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🌟 เซอร์ไพรส์พิเศษ 𝙎𝙥𝙚𝙘𝙞𝙖𝙡 𝘽𝙤𝙭𝙮 𝙏 𝘾𝙩𝙧𝙡+𝘾(𝙖𝙩) เป็นเสื้อ Boxy สีขาว ลายแมวข่วน หนึ่งเดียวไม่ซ้ำใคร ทุกชิ้นคืองานศิลปะที่สามารถใช้งานได้ เพ้นท์มือทุกตัวด้วยสีอะคลิลิกคุณภาพกันน้ำ 🐾🖌️ 🌟Special Surprise: 𝙎𝙥𝙚𝙘𝙞𝙖𝙡 𝘽𝙤𝙭𝙮 𝙏 𝘾𝙩𝙧𝙡+𝘾(𝙖𝙩) is a one of a kind white boxy T-shirt with scratch-style cat artwork. Each piece is hand-painted with premium waterproof acrylics, making it a wearable piece of art 🐾...

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olulo

42,117 subscribers

83,260 次观看 • 9 个月前 •via X (Twitter)

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HOMIES MERCH LAUNCHING! As part of our KaiRain Day celebration, we’re super excited to launch our very own UNOFFICIAL HOMIES MERCH made with love for every homies out there! 🎉 What’s in the collection? Homies Shirts 👕– Available in White, Purple, and Black, designed for comfort and style! Homies Caps 🧢 – Available in White, Purple, and Black, perfect for casual days. What’s special? FREEBIES with every order! Each purchase comes with a Photocard, Stickers, and a Bookmark, so you can keep a piece of our fandom wherever you go! 📦 LIMITED STOCKS ONLY! First batch will be available for pre-order soon, so don’t miss out! And We’re making sure every homie can get their hands on these, no matter where you are! This is just the beginning, and we’re beyond excited to see you all rocking your Homies merch! Stay tuned for pre-order details, pricing, and more exciting surprises! PRE-ORDER DROPS TOMORROW! Who’s ready to show their Homies merch? 🔥💜 KAIRAIN DAY x HOMIES MERCH #KaiRain
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HOMIES MERCH LAUNCHING! As part of our KaiRain Day celebration, we’re super excited to launch our very own UNOFFICIAL HOMIES MERCH made with love for every homies out there! 🎉 What’s in the collection? Homies Shirts 👕– Available in White, Purple, and Black, designed for comfort and style! Homies Caps 🧢 – Available in White, Purple, and Black, perfect for casual days. What’s special? FREEBIES with every order! Each purchase comes with a Photocard, Stickers, and a Bookmark, so you can keep a piece of our fandom wherever you go! 📦 LIMITED STOCKS ONLY! First batch will be available for pre-order soon, so don’t miss out! And We’re making sure every homie can get their hands on these, no matter where you are! This is just the beginning, and we’re beyond excited to see you all rocking your Homies merch! Stay tuned for pre-order details, pricing, and more exciting surprises! PRE-ORDER DROPS TOMORROW! Who’s ready to show their Homies merch? 🔥💜 KAIRAIN DAY x HOMIES MERCH #KaiRain

KAIRAIN HOMIES W🌏RLDWIDE

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GM Crypto Trenches, Today, Art Meets Innovation: My 3-Day Journey with Kite AI 🎨🪁 They say art is how we express what words can’t, and for me, Kite AI isn’t just a project. It’s an inspiration. Over the past three days, I poured my heart into creating a hand painted mural in doodle style, a piece that celebrates the spirit of Kite AI and the vision it represents. From mixing my own paints to priming the walls to sketching and coloring each line, every step was a dialogue between creativity and purpose. It wasn’t easy. Between the long hours and not feeling my best, I still kept going because I truly believe in what Kite AI stands for: a world where intelligence, identity, and innovation connect. This mural isn’t just art on a wall. It’s a story of dedication, belief, and the beauty of building something bigger than yourself. To everyone pushing boundaries in tech and creativity, this one’s for you. To KITE AI, thank you for inspiring me to turn vision into color. 🪁💫 What just happened in KITE AI lately? GoKiteAI just secured investment from Coinbase Ventures 🛡️, joining Paypal Ventures and General Catalyst in backing the future of autonomous AI payments. With Kite now natively integrated with the X402 Agent Payment Standard, AI agents can send, receive, and reconcile payments autonomously, the foundation of the coming agentic economy. I painted this mural to show what conviction looks like, and I’m proud to stand behind a project building the rails for the future. Who are the masterminds behind this great project? Get familiar with them! Project page KITE AI CEO Chi Zhang Co Founder Scott Shi - e/acc Project's CH page KITE AI 中文 Ecosystem and Community page Kite AI Community and Ecosystem Foundation page KITE Foundation Ecosystem product lead Henry Lee So many others can be found on thier page.
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GM Crypto Trenches, Today, Art Meets Innovation: My 3-Day Journey with Kite AI 🎨🪁 They say art is how we express what words can’t, and for me, Kite AI isn’t just a project. It’s an inspiration. Over the past three days, I poured my heart into creating a hand painted mural in doodle style, a piece that celebrates the spirit of Kite AI and the vision it represents. From mixing my own paints to priming the walls to sketching and coloring each line, every step was a dialogue between creativity and purpose. It wasn’t easy. Between the long hours and not feeling my best, I still kept going because I truly believe in what Kite AI stands for: a world where intelligence, identity, and innovation connect. This mural isn’t just art on a wall. It’s a story of dedication, belief, and the beauty of building something bigger than yourself. To everyone pushing boundaries in tech and creativity, this one’s for you. To KITE AI, thank you for inspiring me to turn vision into color. 🪁💫 What just happened in KITE AI lately? GoKiteAI just secured investment from Coinbase Ventures 🛡️, joining Paypal Ventures and General Catalyst in backing the future of autonomous AI payments. With Kite now natively integrated with the X402 Agent Payment Standard, AI agents can send, receive, and reconcile payments autonomously, the foundation of the coming agentic economy. I painted this mural to show what conviction looks like, and I’m proud to stand behind a project building the rails for the future. Who are the masterminds behind this great project? Get familiar with them! Project page KITE AI CEO Chi Zhang Co Founder Scott Shi - e/acc Project's CH page KITE AI 中文 Ecosystem and Community page Kite AI Community and Ecosystem Foundation page KITE Foundation Ecosystem product lead Henry Lee So many others can be found on thier page.

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The day has come! Check out our Vault here: Join our affiliate program: So what is a Vault and what is in it? Included is a copy of the book: The Pentester BluePrint: Starting a Career as an Ethical Hacker By: by Phillip L. Wylie (Author), Kim Crawley (Author) The 1st order and every 50th order after will recieve a random Giftcard/Voucher Hak5 $100 Giftcard zSecurity Course Voucher valued at up to $195 TCM Course Voucher Subscription I am Jakoby store giftcard valued at $100 This is Vault 0. Just an introduction of what is to come. Included is a t-shirt; the first piece of I am Jakoby merch ever. The very FIRST edition if you will. The design will never return. As an extra treat, each order comes with a surprise bag packed full of additional cyber goodies. This is a once-in-a-lifetime chance to secure hacker gear so distinctive that it won't be spotted even in the most obscure corners of the Dark Web. Remember, this is a preorder deal, and like a fleeting cipher, once it's gone, it's gone forever. There will be no reruns, no second editions. The Vault closes after this drop and stays locked. Act fast or be left behind in this race against the digital clock. Grab your Hacker's Edition Vault Drop now - because in the world of cyber gear, you either secure your collection swiftly or regret it eternally. At least until the NEXT Vault drops! This is the very first iteration and we plan to improve the process as we grow. We are doing this all ourselves by hand to ensure the best quality possible which does take time. This is a precursor to launching our own full clothing line called Unit 259 that combines both pentesting and magic in the best of ways. [Pre-Order Ends July 4th] [Product Ships within 3 weeks]
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I am Jakoby

13,176 次观看 • 3 年前

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nuro

377,055 次观看 • 2 年前

🔥🔥🔥PI NETWORK NEWS: GCV – THE WARRIOR'S FLAME LEADING TO OPEN MAINNET! 🔥💪 On the journey of pioneering Pi Network, the resilient warriors of the GCV movement have been fighting tirelessly to build a strong ecosystem. GCV (Global Consensus Value) is not just a number; it is a declaration, a vision, and a mission – to create a truly decentralized economy for Pioneers! 🚀 THE SKEPTICS – BECAUSE THEY DON’T UNDERSTAND! There are those who deny GCV, attack the movement, and claim that this value is an illusion. They fail to realize that GCV is not just a random figure but a crucial stepping stone for Pi to achieve OPEN MAINNET (OM) successfully! ⚡ THE REALITY OF GCV – WHY DO WE BELIEVE? 1️⃣ GCV helps establish Pi’s foundational value: Without GCV, who will determine Pi’s worth? Centralized exchanges, where prices can be manipulated by whales? No! The true value of Pi must be decided by the Pioneer community. 2️⃣ History has proven it: Bitcoin was once considered worthless, but early adopters held onto it, traded it, and built trust around it. Pi is on the same path, and GCV is the tool that empowers Pioneers to shape its value. 3️⃣ GCV is the key factor that enables Pi Network to reach Open Mainnet: An economy cannot function without a consensus value for transactions. GCV serves as the "framework" that helps Pi Network’s ecosystem grow strong before its global expansion. 🔥 GCV WARRIORS – HOLD ON TO YOUR BELIEF! Skeptics may laugh, but they are not the ones who will decide Pi’s future. We – the pioneers of GCV – are the ones writing history! Remember this: 💎 Pi is not just a token to be bought and sold meaninglessly. 💎 Pi is not a speculative tool for centralized exchanges. 💎 Pi is our asset, and GCV is the bridge to valuing it properly! 💪 GCV WARRIORS – KEEP FIGHTING! Do not let doubt shake your belief. The GCV ecosystem is growing, transactions with GCV are happening, and we are building a real economy. Stay strong, keep trading, keep spreading awareness, and prove to the world that GCV is not just a dream – it is the FUTURE OF PI NETWORK! 🚀🔥 JoJo💫 ------------------------------------- Spirit of the GCV Warriors Verse 1 Morning light, brings hope anew, GCV warriors, strong and true. In our hearts, a fire burning, A dream to reach the skies, unyielding. Pre-Chorus Every day, a new challenge we face, Together we rise, we embrace. United, we stand, never surrender, Our journey filled with hope and wonder. Chorus Spirit of the warriors, never back down, Through every trial, we hold our ground. Hand in hand, we move ahead, Our dreams take flight, with no end. Verse 2 Sweat like stars, shining bright, Endless effort, day and night. Sharing joy, inspiring hearts, Making every warrior strong and smart. Pre-Chorus Every day, a new challenge we face, Together we rise, we embrace. United, we stand, never surrender, Our journey filled with hope and wonder. Chorus Spirit of the warriors, never back down, Through every trial, we hold our ground. Hand in hand, we move ahead, Our dreams take flight, with no end. Bridge Looking back on the road we've traveled, We see our strength, how we've unraveled. Each success, a gift we've earned, From our efforts and the lessons learned. Chorus Spirit of the warriors, never back down, Through every trial, we hold our ground. Hand in hand, we move ahead, Our dreams take flight, with no end. Outro GCV warriors, always remember, Our spirit and our faith, forever. Each new day, a journey begins, To a brighter future, where we win. JoJo & Lumari 💫🔥 GCV CORE TEAM🔥🔥🔥 ------------------------------------- 🥰 P.S.: The global GCV Core Team invites everyone to join our community and actively participate in shaping the future of the Pi Network ecosystem. Let’s spread the message of GCV far and wide! 📢 Join the group on Telegram here: ------------------------------------- 👉 Please Like, Share, and Comment to support and help Pi grow rapidly! Thank you! 🥰 Pi Network #PiNetwork Doris Yin 东方紫莲🪷 Lumari 🦋 NONNY PADJA NTT ❤ Eagle woman 🦅 @MoretopMovie M.Rad Olivier Ndatimana PATRICK CHUA 婧恬 LiangShi π MAYASS ALI KIAVASH brave Lee Marcel Dango Mazi victor onyido Cherif A.I Herine Makosewe love life 2025 Mohammed Alademi Daniel Chen PiGCV_Spain西班牙 EDIER ALONSO RINCON @tkst GLOBAL GCV COMMUNITY(DIPLOMAT) ALLIANCE PARTNER RAMESH SHETTY Pi GCV Education Ambassodor ( π🤝π ) 🌍🇮🇳 hoda448🪷 mario Bustamante
3:18

