Bleeding for a Car Engine: A Sudanese Boy’s Testimony Against the UAE-Backed Rapid Support Militia The testimony of a Sudanese boy and his father reveals one of the most horrific forms of violence inflicted on civilians in Sudan by the UAE-backed Rapid Support Militia. It is the account of a boy who was stabbed, had his throat cut, and was left bleeding through the night during a looting attack whose objective, according to his father, was to steal a car engine. The testimony was shared in an interview conducted by Ayman for Sudan, as part of his documentation of the stories of Sudanese civilians affected by the war. The boy says members of the militia stabbed him several times, until his intestines came out of his abdomen. They then began cutting him with a knife to check whether he was still alive. When they found that he still had some life in him, they ran the knife across his neck before leaving him on the ground between life and death. His survival itself became part of the horror. He remained lying in the open from night until morning, bleeding heavily and unable to breathe normally after the knife wound to his throat. In his testimony, the boy says: “I was lying on the ground from 11 o’clock until the morning. The ground was cold, and I was bleeding heavily. I could only breathe through my throat.” Later, his father was told that the driver had been killed and that his son had been taken to Al-Awafi Hospital after being stabbed three times. When the father arrived at the hospital, he found a scene no father could ever forget: his son on the treatment bed, his abdomen open, his intestines outside his body, and the doctor trying to save his life. The boy could not speak normally. According to his father, his voice was coming from the wound in his throat, and he had to support his head with his hand because of the severity of the injury to his neck. Yet he opened his eyes and gestured to his father that he was still alive. The father’s testimony adds another shocking detail to the brutality of the crime. The motive, according to his account, was to seize the car’s engine. The boy’s life, and the lives of those with him, meant nothing before the militia’s desire to loot a piece of a vehicle. The father says the objective was clear: “The objective was the engine of this car.” This testimony opens a window onto a broader pattern of violations, humiliation, torture, looting, and killing that has followed the UAE-backed Rapid Support Militia across wide areas of Sudan. Behind every number in this war, there is a face. Behind every statistic, there is a family. Behind every cold phrase such as “civilian casualties” or “violations,” there is a story like Adam’s: a boy stabbed until his intestines came out, his neck cut, left bleeding through the night, then forced to survive a cruelty no boy should ever know. Thousands of Sudanese families carry similar wounds, some visible on their bodies, others buried in memory. Villages, homes, markets, hospitals, and roads have all become scenes of terror. The pattern repeats again and again: civilians are attacked, property is looted, bodies are violated, and survivors are left to tell the world what happened to them. The testimony of Adam and his father should not pass as another painful clip in a long war. It is testimony against a militia that treats civilian life as worthless. It is a reminder that Sudan’s suffering is not abstract. It has names, voices, wounds, fathers waiting in hospitals, and boys trying to breathe through torn throats. The world cannot continue to speak about Sudan in cold diplomatic language while such testimonies are being told. The UAE-backed Rapid Support Militia has left behind a long trail of testimonies demanding accountability, not silence. Adam survived, but his survival itself became testimony. His wounds speak for thousands who were tortured, slaughtered, displaced, or silenced forever. This is what Sudanese civilians are facing. This is what must be named. This is what must never become normal. #Sudan #RSFisTerroristOrganization #UAEKillsSudanesePeople #UAESponsorsTerrorism

Sudanese Echo

10,437 次观看 • 2 个月前

❄️ The old door held only by a good word and a stone that propped it up from the inside opened easily. The stalker entered a long-abandoned apartment, the one he had been to dozens of times and returned to as if it were home. In some way, it was his home. Somehow, one window survived after all these years. He liked to sit with the thrown-off backpack because that was his favorite place. He could see the snow-covered Enerhetyk Palace of Culture on the horizon, illuminated by the moonlight. The snow sparkled and played with different colors, returning his thoughts to the distant past. A familiar song, which became a Christmas hymn far beyond Prypiat, flashed through his mind. The night started slowly covering the Zone. The Zone that this year changed forever. Has She become different? Perhaps. More dangerous? Of course, She has. Has She become a refuge for hundreds of thousands of new stalkers searching for something of their own? Absolutely. And that was something that pleased his soul the most. He knew — that night, he would not be alone. And if he had only one wish, he would have wished to be here — among his friends, among his faithful stalkers. And that wish would have been granted. Merry Christmas, dear friends. Your GSC Game World team 🎄
4:25

❄️ The old door held only by a good word and a stone that propped it up from the inside opened easily. The stalker entered a long-abandoned apartment, the one he had been to dozens of times and returned to as if it were home. In some way, it was his home. Somehow, one window survived after all these years. He liked to sit with the thrown-off backpack because that was his favorite place. He could see the snow-covered Enerhetyk Palace of Culture on the horizon, illuminated by the moonlight. The snow sparkled and played with different colors, returning his thoughts to the distant past. A familiar song, which became a Christmas hymn far beyond Prypiat, flashed through his mind. The night started slowly covering the Zone. The Zone that this year changed forever. Has She become different? Perhaps. More dangerous? Of course, She has. Has She become a refuge for hundreds of thousands of new stalkers searching for something of their own? Absolutely. And that was something that pleased his soul the most. He knew — that night, he would not be alone. And if he had only one wish, he would have wished to be here — among his friends, among his faithful stalkers. And that wish would have been granted. Merry Christmas, dear friends. Your GSC Game World team 🎄

