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𝘒𝘪𝘴𝘦𝘬𝘪 𝘮𝘦𝘢𝘯𝘴 𝘮𝘪𝘳𝘢𝘤𝘭𝘦 (奇跡), 𝘵𝘳𝘢𝘫𝘦𝘤𝘵𝘰𝘳𝘺 (軌跡) Minho, hadn't solo debuted yet, covering "Kiseki" in baseball attire, & Minho performed his songs for a high-profile baseball match's event, as seasoned soloist, 10 yrs later 🥹a full circle moment

13,656 görüntüleme • 1 ay önce •via X (Twitter)

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까마귀 🐦‍⬛♦️ profil fotoğrafı
까마귀 🐦‍⬛♦️1 ay önce

choi minho 99

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Made with seedance 2.5 Prompt ⬇️ 0:00–0:05: Lightning-Fast Entry & Airflow Evasion Visual Details: The camera follows the female protagonist sprinting at full speed from behind. The massive greatsword of the Red-Faced Heavenly King sweeps horizontally from the right, its enormous blade covering half the sky. Stylish Action: Instead of simply dodging, the woman performs a sideways ground-level slide while running at high speed. Friction between her body and the ground sends sparks flying. The sword edge passes dangerously close to her baseball bat with a deafening whoosh. Attack: The instant the slide ends, she uses her momentum, plants one hand on the ground, spins up to her feet, and swings the baseball bat in a wide arc. She strikes the side of the passing sword with tremendous force, producing a crisp wood-against-steel impact, then uses the recoil to accelerate toward the left. 0:05–0:10: Midair Footwork & Precise Strike Visual Details: The Green-Faced Heavenly King leans forward and drives his spear into the ground like a power drill. Stylish Action: Instead of retreating, the woman advances. She runs vertically upward, taking three steps along the shaft of the spear embedded in the ground. Attack: At the highest point, she flips through the air with a 360-degree rotation, grips the baseball bat with both hands, and puts her entire body weight into the strike. Slow-Motion Impact: The baseball bat precisely strikes the Green-Faced Heavenly King's shin joint. The painted surface cracks apart, sending wood fragments and glowing “wood-spirit” particles bursting outward in a Black Myth-style visual effect. 0:10–0:18: Extreme Space & Elegant Spinning Evasion Visual Details: The heavy weapons of the Blue-Faced and Black-Faced Heavenly Kings—a halberd and a vajra—close in from opposite directions, crossing over each other and trapping her in a narrow space. Stylish Action: The woman demonstrates incredible agility within the tiny gap between the weapons, performing two rapid side flips followed by a backflip. Attack: The instant she lands from the backflip, she thrusts the baseball bat forward like a short spear strike, using the end of the bat to precisely hit the descending vajra of the Black-Faced Heavenly King. Using the impact for momentum, she slides backward several meters, leaving two deep, elegant grooves across the stone floor. 0:18–0:25: Combo Destruction & Execution Moment Visual Details: The attack focuses on the already-damaged leg of the Green-Faced Heavenly King. Stylish Action: The woman enters a high-speed movement state, becoming a blur as she circles around the giant's enormous pillar-like leg. Attack Combo: First Strike: She swings the bat directly into the damaged crack, knocking off a large chunk of wood. Second Strike: She spins the bat once in her hand, switches to a reverse grip, and strikes the exact same point again. Third Strike: She leaps high into the air, braces one knee against the statue's leg for leverage, then delivers a devastating downward strike. Close-Up: In slow motion, the baseball bat is shown embedded deep inside the wood. Green and purple mineral pigments scatter through the air like snow as a chain reaction of fractures tears through the entire giant leg from the inside. 0:25–0:30: Devastating Finale & Iconic Ending Visual Details: The 20-meter-tall Green-Faced Heavenly King begins to tilt and collapse. Stylish Action: As the giant statue's fall creates violent tremors and powerful shockwaves, the woman keeps running forward without looking back. She parkours across the collapsing environment, pushes off a flying stone brick, and leaps into a safe area. Ending Action: Behind her, the enormous wooden body crashes into the ground, creating a massive cloud of dust and destruction. After landing, the woman elegantly spins the baseball bat in her hand, resembling the final motion of sheathing a samurai sword, then casually rests the bat over her shoulder