🔥🔥🔥PI NETWORK NEWS: GCV – THE WARRIOR'S FLAME LEADING TO OPEN MAINNET! 🔥💪 On the journey of pioneering Pi Network, the resilient warriors of the GCV movement have been fighting tirelessly to build a strong ecosystem. GCV (Global Consensus Value) is not just a number; it is a declaration, a vision, and a mission – to create a truly decentralized economy for Pioneers! 🚀 THE SKEPTICS – BECAUSE THEY DON’T UNDERSTAND! There are those who deny GCV, attack the movement, and claim that this value is an illusion. They fail to realize that GCV is not just a random figure but a crucial stepping stone for Pi to achieve OPEN MAINNET (OM) successfully! ⚡ THE REALITY OF GCV – WHY DO WE BELIEVE? 1️⃣ GCV helps establish Pi’s foundational value: Without GCV, who will determine Pi’s worth? Centralized exchanges, where prices can be manipulated by whales? No! The true value of Pi must be decided by the Pioneer community. 2️⃣ History has proven it: Bitcoin was once considered worthless, but early adopters held onto it, traded it, and built trust around it. Pi is on the same path, and GCV is the tool that empowers Pioneers to shape its value. 3️⃣ GCV is the key factor that enables Pi Network to reach Open Mainnet: An economy cannot function without a consensus value for transactions. GCV serves as the "framework" that helps Pi Network’s ecosystem grow strong before its global expansion. 🔥 GCV WARRIORS – HOLD ON TO YOUR BELIEF! Skeptics may laugh, but they are not the ones who will decide Pi’s future. We – the pioneers of GCV – are the ones writing history! Remember this: 💎 Pi is not just a token to be bought and sold meaninglessly. 💎 Pi is not a speculative tool for centralized exchanges. 💎 Pi is our asset, and GCV is the bridge to valuing it properly! 💪 GCV WARRIORS – KEEP FIGHTING! Do not let doubt shake your belief. The GCV ecosystem is growing, transactions with GCV are happening, and we are building a real economy. Stay strong, keep trading, keep spreading awareness, and prove to the world that GCV is not just a dream – it is the FUTURE OF PI NETWORK! 🚀🔥 JoJo💫 ------------------------------------- Spirit of the GCV Warriors Verse 1 Morning light, brings hope anew, GCV warriors, strong and true. In our hearts, a fire burning, A dream to reach the skies, unyielding. Pre-Chorus Every day, a new challenge we face, Together we rise, we embrace. United, we stand, never surrender, Our journey filled with hope and wonder. Chorus Spirit of the warriors, never back down, Through every trial, we hold our ground. Hand in hand, we move ahead, Our dreams take flight, with no end. Verse 2 Sweat like stars, shining bright, Endless effort, day and night. Sharing joy, inspiring hearts, Making every warrior strong and smart. Pre-Chorus Every day, a new challenge we face, Together we rise, we embrace. United, we stand, never surrender, Our journey filled with hope and wonder. Chorus Spirit of the warriors, never back down, Through every trial, we hold our ground. Hand in hand, we move ahead, Our dreams take flight, with no end. Bridge Looking back on the road we've traveled, We see our strength, how we've unraveled. Each success, a gift we've earned, From our efforts and the lessons learned. Chorus Spirit of the warriors, never back down, Through every trial, we hold our ground. Hand in hand, we move ahead, Our dreams take flight, with no end. Outro GCV warriors, always remember, Our spirit and our faith, forever. Each new day, a journey begins, To a brighter future, where we win. JoJo & Lumari 💫🔥 GCV CORE TEAM🔥🔥🔥 ------------------------------------- 🥰 P.S.: The global GCV Core Team invites everyone to join our community and actively participate in shaping the future of the Pi Network ecosystem. Let’s spread the message of GCV far and wide! 📢 Join the group on Telegram here: ------------------------------------- 👉 Please Like, Share, and Comment to support and help Pi grow rapidly! Thank you! 🥰 Pi Network #PiNetwork Doris Yin 东方紫莲🪷 Lumari 🦋 NONNY PADJA NTT ❤ Eagle woman 🦅 @MoretopMovie M.Rad Olivier Ndatimana PATRICK CHUA 婧恬 LiangShi π MAYASS ALI KIAVASH brave Lee Marcel Dango Mazi victor onyido Cherif A.I Herine Makosewe love life 2025 Mohammed Alademi Daniel Chen PiGCV_Spain西班牙 EDIER ALONSO RINCON @tkst GLOBAL GCV COMMUNITY(DIPLOMAT) ALLIANCE PARTNER RAMESH SHETTY Pi GCV Education Ambassodor ( π🤝π ) 🌍🇮🇳 hoda448🪷 mario Bustamante

JoJo-π

31,263 次观看 • 1 年前

American woman makes an excellent point, and it’s a warning based on countless examples throughout history Islam uses leftists. Once Muslims are done using leftists and have control of government, they will be purged “Explain to me how the left condemns Christianity and can support Islam. What an interesting marriage of groups. Islam is significantly more of a threat to leftists. Christianity isn't inherently theocratic. The vast majority of Christians believe in free will and freedom, which is why there aren't really any Christian theocracies, unless you wanna consider the Vatican to be a theocracy. Islam, on the other hand, is very tied to governance, Sharia, which is why there are numerous Islamic theocracies and semi-theocracies. I think this union boils down to a few things. The left views Christians as a dominant group who are oppressors, and they view Islamists as a marginalized minority group. The left also has unrealistic utopias, a complete misunderstanding of human behavior, and they have very low information when it comes to Islamists and the history of Islamists. Unbeknownst to leftists, Islamists are very aware of their ignorance, and they use it to their advantage. The only thing leftists and Islamists have in common is their mutual hate for the West and Western values, which by and large are shaped by Judeo-Christian values. So they kind of become mutual tools for each other. But historically, this doesn't really play out well for leftists. There are many examples of this, so let's take a look and see how this unholy alliance plays out or has played out in the past. Pause to read.(See video) So there is an obvious pattern here. Leftists and Islamists unite against a common enemy. When the enemy is removed, Islamists prioritize establishing Islamic governance, which is completely incompatible with secular leftist visions, and honestly, is incompatible with everyone else's visions, as Islamic governance is incompatible with Western democracy. Once Islamists have the upper hand, leftists are often purged, imprisoned, or sidelined. And honestly, this goes along with any other group of people who do not fall in line with their ideology. We have many examples of violent intolerance. So yeah, this image I see floating around is highly accurate. If I do have one thing to add though, politicians in the West have no idea what they're doing. And I think as Canadians, we could look towards Europe and kind of have an idea of what's to come. That is if we continue down this path”
2:10

American woman makes an excellent point, and it’s a warning based on countless examples throughout history Islam uses leftists. Once Muslims are done using leftists and have control of government, they will be purged “Explain to me how the left condemns Christianity and can support Islam. What an interesting marriage of groups. Islam is significantly more of a threat to leftists. Christianity isn't inherently theocratic. The vast majority of Christians believe in free will and freedom, which is why there aren't really any Christian theocracies, unless you wanna consider the Vatican to be a theocracy. Islam, on the other hand, is very tied to governance, Sharia, which is why there are numerous Islamic theocracies and semi-theocracies. I think this union boils down to a few things. The left views Christians as a dominant group who are oppressors, and they view Islamists as a marginalized minority group. The left also has unrealistic utopias, a complete misunderstanding of human behavior, and they have very low information when it comes to Islamists and the history of Islamists. Unbeknownst to leftists, Islamists are very aware of their ignorance, and they use it to their advantage. The only thing leftists and Islamists have in common is their mutual hate for the West and Western values, which by and large are shaped by Judeo-Christian values. So they kind of become mutual tools for each other. But historically, this doesn't really play out well for leftists. There are many examples of this, so let's take a look and see how this unholy alliance plays out or has played out in the past. Pause to read.(See video) So there is an obvious pattern here. Leftists and Islamists unite against a common enemy. When the enemy is removed, Islamists prioritize establishing Islamic governance, which is completely incompatible with secular leftist visions, and honestly, is incompatible with everyone else's visions, as Islamic governance is incompatible with Western democracy. Once Islamists have the upper hand, leftists are often purged, imprisoned, or sidelined. And honestly, this goes along with any other group of people who do not fall in line with their ideology. We have many examples of violent intolerance. So yeah, this image I see floating around is highly accurate. If I do have one thing to add though, politicians in the West have no idea what they're doing. And I think as Canadians, we could look towards Europe and kind of have an idea of what's to come. That is if we continue down this path”

Wall Street Apes

71,829 次观看 • 8 个月前

WARNING LISTEN WITH CAUTION! A Radio Drama That Still Breaks Something Inside You - The Cold Equations X Minus One, August 1955 It begins like so many dreams of the frontier. A young girl with brown curls, blue eyes, and a cheap pair of sandals slips aboard an Emergency Dispatch Ship. She hides in a supply locker with a small bag and a heart full of hope. Her name is Marilyn Lee Cross. She is eighteen. She only wants to see her brother. The ship is barely more than a stripped-down shell a precise machine built for one purpose: deliver serum to a fever-ravaged survey crew on the planet Woden before they die. Every ounce of fuel has been calculated. Every kilogram of mass accounted for. There are no margins. There is no room for stories, for surprise, for love. When the pilot, Barton, opens the locker and finds her smiling up at him, the universe tilts. His blaster falls from his hand. For a moment the cold equations of spaceflight collide with something warmer and infinitely more fragile: a living, breathing person who never meant any harm. She explains, shy and excited at once. She stowed away because the next regular ship would not arrive for another year. She wanted to surprise her brother. She brought a pretty dress. She thought the rules would be like the ones back on Earth. They are not. The commander’s voice comes over the radio, flat and final. Her extra weight — one hundred and ten pounds of girl, dreams, and cheap perfume — will consume the last of the fuel during the critical deceleration burn. The ship will not slow in time. It will either crash or miss its window entirely. The serum will never reach the dying men. Sixteen lives will be lost instead of one. There is no rescue. The mothership is already committed to hyperspace. No other vessel is within forty light-years. The math is not cruel. It simply does not care. Marilyn does not understand at first. She offers to pay a fine. She promises to work, to cook, to stay out of the way. When the truth finally lands, she sags “small and limp like a little rag doll.” Her voice breaks on the simplest, most devastating question: “Is that it? Just that the ship doesn’t have enough fuel?” Yes. The pilot reduces thrust to buy her a little more time. He lets her write letters to her family. He patches her through to her brother one last time as Woden’s rotation carries the signal away. She tries to sound brave. She tells Gerry not to feel bad. She only wanted to see him. Then the line goes dead. The airlock is small. She walks into it with her head up. She says she is ready. The pilot’s hand hovers over the control. There is a hiss, a sudden drop in mass on the gauges, and then only the steady hum of the ship continuing on its necessary course. She is gone. Why This 1955 Radio Play Still Haunts Us X Minus One delivered the story on a summer night in 1955 with nothing but voices, sound effects, and the listener’s imagination. No CGI. No swelling orchestral score to soften the blow. Just the quiet horror of a young woman realizing the universe keeps its books in a currency she cannot pay. That is precisely why it cuts deeper now than it did then. We like to believe we have moved beyond such brutal arithmetic. We have AI that can model entire economies, climate systems, and human behavior. Yet the cold equations have not disappeared. They have only changed their clothing. Today an algorithm decides whose résumé is seen and whose is silently discarded. Another model determines who receives a loan, who is flagged for extra scrutiny, whose medical scan is prioritized. In autonomous vehicles the trolley problem is no longer philosophical — it is code. In the hot summer of 1955 this heartbreaking broadcast captivated us, before we left the planet. Today it just is even harder. With just spoken words we have a picture of innocence and calculations that paint a bigger picture than any big screen could have. It painted in our hearts and our souls.
23:56