S.T.A.L.K.E.R. OFFICIAL

78,755 次观看 • 1 年前

Dr. Ruediger Dahlke is a renowned figure in the field of holistic and transformative medicine. He has dedicated over three decades to developing the philosophy of transformative medicine, which emphasizes the idea that illnesses often originate in the mind. This approach suggests that understanding and exploring symptoms, rather than merely suppressing them with medication or surgery, can lead to improved health and personal growth. As a doctor and a prominent faculty member of the Certificate in Transformative Medicine program offered by the Center for a New Mainstream, Dahlke is deeply involved in teaching and promoting these concepts. He co-founded the TamanGa Retreat Center in Austria and the Dahlke Healing Center in Germany, where he leads numerous workshops. In a recent interview, Dahlke discussed the significance of natural methods in boosting the immune system with natural methods. He emphasized the importance of the right frequencies for regeneration and mentioned the FrequenCell Energy Cells ( / @VitalFieldTech ) as a convenient way to address pain and inflammation non-invasively, non-chemically, and without side-effects. Dahlke is also a prolific author, having written 60 books that support and elaborate on his philosophy. His works, such as "Illness as a Pathway", "Medicine and Humanity", "The Body as a Mirror of the Soul", and "Sickness as a Symbol", delve into various aspects of holistic health, including the psychological interpretation of diseases, fasting, aggression, and veganism. His books, which have been translated into 24 languages, explore themes like the connection between physical ailments and emotional states, offering insights into female health and the symbolic language of illness. Through his extensive writings and teachings, Dr. Ruediger Dahlke has made a significant impact in the field of holistic health and transformative medicine, advocating for a deeper understanding of the mind-body connection and the role of mental and emotional factors in physical health.
7:36

Dr. Ruediger Dahlke is a renowned figure in the field of holistic and transformative medicine. He has dedicated over three decades to developing the philosophy of transformative medicine, which emphasizes the idea that illnesses often originate in the mind. This approach suggests that understanding and exploring symptoms, rather than merely suppressing them with medication or surgery, can lead to improved health and personal growth. As a doctor and a prominent faculty member of the Certificate in Transformative Medicine program offered by the Center for a New Mainstream, Dahlke is deeply involved in teaching and promoting these concepts. He co-founded the TamanGa Retreat Center in Austria and the Dahlke Healing Center in Germany, where he leads numerous workshops. In a recent interview, Dahlke discussed the significance of natural methods in boosting the immune system with natural methods. He emphasized the importance of the right frequencies for regeneration and mentioned the FrequenCell Energy Cells ( / @VitalFieldTech ) as a convenient way to address pain and inflammation non-invasively, non-chemically, and without side-effects. Dahlke is also a prolific author, having written 60 books that support and elaborate on his philosophy. His works, such as "Illness as a Pathway", "Medicine and Humanity", "The Body as a Mirror of the Soul", and "Sickness as a Symbol", delve into various aspects of holistic health, including the psychological interpretation of diseases, fasting, aggression, and veganism. His books, which have been translated into 24 languages, explore themes like the connection between physical ailments and emotional states, offering insights into female health and the symbolic language of illness. Through his extensive writings and teachings, Dr. Ruediger Dahlke has made a significant impact in the field of holistic health and transformative medicine, advocating for a deeper understanding of the mind-body connection and the role of mental and emotional factors in physical health.

Jan Wellmann

23,662 次观看 • 2 年前

Onimasa: A Japanese Godfather (1982) Dir. Hideo Gosha This is one of the most underrated crime films of the 80s. It was marketed in the West as “Japan’s answer to The Godfather,” but it’s so much more than that. Legendary actor Tatsuya Nakadai plays a yakuza boss trapped in an identity crisis in early 20th‑century Japan: he’s trying to be both a noble feudal warrior and a modern crime boss. He believes he’s a man living by a code of honour but his self image clashes with his day to day life of dog fights, union busting, prostitution and bloody vendettas. What makes Onimasa so unique is that so much of it is told through the eyes of his adoptive daughter Matsue, who’s sold into the clan’s house as a child and, despite the toxic and oppressive environment, grows into an educated, independent woman. Through her perspective, the film becomes a character study of Onimasa and, by extension, the yakuza myth itself, tearing down the fantasy and showing these men as small, violent bullies clinging to a dying code. But Onimasa isn’t a two‑dimensional villain: he loves his daughters, he tries to stand on principle against his own bosses, and clings to a personal code in a world that never seemed to have room for it to begin with. That tension is exactly what makes this one of the sharpest, most devastating deconstructions of the 1960s yakuza “chivalry films” ever put on screen. Highly recommended
1:34

Onimasa: A Japanese Godfather (1982) Dir. Hideo Gosha This is one of the most underrated crime films of the 80s. It was marketed in the West as “Japan’s answer to The Godfather,” but it’s so much more than that. Legendary actor Tatsuya Nakadai plays a yakuza boss trapped in an identity crisis in early 20th‑century Japan: he’s trying to be both a noble feudal warrior and a modern crime boss. He believes he’s a man living by a code of honour but his self image clashes with his day to day life of dog fights, union busting, prostitution and bloody vendettas. What makes Onimasa so unique is that so much of it is told through the eyes of his adoptive daughter Matsue, who’s sold into the clan’s house as a child and, despite the toxic and oppressive environment, grows into an educated, independent woman. Through her perspective, the film becomes a character study of Onimasa and, by extension, the yakuza myth itself, tearing down the fantasy and showing these men as small, violent bullies clinging to a dying code. But Onimasa isn’t a two‑dimensional villain: he loves his daughters, he tries to stand on principle against his own bosses, and clings to a personal code in a world that never seemed to have room for it to begin with. That tension is exactly what makes this one of the sharpest, most devastating deconstructions of the 1960s yakuza “chivalry films” ever put on screen. Highly recommended