Zayan

36,247 görüntüleme • 2 ay önce

Madonna’s run is impressive. She arrived in 1983, kept reinventing, and in 2026 she’s still dropping albums, crashing Coachella as a surprise guest, and opening the first-ever FIFA World Cup final halftime show. That’s real staying power. Respect it. Career longevity, though, isn’t only about who is still standing on a stage. Michael Jackson started earlier, hit harder, stayed bigger for longer at the absolute peak, and his work is still moving culture and charts 17 years after he left the planet. That’s not nostalgia. That’s dominance that doesn’t expire. He was already a star at five and six with the Jackson 5. Four number-one singles in a row as a kid in the late ’60s and early ’70s. Then he went solo while still a teenager and delivered Off the Wall in 1979 — four Top 10 hits, 20 million-plus sold, the moment he became a grown artist. Three years later came Thriller. Best-selling album of all time. 37 weeks at No. 1. Seven Top 10 singles. Eight Grammys in one night. It didn’t just sell; it rewired MTV, broke the color line on video, and turned the music video into an art form. That record is still living on the Billboard 200 in 2026 after 700-plus weeks. That’s not a catalog title collecting dust. That’s a living document. Then Bad — first album ever with five U.S. No. 1 singles. The Bad World Tour was a monster. Dangerous in ’91. HIStory in ’95. He was still putting out event albums and selling out stadiums into the mid-’90s. Invincible in 2001 was his last studio album while he was alive, and even that debuted at No. 1. He had 13 Billboard Hot 100 No. 1s. Top 10 hits across six decades as a solo artist (seven if you count the Jackson 5). Nobody else has that span. Madonna has been consistent and smart about staying visible. Michael defined eras. Child star to global phenomenon to King of Pop to posthumous force of nature. After 2009 the estate, the Cirque shows, This Is It, MJ the Musical, and now the 2026 Michael biopic (which itself became a billion-dollar event) have kept him in the conversation at a level most living artists would kill for. His catalog still spikes the Artist 100. New generations keep finding “Billie Jean” and “Beat It” like they just dropped. That’s longevity you can’t tour your way into. The music outlived the man and kept winning.

Jantar The Botman🪼

12,571 görüntüleme • 1 ay önce

Accredited Video Journalist Assaulted at Helsinki Book Fair: Finnish Police finally released video documenting the Article 10 Freedom of Expression (Press) attack on a noted Journalist. On 23 October 2024, the Messukeskus Center granted accreditation to Finnish video journalist Panu Huuhtanen, inviting him to attend the Helsinki Book Fair - recognized as the largest literary event in the Nordic countries. As part of the invitation, Mr. Panu Huuhtanen was offered a complimentary ticket, parking, and access to the media center to cover the event. Footage from the 26 October 2024 event shows Huuhtanen arrived without incident and clearly wore his press credentials around his neck. Huuhtanen took an early seat in the front row to listen to the controversial speaker, Ms. Jessikka Aro. Early security footage indicates that Huuhtanen may have been targeted upon his arrival. As expected of a photojournalist, Huuhtanen recorded several short video clips prior to Ms. Aro's appearance on stage. However, unidentified security officials dressed in black confronted him, to intentionally obstruct and censor his ability to report freely. During this initial confrontation, Huuhtanen was welcomed by a passing former official of a politican party. However, the situation deteriorated when an unknown man, wearing a badge, approached Huuhtanen and allegedly subjected Huuhtanen to defamation and verbal abuse. As observed in the video, prior to Ms. Aro commencing her address, security officials again engaged in contact with Huuhtanen. At the moment of this contact, Huuhtanen’s camera was in his pocket. Huuhtanen maintained a non-threatening posture with his hands clearly visible behind nearby chairs. The video evidence demonstrates security officials initiated physical contact and grappled Huuhtanen. Once in their control, the video shows Huuhtanen being knocked to the floor, where he suffered an unseen injury from a pressure point strike, causing him severe pain and impairing the mobility of his leg. Huuhtanen was then dragged/carried to a corner and restrained by multiple individuals all dressed in black attire; all lacked the standard security or police uniforms. Despite Huuhtanen's urgent pleas for medical assistance, security officials stood him up on the injured leg and forcibly walked him to a garage area, knowing full well the pain they inflicted upon him. Huuhtanen was later transported to the hospital for medicine and treatment for a two-week period due to the injury to the leg. Remarkably, that after the police office have had possession of this video for the past two weeks, they have failed to charge the unknown “security team” (or others who participated in the attack) with any crimes ranging from assault, battery, kidnapping, defamation, making a false police report, and/or engaging in a European Convention on Human Rights Article 10 Freedom of Expression (Press) attack for the sole purpose of censoring the accredited press. Certainly, the prosecutors and police officers, could not be so uninformed of the law as to believe the security officials’ excuse that Huuhtanen - an invited accredited photojournalist - cannot take (non-flash) pictures at the event held in a public place before, during and after Ms. Aro’s speech. All there is to do now is to wait for the day when police and prosecutors will charge said security officers (and/or others) who without provocation - to Article 10 censor the press - assaulted, committed battery, kidnapped, and/or defamed Huutanen.