WARNING LISTEN WITH CAUTION! A Radio Drama That Still Breaks Something Inside You - The Cold Equations X Minus One, August 1955 It begins like so many dreams of the frontier. A young girl with brown curls, blue eyes, and a cheap pair of sandals slips aboard an Emergency Dispatch Ship. She hides in a supply locker with a small bag and a heart full of hope. Her name is Marilyn Lee Cross. She is eighteen. She only wants to see her brother. The ship is barely more than a stripped-down shell a precise machine built for one purpose: deliver serum to a fever-ravaged survey crew on the planet Woden before they die. Every ounce of fuel has been calculated. Every kilogram of mass accounted for. There are no margins. There is no room for stories, for surprise, for love. When the pilot, Barton, opens the locker and finds her smiling up at him, the universe tilts. His blaster falls from his hand. For a moment the cold equations of spaceflight collide with something warmer and infinitely more fragile: a living, breathing person who never meant any harm. She explains, shy and excited at once. She stowed away because the next regular ship would not arrive for another year. She wanted to surprise her brother. She brought a pretty dress. She thought the rules would be like the ones back on Earth. They are not. The commander’s voice comes over the radio, flat and final. Her extra weight — one hundred and ten pounds of girl, dreams, and cheap perfume — will consume the last of the fuel during the critical deceleration burn. The ship will not slow in time. It will either crash or miss its window entirely. The serum will never reach the dying men. Sixteen lives will be lost instead of one. There is no rescue. The mothership is already committed to hyperspace. No other vessel is within forty light-years. The math is not cruel. It simply does not care. Marilyn does not understand at first. She offers to pay a fine. She promises to work, to cook, to stay out of the way. When the truth finally lands, she sags “small and limp like a little rag doll.” Her voice breaks on the simplest, most devastating question: “Is that it? Just that the ship doesn’t have enough fuel?” Yes. The pilot reduces thrust to buy her a little more time. He lets her write letters to her family. He patches her through to her brother one last time as Woden’s rotation carries the signal away. She tries to sound brave. She tells Gerry not to feel bad. She only wanted to see him. Then the line goes dead. The airlock is small. She walks into it with her head up. She says she is ready. The pilot’s hand hovers over the control. There is a hiss, a sudden drop in mass on the gauges, and then only the steady hum of the ship continuing on its necessary course. She is gone. Why This 1955 Radio Play Still Haunts Us X Minus One delivered the story on a summer night in 1955 with nothing but voices, sound effects, and the listener’s imagination. No CGI. No swelling orchestral score to soften the blow. Just the quiet horror of a young woman realizing the universe keeps its books in a currency she cannot pay. That is precisely why it cuts deeper now than it did then. We like to believe we have moved beyond such brutal arithmetic. We have AI that can model entire economies, climate systems, and human behavior. Yet the cold equations have not disappeared. They have only changed their clothing. Today an algorithm decides whose résumé is seen and whose is silently discarded. Another model determines who receives a loan, who is flagged for extra scrutiny, whose medical scan is prioritized. In autonomous vehicles the trolley problem is no longer philosophical — it is code. In the hot summer of 1955 this heartbreaking broadcast captivated us, before we left the planet. Today it just is even harder. With just spoken words we have a picture of innocence and calculations that paint a bigger picture than any big screen could have. It painted in our hearts and our souls.

Brian Roemmele

36,950 次观看 • 3 天前

🐼🦖 ROAR, he’s FOUR! Join us in wishing giant panda Bao Li a dino-mite birthday! At 9 a.m., animal care staff presented Bao Li with a special panda-friendly fruitsicle cake made by the Zoo’s Department of Nutrition Science. Commissary keepers crafted the multi-tiered cake using frozen diluted pineapple juices. The treat was decorated with Bao Li’s favorite treats, including apples, carrots, sweet potatoes, blueberries and leafeater biscuits. The cake was topped with 4 “candles” made from one of the pandas’ favorite foods: sugar cane! . . . 🎉🎂 Bao Li made a beeline straight for his cake. He snacked on a piece of sugar cane first, then plucked an apple from the top. He chewed each treat slowly, seeming to savor every bite! The cake was flanked by two colorful enrichment boxes, one was green with “Dino-4” in painted letters, and the other—a blue box inscribed with “To: Bao Li From: Your Keepers”—concealed a new buoy toy hidden inside. Keepers place a colorful hand-painted banner, complete with a panda in a dinosaur costume, in the habitat for decoration. Virtual visitors tuned into the Zoo’s Giant Panda Cam, sponsored by The Boeing Company, to watch Bao Li enjoy his birthday festivities. . . . ❤️🐼 This marks Bao Li’s first birthday at the Zoo since he arrived in Washington, D.C. on Oct. 15, 2024 with 3-year-old female giant panda Qing Bao. The giant panda team affectionately describes Bao Li as charismatic, playful and confident. “He is so much fun to work with!” said Laurie Thompson, assistant curator of giant pandas. “Bao Li always greets us with a bleat and seems to enjoy attention, whether it’s during training sessions, playing in the hose spray while we clean or coming over for ear scritches.” . . . 🎁🐼 Want to give Bao Li a birthday gift? Make his day extra special by pledging to save pandas! Head to our website to support panda conservation efforts around the globe: On behalf of our #DCPandas and all the animals we care for: thank you! 🫶
0:42

🐼🦖 ROAR, he’s FOUR! Join us in wishing giant panda Bao Li a dino-mite birthday! At 9 a.m., animal care staff presented Bao Li with a special panda-friendly fruitsicle cake made by the Zoo’s Department of Nutrition Science. Commissary keepers crafted the multi-tiered cake using frozen diluted pineapple juices. The treat was decorated with Bao Li’s favorite treats, including apples, carrots, sweet potatoes, blueberries and leafeater biscuits. The cake was topped with 4 “candles” made from one of the pandas’ favorite foods: sugar cane! . . . 🎉🎂 Bao Li made a beeline straight for his cake. He snacked on a piece of sugar cane first, then plucked an apple from the top. He chewed each treat slowly, seeming to savor every bite! The cake was flanked by two colorful enrichment boxes, one was green with “Dino-4” in painted letters, and the other—a blue box inscribed with “To: Bao Li From: Your Keepers”—concealed a new buoy toy hidden inside. Keepers place a colorful hand-painted banner, complete with a panda in a dinosaur costume, in the habitat for decoration. Virtual visitors tuned into the Zoo’s Giant Panda Cam, sponsored by The Boeing Company, to watch Bao Li enjoy his birthday festivities. . . . ❤️🐼 This marks Bao Li’s first birthday at the Zoo since he arrived in Washington, D.C. on Oct. 15, 2024 with 3-year-old female giant panda Qing Bao. The giant panda team affectionately describes Bao Li as charismatic, playful and confident. “He is so much fun to work with!” said Laurie Thompson, assistant curator of giant pandas. “Bao Li always greets us with a bleat and seems to enjoy attention, whether it’s during training sessions, playing in the hose spray while we clean or coming over for ear scritches.” . . . 🎁🐼 Want to give Bao Li a birthday gift? Make his day extra special by pledging to save pandas! Head to our website to support panda conservation efforts around the globe: On behalf of our #DCPandas and all the animals we care for: thank you! 🫶

National Zoo

41,890 次观看 • 11 个月前

Mark Zuckerberg just described the end of the creator economy. And framed it as a feature. Zuckerberg: “If you’re a creator, one of the big challenges is there are only so many hours in the day, and your community probably has a nearly unlimited demand to interact with you.” He named the constraint every creator lives with. Your audience will always want more of you than you can physically give. His answer isn’t to help you keep up. It’s to make you optional. Zuckerberg: “If we can make it so that each creator can basically make an AI artifact that their community can interact with.” Look at the word he chose. Artifact. Not assistant. Not extension. Not tool. An artifact is something that exists after the person who made it is gone. Zuckerberg: “It’s almost like a piece of digital art that you’re producing. Like an interactive sculpture.” He’s asking creators to build a version of themselves. Hand it over. Then walk away. And call it empowerment. Zuckerberg: “You’re giving your community something to interact with when you can’t be there to answer all the questions.” Something to interact with. Not someone. Something. The entire creator economy was built on three things. The person was real. The connection felt real. The audience believed they were talking to a human being who actually gave a damn. Zuckerberg is building a future where all three become optional. Zuckerberg: “In the future there will be content that is purely generated by AI, personalized for you.” Not made by someone with a point of view. Generated by a system that knows what makes you stay. The feed stops being a town square. It becomes a mirror. Showing you exactly what you want to see. Made by no one. For no reason other than engagement. Every post. Every video. Every reply. Every comment a creator ever made on these platforms. All of it was training data. Creators didn’t just build audiences. They built the dataset that makes them replaceable. Zuckerberg didn’t build a creator economy. He built a training pipeline with a revenue share. And the pipeline is almost ready to run without them. We spent two decades convincing ourselves that real connection could happen through a screen. We’re about to find out what happens when there’s no one on the other side of it.
2:09

Mark Zuckerberg just described the end of the creator economy. And framed it as a feature. Zuckerberg: “If you’re a creator, one of the big challenges is there are only so many hours in the day, and your community probably has a nearly unlimited demand to interact with you.” He named the constraint every creator lives with. Your audience will always want more of you than you can physically give. His answer isn’t to help you keep up. It’s to make you optional. Zuckerberg: “If we can make it so that each creator can basically make an AI artifact that their community can interact with.” Look at the word he chose. Artifact. Not assistant. Not extension. Not tool. An artifact is something that exists after the person who made it is gone. Zuckerberg: “It’s almost like a piece of digital art that you’re producing. Like an interactive sculpture.” He’s asking creators to build a version of themselves. Hand it over. Then walk away. And call it empowerment. Zuckerberg: “You’re giving your community something to interact with when you can’t be there to answer all the questions.” Something to interact with. Not someone. Something. The entire creator economy was built on three things. The person was real. The connection felt real. The audience believed they were talking to a human being who actually gave a damn. Zuckerberg is building a future where all three become optional. Zuckerberg: “In the future there will be content that is purely generated by AI, personalized for you.” Not made by someone with a point of view. Generated by a system that knows what makes you stay. The feed stops being a town square. It becomes a mirror. Showing you exactly what you want to see. Made by no one. For no reason other than engagement. Every post. Every video. Every reply. Every comment a creator ever made on these platforms. All of it was training data. Creators didn’t just build audiences. They built the dataset that makes them replaceable. Zuckerberg didn’t build a creator economy. He built a training pipeline with a revenue share. And the pipeline is almost ready to run without them. We spent two decades convincing ourselves that real connection could happen through a screen. We’re about to find out what happens when there’s no one on the other side of it.

Dustin

26,471 次观看 • 2 个月前

This is the Piano Sonata No. 16 in C major, K. 545 (commonly known as the Sonata Facile or the Sonata for Beginners) by the composer Wolfgang Amadeus Mozart. The performer of this work is the world-renowned pianist and conductor Daniel Barenboim. To seek the deepest wellspring of the greatness of K. 545, we must descend to the very notes themselves as they take shape upon the keys. The law of growth from the opening notes: Many praise the initial chain of three notes, C–E–G. Yet what merits even greater attention is the interval between them: Mozart allows the melody to ascend through two successive thirds (C to E being a third, and E to G another third). He does not leap at random, but adheres to a natural mathematical order. The human mind possesses an innate sensitivity to, and affection for, such patterns; thus, from the very first moment the music sounds, it bestows upon us a profound sense of rightness and euphony. Nevertheless, Mozart’s genius lies in knowing precisely when to cease. Had the melody continued its ascent unchecked—into C–E–G–B–D and beyond—the piece would at once have become a dry technical exercise. Instead, having reached the high G, Mozart turns the line downward, tracing a perfect arc. This motion recurs throughout the work, mirroring with uncanny fidelity the biological rhythm of natural breathing: inhalation must be followed by exhalation; ascent to a climax must yield to a gentle descent into repose. The singing melody and its inner dialogue: A fine Mozartian phrase always resembles a complete utterance in everyday speech. In the opening sentence of K. 545, the listener perceives a structure with a clear beginning, development, and resting point, akin to the natural intonation of a courteous greeting: “Good day,” rather than a fragmented or superfluous “Good… day… to… you.” Musicologists term this quality cantabile—that is, a truly singable melody. It is why pianists have long passed down the classic dictum: “To play Mozart well, one must first know how to sing.” Nor does Mozart’s music merely sing; it engages in an unbroken conversation. Having presented an idea in the first phrase, he does not hasten to introduce an entirely new subject. The following phrase answers the one before it. It is rather like an intimate exchange between two old friends: one remarks, “What a beautiful day,” and the other replies at once, “Indeed, the sky is so clear.” This tight, organic connection—without interruption, overlapping, or abrupt shifts of topic—imbues the work with an unassailable inner logic. The left hand and the breathing of the earth: Many mistakenly regard the left-hand part, with its steady broken-chord figuration (C–G–E–G), as mere monotonous padding intended to fill the voids. In truth, its role is far more profound. Imagine the right-hand melody as a bird soaring and wheeling across the sky. Were the ground beneath it utterly still and silent, the bird would seem suspended and adrift. By maintaining a smooth, continuous motion in the left hand through the Alberti bass, Mozart does not seek to rival the right hand for attention; rather, he creates the subtle yet vital impression that “the earth below is still breathing,” supporting the bird in its flight. It is this union that renders the music so alive and suffused with vital energy. The art of restraint and the weight of every note: The most wondrous aspect of Mozart’s compositional thought is that every note carries an immense functional weight. A note appearing on the third beat of a bar is never merely a pleasing sound. It simultaneously fulfils several duties: it confirms a new harmony, propels the melody forward, prepares the cadence, and maintains equilibrium with the first beat so as to pave the way for what follows. Scholars describe this as the pinnacle of artistic economy: achieving the greatest effect with the most economical means. This restraint is most evident in Mozart’s creation of tension. In the central Development section, he has no need for dozens of clashing dissonances or tempestuous outbursts to unsettle the listener. Like a supremely refined gentleman, Mozart need only raise a subtle eyebrow—through the alteration of a single note or a shift into a nearby minor key—and the listener senses his gravity. As soon as a fleeting unease is felt, he restores the melody to the tonic harmony, bringing back the warm smile of the opening. Such smoothness is made possible by his masterful voice-leading. When moving from one chord to the next, Mozart ensures that no note leaps chaotically. Where a note can remain stationary, it does so; where movement is necessary, he permits it only the shortest possible step to its neighbour. Thanks to these gentle transitions, the listener experiences no jarring sensation of sudden harmonic change. The musical line flows with natural, uninterrupted continuity. Mozart always does less than one expects; he neither prolongs nor embellishes unnecessarily, nor seeks to display cleverness. It is precisely this self-mastery that gives rise to the characteristic elegance and nobility of the Classical style. Finally, if one must identify the deepest source of K. 545’s beauty, the answer lies not in any single bar or isolated triplet of notes, but in a governing principle that runs throughout: every note looks simultaneously in two directions—it is both the natural consequence of what precedes it and the logical preparation for what follows. One may picture the entire sonata as a chain forged with exquisite precision. Each individual link may appear unremarkable in isolation, yet if even one is altered or removed, the whole structure collapses and loses its strength. The listener feels that K. 545 is “absolutely right” and perfect not because of any single overwhelming moment, but because the entire chain of relations—between notes, phrases, and harmonic progressions—moves with such effortless fluency and naturalness that every trace of the human hand arranging it is effaced.
8:05