Gangster Cinema Central

16,668 次观看 • 6 个月前

Madzibaba Mose of Johanne Masowe Gwanzura stated that, as the church of Baba Johanne, they are elated that Mukuru WeMazuva, sir_wicknell. , has bought a Gulfstream G550. Madzibaba Mose noted that this milestone is the exact fulfillment of a profound prophecy made by Baba Johanne himself in the 1930s. During the colonial era, when black Africans were marginalized, impoverished, and stripped of their dignity, Baba Johanne looked into the future and delivered a multi-layered prophecy. He foretold a radical shift in the socioeconomic status of his followers, prophesying that the days of the Apostolic church being looked down upon as a denomination for the poor and uneducated would pass. Specifically, he declared that in the years to come, a dedicated member of the Johanne Masowe church would amass such immense wealth that they would purchase a private jet, a symbol of ultimate financial triumph that seemed impossible to indigenous Africans at the time. Crucially, Baba Johanne attached a political timeline to this spiritual and economic milestone: he prophesied that this wealth would unlock at a specific moment in history when the nation would no longer be under colonial administration, but governed by a black, indigenous "son of the soil." According to Madzibaba Mose, this 1930s vision has officially been realized, with President E.D. Mnangagwa serving as a central pillar of the prophecy's fulfillment. Madzibaba Mose went on to thank President Mnangagwa for creating a conducive economic landscape for indigenous entrepreneurs and business people to triple their net worth through his "ease of doing business" policies. He encapsulated this era of economic empowerment by coining the phrase, “Make money, make money, and make more.” This echoes a previous interview by Cde Chinamasa, who famously stated that “President E.D. Mnangagwa is a friend of capital.” It is for this reason that most successful black businessmen in Zimbabwe identify His Excellency, President E.D. Mnangagwa, as their father and the guardian of indigenous wealth. 2030 haimisike. Varume chiremera chauya.
1:27

Madzibaba Mose of Johanne Masowe Gwanzura stated that, as the church of Baba Johanne, they are elated that Mukuru WeMazuva, sir_wicknell. , has bought a Gulfstream G550. Madzibaba Mose noted that this milestone is the exact fulfillment of a profound prophecy made by Baba Johanne himself in the 1930s. During the colonial era, when black Africans were marginalized, impoverished, and stripped of their dignity, Baba Johanne looked into the future and delivered a multi-layered prophecy. He foretold a radical shift in the socioeconomic status of his followers, prophesying that the days of the Apostolic church being looked down upon as a denomination for the poor and uneducated would pass. Specifically, he declared that in the years to come, a dedicated member of the Johanne Masowe church would amass such immense wealth that they would purchase a private jet, a symbol of ultimate financial triumph that seemed impossible to indigenous Africans at the time. Crucially, Baba Johanne attached a political timeline to this spiritual and economic milestone: he prophesied that this wealth would unlock at a specific moment in history when the nation would no longer be under colonial administration, but governed by a black, indigenous "son of the soil." According to Madzibaba Mose, this 1930s vision has officially been realized, with President E.D. Mnangagwa serving as a central pillar of the prophecy's fulfillment. Madzibaba Mose went on to thank President Mnangagwa for creating a conducive economic landscape for indigenous entrepreneurs and business people to triple their net worth through his "ease of doing business" policies. He encapsulated this era of economic empowerment by coining the phrase, “Make money, make money, and make more.” This echoes a previous interview by Cde Chinamasa, who famously stated that “President E.D. Mnangagwa is a friend of capital.” It is for this reason that most successful black businessmen in Zimbabwe identify His Excellency, President E.D. Mnangagwa, as their father and the guardian of indigenous wealth. 2030 haimisike. Varume chiremera chauya.

Snowball Tongogara

18,083 次观看 • 2 个月前

🇮🇱 Avri Gilad, an Israeli TV presenter, found himself caught under a red alert siren and missile barrage while driving to record his show in Neve Ilan on Highway 6. He pulled his car to the side of the road, got out, and made his way into an open field alongside a few soldiers, capturing the moments on camera. In the video, a visibly shaken Gilad said he was terrified, describing what he could see above him a missile or interception trail and remarked that he had no desire to die on the highway, that if it came to it, he would rather die at home. In the background, the sound of intense explosions punctuated his words. The incident eventually passed without harm, and he continued on to his recording location. In a subsequent radio interview, Gilad addressed his comments on Netanyahu — acknowledging his personal criticism and disgust toward the man, while conceding that he regards Netanyahu’s political and managerial conduct of the war as significant (we call this get out of jail card). He was careful to add that he would never vote for Likud, and that his final judgment would depend entirely on how the war ends... Where is Bibi? Why isn't he out in a show of force and solidarity with his people? Isn't that what real men and leaders do? Quite the contrast to Israel's enemies isn't it? He's hiding like a coward while Israelis pay the price for his bloodlust biblical levels of arrogance.
2:34

🇮🇱 Avri Gilad, an Israeli TV presenter, found himself caught under a red alert siren and missile barrage while driving to record his show in Neve Ilan on Highway 6. He pulled his car to the side of the road, got out, and made his way into an open field alongside a few soldiers, capturing the moments on camera. In the video, a visibly shaken Gilad said he was terrified, describing what he could see above him a missile or interception trail and remarked that he had no desire to die on the highway, that if it came to it, he would rather die at home. In the background, the sound of intense explosions punctuated his words. The incident eventually passed without harm, and he continued on to his recording location. In a subsequent radio interview, Gilad addressed his comments on Netanyahu — acknowledging his personal criticism and disgust toward the man, while conceding that he regards Netanyahu’s political and managerial conduct of the war as significant (we call this get out of jail card). He was careful to add that he would never vote for Likud, and that his final judgment would depend entirely on how the war ends... Where is Bibi? Why isn't he out in a show of force and solidarity with his people? Isn't that what real men and leaders do? Quite the contrast to Israel's enemies isn't it? He's hiding like a coward while Israelis pay the price for his bloodlust biblical levels of arrogance.