Tiina Keskimäki 🇫🇮

94,346 görüntüleme • 1 yıl önce

‼️EXPOSED: Hunter Kozak, His WIFE Shelby, A WHEELCHAIR, And A Web Of Utah POLITICAL Connections That KEEP Leading Back to the SAME Lyman Circle😱 A major tip just came in that deserves serious attention. Hunter Kozak’s wife, Shelby A. Kozak, currently serves as Corporate Relations & Development Director for the Utah Lake Authority and previously worked with the U.S. Department of State. She is a Fulbright Fellow, holds a master’s from George Washington University, and has a résumé that runs through federal and quasi-governmental channels. Multiple people on the ground that day have stated she was present at UVU with Hunter on September 10. Here is where it gets more difficult to ignore. Shelby allegedly underwent a C-section and gave birth to a premature baby on September 7 — only three days before the event. Standard U.S. hospital stays after an uncomplicated C-section run two to four days. Early discharge is sometimes possible, but it still requires the mother to meet basic mobility and pain-management milestones. Three days later she was reportedly standing (and later sitting) outdoors at a large public rally in the Utah heat and sun for hours. Anyone who has been through major abdominal surgery knows the level of pain, limited mobility, and risk involved. Leaving the hospital that quickly to attend a crowded outdoor political event is not normal recovery behavior. Witness accounts and video place a wheelchair near their position the entire time. Hunter, Shelby, Hunter’s mother, and an entourage of acquaintances — including Tiffany Barker and Natalie Clawson — were clustered around that wheelchair. Shelby was seen standing next to it while filming and later sitting beside it. After the shot rang out, footage shows the wheelchair still there while people around it react. Remarkably, Shelby herself did not flinch, did not duck, did not look toward the direction of the sound, and did not stop filming. She continued as if nothing had happened. They brought the wheelchair into the event (consistent with the claim she had just had surgery) and then left it behind in the amphitheater afterward. That detail is hard to ignore. Hunter is familiar with standard TPUSA event security protocols. A wheelchair can move through checkpoints with far less scrutiny than a bag or case. While there is no direct proof it was used to bring anything prohibited inside — a remote device, or anything else — the combination of bringing it in for a post-surgical attendee and then abandoning it on site has raised questions for a long time, even before the people who brought it were identified. Once those people turned out to be Hunter and Shelby, the questions only got louder. The family connections are documented. Tiffany Barker (who has given multiple media interviews as a witness) is the sister of Natalie Clawson, Phil Lyman’s running mate. Another sister, Lisa Dean, is the mother of Taylor Belle Dean, who went to prom with Hunter Kozak’s brother Connor and also did interviews after the event. Tiffany’s own daughter sang the national anthem at a prior Charlie Kirk event. The Peterson, Clawson, Barker, and Dean families form a tight local political and social network. Hunter and Shelby sit inside that same web. They attended the event together as a group. Every single lead we have followed in this corner of the case keeps circling back to the same Phil Lyman network. The same surnames, the same political alliances, the same overlapping family and church ties. It is an intricate web of Utah politics and religion that functions like a closed circle — call it what you want, but the pattern is consistent. Hunter, Shelby, the Barkers, the Clawsons, the Deans, and the people around them all sit inside that same orbit. There is more. When Hunter and Shelby appeared on the Brandi & Billie show, Shelby saw Brandi’s “CIA” mug (Candace Intelligence Agency) and initially mistook it for the actual Central Intelligence Agency. After Hunter corrected her, Shelby remarked that working for the real CIA was her dream job and that she had applied multiple times. That is not a casual comment. Combined with her State Department background, Fulbright fellowship, and the rest of the pattern, it raises serious questions. Hunter has previously used the term “MIC” in an interview — a shorthand common in intelligence and defense circles. He turned down a $20,000 offer to take a polygraph. He was elevated quickly into high-profile media, including the CBS appearance with Erika Kirk. The odds of the final question landing exactly where it did, followed by the immediate national platforming of the person who asked it, continue to look statistically extreme. Utah has long been a known recruitment ground for federal agencies, particularly among tight-knit communities with strong institutional loyalty. Shelby’s State Department and Fulbright background, the wheelchair that was brought in and then left behind, her complete lack of reaction to the shot, the post-C-section timeline, the family clustering, and her own stated desire to work for the CIA all sit in the same frame. This is not an exhaustive map. It is the portion that can already be shown through public records, interviews, and footage. More eyes on it will only clarify what belongs there and what does not. Shoutout to KK who has done a tremendious amount of research for this story. Everyone please follow this lady because she's amazing!