This is the Piano Sonata No. 16 in C major, K. 545 (commonly known as the Sonata Facile or the Sonata for Beginners) by the composer Wolfgang Amadeus Mozart. The performer of this work is the world-renowned pianist and conductor Daniel Barenboim. To seek the deepest wellspring of the greatness of K. 545, we must descend to the very notes themselves as they take shape upon the keys. The law of growth from the opening notes: Many praise the initial chain of three notes, C–E–G. Yet what merits even greater attention is the interval between them: Mozart allows the melody to ascend through two successive thirds (C to E being a third, and E to G another third). He does not leap at random, but adheres to a natural mathematical order. The human mind possesses an innate sensitivity to, and affection for, such patterns; thus, from the very first moment the music sounds, it bestows upon us a profound sense of rightness and euphony. Nevertheless, Mozart’s genius lies in knowing precisely when to cease. Had the melody continued its ascent unchecked—into C–E–G–B–D and beyond—the piece would at once have become a dry technical exercise. Instead, having reached the high G, Mozart turns the line downward, tracing a perfect arc. This motion recurs throughout the work, mirroring with uncanny fidelity the biological rhythm of natural breathing: inhalation must be followed by exhalation; ascent to a climax must yield to a gentle descent into repose. The singing melody and its inner dialogue: A fine Mozartian phrase always resembles a complete utterance in everyday speech. In the opening sentence of K. 545, the listener perceives a structure with a clear beginning, development, and resting point, akin to the natural intonation of a courteous greeting: “Good day,” rather than a fragmented or superfluous “Good… day… to… you.” Musicologists term this quality cantabile—that is, a truly singable melody. It is why pianists have long passed down the classic dictum: “To play Mozart well, one must first know how to sing.” Nor does Mozart’s music merely sing; it engages in an unbroken conversation. Having presented an idea in the first phrase, he does not hasten to introduce an entirely new subject. The following phrase answers the one before it. It is rather like an intimate exchange between two old friends: one remarks, “What a beautiful day,” and the other replies at once, “Indeed, the sky is so clear.” This tight, organic connection—without interruption, overlapping, or abrupt shifts of topic—imbues the work with an unassailable inner logic. The left hand and the breathing of the earth: Many mistakenly regard the left-hand part, with its steady broken-chord figuration (C–G–E–G), as mere monotonous padding intended to fill the voids. In truth, its role is far more profound. Imagine the right-hand melody as a bird soaring and wheeling across the sky. Were the ground beneath it utterly still and silent, the bird would seem suspended and adrift. By maintaining a smooth, continuous motion in the left hand through the Alberti bass, Mozart does not seek to rival the right hand for attention; rather, he creates the subtle yet vital impression that “the earth below is still breathing,” supporting the bird in its flight. It is this union that renders the music so alive and suffused with vital energy. The art of restraint and the weight of every note: The most wondrous aspect of Mozart’s compositional thought is that every note carries an immense functional weight. A note appearing on the third beat of a bar is never merely a pleasing sound. It simultaneously fulfils several duties: it confirms a new harmony, propels the melody forward, prepares the cadence, and maintains equilibrium with the first beat so as to pave the way for what follows. Scholars describe this as the pinnacle of artistic economy: achieving the greatest effect with the most economical means. This restraint is most evident in Mozart’s creation of tension. In the central Development section, he has no need for dozens of clashing dissonances or tempestuous outbursts to unsettle the listener. Like a supremely refined gentleman, Mozart need only raise a subtle eyebrow—through the alteration of a single note or a shift into a nearby minor key—and the listener senses his gravity. As soon as a fleeting unease is felt, he restores the melody to the tonic harmony, bringing back the warm smile of the opening. Such smoothness is made possible by his masterful voice-leading. When moving from one chord to the next, Mozart ensures that no note leaps chaotically. Where a note can remain stationary, it does so; where movement is necessary, he permits it only the shortest possible step to its neighbour. Thanks to these gentle transitions, the listener experiences no jarring sensation of sudden harmonic change. The musical line flows with natural, uninterrupted continuity. Mozart always does less than one expects; he neither prolongs nor embellishes unnecessarily, nor seeks to display cleverness. It is precisely this self-mastery that gives rise to the characteristic elegance and nobility of the Classical style. Finally, if one must identify the deepest source of K. 545’s beauty, the answer lies not in any single bar or isolated triplet of notes, but in a governing principle that runs throughout: every note looks simultaneously in two directions—it is both the natural consequence of what precedes it and the logical preparation for what follows. One may picture the entire sonata as a chain forged with exquisite precision. Each individual link may appear unremarkable in isolation, yet if even one is altered or removed, the whole structure collapses and loses its strength. The listener feels that K. 545 is “absolutely right” and perfect not because of any single overwhelming moment, but because the entire chain of relations—between notes, phrases, and harmonic progressions—moves with such effortless fluency and naturalness that every trace of the human hand arranging it is effaced.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

31,058 次观看 • 26 天前

MAD Auction Season 4 is coming soon 💀,🐸 🖼️6 MAD 1:1s put to burn auctions 🗓️Opening on JULY 6th - 2pm UTC 📍 MAD is the CC0 movement launched by nick = niftyjutsu & Streetlab.io to pay tribute to Street-Art in Web3. Discover the pieces, the artists & a MAD giveaway👇 • Remember, for these auctions you don't bid with ETH but with an amount of MAD NFTs you commit to burn🔥 • One lucky collector will be raffled to win 5 MAD NFTs from the initial collection to get more bidding power! 🎟️Enter here: • Previous szns were massive success🐸💀 18 1:1s were all acquired for 550 MADs decreasing MAD initial supply by 278. Congrats to S3 artists alagoz. Ayushmaanism siiid still_holytoxic и 𝖍𝖊𝖑𝖑𝖍𝖔𝖚𝖓𝖉🏁 We are all very excited to witness the MAD Movement continuing with Season 4🤝 Honored to introduce🎥, "Yer Inheritance Is A Forest Of Bones" by RARE SCRILLA 🎙️In this 1:1 Rare Scrilla skillfully blends pen and paper to create a composition that delves into the narratives and storylines surrounding crypto and NFTs. The artist describes it as a digital mural, a next-level version of street art on a virtual wall. With its animated elements, the piece comes alive, capturing the essence of street art's rebellious and dynamic nature. ""I'm not th3r3" (but I am)" by Natived 🎙️This artwork delivers a powerful message about technology's transformative impact on art and society. It urges us to reevaluate the value of art and appreciate the rebellious spirit of street art. Natived emphasizes the importance of preserving free expression in physical and digital spaces and prompts reflection on the intersection of art and technology in the modern world. "Subway Freak" by Eda Gurses 💎 🎙️The convergence of street art and the public within the underground journeys of the metro is a focal point of the piece. Gurses draws attention to the powerful connection between street artists and the commuters who pass by their creations every day. It is a reminder that art is not confined to galleries or restricted spaces; rather, it flourishes within the vibrant tapestry of the city and becomes an integral part of the urban experience. "Kings of the Streets" by rust 🎙️As the viewer's gaze explores the artwork further, names of street artists who have passed away emerge, scattered across the wall. These names represent a collective tribute to the legends who have left an indelible mark on the street art scene. Each name carries its own story, representing a unique voice silenced too soon. Through this visual homage, Rust ensures that their artistic spirit lives on, forever celebrated in the collective memory of the streets they once adorned. "Cloak of the Night" by Bastien 🎙️The piece serves as a testament to the transformative power of street art and the profound impact it can have on individuals and communities. With its amazing visuals and homage to the CC0 movement, this artwork stands as a testament to Bastien's dedication to his craft and his desire to bridge the realms of street art and web3 culture. "streets are ours" by Kaspar 🎙️"Streets Are Ours" encourages viewers to embrace the resilience and creativity found in urban environments. The depiction of "magic pixels" emanating from a spray bottle symbolizes the transformative power of street art, reminding us that even in challenging circumstances, art can inspire change and uplift communities. ‘memes & deth about crypto street art’, a cc0 movement is here! 🧠You'll need MADs to acquire these masterpieces and support the amazing artists Get Ready to #getMAD (💀,🐸)
1:05

MAD Auction Season 4 is coming soon 💀,🐸 🖼️6 MAD 1:1s put to burn auctions 🗓️Opening on JULY 6th - 2pm UTC 📍 MAD is the CC0 movement launched by nick = niftyjutsu & Streetlab.io to pay tribute to Street-Art in Web3. Discover the pieces, the artists & a MAD giveaway👇 • Remember, for these auctions you don't bid with ETH but with an amount of MAD NFTs you commit to burn🔥 • One lucky collector will be raffled to win 5 MAD NFTs from the initial collection to get more bidding power! 🎟️Enter here: • Previous szns were massive success🐸💀 18 1:1s were all acquired for 550 MADs decreasing MAD initial supply by 278. Congrats to S3 artists alagoz. Ayushmaanism siiid still_holytoxic и 𝖍𝖊𝖑𝖑𝖍𝖔𝖚𝖓𝖉🏁 We are all very excited to witness the MAD Movement continuing with Season 4🤝 Honored to introduce🎥, "Yer Inheritance Is A Forest Of Bones" by RARE SCRILLA 🎙️In this 1:1 Rare Scrilla skillfully blends pen and paper to create a composition that delves into the narratives and storylines surrounding crypto and NFTs. The artist describes it as a digital mural, a next-level version of street art on a virtual wall. With its animated elements, the piece comes alive, capturing the essence of street art's rebellious and dynamic nature. ""I'm not th3r3" (but I am)" by Natived 🎙️This artwork delivers a powerful message about technology's transformative impact on art and society. It urges us to reevaluate the value of art and appreciate the rebellious spirit of street art. Natived emphasizes the importance of preserving free expression in physical and digital spaces and prompts reflection on the intersection of art and technology in the modern world. "Subway Freak" by Eda Gurses 💎 🎙️The convergence of street art and the public within the underground journeys of the metro is a focal point of the piece. Gurses draws attention to the powerful connection between street artists and the commuters who pass by their creations every day. It is a reminder that art is not confined to galleries or restricted spaces; rather, it flourishes within the vibrant tapestry of the city and becomes an integral part of the urban experience. "Kings of the Streets" by rust 🎙️As the viewer's gaze explores the artwork further, names of street artists who have passed away emerge, scattered across the wall. These names represent a collective tribute to the legends who have left an indelible mark on the street art scene. Each name carries its own story, representing a unique voice silenced too soon. Through this visual homage, Rust ensures that their artistic spirit lives on, forever celebrated in the collective memory of the streets they once adorned. "Cloak of the Night" by Bastien 🎙️The piece serves as a testament to the transformative power of street art and the profound impact it can have on individuals and communities. With its amazing visuals and homage to the CC0 movement, this artwork stands as a testament to Bastien's dedication to his craft and his desire to bridge the realms of street art and web3 culture. "streets are ours" by Kaspar 🎙️"Streets Are Ours" encourages viewers to embrace the resilience and creativity found in urban environments. The depiction of "magic pixels" emanating from a spray bottle symbolizes the transformative power of street art, reminding us that even in challenging circumstances, art can inspire change and uplift communities. ‘memes & deth about crypto street art’, a cc0 movement is here! 🧠You'll need MADs to acquire these masterpieces and support the amazing artists Get Ready to #getMAD (💀,🐸)