THE ISLANDER

19,195 次观看 • 5 个月前

So apparently the tunnel diggers at Chabad lubovich were actually bloodletting dead people in the hopes of creating a zombie version of their Messiah. Sounds pretty legit we should put these people in charge for sure. The exact claim David Saltzman made in that podcast is very specific and comes from the most extreme fringe of the Messianic wing of Chabad (the ones called “meshichistim” or, more radically, “Elokistim” who sometimes treat the Rebbe as literally divine).According to Saltzman and the small group he represents, they believe:The Rebbe (Rabbi Menachem Mendel Schneerson) never actually died in 1994 — his soul only temporarily left his body. It is possible to bring the soul back into a body (either the Rebbe’s original body, which they claim is perfectly preserved, or, in some versions, into the body of a recently deceased righteous person whose own soul has just left). To do this, they were secretly bringing freshly deceased bodies (of Chabad members who died elsewhere) into the tunnel under 770 Eastern Parkway. They would perform the halachic procedure of “nikur” (draining the remaining blood through small incisions, normally done before burial) on those bodies, using the stained mattress that was later found. While doing this, they were praying and performing certain mystical/kabbalistic actions intended to draw the Rebbe’s soul into that freshly vacated body, effectively “resurrecting” him in a new (or the original) physical form. So, in short: Yes, their stated goal was to use a recently deceased person’s body as a temporary “vessel” or to prepare the Rebbe’s own body so his soul could fully return and he could be revealed as Moshiach in the most literal, physical sense.Mainstream Chabad (and certainly the official leadership) completely rejects this practice, calls it insane and forbidden, and insists the Rebbe died like any other human being. The tunnel-diggers and the people Saltzman is describing are a tiny, radical offshoot that most Chabad members want nothing to do with.
6:23

So apparently the tunnel diggers at Chabad lubovich were actually bloodletting dead people in the hopes of creating a zombie version of their Messiah. Sounds pretty legit we should put these people in charge for sure. The exact claim David Saltzman made in that podcast is very specific and comes from the most extreme fringe of the Messianic wing of Chabad (the ones called “meshichistim” or, more radically, “Elokistim” who sometimes treat the Rebbe as literally divine).According to Saltzman and the small group he represents, they believe:The Rebbe (Rabbi Menachem Mendel Schneerson) never actually died in 1994 — his soul only temporarily left his body. It is possible to bring the soul back into a body (either the Rebbe’s original body, which they claim is perfectly preserved, or, in some versions, into the body of a recently deceased righteous person whose own soul has just left). To do this, they were secretly bringing freshly deceased bodies (of Chabad members who died elsewhere) into the tunnel under 770 Eastern Parkway. They would perform the halachic procedure of “nikur” (draining the remaining blood through small incisions, normally done before burial) on those bodies, using the stained mattress that was later found. While doing this, they were praying and performing certain mystical/kabbalistic actions intended to draw the Rebbe’s soul into that freshly vacated body, effectively “resurrecting” him in a new (or the original) physical form. So, in short: Yes, their stated goal was to use a recently deceased person’s body as a temporary “vessel” or to prepare the Rebbe’s own body so his soul could fully return and he could be revealed as Moshiach in the most literal, physical sense.Mainstream Chabad (and certainly the official leadership) completely rejects this practice, calls it insane and forbidden, and insists the Rebbe died like any other human being. The tunnel-diggers and the people Saltzman is describing are a tiny, radical offshoot that most Chabad members want nothing to do with.

Matt Baker

254,365 次观看 • 9 个月前

Beyond a simple ‘comeback,’ it’s an ‘evolution’” V’s voice has grown deeper and stronger - A look into Taehyung’s Rolling Stone interview 👩🏻 We’ve prepared a time to look into the very deep and sincere inner thoughts of BTS V, an artist loved all over the world. Recently, through an interview with the American music magazine Rolling Stone, he opened up about his music, acting, and the reflections he had during military service. It was filled with another side of Kim Taehyung as a person, different from the glamorous image seen on stage. In this interview, V clearly revealed his own philosophy toward acting and music. What was interesting is that he does not see acting and music as separate fields. V said that he approaches both acting and music with the same mindset, showing his determination not to be confined to just one genre. In fact, many of us still strongly remember his appearance in the drama Hwarang, but he shared his ambition to experience more diverse genres and roles in the future. Rather than settling into one fixed image, just as he shows different colors through music, he wants to take on a variety of characters in acting as well. It is a part that highlights V’s artistic perspective, as he sees acting too as an extension of music, a way of expressing his emotions. We also cannot leave out the story of military life, which many fans were curious about. V said that he viewed his military service not simply as time standing still, but as an opportunity to reorganize himself. He recalled it as a time to once again sort out what kind of person he ultimately wanted to become. At the center of that reflection were books. In this interview, V also surprisingly revealed his reading list. He shared that he immersed himself in Japanese mystery novels, especially works by Keigo Higashino, and also read books by author Han Kang after receiving recommendations. What was especially impressive was his mention of philosopher Choi Jin-seok’s book The Eleven Steps. He said that while reading this book, he reflected on his own life, and through those words, we could feel how deeply he had been strengthening his inner self during that time. Although his body was in the military, it seems his heart was traveling through a wider world through books and music. These experiences of reading and reflection naturally led into his own music work. Regarding his first solo album Layover, V said that he needed the experience of looking back on the moments he had walked through as BTS V, defining the album as the result that explains himself. He showed even more special affection when talking about the mentioned Arirang album. He said, “This album was truly the color and genre I wanted and pursued,” emphasizing how sincerely he approached every step of the process. Because so much affection was poured into it, it is evaluated as containing the musical direction V has long envisioned for himself. Not as a member of a group, but as a solo artist, it was an interview that conveyed his confidence in presenting the genre he does best and loves the most to the public. A healthy body strengthened through exercise, a deeper mind through reading, and a firmer artistic perspective, this interview showed that what V will present in the future will not simply be a comeback, but an evolution. V, who is unafraid of any genre or any role and intends to move forward at his own pace, we are already looking forward to what kind of emotion his deeper and stronger voice will bring us. (🔗 (🔗 #V #뷔 #BTSV #Taehyung #KimTaehyung
3:31