Project Constitution

146,285 görüntüleme • 1 ay önce

Two and a Half Minutes That Defined a Decade The moment that “bum-ba-bum-BOOM” drumbeat hits, the whole stage seems to light up. Three young women stand under the lights, towering beehive hairdos, dark outfits, microphones in hand, moving and singing with pure energy. Ronnie is in the center—her voice sharp yet warm, those “whoa-oh-ohs” soaring without any strain. Backup dancers move behind them. The audience cheers. It’s just over two and a half minutes, but it feels like the entire 1960s has come alive right in front of you. The Ronettes came out of Spanish Harlem and Washington Heights in New York. Veronica “Ronnie” Bennett, her sister Estelle Bennett, and their cousin Nedra Talley started singing together in the late 1950s, drawing inspiration from doo-wop groups like Frankie Lymon & the Teenagers. They performed at the Peppermint Lounge, appeared in a twist movie, and released a few modest singles. The turning point came when Estelle called Philles Records. Phil Spector heard Ronnie sing “Why Do Fools Fall in Love” and immediately knew that was the voice he’d been looking for. The three of them signed with his label in 1963. “Be My Baby” was written by Jeff Barry, Ellie Greenwich, and Phil Spector. Ronnie later said the song captured the explosive feeling of those early days between her and the producer. The recording sessions took place in July 1963 at Gold Star Studios in Los Angeles. Ronnie flew out to California alone. The other two Ronettes weren’t called in. Background vocals came from the Blossoms, Cher (her first time in a studio), Sonny Bono, and Nino Tempo. The session musicians—later known as the Wrecking Crew—included Hal Blaine on drums, multiple pianos at once, guitars, bass, brass, and a full string section. It was the first time Spector used a full orchestra at Gold Star for one of his records. The studio was packed. They rehearsed for hours before rolling tape. Hal Blaine later explained that the legendary opening drum pattern came from an accident—he dropped a stick and missed the second beat. He kept the “mistake,” and it became the unforgettable signature. Ronnie spent three days recording her vocals. Between takes she would slip into the ladies’ room to practice those “oh-oh-ohs,” partly because the acoustics were great in there and partly so the musicians wouldn’t get distracted. Spector built his Wall of Sound by layering instruments thickly and using Gold Star’s famous echo chamber, creating a dense, almost symphonic sound he called “little symphonies for the kids.” The finished track felt both powerful and intimate, grand and personal at the same time. Released in August 1963, “Be My Baby” climbed to No. 2 on the Billboard Hot 100, held strong for weeks, hit No. 1 on Cash Box, and reached the top five in the UK. Dick Clark called it “the record of the century” on American Bandstand. It sold millions of copies in its first year. The song became an icon of the 1960s for several interlocking reasons. The Wall of Sound delivered a sense of scale that matched the energy and ambition of a young generation growing up with radio and television. The lyrics were simple teenage romance, yet Ronnie delivered them with confidence and a subtle sensuality that created a compelling tension. At that moment, girl groups were reshaping how female artists appeared on stage—confident, stylish, magnetic. “Be My Baby” captured that shift and elevated it. The impact was immediate. Brian Wilson of the Beach Boys heard the song for the first time while driving. He had to pull over to the side of the road, completely overwhelmed. He later called it the greatest record ever made and said no one would ever top it. Wilson bought multiple copies, played them over and over, and studied every layer. He wrote “Don’t Worry Baby” as a kind of answer song, originally intending it for the Ronettes, before keeping it for his own group. John Lennon loved Ronnie’s voice too. Later generations kept drawing from that drumbeat, that sense of space in the production, and the direct emotional charge of the track. Every time I watch the performance clip again, it still feels fresh. Ronnie smiles, sings, and moves across the stage as if the song had been written the day before. Nothing feels forced. The energy comes from the three of them, from the hidden orchestra behind them, and from the way the record was built. It’s a moment when pop music learned how to create something large inside a small frame. More than sixty years later, the recording still stands among the most important songs of its era, inducted into the Grammy Hall of Fame and the National Recording Registry of the Library of Congress. Sitting with the video, what comes through clearest is pure joy. No long explanation needed. Just that opening drumbeat, then Ronnie’s voice stepping in, and suddenly you remember why this song remains tied to the 1960s—because it caught the pulse of its time, because it was made with such care that it became a standard, and because it still makes people want to sing along, move along, and believe every word.

Music over time🎻

39,268 görüntüleme • 1 ay önce

Next in who after the Ramanujan Series? If Ramanujan was the Source Code, Mudumbai Seshachalu Narasimhan (1932-2021) was the Compiler. He took the raw energy of Indian mathematical intuition & turned it into a formal, global language that even the top physicists in the world now use to explain reality. M.S. Narasimhan (known as MSN) was born into a rural family in Thandarai, Tamil Nadu. MSN was not a fan of the repeat what you are told school system. He was obsessed with extra problems at the end of textbooks that required original thinking. There was no high school in his village. To get an education, he famously traveled several KMs every day on a bullock cart. He ended up at Loyola College, Madras, under Father Racine. Racine realized early MSN was a fearless thinker who could handle the latest French mathematics. In the 1960s, mathematics was split into silos: people who studied shapes (Geometry) did not talk much to people who studied eqns (Algebra). Narasimhan was the man who found a wormhole connecting them & the career defining moment was the "Narasimhan-Seshadri Theorem" (1965). This is the Kohinoor of his career. Working with his lifelong friend C.S. Seshadri, he proved a result so deep it is still taught at every major uni today. They linked Unitary Representations (a complex way of describing symmetries in topology) to Stable Vector Bundles (a way of describing shapes in algebraic geometry). Yrs later, physicists realized this math was exactly what they needed to describe Gauge Theory & Quantum Chromodynamics (the study of how sub-atomic particles stick together). If we ever hear a mathematician talk about the Harder-Narasimhan Filtration, they are referring to a sorting machine MSN co-invented. In complex geometry, some bundles are stable (smooth) & some are unstable (jagged). Narasimhan & Günter Harder proved that every jagged bundle can be perfectly sliced into a unique sequence of smooth ones. This filtration is now used in Number Theory to solve problems that Ramanujan himself might have found fascinating. MSN was famously absent-mindedly brilliant, his wife, Sakuntala (a renowned singer), once recalled that for their honeymoon, MSN packed a suitcase full of Tamil literature & advanced math books. He spent the trip solving eqns be/w sightseeing! A former student recalls playing tennis when MSN walked up & asked, "You have learned a lot of good mathematics, but do you have any mathematical problems to work on?". They spent the next 10 days working day & night to prove a major result in differential geometry. His philosophy was: "Solve the big problem 1st, then worry about the details." MSN is 1 of the most decorated Indian scientists in history: King Faisal International Prize (2006): Often called the Arab Nobel, he won this jointly with Sir Simon Donaldson for his work linking math & physics. FRS & Padma Bhushan: He was elected a Fellow of the Royal Society (1989) & awarded the Padma Bhushan (1990). Chevalier de l'ordre National du Mérite: The French govt knighted him for his work in bridging the Indian & French schools of mathematics. He served as the 1st chair of the National Board for Higher Mathematics & headed the math division at the ICTP in Italy. He made sure that Indian students did not have to leave India to become world-class.