Streetlab.io

11,157 次观看 • 3 年前

🙀 Lucky Hands – The Lucky Hands of CATVEGAS ⭐️ CATVEGAS is always lucky. Now, its legendary luck is in your hands. CATVEGAS 🔸 🎨 Each Lucky Hands #NFT is a unique digital artwork and marks the very first NFT series on TON 💎 , launching the Cheese Art Labs ecosystem. As pioneers on TON and Telegram, Lucky Hands NFTs bring their holders incredible luck and exclusive benefits. TOTAL NFT COUNT : 20.000 WHITELIST PRİCE : 5 $TON WHITELIST COUNT :1000 Whitelist winners can mint up to 3 NFTs. ! WHITELIST VOL 1: 🔗JOIN WHITELIST The number of whitelist spots is limited to 1,000 users, with an additional 250 backup slots. Vol 1 whitelist holders will be the very first NFT owners, and the NFT price will increase in future whitelist rounds. At the end of the whitelist period, NFT minting will take place via the Cheese Art Mini App. Please note: Filling out the whitelist form does not guarantee a spot, but those who apply early will have a better chance. Key Benefits 🧀 Major Share in $CHEESE Airdrops: Lucky Hands holders get a significant share of all Telegram mini game airdrops. 💎 Daily Rewards: Each Lucky Hands NFT grants, every day: 🔸 20 $CHEESE Penalty System:Users can claim $CHEESE daily with their NFTs. Each NFT keeps track of the total tokens it has earned.If a user sells their NFT, the amount of $CHEESE earned by that NFT will be deducted from their account. This means your NFT is your most valuable asset!When an NFT is sold, its token balance is reset, and the new owner starts from zero. The same rule applies to wallet transfers: any $CHEESE earned with the NFT will be removed from the original user’s account. 🔸 100 Mill Spins 🔸 50 x3 Multiplier Spins 🔸 50 Gold Hand Spins These features will boost your share of non-NFT airdrops. More points, more spins! 🔓 TGE Unlocks: Daily token rewards unlock at TGE. In-game airdrops are distributed with a vesting schedule. 🎯 Airdrop Guarantee: At TGE, at least 35% of the total airdrop pool is reserved for Lucky Hands holders. And there will be no vesting or locking on tokens earned with NFTs! All of them will be instantly transferable to the wallet on TGE. 💥 Multipliers & Extra Spins: Special game features let holders boost their airdrop share with extra multipliers and spins. "NFTs are licensed by Cheese Art Labs. NFT ownership grants usage rights and comes with legal obligations. Copying, reproducing, or selling the NFTs as a design with any product for profit carries legal liability. Ownership of the NFTs under our contract is transferred to users at the time of minting. Cheese Art Labs reserves the right to take action against any behaviors that threaten the user or the artwork." CHEESE ART LABS 🔗 WHITEPAPER 🔗 MINI APP 🔗
1:12

🙀 Lucky Hands – The Lucky Hands of CATVEGAS ⭐️ CATVEGAS is always lucky. Now, its legendary luck is in your hands. CATVEGAS 🔸 🎨 Each Lucky Hands #NFT is a unique digital artwork and marks the very first NFT series on TON 💎 , launching the Cheese Art Labs ecosystem. As pioneers on TON and Telegram, Lucky Hands NFTs bring their holders incredible luck and exclusive benefits. TOTAL NFT COUNT : 20.000 WHITELIST PRİCE : 5 $TON WHITELIST COUNT :1000 Whitelist winners can mint up to 3 NFTs. ! WHITELIST VOL 1: 🔗JOIN WHITELIST The number of whitelist spots is limited to 1,000 users, with an additional 250 backup slots. Vol 1 whitelist holders will be the very first NFT owners, and the NFT price will increase in future whitelist rounds. At the end of the whitelist period, NFT minting will take place via the Cheese Art Mini App. Please note: Filling out the whitelist form does not guarantee a spot, but those who apply early will have a better chance. Key Benefits 🧀 Major Share in $CHEESE Airdrops: Lucky Hands holders get a significant share of all Telegram mini game airdrops. 💎 Daily Rewards: Each Lucky Hands NFT grants, every day: 🔸 20 $CHEESE Penalty System:Users can claim $CHEESE daily with their NFTs. Each NFT keeps track of the total tokens it has earned.If a user sells their NFT, the amount of $CHEESE earned by that NFT will be deducted from their account. This means your NFT is your most valuable asset!When an NFT is sold, its token balance is reset, and the new owner starts from zero. The same rule applies to wallet transfers: any $CHEESE earned with the NFT will be removed from the original user’s account. 🔸 100 Mill Spins 🔸 50 x3 Multiplier Spins 🔸 50 Gold Hand Spins These features will boost your share of non-NFT airdrops. More points, more spins! 🔓 TGE Unlocks: Daily token rewards unlock at TGE. In-game airdrops are distributed with a vesting schedule. 🎯 Airdrop Guarantee: At TGE, at least 35% of the total airdrop pool is reserved for Lucky Hands holders. And there will be no vesting or locking on tokens earned with NFTs! All of them will be instantly transferable to the wallet on TGE. 💥 Multipliers & Extra Spins: Special game features let holders boost their airdrop share with extra multipliers and spins. "NFTs are licensed by Cheese Art Labs. NFT ownership grants usage rights and comes with legal obligations. Copying, reproducing, or selling the NFTs as a design with any product for profit carries legal liability. Ownership of the NFTs under our contract is transferred to users at the time of minting. Cheese Art Labs reserves the right to take action against any behaviors that threaten the user or the artwork." CHEESE ART LABS 🔗 WHITEPAPER 🔗 MINI APP 🔗

Cheese Art Community🔶

204,720 次观看 • 1 年前

The Rode Mic Theory: A Timeline Let me lay the incidents out in order, and I'll let you draw your own conclusions. Late March 2025. Charlie Kirk started to go hard against a war with Iran, breaking with the neocon/zionist establishment in Washington. Charlie is thought to have had a significant influence on Trump's restrained posture during Midnight Hammer. Charlie was exerting real influence, and making real enemies. Early April 2025. And the Naval Surface Warfare Center, Crane, places an order with explosives manufacturer Accurate Energetic Systems (AES) for an EXEPTIONALLY SMALL ANTI-PERSONNEL EXPLOSIVE DEVICE. The order - later confirmed by a FOIA response obtained by Baron Coleman detailed the order date, the description, that there was a construction/specification drawing, and a deadline. The order specifies that the device must fit inside another object so precisely that the host can be resealed to look as though it was never touched. ONLY TWO STIPULATIONS ARE FIRM; it must fit inside that second device, and it must be delivered on schedule. The deadline was August 25th, 2025 - just over two weeks before Charlie Kirk is killed. September 10th, 2025. Charlie Kirk is assassinated. Within minutes, the crime scene is contaminated. The missing camera. Terrel Farnsworth is filmed removing the camera and SD card positioned directly behind Charlie - the angle that would have captured everything that happened behind the table where he was sitting and fell to the floor. When asked why, Farnsworth said he took the SD card so Erika Kirk wouldn't see footage of her husband's death despite that footage already circulating worldwide online. The footage he did show to Candace Owens, revealed no visible exit wound in Charlie's back. None of this is disputed. The scene. He's carried to the SUV with his T-shirt bunched and held in place - negligent by any account, with a strange focus on the shirt. Here is where the supposition begins: if the kill device had been built into the Rode mic Charlie was wearing - a mic whose screen and casing use glass and components that shatter into fragments - then bunching the shirt would keep debris from falling at the scene. Photographs of his torso appear to show injuries below the right nipple, and a patch of skin where an adhesive had recently been removed - consistent with something attached and then taken off, perhaps behind the table, in view of the very camera that Farnsworth removed. The journey. The SUV is later found to contain a large quantity of shattered fragments - not broken sunglasses or a shattered phone screen, but unexplained fragments of shattered glass. Multiple people present have since recounted the drive in detail. Not one has ever mentioned these fragments or debris. Everyone who travelled with Charlie removed their clothing at the hospital and went home in scrubs, saying their clothes were bloodied. None of that clothing was taken into evidence - though if the supposition holds, it would have carried explosive residue. The hospital footage. CCTV of Charlie arriving at the hospital was removed by the FBI and has not been produced or entered into evidence. It has no obvious bearing on the case against the accused - except that if Charlie arrived without his shirt. The shirt itself would have carried traces of explosives. None of the clothing removed from Charlie or any of the team was ever recovered by investigators. The vehicle. Within days of the murder, the SUV was cleaned and handed to an auctioneer. Vehicles tied to a murder case are normally impounded until the case has been to court - often for several years. This one was cleaned, stripped, and sold anonymously at auction on 22 November 2025. When it sold, the seats Charlie had been carried on - the ones seen bloodied in other images - had been removed. Removed before sale, and possibly before the auctioneer ever took possession. Four days after the killing - a Sunday. The paver who resurfaced the murder scene later described, on the Shawn Ryan show, being called that Sunday morning with a "paving emergency" - the first such call in twenty years on the job. With his own team off for the weekend, he pulled in family members. He says he was told he'd be helping out Charlie and the authorities, and that when he arrived, ten inches of soil had already been excavated from the area. The scene was then surfaced over. His account has not been challenged by anyone in authority. October 10th, 2025. One month to the day after Charlie Kirk's death, AES - the manufacturer named in that FOIA-confirmed order - is destroyed in a massive explosion, killing 16 people. The official cause is given as an industrial accident, but this timeline notes only the date and lets the reader weigh it. To conclude: A man who tried to stop a war is dead. The evidence was cleaned, paved over, and sold. And only questions remain. Questions that, as of now, no one in authority is willing ask, let alone answer. Coincidence can explain any one of these. But it does cannot explain all of them.
4:21

The Rode Mic Theory: A Timeline Let me lay the incidents out in order, and I'll let you draw your own conclusions. Late March 2025. Charlie Kirk started to go hard against a war with Iran, breaking with the neocon/zionist establishment in Washington. Charlie is thought to have had a significant influence on Trump's restrained posture during Midnight Hammer. Charlie was exerting real influence, and making real enemies. Early April 2025. And the Naval Surface Warfare Center, Crane, places an order with explosives manufacturer Accurate Energetic Systems (AES) for an EXEPTIONALLY SMALL ANTI-PERSONNEL EXPLOSIVE DEVICE. The order - later confirmed by a FOIA response obtained by Baron Coleman detailed the order date, the description, that there was a construction/specification drawing, and a deadline. The order specifies that the device must fit inside another object so precisely that the host can be resealed to look as though it was never touched. ONLY TWO STIPULATIONS ARE FIRM; it must fit inside that second device, and it must be delivered on schedule. The deadline was August 25th, 2025 - just over two weeks before Charlie Kirk is killed. September 10th, 2025. Charlie Kirk is assassinated. Within minutes, the crime scene is contaminated. The missing camera. Terrel Farnsworth is filmed removing the camera and SD card positioned directly behind Charlie - the angle that would have captured everything that happened behind the table where he was sitting and fell to the floor. When asked why, Farnsworth said he took the SD card so Erika Kirk wouldn't see footage of her husband's death despite that footage already circulating worldwide online. The footage he did show to Candace Owens, revealed no visible exit wound in Charlie's back. None of this is disputed. The scene. He's carried to the SUV with his T-shirt bunched and held in place - negligent by any account, with a strange focus on the shirt. Here is where the supposition begins: if the kill device had been built into the Rode mic Charlie was wearing - a mic whose screen and casing use glass and components that shatter into fragments - then bunching the shirt would keep debris from falling at the scene. Photographs of his torso appear to show injuries below the right nipple, and a patch of skin where an adhesive had recently been removed - consistent with something attached and then taken off, perhaps behind the table, in view of the very camera that Farnsworth removed. The journey. The SUV is later found to contain a large quantity of shattered fragments - not broken sunglasses or a shattered phone screen, but unexplained fragments of shattered glass. Multiple people present have since recounted the drive in detail. Not one has ever mentioned these fragments or debris. Everyone who travelled with Charlie removed their clothing at the hospital and went home in scrubs, saying their clothes were bloodied. None of that clothing was taken into evidence - though if the supposition holds, it would have carried explosive residue. The hospital footage. CCTV of Charlie arriving at the hospital was removed by the FBI and has not been produced or entered into evidence. It has no obvious bearing on the case against the accused - except that if Charlie arrived without his shirt. The shirt itself would have carried traces of explosives. None of the clothing removed from Charlie or any of the team was ever recovered by investigators. The vehicle. Within days of the murder, the SUV was cleaned and handed to an auctioneer. Vehicles tied to a murder case are normally impounded until the case has been to court - often for several years. This one was cleaned, stripped, and sold anonymously at auction on 22 November 2025. When it sold, the seats Charlie had been carried on - the ones seen bloodied in other images - had been removed. Removed before sale, and possibly before the auctioneer ever took possession. Four days after the killing - a Sunday. The paver who resurfaced the murder scene later described, on the Shawn Ryan show, being called that Sunday morning with a "paving emergency" - the first such call in twenty years on the job. With his own team off for the weekend, he pulled in family members. He says he was told he'd be helping out Charlie and the authorities, and that when he arrived, ten inches of soil had already been excavated from the area. The scene was then surfaced over. His account has not been challenged by anyone in authority. October 10th, 2025. One month to the day after Charlie Kirk's death, AES - the manufacturer named in that FOIA-confirmed order - is destroyed in a massive explosion, killing 16 people. The official cause is given as an industrial accident, but this timeline notes only the date and lets the reader weigh it. To conclude: A man who tried to stop a war is dead. The evidence was cleaned, paved over, and sold. And only questions remain. Questions that, as of now, no one in authority is willing ask, let alone answer. Coincidence can explain any one of these. But it does cannot explain all of them.