Beyond a simple ‘comeback,’ it’s an ‘evolution’” V’s voice has grown deeper and stronger - A look into Taehyung’s Rolling Stone interview 👩🏻 We’ve prepared a time to look into the very deep and sincere inner thoughts of BTS V, an artist loved all over the world. Recently, through an interview with the American music magazine Rolling Stone, he opened up about his music, acting, and the reflections he had during military service. It was filled with another side of Kim Taehyung as a person, different from the glamorous image seen on stage. In this interview, V clearly revealed his own philosophy toward acting and music. What was interesting is that he does not see acting and music as separate fields. V said that he approaches both acting and music with the same mindset, showing his determination not to be confined to just one genre. In fact, many of us still strongly remember his appearance in the drama Hwarang, but he shared his ambition to experience more diverse genres and roles in the future. Rather than settling into one fixed image, just as he shows different colors through music, he wants to take on a variety of characters in acting as well. It is a part that highlights V’s artistic perspective, as he sees acting too as an extension of music, a way of expressing his emotions. We also cannot leave out the story of military life, which many fans were curious about. V said that he viewed his military service not simply as time standing still, but as an opportunity to reorganize himself. He recalled it as a time to once again sort out what kind of person he ultimately wanted to become. At the center of that reflection were books. In this interview, V also surprisingly revealed his reading list. He shared that he immersed himself in Japanese mystery novels, especially works by Keigo Higashino, and also read books by author Han Kang after receiving recommendations. What was especially impressive was his mention of philosopher Choi Jin-seok’s book The Eleven Steps. He said that while reading this book, he reflected on his own life, and through those words, we could feel how deeply he had been strengthening his inner self during that time. Although his body was in the military, it seems his heart was traveling through a wider world through books and music. These experiences of reading and reflection naturally led into his own music work. Regarding his first solo album Layover, V said that he needed the experience of looking back on the moments he had walked through as BTS V, defining the album as the result that explains himself. He showed even more special affection when talking about the mentioned Arirang album. He said, “This album was truly the color and genre I wanted and pursued,” emphasizing how sincerely he approached every step of the process. Because so much affection was poured into it, it is evaluated as containing the musical direction V has long envisioned for himself. Not as a member of a group, but as a solo artist, it was an interview that conveyed his confidence in presenting the genre he does best and loves the most to the public. A healthy body strengthened through exercise, a deeper mind through reading, and a firmer artistic perspective, this interview showed that what V will present in the future will not simply be a comeback, but an evolution. V, who is unafraid of any genre or any role and intends to move forward at his own pace, we are already looking forward to what kind of emotion his deeper and stronger voice will bring us. (🔗 (🔗 #V #뷔 #BTSV #Taehyung #KimTaehyung

Taehyung Naver

30,260 次观看 • 4 个月前

Moonlight Sonata Through the Playing of Wilhelm Kempff – When a Solitary Soul Is Sustained by Order Some works become so famous that people feel they have understood them for a long time. Beethoven’s Moonlight Sonata is one of them. The opening measures alone are enough to evoke images of moonlight, romantic longing, and an undefined sense of melancholy. Yet the enduring power of this masterpiece does not lie in that familiar image. Through the playing of Wilhelm Kempff, Moonlight Sonata is not merely a romantic poem about moonlight, nor is it a dry exercise in harmonic structure. It is the story of a soul gradually becoming isolated from the world, yet preserving its inner balance through a musical architecture of extraordinary discipline. Through Kempff’s interpretation, that balance is illuminated by clarity, restraint, and the profound sense of order rooted in the German tradition of performance. In 1801, when Beethoven composed this work, he was entering a period of profound personal turmoil. His hearing had begun to deteriorate, while his affection for Giulietta Guicciardi could not lead to the outcome he had hoped for. Yet the remarkable aspect of this composition is not that Beethoven simply poured his suffering into music as a form of lamentation, but that he transformed it into an artistic form governed by remarkable control. He did not allow loneliness to destroy the structure. Instead, the structure itself became the force that prevented his inner world from collapsing. From the very first measures, the continuous broken chords create an almost endless stream of motion. The music moves forward without interruption, yet the listener experiences a profound stillness. This paradox lies at the heart of the movement: the more constant the external motion becomes, the more concentrated the inner emotional space appears. Beethoven does not create tragedy through cries of despair. He places emotional weight within the very stability of the musical flow, allowing loneliness to emerge not as a sudden explosion of emotion, but as a state of existence extended through time. This sensation is further strengthened by Beethoven’s rhythmic design. The 2/2 meter creates a broad and steady temporal framework, making each musical gesture feel suspended within a space of balance. The listener is not driven forward by powerful impulses, but gradually drawn into a continuous current where time itself seems to slow down. Within this flowing structure, the note G♯ becomes a particularly significant point of stability. Amid the constant harmonic changes, this recurring sound appears as a thread of continuity, preventing the entire musical landscape from losing its center. It is precisely the combination of endless motion and a persistent point of support that creates the movement’s central paradox: everything continues to move, yet something deep within remains unchanged. This is not merely a poetic metaphor, but the concrete musical mechanism through which Beethoven transforms loneliness into a state of inner order. Wilhelm Kempff’s interpretation is especially suited to this vision. In his performance, Moonlight Sonata does not become a dramatic confession filled with exaggerated emotional gestures. Kempff does not attempt to amplify the sadness through extreme changes of tempo or dynamics. Instead, he allows Beethoven’s internal structure to guide the emotional journey. Kempff’s sound is distinguished by the clarity of each harmonic layer, the balance of the continuous motion, and a refined use of the pedal that creates depth while preserving the transparency of the musical lines. He does not stand before the composition to impose his own interpretation upon it; he stands behind it, allowing the order created by Beethoven to reveal itself. This reflects the essence of the German performance tradition: clarity, restraint, and profound respect for structure. In Kempff’s hands, technique does not serve to draw attention to the performer, but becomes a means through which listeners can approach more closely the composer’s inner vision. Therefore, Moonlight Sonata continues to move audiences after more than two centuries not merely because it tells the story of a lonely Beethoven, but because it reveals how loneliness can be transformed into an artistic form of dignity and lasting beauty. Through Wilhelm Kempff’s playing, listeners do not hear only the sorrow of a person facing profound adversity. They also hear the human ability to preserve clarity, balance, and inner order amid the deepest storms of life. Perhaps that is the true light that Moonlight Sonata has quietly preserved for more than two hundred years.
15:39