Parimal

13,502 görüntüleme • 5 ay önce

This one is a must read. I hope the takeaway is, at minimum, eye opening. To any player/parent trying to navigate the recruiting process right now - here is some perspective for you. I came across this video recently on Twitter - It’s a video of Juan Soto when he was 16 years old in the Dominican Republic. (Credit to parker hageman for digging it up and posting it.) I decided to do an informal case study. I sent the Soto video to 13 high-level baseball evaluators - 4 current MLB scouts, 7 current and former D1 recruiting coordinators & head coaches, 1 former pro manager/ college head coach, and 1 current JC head coach. All guys that I know and trust to give honest feedback. I told them that I had just started working with this 16 year old international player and that I was hoping to get their feedback from an evaluation perspective. 3 of the 13 knew it was Soto from the video. Of the other 10, here were the results: - 1 current D1 coach said “He looks like he’s gonna get paid. I have money for a ’26 if he doesn’t want to sign with an MLB team. Somebody will pay that swing.” - 2 of them liked his physical upside and bat speed and said once he puts on some weight they think he’s got a chance. - 7 of them said something along the lines of… “He needs to go to a JC”, “he has too much effort in his swing”, “looks like he has some timing issues”, etc... The video was taken shortly before he signed for $1.5m with the Washington Nationals. He is a future Hall of Famer. Let that sink in for a moment. The question is, why were the majority of these college coaches and scouts flawed in their initial evaluation of the short video I sent them of a guy who signed for $1.5m with the Washington Nationals a few months later? - Are they bad evaluators? - Was the video not a good enough representation of Soto’s ability? - Was there not enough context as to his track record and other tools to make an informed evaluation? - Is it just difficult to evaluate a player off of 1 minute of video? - Did the fact that he is an international guy change things? - If he had hit 3 homers in this video reel would they have a different opinion? In all honesty, I wasn’t surprised by any of these responses. I might’ve said the same thing if I didn’t know it was Soto. It is likely a combination of multiple of the reasons I listed above… but the point I am trying to make here is this: I hear all the time from high school and JC players/parents about how frustrated, disappointed, or defeated they feel because they aren’t getting interest from college coaches, and because coaches don’t respond to their emails & DM’s. So here is the perspective that you need to understand: even Juan Soto’s video from a few months before signing a $1.5m contract didn’t garner the type of interest that you would expect. Are you better than Juan Soto was at 16 years old? Are you a future hall of fame caliber player? There are so many factors that go into the recruiting process. It is a multi-sided marketplace where each stakeholder (college coach and player) has to have a mutual need and interest in one another. Baseball is the hardest sport to evaluate and it’s not even close, IMO. Coaches and scouts are wrong all the time. Players can get exponentially better in a short period of time. It’s not always a pretty process, but all it takes is one coach to see something in you and want to invest in you. Dial in the things you can control. Make sure coaches to have the full picture of who you are as a player and why you can help them win. And don’t be upset when you get limited responses/feedback. It happened to Soto too - and he is much better than you.

Josh Nashed

229,981 görüntüleme • 1 yıl önce

What many people don’t know is that between 2007 and 2009, Solid Star recorded a lot of songs, but as the A&R and CEO of the label, I knew something was still missing. The talent was obvious, the vocals were amazing, but there was a particular spark I was searching for that I hadn’t heard yet in any of the records. One day, I called him and said, “Look, I don’t want another fast-tempo song. I need something different. Give me a mid-tempo record, something with a bounce, something emotional. Just write a proper love song.” He agreed and went to work on it. After a while, he came back and said, “I’ve written the love song. Do you want to hear it?” I told him yes immediately. Around that same period, we were at Comfort Suites in Festac, and luckily for us, the late legendary producer OJB Jezreel was there that night working with 2Baba. I introduced Solid Star to OJB and told him we really wanted to work with him. OJB welcomed the idea and asked us to come back in a few days. When we got to the appointment, OJB said he wanted to hear the song first.Solidstar sang the song for him, and almost instantly he caught the vision. Within less than 40 minutes, OJB had already created the beat, Solid Star had voiced the track, and the foundation of One in a Million was born. After the recording, OJB looked at me and said something I would never forget: “If you can get 2Face on this song, it will be massive. This sounds like something he would naturally jump on.” That advice changed everything. As soon as I got back to Festac, I took the song to 2Baba. Before he even traveled to Abuja for his 10-year anniversary celebration, he was already vibing heavily to the song. By the time he got to Abuja, he knew the lyrics almost word for word. He told me he already had ideas for what he wanted to add to the record. Then he said something that became another major turning point in Solid Star’s career: “If you don’t mind, bring Solidstar to Abuja to perform.” That Abuja event — 2Face’s 10-year anniversary — became Solid Star’s very first major stage performance. After they returned from Abuja, 2Face called me again and said, “Bring Solo to the house. I want to record my verse.” And that was how the legendary collaboration finally came together. Once the audio was done, I approached Clarence Peters with the song. He listened carefully and immediately said he had a strong visual concept for it. He suggested we travel all the way to Erin Ijesha water falls for the shoot and also involve legendary photographer Kelechi Amadi-Obi in the creative process. Everything sounded incredible — until he gave me the budget. It was a seven-figure production cost, which at that time was a huge risk for us as a growing label. I took the proposal back to my directors and explained everything to them. After deliberating, we all agreed on one thing: “Let’s give it a shot.” And that was how we traveled toOsun state and shot the iconic One in a Million video. On another note, I’ll still tell the full story of how I eventually got 2Baba to personally appear in that video.