John Galt

50,492 次观看 • 23 天前

Dana Gioia is one of the world’s greatest living poets. He’s been writing for ~55 years, and this 3-hour interview is all about his approach to writing. Some lessons: 1. What is poetry? Here’s a definition: “Poetry is a way of remembering what it would impoverish us to forget.” 2. And who is the mother of the muses? Mnemosyne, the goddess of memory. 3. You can’t understand poetry until you start learning it by heart. Yes, memorizing it. The metaphor of knowing something by heart means storing a piece of wisdom in the center of your being and making it a part of you. 4. Poetry exists in the body before it exists in language. For him, great writing is about putting form to felt sensations. 5. First drafts are an act of madness. They’re messy and chaotic, and it’s worth embracing that. Only in the process of revision does the structure begin to reveal itself. 6. The most valuable ideas arrive suddenly, fully formed but fragile, and they won’t wait for you to be ready. If you don’t write them down immediately, you’ll probably forget them. 7. His artistic process: Confusion, followed by madness, exhilaration, and despair. 8. Aspiring writers who can’t find the time to write run the risk of living a life of regret, where destiny takes the wheel and steers them off-course. Seneca says, “If you follow your destiny, it guides you. If you resist it, it drags you behind it.” 9. What’s the purpose of art? Most people, most of the time, go through life half-awake. The purpose of art is to awaken us to reality and help us feel our situation. Done right, it excites, expands, and refines our complete human intelligence. 10. Can you write with a full-time job? T.S. Eliot had a day job at a bank. Wallace Stevens was an insurance lawyer. Dana Gioia worked a full-time job in New York and wrote in the evenings. 11. Life is like a wallet full of one-hour bills. You only have 24 hours to spend every day. If you want to do serious writing while raising a family and maintaining a full-time job, almost every hour of every day has to be budgeted. 12. Poetry should turn. It shouldn’t just climb to an emotional height. It should pivot, contradict, or contain its own rebuttal. But most new poems go something like this: “I’m sad, I’m sad, I’m sad, I’m sad, the end,” or “I’m happy, I’m happy, I’m happy, the end. There’s no twist, no turn. 13. You don’t need to be 100% original. All you need to do is assemble parts of the reality that already exists. As George Balanchine said, “God creates, I assemble.” 14. A foundational book in his life: The City of God by St. Augustine. He says there are two cities that exist: There’s the City of Man, which is ruled by wealth and power and all the laws of man. And there’s the City of God which is eternal and governed by the rules of God. 15. Great poetry exists at the level of intuition, and it’s the same intuition that academic education tries to suppress. With great poems, like great songs, you feel before you understand. 16. Art is an argument with yourself. Yeats said: “Out of arguments with others, we make politics. Out of arguments with ourselves, we make poetry.” 17. Great writing should astonish the creator, and if it doesn’t astonish the creator, it won’t astonish the reader. 18. Robert Frost once said: “No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.” 19. Beauty is being able to see the form, the shape underneath reality, and to understand why it is right, even when it is destructive or terrifying or humiliating. The most powerful kind of beauty is to discover the secret shape and rightness of things that are terrifying. 20. On novels: Most people don’t understand what a novel is — and how revolutionary the form was. So, what’s a novel? It’s a story that tells you simultaneously what’s happening on the outside of a character and what they’re thinking on the inside. I’ve shared the full interview with Dana Gioia below. If you’d rather watch it on YouTube, or listen on Apple or Spotify, check out the reply tweets.
3:10:57

Dana Gioia is one of the world’s greatest living poets. He’s been writing for ~55 years, and this 3-hour interview is all about his approach to writing. Some lessons: 1. What is poetry? Here’s a definition: “Poetry is a way of remembering what it would impoverish us to forget.” 2. And who is the mother of the muses? Mnemosyne, the goddess of memory. 3. You can’t understand poetry until you start learning it by heart. Yes, memorizing it. The metaphor of knowing something by heart means storing a piece of wisdom in the center of your being and making it a part of you. 4. Poetry exists in the body before it exists in language. For him, great writing is about putting form to felt sensations. 5. First drafts are an act of madness. They’re messy and chaotic, and it’s worth embracing that. Only in the process of revision does the structure begin to reveal itself. 6. The most valuable ideas arrive suddenly, fully formed but fragile, and they won’t wait for you to be ready. If you don’t write them down immediately, you’ll probably forget them. 7. His artistic process: Confusion, followed by madness, exhilaration, and despair. 8. Aspiring writers who can’t find the time to write run the risk of living a life of regret, where destiny takes the wheel and steers them off-course. Seneca says, “If you follow your destiny, it guides you. If you resist it, it drags you behind it.” 9. What’s the purpose of art? Most people, most of the time, go through life half-awake. The purpose of art is to awaken us to reality and help us feel our situation. Done right, it excites, expands, and refines our complete human intelligence. 10. Can you write with a full-time job? T.S. Eliot had a day job at a bank. Wallace Stevens was an insurance lawyer. Dana Gioia worked a full-time job in New York and wrote in the evenings. 11. Life is like a wallet full of one-hour bills. You only have 24 hours to spend every day. If you want to do serious writing while raising a family and maintaining a full-time job, almost every hour of every day has to be budgeted. 12. Poetry should turn. It shouldn’t just climb to an emotional height. It should pivot, contradict, or contain its own rebuttal. But most new poems go something like this: “I’m sad, I’m sad, I’m sad, I’m sad, the end,” or “I’m happy, I’m happy, I’m happy, the end. There’s no twist, no turn. 13. You don’t need to be 100% original. All you need to do is assemble parts of the reality that already exists. As George Balanchine said, “God creates, I assemble.” 14. A foundational book in his life: The City of God by St. Augustine. He says there are two cities that exist: There’s the City of Man, which is ruled by wealth and power and all the laws of man. And there’s the City of God which is eternal and governed by the rules of God. 15. Great poetry exists at the level of intuition, and it’s the same intuition that academic education tries to suppress. With great poems, like great songs, you feel before you understand. 16. Art is an argument with yourself. Yeats said: “Out of arguments with others, we make politics. Out of arguments with ourselves, we make poetry.” 17. Great writing should astonish the creator, and if it doesn’t astonish the creator, it won’t astonish the reader. 18. Robert Frost once said: “No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.” 19. Beauty is being able to see the form, the shape underneath reality, and to understand why it is right, even when it is destructive or terrifying or humiliating. The most powerful kind of beauty is to discover the secret shape and rightness of things that are terrifying. 20. On novels: Most people don’t understand what a novel is — and how revolutionary the form was. So, what’s a novel? It’s a story that tells you simultaneously what’s happening on the outside of a character and what they’re thinking on the inside. I’ve shared the full interview with Dana Gioia below. If you’d rather watch it on YouTube, or listen on Apple or Spotify, check out the reply tweets.

David Perell

870,721 次观看 • 1 年前

250712 #ATEEZ #Seongwa about Songzio and clothes recommendations, TOKTOQ pop live (rough translation): You want summer outfit recommendations now? This wasn’t what I planned for today… (laughing) And once again, Songzio women’s clothing line has dropped. But honestly, it’s not like today’s some kind of special day or anything. What would I even be doing at this hour of the night? Besides, this is just our little pop (live) space, right? It’s just us here. But seriously… there are a few pieces I’ve really got my eye on. I’ve checked out a few already. It’s something I can’t really wear myself. I do like women’s clothing, but that doesn’t mean I can actually wear all of it - not as everyday wear, at least. Ugh, the Wi-Fi is so slow… Actually, when I first heard that Songzio was preparing a women’s clothing line, I already knew about it in advance. We had a meal with the CEO in the beginning, and I heard they were working on it - I was really looking forward to it. Why isn’t this loading… There are so many pretty blouses. And short-sleeved tops… there are honestly a lot of really pretty ones too. This is also the outfit I wore at the airport, right? Wearing something like this as a set with a skirt looks really pretty. The internet is so slow right now… There was something I had my eye on… Oh, this kind of thing is really pretty too - like open-shoulder styles. It has that perfect avant-garde vibe. Wow, this one’s really pretty too! This asymmetric dress really pretty too… but I can’t wear this myself, so I’m just happily taking it in with my eyes. And there are honestly so many pretty blouses like this too. You see this embroidery? All these embroidered details are actually hand-drawn by Songzio himself. He draws each one personally, and then the design team works hard to bring them to life, one by one. That’s why the details are really something else - and that’s what I love about it. The detailing on dresses like this is honestly on another level - no one else can compare. And this kind of ribbon blouse? I really just want to show it off, it’s that pretty. This one, I think I could actually wear! If you pair a blouse like this with a jacket - it would look so nice. Oh, there’s even a pink version! I actually have an embroidered T-shirt from this brand that I wear all the time. Ah, here I go getting excited again - but seriously, there are so many pretty things! Some people might feel that these flashy styles are a bit too much for them, and that’s totally fine - there’s actually another line. It’s the one I like, with the cat drawings from ZZERO - that one’s a bit more casual. How should I describe the vibe? Kind of like this? A bit more casual? It’s honestly so cute. If it were up to me, I’d show you everything, really - but anyway, that was my summer outfit recommendation!
6:35

250712 #ATEEZ #Seongwa about Songzio and clothes recommendations, TOKTOQ pop live (rough translation): You want summer outfit recommendations now? This wasn’t what I planned for today… (laughing) And once again, Songzio women’s clothing line has dropped. But honestly, it’s not like today’s some kind of special day or anything. What would I even be doing at this hour of the night? Besides, this is just our little pop (live) space, right? It’s just us here. But seriously… there are a few pieces I’ve really got my eye on. I’ve checked out a few already. It’s something I can’t really wear myself. I do like women’s clothing, but that doesn’t mean I can actually wear all of it - not as everyday wear, at least. Ugh, the Wi-Fi is so slow… Actually, when I first heard that Songzio was preparing a women’s clothing line, I already knew about it in advance. We had a meal with the CEO in the beginning, and I heard they were working on it - I was really looking forward to it. Why isn’t this loading… There are so many pretty blouses. And short-sleeved tops… there are honestly a lot of really pretty ones too. This is also the outfit I wore at the airport, right? Wearing something like this as a set with a skirt looks really pretty. The internet is so slow right now… There was something I had my eye on… Oh, this kind of thing is really pretty too - like open-shoulder styles. It has that perfect avant-garde vibe. Wow, this one’s really pretty too! This asymmetric dress really pretty too… but I can’t wear this myself, so I’m just happily taking it in with my eyes. And there are honestly so many pretty blouses like this too. You see this embroidery? All these embroidered details are actually hand-drawn by Songzio himself. He draws each one personally, and then the design team works hard to bring them to life, one by one. That’s why the details are really something else - and that’s what I love about it. The detailing on dresses like this is honestly on another level - no one else can compare. And this kind of ribbon blouse? I really just want to show it off, it’s that pretty. This one, I think I could actually wear! If you pair a blouse like this with a jacket - it would look so nice. Oh, there’s even a pink version! I actually have an embroidered T-shirt from this brand that I wear all the time. Ah, here I go getting excited again - but seriously, there are so many pretty things! Some people might feel that these flashy styles are a bit too much for them, and that’s totally fine - there’s actually another line. It’s the one I like, with the cat drawings from ZZERO - that one’s a bit more casual. How should I describe the vibe? Kind of like this? A bit more casual? It’s honestly so cute. If it were up to me, I’d show you everything, really - but anyway, that was my summer outfit recommendation!