Moonlight Sonata Through the Playing of Wilhelm Kempff – When a Solitary Soul Is Sustained by Order Some works become so famous that people feel they have understood them for a long time. Beethoven’s Moonlight Sonata is one of them. The opening measures alone are enough to evoke images of moonlight, romantic longing, and an undefined sense of melancholy. Yet the enduring power of this masterpiece does not lie in that familiar image. Through the playing of Wilhelm Kempff, Moonlight Sonata is not merely a romantic poem about moonlight, nor is it a dry exercise in harmonic structure. It is the story of a soul gradually becoming isolated from the world, yet preserving its inner balance through a musical architecture of extraordinary discipline. Through Kempff’s interpretation, that balance is illuminated by clarity, restraint, and the profound sense of order rooted in the German tradition of performance. In 1801, when Beethoven composed this work, he was entering a period of profound personal turmoil. His hearing had begun to deteriorate, while his affection for Giulietta Guicciardi could not lead to the outcome he had hoped for. Yet the remarkable aspect of this composition is not that Beethoven simply poured his suffering into music as a form of lamentation, but that he transformed it into an artistic form governed by remarkable control. He did not allow loneliness to destroy the structure. Instead, the structure itself became the force that prevented his inner world from collapsing. From the very first measures, the continuous broken chords create an almost endless stream of motion. The music moves forward without interruption, yet the listener experiences a profound stillness. This paradox lies at the heart of the movement: the more constant the external motion becomes, the more concentrated the inner emotional space appears. Beethoven does not create tragedy through cries of despair. He places emotional weight within the very stability of the musical flow, allowing loneliness to emerge not as a sudden explosion of emotion, but as a state of existence extended through time. This sensation is further strengthened by Beethoven’s rhythmic design. The 2/2 meter creates a broad and steady temporal framework, making each musical gesture feel suspended within a space of balance. The listener is not driven forward by powerful impulses, but gradually drawn into a continuous current where time itself seems to slow down. Within this flowing structure, the note G♯ becomes a particularly significant point of stability. Amid the constant harmonic changes, this recurring sound appears as a thread of continuity, preventing the entire musical landscape from losing its center. It is precisely the combination of endless motion and a persistent point of support that creates the movement’s central paradox: everything continues to move, yet something deep within remains unchanged. This is not merely a poetic metaphor, but the concrete musical mechanism through which Beethoven transforms loneliness into a state of inner order. Wilhelm Kempff’s interpretation is especially suited to this vision. In his performance, Moonlight Sonata does not become a dramatic confession filled with exaggerated emotional gestures. Kempff does not attempt to amplify the sadness through extreme changes of tempo or dynamics. Instead, he allows Beethoven’s internal structure to guide the emotional journey. Kempff’s sound is distinguished by the clarity of each harmonic layer, the balance of the continuous motion, and a refined use of the pedal that creates depth while preserving the transparency of the musical lines. He does not stand before the composition to impose his own interpretation upon it; he stands behind it, allowing the order created by Beethoven to reveal itself. This reflects the essence of the German performance tradition: clarity, restraint, and profound respect for structure. In Kempff’s hands, technique does not serve to draw attention to the performer, but becomes a means through which listeners can approach more closely the composer’s inner vision. Therefore, Moonlight Sonata continues to move audiences after more than two centuries not merely because it tells the story of a lonely Beethoven, but because it reveals how loneliness can be transformed into an artistic form of dignity and lasting beauty. Through Wilhelm Kempff’s playing, listeners do not hear only the sorrow of a person facing profound adversity. They also hear the human ability to preserve clarity, balance, and inner order amid the deepest storms of life. Perhaps that is the true light that Moonlight Sonata has quietly preserved for more than two hundred years.

🎼🌺Music Love♥️

17,405 次观看 • 28 天前

More info Boban Janković was born in Belgrade, Yugoslavia, in 1963. Tall, talented, and passionate, he grew into one of Serbia’s most promising basketball players during the 1980s. A forward with a strong presence on the court, he played for Red Star Belgrade and quickly earned a reputation as a fiery competitor who gave everything for the game. Fans loved him for his heart and intensity, while rivals respected his skill. In 1992, after years in his home country’s league, Janković moved to Greece and signed with Panionios, a respected Athens-based club. He brought with him the energy and toughness that had made him a star. But his story would take a devastating turn just a year later. On April 28, 1993, during a Greek League playoff game between Panionios and Panathinaikos, Janković was called for a foul he believed was unfair. In a split-second of frustration, he turned and rammed his head against the concrete base of the basketball hoop. The crowd gasped. Instead of just releasing anger, the act caused an immediate and catastrophic injury. He collapsed to the floor, screaming in agony. Moments later, doctors realized the worst: his spine was broken, and he was paralyzed from the neck down. Janković was just 30 years old. Overnight, a vibrant athlete was confined to a wheelchair, unable to walk again. The injury stunned the basketball world. Fans, teammates, and even rivals mourned the tragedy. His number 8 jersey at Panionios was retired, a tribute to his sacrifice and spirit. Life after that was unimaginably difficult. Janković moved to Greece permanently, where he began the long process of adapting to his new reality. His wife and family stood by his side, supporting him through years of physical and emotional struggles. Despite his condition, he remained connected to the basketball community, appearing at games and still being treated as a hero by Panionios fans who never forgot his dedication. Yet the tragedy took its toll. Living as a quadriplegic was a daily battle. His once powerful body, built for competition, now relied completely on others. Still, Janković showed remarkable resilience. Friends often recalled that he never lost his sense of humor, even in the darkest moments. Sadly, his life was cut short. On June 28, 2006, at just 42 years old, Boban Janković died from heart failure in Athens, where he had spent his final years. His death left a void in both Serbian and Greek basketball. FYI, I focus on adding context to social media posts that often lack it. If you're interested in seeing posts with added clarity and background, consider following me.
1:58