Chiori Paul Cole

49,296 görüntüleme • 4 ay önce

🎵My Dolly Parton Story🎶 - (Video and additional photos in 🧵 below) Exactly one year before the government shut down the world because of the #CommieVirus — especially killing the live entertainment industry — my bands were firing on all cylinders. My private event band, Bull City Syndicate, was doing especially well. We’d been the headlining entertainment for the past two North Carolina Governor’s Inaugural Balls, and played hundreds of high-end corporate events, charity balls, and top-shelf weddings. On March 2, 2019, we were especially excited to be hired as the featured entertainment for a charity event where Dolly Parton would be the main attraction. Not as a musical performer herself, but to promote her own charity, Imagination Library (Imagination Library), and to do a live poetry reading from her own work. The event was the 25th Anniversary Smart Start Gala. Raleigh’s mayor, the governor of NC, and many other VIPs would be in attendance. While the event planner never suggested that we perform or back up Dolly on any of her tunes, it was, in the back of my mind, something I thought would have been really cool. But not something I’d dare suggest or insinuate on my own. My only preshow contact with Dolly’s organization was with her head of security. The Marble’s Kids Museum in Raleigh, NC is a fabulous venue for fun charity events, but it has only one “green room” next to the staging area. Security informed me that the band would have to completely evacuate that shared space at least 30-minutes before Dolly arrived for her portion of the evening’s proceedings. (Not an unusual or inappropriate request, given her enormous superstar status.) The entire 10-piece band was on stage when Dolly was escorted through the back entrance and into the green room. There was some back-and-forth between VIP speeches and live music, so the band stayed in place throughout. Since the event was completely sold out and standing room only, we knew we’d have the best vantage of Dolly if we just stayed on the stage. Dolly’s presentation was scheduled to be only about 10-15 minutes. While the governor and mayor were delivering remarks just in advance of Dolly taking the stage, I looked back at the green room door, off stage left, and I saw my son, Duncan, in full-on, intense conversation with Dolly! (WHAT?!) Duncan, who was only 20 years old at the time and already a freak-of-nature musician himself, was working on my stage crew that night. I’m the band leader, so I’m having to give full attention to the event host and what’s happening on the speaker’s side of the stage … but only 20 feet away, Duncan and Dolly are chatting away like long-lost friends. Finally, at one of my many glances in their direction, Dolly and Duncan catch my eye and both start waving me over to them. I silently point at my chest, then mouth, “Me?” They both nod, say yes, and wave more insistently. I dart off the stage, over to the dimly lit green room entrance corridor. Duncan, who is much taller than I am, puts his hand on my shoulder and introduces me to “Dolly Parton.” (You can imagine the look on my face. Ha!) He tells me that Dolly has a request. I lean down to put my ear close to Dolly, so that she wouldn’t have to speak too loudly while the governor was talking to the audience. (I can imitate her voice, and I wish you could hear it in her voice and Tennessee mountain accent right now.) She says to me: “I didn’t know there was going to be a band here tonight. If I’d known there would be a band, I’d have had you learn some of my songs.” Then she came right out with it. “Do y’all know any of my songs?” I straightened back up, and over the course of less than five seconds my mind raced through every Top-40 solo and duet hit single of hers I’d ever heard on the radio. Country, pop, and otherwise. I made an immediate band leader decision … and lied my ass off. “Yes, we can play ‘Jolene.’” We’d never performed or rehearsed “Jolene,” or any other Dolly Parton tune, in the 20 years I’d led that band. The conversation continued: DOLLY: “Y’all know ‘Jolene?!’” ME: “Yes, ma’am.” DOLLY: “That’s great! When I finish reading my poem, I’ll tell everyone we’re going to sing ‘Jolene.’” ME: “We’ll be ready. What key do you do ‘Jolene’ in?” DOLLY: “I don’t know.” Dolly’s personal assistant leaned over to me and whispered in my ear, “C minor.” (Cm) The original key for “Jolene” was C-sharp minor (C#m), but I assume at 73 years old she might be lowering keys, as many aging vocalists tend to do. I gave Dolly an assuring look and said, “Thank you.” I looked at Duncan with an eye-raised, “Oh, sh-t” look on my face, then ran to the stage and called an emergency huddle of my rhythm section as Governor Cooper droned on in the background. In whispered, panicked tones, I told them, “Guys, you have 10 minutes to learn ‘Jolene’ … Key of C minor … GO!” The guys immediately took out their phones and pulled up the song, each listening privately through their in-ear monitors or holding the phone speaker close to their heads. They started silently fingering around on the guitar and bass guitar frets, and the keyboards. Our drummer sat quietly and listened to the track on his phone. I darted over to our female lead singer, Danie Ward, and asked her if she knew the words and background harmonies to “Jolene.” She gave me “The Look.” Back story … Danie was with my band for over ten years. She was my all-time favorite female lead vocalist, and we became great friends. She and her husband were very active in their church as pastor and she as worship leader. She and her sisters also performed for many years as a family Gospel group. But Danie, as a Black gospel artist, was immensely versatile, able to sing anything from Aretha Franklin to Lady Gaga and leaving you wanting more. And although a Black Gospel artist, her secret desire and ambition was to be a Country music artist. (I kid you not.) So, when I asked her if she knew the words and harmonies to “Jolene,” THE LOOK she gave me was … “Seriously? You dare ask ME that question?” All I needed in response from Danie was “The Look.” No words spoken, and I slinked away appropriately chastised. My band members were all world-class pros, at every position. Especially that rhythm section. Most of whom had been with me for many years at this point. They ended up with more than 10 minutes to quietly and individually—with no rehearsal—learn “Jolene.” A few more minutes passed before Dolly was introduced and brought onstage; then she took another 20 minutes to deliver her remarks and poetry reading. The guys were ready. Dolly finished her poem to a round of applause and immediately announced she’d be performing “Jolene” for them. They cheered in approval. My drummer clicked a four count with his drumsticks, and they were off. As soon as Dolly began to sing the first words of the song, you can see me — in the video below — walking across the front of the stage with a huge smile on my face. Danie then got the thrill of her life. As soon as she’d finished singing the first round of harmonies behind Dolly’s lead, Dolly turned and looked toward Danie and said loudly into the mic, “Good job!” No one knew how or when Dolly wanted to end the song, so there was no real conclusion. They all just kinda stopped. But the audience was enthusiastically grateful they’d gotten more than what they paid for that night. I do wish the event planner had informed Dolly and her team that a band was at the event. I’d have loved to have learned a handful of her songs for the show. Maybe I’d have even been able to sing with her one of her chart-topping duets that she recorded with Kenny Rogers. Even though I never personally sang or performed a single musical note with Dolly, I’ll always be able to say “My band” performed with Dolly Parton. —— Postscript: A few days after that event, I received a call from Dolly’s personal assistant. (The same guy who whispered “C minor” into my ear.) He said he needed my son's address because Dolly had a gift she wanted to send him. Dolly’s PA explained that Duncan reminded her so much of her late brother, Floyd, when he was Duncan’s age. She wanted to send Duncan something special. For whatever reason, the package never arrived. Whether lost in the shuffle of Dolly’s or her staff’s busy life, or because some porch pirate pilfered it, Duncan never received that gift. But the very thought that was conveyed shows you what kind of person Dolly was. (Photos in thread below.) —— Post Postscript: Later that same year, I was attending the W.C. Handy Music Festival in Muscle Shoals, Alabama. At the time, I was managing a renowned Shoals songwriter and his band, James LeBlanc & The Winchesters. Some members of James’ band were performing a lunchtime show at one of the local Shoals area eateries as part of the 10-day festival’s scheduled events. I arrived a few minutes late, and the place was packed. Seated alone at a table near the stage was a woman with bleached Big Hair. She saw me looking for a spot and waved me over. Before I got to the table, I knew she had to be related to Dolly. Sure enough, it was Stella Parton, Dolly’s sister. Stella has had her own far less notable career in music, so I made sure not to gush over Dolly (just in case, and not knowing the family dynamics), but I did tell her about my band performing with Dolly earlier that year. I will forever and always have that story to tell. ⬇️