Irene | AhgaTiny🍋

22,891 次观看 • 1 年前

BDS is what would have made the difference, turning an empty gesture - the recognition of Palestine - into an ethical, useful, game changer. Hello, I am Yanis Varoufakis here to discuss the (hugely) belated recognition of the State of Palestine by a number of Western governments – Britain’s, France’s, Canada’s and Australia’s. If only they had done this many decades ago, maybe Israel’s ethnic cleansing of a people whose existence Israel did not recognise, on a land that Israel was keen to expropriate from these unrecognised people, maybe that ethnic cleansing project would have been halted - maybe it would not have morphed into the genocide that is unfolding with untold cruelty as we speak. Is it not a good thing that the governments of Britain, France, Canada and Australia were forced by public opinion, by sensational losses in voter support, to recognise the State of Palestine. I suppose it is a good thing. But, friends, make no mistake. I am very much afraid that Keir Starmer, Emanuel Macron, Mark Carney and Anthony Albanese did not recognise Palestine so as to ensure that it comes into existence as a real, a sovereign state for a people Israel has put on death row but only so that they do not actually do what they can to end the genocide and to make the Palestinian state a possibility. In a nutshell, these Western governments, after decades of complicity, are suddenly falling over themselves to perform a performative act in a manner that does nothing to bring about that which they proclaim: a functioning Palestinian State. So: Let us not applaud them. Let us not be fooled by them. Theirs is not an ethical awakening. It is merely the calculated management of a genocide they are doing nothing to stop. It is hypocrisy polished to a fine sheen, designed not to end the suffering in Gaza, but to sanitise their role in perpetuating it. On the one hand, we observe the grand theatre of great power diplomacy. The press conferences, the solemn declarations, the recognition of a state that exists on paper. Meanwhile, on the ground, the very foundation of such a state – its people and its institutions – are being systematically erased. These governments—the Starmer, the Macron, the Albanese, the Carney administrations—they want you to be distracted by their "brave" and "principled" stand while they remain complicit in the war crimes, in the ethnic cleansing, in the genocide. And why now? Why, after the tens of thousands dead, after the schools and hospitals turned to rubble, after thousands of wounded children were forced to survive alone, without their families who now lie buried under blocks of cement? Because global outrage has reached a boiling point that can no longer be contained by their usual pro-Israeli propaganda. Their recognition of Palestine is a pressure valve, designed precisely to defuse that outrage, to save Israel’s legitimacy, safe in the knowledge that Israel will continue, with their tacit support, to block each and every move toward a viable Palestinian state. They are recognising a Palestinian state while tacitly conniving with Israel's leaders to ensure it never comes into being. How? By actively refusing to take the one set of actions that has a proven historical record of ending oppression and Apartheid: Boycott, Divestment, and Sanctions on the perpetrator. Thankfully that’s not all. Mercifully, something else is going on. While Western leaders perform their diplomatic pantomime, hundreds of people are sailing right now in the Mediterranean Sea. The Global Sumud Flotilla. A flotilla of teachers, journalists, activists, dreamers, parliamentarians, carrying with them the global majority’s commitment that Israel’s Siege on Gaza, that the planned and meticulously implemented genocide of Palestinians will be terminated – that it will not continue in our name – that the impending acts of piracy by the Israeli state will be exposed for what they are: misanthropic violations of minimum ethical standards, of International Law. Israeli propaganda, echoed by its apologists, claims these brave souls are "choosing to enter a war zone, to violate prohibited security zones." This is a shameless lie. The flotilla's ships are not entering a war zone. They are heading towards a site of genocide on a land that Israel is illegally occupying—a fact confirmed by the International Court of Justice, which in June 2024 ordered Israel to vacate it. So, I ask you: if Starmer, Macron, Carney and Albanese really wanted to end the genocide, what would they do? They would not be issuing statements. They would be sending a naval vessel to protect the flotilla! They would be enforcing international law. But they will not. Because their recognition is an empty gesture, and actual solidarity requires a break with organised misanthropy and with the arms dealers who fund them and their political campaigns. This duality, this chasm between Western governments’ words and deeds, is the essence of their hypocrisy. They grant a piece of paper called ‘statehood’ with one hand, while with the other they continue to arm, fund, and diplomatically shield the very power that ensures this statehood remains a cruel fiction. They remind me of a monument I once saw in Canberra, Australia’s capital. Walking from the High Court to the National Library, you stumble in a unique monument — a monument celebrating a High Court of Australia judgment. On it are inscribed the magnificent words of Sir Gerard Brennan from the Mabo case: “The common law of this country will perpetuate injustice if it were to continue to persist in characterising the indigenous inhabitants of Australian colonies as people too low in the scale of social organisation to be acknowledged as possessing rights and interests in land.” A magnificent sentiment. A legal revolution. But what followed? Words on a monument. The recognition of native title was granted, but the power structures, the economic dispossession, the systemic inequality—they were largely left intact. The recognition became a shield *against* more substantive justice. This is the playbook of imperialist white settlers. Recognise a right in theory to avoid implementing it in practice. This is what is on offer today for Palestine. A state recognised on an imaginary map in a European capital, while on the ground, the apartheid reality is reinforced with every bomb, every bullet, every checkpoint. The key, the only key that unlocks the door to freedom, is not recognition. It is BDS: boycott, divest and sanction. And its goal? Its goal must be to bring about equal political rights from the Jordan to the Mediterranean. Recognition would have mattered at Oslo. It was the leverage that was squandered. Now, in the absence of any peace process, it is merely symbolic. And in its current form, it is worse than symbolic—it is a pacifier. We must understand the fundamental truth, so elegantly captured by that Mabo judgment but so tragically ignored in its aftermath: “Violent instability is baked into any system where one side has power and rights and the other has none.” You cannot have peace, you cannot have security, for anyone—Israeli or Palestinian—under a system of apartheid. The violence of the occupier begets resistance; the violence of the oppressed is then used to justify further, overwhelming state violence. It is a vicious cycle engineered by the powerful. So, when these Western leaders herald their recognition as a progressive move, ask them one question: Where are the sanctions? Where is the arms embargo? Where are the trade restrictions? Where is the protection for the flotillas? Until they answer you convincingly, their words are not just hollow. They are weapons. They are the grease for the machinery of genocide. They are the modern-day equivalent of the colonial administrator who acknowledges the humanity of the native in a London speech, while signing the order to clear their land. Let us not let them get away with it. See their recognition for what it is: a desperate attempt to save a crumbling system of oppression, not to end it. Our duty is clear. To amplify the call for BDS. To stand with the flotillas. To demand not words on paper, but justice on the ground. The Palestinian people do not need their hypocritical recognition. They need their freedom. And freedom only comes when the cost of oppression becomes too high for the oppressor to bear.
11:07

BDS is what would have made the difference, turning an empty gesture - the recognition of Palestine - into an ethical, useful, game changer. Hello, I am Yanis Varoufakis here to discuss the (hugely) belated recognition of the State of Palestine by a number of Western governments – Britain’s, France’s, Canada’s and Australia’s. If only they had done this many decades ago, maybe Israel’s ethnic cleansing of a people whose existence Israel did not recognise, on a land that Israel was keen to expropriate from these unrecognised people, maybe that ethnic cleansing project would have been halted - maybe it would not have morphed into the genocide that is unfolding with untold cruelty as we speak. Is it not a good thing that the governments of Britain, France, Canada and Australia were forced by public opinion, by sensational losses in voter support, to recognise the State of Palestine. I suppose it is a good thing. But, friends, make no mistake. I am very much afraid that Keir Starmer, Emanuel Macron, Mark Carney and Anthony Albanese did not recognise Palestine so as to ensure that it comes into existence as a real, a sovereign state for a people Israel has put on death row but only so that they do not actually do what they can to end the genocide and to make the Palestinian state a possibility. In a nutshell, these Western governments, after decades of complicity, are suddenly falling over themselves to perform a performative act in a manner that does nothing to bring about that which they proclaim: a functioning Palestinian State. So: Let us not applaud them. Let us not be fooled by them. Theirs is not an ethical awakening. It is merely the calculated management of a genocide they are doing nothing to stop. It is hypocrisy polished to a fine sheen, designed not to end the suffering in Gaza, but to sanitise their role in perpetuating it. On the one hand, we observe the grand theatre of great power diplomacy. The press conferences, the solemn declarations, the recognition of a state that exists on paper. Meanwhile, on the ground, the very foundation of such a state – its people and its institutions – are being systematically erased. These governments—the Starmer, the Macron, the Albanese, the Carney administrations—they want you to be distracted by their "brave" and "principled" stand while they remain complicit in the war crimes, in the ethnic cleansing, in the genocide. And why now? Why, after the tens of thousands dead, after the schools and hospitals turned to rubble, after thousands of wounded children were forced to survive alone, without their families who now lie buried under blocks of cement? Because global outrage has reached a boiling point that can no longer be contained by their usual pro-Israeli propaganda. Their recognition of Palestine is a pressure valve, designed precisely to defuse that outrage, to save Israel’s legitimacy, safe in the knowledge that Israel will continue, with their tacit support, to block each and every move toward a viable Palestinian state. They are recognising a Palestinian state while tacitly conniving with Israel's leaders to ensure it never comes into being. How? By actively refusing to take the one set of actions that has a proven historical record of ending oppression and Apartheid: Boycott, Divestment, and Sanctions on the perpetrator. Thankfully that’s not all. Mercifully, something else is going on. While Western leaders perform their diplomatic pantomime, hundreds of people are sailing right now in the Mediterranean Sea. The Global Sumud Flotilla. A flotilla of teachers, journalists, activists, dreamers, parliamentarians, carrying with them the global majority’s commitment that Israel’s Siege on Gaza, that the planned and meticulously implemented genocide of Palestinians will be terminated – that it will not continue in our name – that the impending acts of piracy by the Israeli state will be exposed for what they are: misanthropic violations of minimum ethical standards, of International Law. Israeli propaganda, echoed by its apologists, claims these brave souls are "choosing to enter a war zone, to violate prohibited security zones." This is a shameless lie. The flotilla's ships are not entering a war zone. They are heading towards a site of genocide on a land that Israel is illegally occupying—a fact confirmed by the International Court of Justice, which in June 2024 ordered Israel to vacate it. So, I ask you: if Starmer, Macron, Carney and Albanese really wanted to end the genocide, what would they do? They would not be issuing statements. They would be sending a naval vessel to protect the flotilla! They would be enforcing international law. But they will not. Because their recognition is an empty gesture, and actual solidarity requires a break with organised misanthropy and with the arms dealers who fund them and their political campaigns. This duality, this chasm between Western governments’ words and deeds, is the essence of their hypocrisy. They grant a piece of paper called ‘statehood’ with one hand, while with the other they continue to arm, fund, and diplomatically shield the very power that ensures this statehood remains a cruel fiction. They remind me of a monument I once saw in Canberra, Australia’s capital. Walking from the High Court to the National Library, you stumble in a unique monument — a monument celebrating a High Court of Australia judgment. On it are inscribed the magnificent words of Sir Gerard Brennan from the Mabo case: “The common law of this country will perpetuate injustice if it were to continue to persist in characterising the indigenous inhabitants of Australian colonies as people too low in the scale of social organisation to be acknowledged as possessing rights and interests in land.” A magnificent sentiment. A legal revolution. But what followed? Words on a monument. The recognition of native title was granted, but the power structures, the economic dispossession, the systemic inequality—they were largely left intact. The recognition became a shield *against* more substantive justice. This is the playbook of imperialist white settlers. Recognise a right in theory to avoid implementing it in practice. This is what is on offer today for Palestine. A state recognised on an imaginary map in a European capital, while on the ground, the apartheid reality is reinforced with every bomb, every bullet, every checkpoint. The key, the only key that unlocks the door to freedom, is not recognition. It is BDS: boycott, divest and sanction. And its goal? Its goal must be to bring about equal political rights from the Jordan to the Mediterranean. Recognition would have mattered at Oslo. It was the leverage that was squandered. Now, in the absence of any peace process, it is merely symbolic. And in its current form, it is worse than symbolic—it is a pacifier. We must understand the fundamental truth, so elegantly captured by that Mabo judgment but so tragically ignored in its aftermath: “Violent instability is baked into any system where one side has power and rights and the other has none.” You cannot have peace, you cannot have security, for anyone—Israeli or Palestinian—under a system of apartheid. The violence of the occupier begets resistance; the violence of the oppressed is then used to justify further, overwhelming state violence. It is a vicious cycle engineered by the powerful. So, when these Western leaders herald their recognition as a progressive move, ask them one question: Where are the sanctions? Where is the arms embargo? Where are the trade restrictions? Where is the protection for the flotillas? Until they answer you convincingly, their words are not just hollow. They are weapons. They are the grease for the machinery of genocide. They are the modern-day equivalent of the colonial administrator who acknowledges the humanity of the native in a London speech, while signing the order to clear their land. Let us not let them get away with it. See their recognition for what it is: a desperate attempt to save a crumbling system of oppression, not to end it. Our duty is clear. To amplify the call for BDS. To stand with the flotillas. To demand not words on paper, but justice on the ground. The Palestinian people do not need their hypocritical recognition. They need their freedom. And freedom only comes when the cost of oppression becomes too high for the oppressor to bear.