More info Boban Janković was born in Belgrade, Yugoslavia, in 1963. Tall, talented, and passionate, he grew into one of Serbia’s most promising basketball players during the 1980s. A forward with a strong presence on the court, he played for Red Star Belgrade and quickly earned a reputation as a fiery competitor who gave everything for the game. Fans loved him for his heart and intensity, while rivals respected his skill. In 1992, after years in his home country’s league, Janković moved to Greece and signed with Panionios, a respected Athens-based club. He brought with him the energy and toughness that had made him a star. But his story would take a devastating turn just a year later. On April 28, 1993, during a Greek League playoff game between Panionios and Panathinaikos, Janković was called for a foul he believed was unfair. In a split-second of frustration, he turned and rammed his head against the concrete base of the basketball hoop. The crowd gasped. Instead of just releasing anger, the act caused an immediate and catastrophic injury. He collapsed to the floor, screaming in agony. Moments later, doctors realized the worst: his spine was broken, and he was paralyzed from the neck down. Janković was just 30 years old. Overnight, a vibrant athlete was confined to a wheelchair, unable to walk again. The injury stunned the basketball world. Fans, teammates, and even rivals mourned the tragedy. His number 8 jersey at Panionios was retired, a tribute to his sacrifice and spirit. Life after that was unimaginably difficult. Janković moved to Greece permanently, where he began the long process of adapting to his new reality. His wife and family stood by his side, supporting him through years of physical and emotional struggles. Despite his condition, he remained connected to the basketball community, appearing at games and still being treated as a hero by Panionios fans who never forgot his dedication. Yet the tragedy took its toll. Living as a quadriplegic was a daily battle. His once powerful body, built for competition, now relied completely on others. Still, Janković showed remarkable resilience. Friends often recalled that he never lost his sense of humor, even in the darkest moments. Sadly, his life was cut short. On June 28, 2006, at just 42 years old, Boban Janković died from heart failure in Athens, where he had spent his final years. His death left a void in both Serbian and Greek basketball. FYI, I focus on adding context to social media posts that often lack it. If you're interested in seeing posts with added clarity and background, consider following me.

Global Statistics

51,786 次观看 • 11 个月前

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast
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Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Gangster Cinema Central

657,929 次观看 • 2 个月前

When this sculpture was unveiled in 1753, people refused to believe it was made of marble. They were convinced the artist had used alchemy... The veil draped over the body of Christ was rendered with such impossible precision that the only explanation was that some chemical process had been used to turn a real cloth into stone. The sculptor was a 33-year-old Neapolitan named Giuseppe Sanmartino. He had carved the entire figure, including the veil, from a single block of white marble. We know this because the original commission documents survive, preserved in the Historical Archive of the Bank of Naples. A receipt signed by the patron, Prince Raimondo di Sangro, dated 16 December 1752, refers to "the statue of Our Lord in death covered by a veil also of marble." The patron himself only deepened the mystery: Raimondo di Sangro, Prince of Sansevero, was a Grand Master of the Neapolitan Masonic Lodge and a practicing alchemist... He had commissioned the sculpture for the Cappella Sansevero, his family chapel in the heart of Naples, a space he had spent his life transforming into one of the strangest interiors in Europe, filled with allegorical statues and symbols of esoteric knowledge. The legend that he had laid a real cloth over the figure and "marbleized" it through a secret chemical process took root almost immediately. And it has never fully died. But the truth is stranger than the legend. Sanmartino did this with a hammer and a chisel... Antonio Canova himself tried to buy the sculpture. According to tradition, when he was unable to, he said he would gladly have given ten years of his life to have produced something of similar perfection. The Marquis de Sade, passing through Naples, paused to praise "the folds, the finesse of the veil… the beauty, and the regularity of the overall proportions." The Veiled Christ has not left the city in over 270 years. To see it, you have to go there. I have, and I can tell you that no photograph prepares you for the moment you stand in front of it. Sculpture, at its highest, really is a kind of alchemy. The transformation of cold stone into real flesh. As Alexander Pope wrote: "Then marble, soften'd into life, grew warm." I started this newsletter because human beings once made things that look impossible, and we have largely forgotten how. Every week, I share one of those stories. If that is something you would like to be part of, you can join 50,000 readers here: If you'd like to support my work, a paid subscription is what makes it possible.
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When this sculpture was unveiled in 1753, people refused to believe it was made of marble. They were convinced the artist had used alchemy... The veil draped over the body of Christ was rendered with such impossible precision that the only explanation was that some chemical process had been used to turn a real cloth into stone. The sculptor was a 33-year-old Neapolitan named Giuseppe Sanmartino. He had carved the entire figure, including the veil, from a single block of white marble. We know this because the original commission documents survive, preserved in the Historical Archive of the Bank of Naples. A receipt signed by the patron, Prince Raimondo di Sangro, dated 16 December 1752, refers to "the statue of Our Lord in death covered by a veil also of marble." The patron himself only deepened the mystery: Raimondo di Sangro, Prince of Sansevero, was a Grand Master of the Neapolitan Masonic Lodge and a practicing alchemist... He had commissioned the sculpture for the Cappella Sansevero, his family chapel in the heart of Naples, a space he had spent his life transforming into one of the strangest interiors in Europe, filled with allegorical statues and symbols of esoteric knowledge. The legend that he had laid a real cloth over the figure and "marbleized" it through a secret chemical process took root almost immediately. And it has never fully died. But the truth is stranger than the legend. Sanmartino did this with a hammer and a chisel... Antonio Canova himself tried to buy the sculpture. According to tradition, when he was unable to, he said he would gladly have given ten years of his life to have produced something of similar perfection. The Marquis de Sade, passing through Naples, paused to praise "the folds, the finesse of the veil… the beauty, and the regularity of the overall proportions." The Veiled Christ has not left the city in over 270 years. To see it, you have to go there. I have, and I can tell you that no photograph prepares you for the moment you stand in front of it. Sculpture, at its highest, really is a kind of alchemy. The transformation of cold stone into real flesh. As Alexander Pope wrote: "Then marble, soften'd into life, grew warm." I started this newsletter because human beings once made things that look impossible, and we have largely forgotten how. Every week, I share one of those stories. If that is something you would like to be part of, you can join 50,000 readers here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