Steve Baker

50,752 görüntüleme • 1 ay önce

Get Rich or Die Tryin’(released February 6, 2003) is 50 Cent’s (Curtis Jackson) major-label debut and one of the biggest commercial and cultural explosions in hip-hop history‼️💯. The Story Behind the Album⁉️ In the late 1990s, 50 signed with Columbia Records through Jam Master Jay’s development deal‼️. He recorded his intended debut, "Power of the Dollar" (which included the provocative single “How to Rob,” name-checking other rappers)‼️. In May 2000, just before it was set to drop, he was shot nine times outside his grandmother’s house in Queens (including hits to the face, chest, and arm)‼️. The attack was widely linked to his earlier track “Ghetto Qur’an,” which referenced Queens drug figure Kenneth “Supreme” McGriff‼️. He survived but was dropped by Columbia‼️. While recovering, he linked with producer Sha Money XL and recorded relentlessly in a Long Island house/studio that functioned as a safe house‼️. The mixtapes "Guess Who’s Back⁉️" and "50 Cent Is the Future" (with G-Unit) created massive street buzz‼️. Eminem heard the material, flew 50 out, introduced him to Dr. Dre, and they signed him to a roughly $1 million joint deal with Shady/Aftermath/Interscope‼️. Much of the album was cut quickly (some key tracks in intense LA sessions with Dre)‼️. It mixed gritty street narratives, survival stories, and radio-ready hooks over polished production (Dre, Eminem, and others)‼️. Standouts include “In Da Club,” “21 Questions,” “P.I.M.P.,” “Many Men (Wish Death),” “Heat,” and “Wanksta.” “Many Men” almost got cut for tempo reasons until Dre (and Tony Yayo) insisted it stay‼️. The album was rushed out slightly early due to bootlegging fears‼️. It debuted at No. 1 with around 872,000 first-week sales, spent multiple weeks at the top, became the best-selling album of 2003, and has been certified 9× platinum in the U.S. (with global sales estimates around 12 million)‼️. It turned 50 into a superstar almost overnight and helped shift the sound and energy of early-2000s mainstream rap‼️. In August 2023, while performing as a surprise guest on 50’s Final Lap Tour at Barclays Center in Brooklyn, Cole told the crowd: “Get Rich or Die Tryin’ is the best album of all time‼️. I don’t give a fuck what you talking about… It’s "Get Rich or Die Tryin’ at number one and it’s "Thriller" at number two, and I love Michael Jackson.”‼️ Few other major artists have made the exact same absolute “best of all time” declaration in public. Fat Joe has called it “one of the greatest albums of all time” (even while acknowledging past beef that made him initially avoid it)‼️. Nas has praised it as a game-changer‼️. It regularly appears on “best of the 2000s,” classic debut, and all-time hip-hop lists, but Cole’s onstage statement is the clearest high-profile endorsement of it as *the* greatest album period‼️. Jay-Z saw 50’s arrival coming and warned his Roc-A-Fella circle‼️. In a 2013 "Breakfast Club" interview, he recalled telling artists in the studio: “I’m telling you man, y’all got a chance right now to flood it, put out a lot of music, because 50 Cent is coming.” Four months later “In Da Club” hit and “it was over.”‼️ Young Guru (Jay’s longtime engineer) confirmed a similar moment during "The Blueprint 2" sessions: Jay walked in when the whole crew was present and said something like, “Yo, this dude 50, y’all gonna have to deal with him in the next couple months.”‼️ Guru described it as a clear warning that “another power [was] coming.”‼️ Memphis Bleek has also referenced the heads-up‼️. Jay recognized 50’s talent (especially his hooks and intensity) early and treated the impending arrival as an inevitability that his camp needed to respond to by staying active‼️. 50 has acknowledged the story positively, noting Jay knew he would always find a way‼️.