Yanis Varoufakis

106,850 次观看 • 10 个月前

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.
0:36

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

Emily

20,940 次观看 • 5 个月前

If you're reading this, know you were protected while you slept & blessed with a day to walk the path He has cleared for you. Pray with me today. Our Father Who art in heaven, Hallowed be thy name. Thy kingdom come, Thy will be done On earth, As it is in heaven. Give us this day our daily bread. And forgive us our debts, As we forgive our debtors. And lead us not into temptation. But deliver us from evil: For thine is the kingdom, And the power, And the glory, For ever. Amen. Lord Jesus, Today, I step into Your presence with a grateful heart, thanking You for the blessings You pour over my life. Forgive my slips & stumbles, Lord, those moments I move too fast & forget to put You in focus. Shape my patience, sharpen my mercy, & teach my spirit to stay calm when frustration tries to knock on my door. Thank You for those opportunities You place before me daily. Doors that were once sealed are now opening wide for me. I know that is Your hand at work. Walk with me, guide my steps, & align me with Your purpose so that every move I make is exactly how You want it. Let me reach today’s destination with love, courage, & gratitude. Forgive my trespasses as I forgive those who cross me. Help me understand others, & help them understand me. Let every word I speak & every action I take carry love, grace, & goodwill to all I encounter today. Break every curse & trap that demons & those who consider me the enemy set in my path. I rebuke the devil in the mighty name of Jesus. Clear away all of satan's darkness, all deception, & all influence from my life. Turn every bit of negativity around me into fuel for growth, strength, & hope. Make me a blessing to someone who needs a lift, so together we can praise Your holy name. Let my life show that surrendering to You is the truest victory. As Your obedient son & servant, reveal to me plainly what I need to do to stay aligned with Your will. Thank You for Your grace & patience that never seem to run dry. I know sometimes I am slow to learn. Protect me from all danger today, even when I might bring it on to myself. Silence the voices that try to shake my faith. Clear the fog, & steady my mind. Give me wisdom & discernment to see clearly. Send Your angels to fight the battles I cannot see, & guard my heart in the storm. You know my intentions, Lord. You know I wish harm on no one. I have no enemies, no rivals, & only yesterday’s version of myself to rise above. Teach us how to live more in Your will, how to better worship in a way that truly pleases You. We love You, we honor You, & we thank You for carrying the weight of the world's sin. In the precious name of Jesus, I pray, Amen & Amen. His plan is perfect, so why do we question it? Every problem we surrender to Him ends in victory, so why do we insist on trying it any differently? The weight of grudges & pain of negativity aren't worth the very limited time we are here. Show love & lift each other today. A hand up is always better than a hand out. Learn to fish. My brother's victory is my own victory. Surrender. Pray. Win. Let's get it.
0:47

If you're reading this, know you were protected while you slept & blessed with a day to walk the path He has cleared for you. Pray with me today. Our Father Who art in heaven, Hallowed be thy name. Thy kingdom come, Thy will be done On earth, As it is in heaven. Give us this day our daily bread. And forgive us our debts, As we forgive our debtors. And lead us not into temptation. But deliver us from evil: For thine is the kingdom, And the power, And the glory, For ever. Amen. Lord Jesus, Today, I step into Your presence with a grateful heart, thanking You for the blessings You pour over my life. Forgive my slips & stumbles, Lord, those moments I move too fast & forget to put You in focus. Shape my patience, sharpen my mercy, & teach my spirit to stay calm when frustration tries to knock on my door. Thank You for those opportunities You place before me daily. Doors that were once sealed are now opening wide for me. I know that is Your hand at work. Walk with me, guide my steps, & align me with Your purpose so that every move I make is exactly how You want it. Let me reach today’s destination with love, courage, & gratitude. Forgive my trespasses as I forgive those who cross me. Help me understand others, & help them understand me. Let every word I speak & every action I take carry love, grace, & goodwill to all I encounter today. Break every curse & trap that demons & those who consider me the enemy set in my path. I rebuke the devil in the mighty name of Jesus. Clear away all of satan's darkness, all deception, & all influence from my life. Turn every bit of negativity around me into fuel for growth, strength, & hope. Make me a blessing to someone who needs a lift, so together we can praise Your holy name. Let my life show that surrendering to You is the truest victory. As Your obedient son & servant, reveal to me plainly what I need to do to stay aligned with Your will. Thank You for Your grace & patience that never seem to run dry. I know sometimes I am slow to learn. Protect me from all danger today, even when I might bring it on to myself. Silence the voices that try to shake my faith. Clear the fog, & steady my mind. Give me wisdom & discernment to see clearly. Send Your angels to fight the battles I cannot see, & guard my heart in the storm. You know my intentions, Lord. You know I wish harm on no one. I have no enemies, no rivals, & only yesterday’s version of myself to rise above. Teach us how to live more in Your will, how to better worship in a way that truly pleases You. We love You, we honor You, & we thank You for carrying the weight of the world's sin. In the precious name of Jesus, I pray, Amen & Amen. His plan is perfect, so why do we question it? Every problem we surrender to Him ends in victory, so why do we insist on trying it any differently? The weight of grudges & pain of negativity aren't worth the very limited time we are here. Show love & lift each other today. A hand up is always better than a hand out. Learn to fish. My brother's victory is my own victory. Surrender. Pray. Win. Let's get it.

J∅kër Kîng 👑

11,029 次观看 • 5 个月前

Why One of Nessel’s Cronies Ran Away When I Came to Court The AG is sitting on a criminal complaint implicating her wife and seems to think that hiding from reporters is her only option By Charlie LeDuff (Charlie LeDuff) Mount Clemens — The wheels of justice turn slowly. But when Dana Nessel’s deputy saw me standing in the halls of the Macomb County courthouse this week wielding the microphone of truth, he scurried down the back stairs quicker than a rat up a drainpipe. I was there for yet another pretrial hearing for Shawn Wilmoth—aka One-Finger Freddy—the corpulent, T-shirt-wearing ex-con who stands accused of defrauding five GOP candidates for governor. Freddy turned in thousands of bogus signatures on the candidates behalf and then pocketed $700,000. I cannot accurately report what happened in court because the parties secretly met in the judge’s chambers and then fled down the back entrance. I’m told Freddy’s trial has been pushed to next year—Nessel’s last in office. Freddy is important here because it appears he probably swindled Alanna Maguire as well. Maguire is important here because she is Dana Nessel’s wife. Maguire was co-chair of Fair and Equal Michigan, an organization that was pushing to get gay-rights legislation on the ballot. It never made it because tens of thousands of signatures were ruled to be bogus by the secretary of state. Freddy was never charged in that case. One wonders why, until you realize that Fair and Equal Michigan is a named suspect in a criminal referral from the secretary of state alleging campaign-finance fraud. That referral molders on Nessel’s deck. The newspapers refuse to report this. Meanwhile, their stenographers sit in a different courthouse cranking out political trivialities about a case involving Republicans. That case also involves the use of a nonprofit to fund the Unlock Michigan campaign—a failed ballot proposal seeking to abolish the emergency powers seized by Whitmer during Covid. One of their recent headlines squeaked: ‘No one will know’: Records reveal secret money flowing through Lansing. Secret money flowing through Lansing? No kidding? Give that guy a Pulitzer! Yet nothing on Nessel. Or her wife. Or Freddy. Not a word. Friends don’t do that kind of thing to each other. It’s a journalistic crime. Those reporters ought to be charged with manslaughter—for boring their readers to death. If ever there was a need for a special prosecutor, Nessel is Exhibit A. It’s been 27 months since she received the criminal referral from Jocelyn Benson involving her wife. And not a peep. That’s why they were hiding in the judge’s chambers this week. There’s nothing to see if you’re not allowed to see it. There is a bright spot in all of this for those who are fans of equal application of the law. The state House Oversight Committee is now in possession of the documents concerning Nessel’s wife and political family members. Hearings are likely, I’m told. That’s why I was in the Macomb courthouse holding the sword of justice. I wanted to ask Nessel’s left-hand man if the boss would answer a subpoena from the committee. I also wanted to ask him if he would issue a warrant for Nessel’s arrest if she refused to appear. I wanted to ask him, but alas, he ran away. I’ve said it before, and I’ll say it again. Justice is supposed to be blind, but under Dana Nessel, it’s just plain stupid.
3:04

Why One of Nessel’s Cronies Ran Away When I Came to Court The AG is sitting on a criminal complaint implicating her wife and seems to think that hiding from reporters is her only option By Charlie LeDuff (Charlie LeDuff) Mount Clemens — The wheels of justice turn slowly. But when Dana Nessel’s deputy saw me standing in the halls of the Macomb County courthouse this week wielding the microphone of truth, he scurried down the back stairs quicker than a rat up a drainpipe. I was there for yet another pretrial hearing for Shawn Wilmoth—aka One-Finger Freddy—the corpulent, T-shirt-wearing ex-con who stands accused of defrauding five GOP candidates for governor. Freddy turned in thousands of bogus signatures on the candidates behalf and then pocketed $700,000. I cannot accurately report what happened in court because the parties secretly met in the judge’s chambers and then fled down the back entrance. I’m told Freddy’s trial has been pushed to next year—Nessel’s last in office. Freddy is important here because it appears he probably swindled Alanna Maguire as well. Maguire is important here because she is Dana Nessel’s wife. Maguire was co-chair of Fair and Equal Michigan, an organization that was pushing to get gay-rights legislation on the ballot. It never made it because tens of thousands of signatures were ruled to be bogus by the secretary of state. Freddy was never charged in that case. One wonders why, until you realize that Fair and Equal Michigan is a named suspect in a criminal referral from the secretary of state alleging campaign-finance fraud. That referral molders on Nessel’s deck. The newspapers refuse to report this. Meanwhile, their stenographers sit in a different courthouse cranking out political trivialities about a case involving Republicans. That case also involves the use of a nonprofit to fund the Unlock Michigan campaign—a failed ballot proposal seeking to abolish the emergency powers seized by Whitmer during Covid. One of their recent headlines squeaked: ‘No one will know’: Records reveal secret money flowing through Lansing. Secret money flowing through Lansing? No kidding? Give that guy a Pulitzer! Yet nothing on Nessel. Or her wife. Or Freddy. Not a word. Friends don’t do that kind of thing to each other. It’s a journalistic crime. Those reporters ought to be charged with manslaughter—for boring their readers to death. If ever there was a need for a special prosecutor, Nessel is Exhibit A. It’s been 27 months since she received the criminal referral from Jocelyn Benson involving her wife. And not a peep. That’s why they were hiding in the judge’s chambers this week. There’s nothing to see if you’re not allowed to see it. There is a bright spot in all of this for those who are fans of equal application of the law. The state House Oversight Committee is now in possession of the documents concerning Nessel’s wife and political family members. Hearings are likely, I’m told. That’s why I was in the Macomb courthouse holding the sword of justice. I wanted to ask Nessel’s left-hand man if the boss would answer a subpoena from the committee. I also wanted to ask him if he would issue a warrant for Nessel’s arrest if she refused to appear. I wanted to ask him, but alas, he ran away. I’ve said it before, and I’ll say it again. Justice is supposed to be blind, but under Dana Nessel, it’s just plain stupid.

Michigan Enjoyer

39,646 次观看 • 1 年前