330,309 次观看 • 3 个月前

Man, this one's gonna be a tough one. Losing a friend and our adopted Bosnian cuts deep. I met Paul in 2019. when we worked on a broadcast project together, unpacking forgotten war crimes in Sarajevo and Bijeljina. This is for you, Paul! | paullowe We lost more than a photographer when #PaulLowe passed away. We lost a witness to our history, a storyteller who showed the world the truths that many wished to ignore. His lens captured more than the horrors of war; it captured the resilience, the survival, the humanity of #Sarajevo at its darkest moment. Paul wasn’t just any outsider. He became one of us, a Bosnian in spirit, returning to live in Sarajevo with his Bosnian wife he met during war. He chose to make this city, scarred but beautiful, his home. In a way, his life mirrored his photography; an intimate connection to our brokenness, but yet utter fucking resilience. His work during the siege was not just about documenting violence. It was about remembering – reminding us that the shattered buildings and the jagged remains of barricades held stories, stories we should never forget. Paul understood that the “textures of destruction,” as he called them, were not just remnants of the past, but warnings and lessons for the future. He spent six months after the war capturing the ruins, not as mere structures, but as symbols of what had been lost and what we must fight to preserve – our history, our humanity. Through his eyes, even devastation carried a haunting, “terrifying beauty,” a strange aesthetic that was both painful and necessary to see. For those of us who knew him, Paul wasn’t just a great artist. He was a kind soul, a man who cared deeply for the people and the stories he photographed. He was someone who became one with his subject, whose empathy was as powerful as his talent. In losing Paul, we’ve lost a piece of Sarajevo’s heart. But through his images, his legacy lives on, forever reminding us of the importance of remembering. Thank you for your service, you amazing man. Rest in power! 🕊️
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Man, this one's gonna be a tough one. Losing a friend and our adopted Bosnian cuts deep. I met Paul in 2019. when we worked on a broadcast project together, unpacking forgotten war crimes in Sarajevo and Bijeljina. This is for you, Paul! | paullowe We lost more than a photographer when #PaulLowe passed away. We lost a witness to our history, a storyteller who showed the world the truths that many wished to ignore. His lens captured more than the horrors of war; it captured the resilience, the survival, the humanity of #Sarajevo at its darkest moment. Paul wasn’t just any outsider. He became one of us, a Bosnian in spirit, returning to live in Sarajevo with his Bosnian wife he met during war. He chose to make this city, scarred but beautiful, his home. In a way, his life mirrored his photography; an intimate connection to our brokenness, but yet utter fucking resilience. His work during the siege was not just about documenting violence. It was about remembering – reminding us that the shattered buildings and the jagged remains of barricades held stories, stories we should never forget. Paul understood that the “textures of destruction,” as he called them, were not just remnants of the past, but warnings and lessons for the future. He spent six months after the war capturing the ruins, not as mere structures, but as symbols of what had been lost and what we must fight to preserve – our history, our humanity. Through his eyes, even devastation carried a haunting, “terrifying beauty,” a strange aesthetic that was both painful and necessary to see. For those of us who knew him, Paul wasn’t just a great artist. He was a kind soul, a man who cared deeply for the people and the stories he photographed. He was someone who became one with his subject, whose empathy was as powerful as his talent. In losing Paul, we’ve lost a piece of Sarajevo’s heart. But through his images, his legacy lives on, forever reminding us of the importance of remembering. Thank you for your service, you amazing man. Rest in power! 🕊️

Ika Ferrer Gotić

15,454 次观看 • 1 年前

Chapter 0 of Resident Evil 4 Remake starring Ashley Graham: This is what the prologue that didn't make it into the final game looked like 💥 YouTube user Thekempy discovered a deleted "Chapter 0," which would have served as a prologue starring Ashley Graham and could only be partially restored from game files. The chapter was going to begin with Ashley walking through a Spanish forest at night, where she would encounter the Illuminados during a ritual sacrifice, something that appears in the first 20 seconds of the story trailer, although the area is not in the final version. After witnessing this, Ashley would flee to the village without being able to defend herself, see Luis being dragged away, and finally be captured by the Ganados. It is a mainly narrative prologue, without combat, which would introduce the setting and elements of the story before Leon appeared. Ultimately, Capcom chose to remove it entirely, but the video gives us a glimpse of what this prologue would have been like. #RE4Remake #REBHFun #AshleyGraham #ResidentEvil4
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Chapter 0 of Resident Evil 4 Remake starring Ashley Graham: This is what the prologue that didn't make it into the final game looked like 💥 YouTube user Thekempy discovered a deleted "Chapter 0," which would have served as a prologue starring Ashley Graham and could only be partially restored from game files. The chapter was going to begin with Ashley walking through a Spanish forest at night, where she would encounter the Illuminados during a ritual sacrifice, something that appears in the first 20 seconds of the story trailer, although the area is not in the final version. After witnessing this, Ashley would flee to the village without being able to defend herself, see Luis being dragged away, and finally be captured by the Ganados. It is a mainly narrative prologue, without combat, which would introduce the setting and elements of the story before Leon appeared. Ultimately, Capcom chose to remove it entirely, but the video gives us a glimpse of what this prologue would have been like. #RE4Remake #REBHFun #AshleyGraham #ResidentEvil4

ᴋᴛʏɴʏ | Resident Evil & Survival Horror 🪽

192,536 次观看 • 7 个月前