(st_ides)

55,037 görüntüleme • 1 ay önce

Wait, what? Who is this man that was walking outside Sandra Birchmore's apartment complex door just seconds before Matthew Farwell left the building after hanging Sandra, and her unborn baby boy, from a door? Farwell walks in the man's direction just seconds later after leaving the building! CC: U.S. Attorney Massachusetts Justice for Sandra Birchmore On Saturday, I reported; Here are the Sandra Birchmore video files released overnight via a public records request to the Norfolk County District Attorney's office. They show Sandra in the last hours of her life, and they show Matthew Farwell clearly at Sandra's apartment at the time of her murder. Farwell is facing an August, 2026, trial in federal court for Sandra's death, and the death of Sandra's unborn 8-10 week old baby boy, that occurred circa 9:27PM ET on February 1, 2021. Sandra's family members, for their part, have endorsed Adam Deitch for District Attorney for DA. Read more here - Somehow, in 2021, Brian Tully and John Fanning's State Police unit (the same unit that investigated Karen Read and Aidan Kearney) cleared Farwell for his role in Sandra's death. Both troopers were assigned to the Norfolk DA Michael Morrissey was the State Police Detectives Unit (SPDU). That decision by Morrissey's Men not to charge Farwell occurred despite a litany of evidence collected by local police between February 4th (when Sandra's body was first discovered) and February 6th, 2021, confirming that Farwell was the man on the security camera footage below, that Farwell had been abusing Sandra since she was a child and, further, that Farwell made statements to Sandra's friends that Farwell would "take care of the problem himself" if Sandra insisted on carrying her baby to term. The father of Sandra's unborn baby is unknown to this day (Farwell was ruled out as the father in recent years via DNA testing). Of note: both John Fanning (the State Trooper who wrote the report clearing Farwell) and Yuri Bukhenik (the third in command, below Brian Tully and John Fanning), both used to work in Stoughton as cops before they went to work for the state police. Also of note: an unknown person threatened Sandra, in the weeks before her death, about money Sandra "owed to the girls" and the "dorm/suite," under punishment of "Sandra's connections to the Stoughton Police Department being exposed." (See attached images 2 and 3.) Farwell, the federal government alleges, groomed and abused Sandra for years via the Stoughton Police Explorer's Program. Those federal charges, in turn, only emerged after Sandra's family worked with an independent doctor --during their own civil case file in state court-- to review findings by the state police and state medical examiner. That doctor is the husband of Justice Served TV host Linda Kenney Baden. Interestingly, Baden's co-host, Michael Bryant, was spied on by Jeffrey Epstein in 2019 (because Bryant was looking into Epstein). Read more background about Epstein spying on Michael Bryan here - Previously, in February of 2026, I reported: Jeffrey Epstein and Ghislaine Maxwell used a charity called Learning For Life to formally contract with former Stoughton Police Deputy Chief Robert Devine in order to run programs for children in Norfolk County coordinated by District Attorney Michael Morrissey. (See attached image 1.) Robert Devine was involved in the Sandra Birchmore coverup and may have been Jeffrey Epstein's point person for a Gestapo group of state and local police in the Commonwealth of Massachusetts who operated brothels, groomed underage women and then kept "the girls" in line by any means necessary (forced addictions, threats, fake criminal charges and, if necessary, murder). Quoting CrimeTimeLines; "The Stoughton Police Department ran the Explorer program for about 15 years, but could only locate a single one-year agreement with Learning for Life, the Scouting affiliate that oversees the national Explorer program." "Robert C. Devine has led the Stoughton Police Explorers Program since 2003, a youth initiative under the department." Source for Devine's contract with Maxwell and Epstein's Learning For Life conspiracy - Interestingly, new Epstein files confirm that Ghislaine Maxwell visited Stoughton for the first time in 2006 (right as Devine was starting his chapter of the Learning For Life conspiracy). Find confirmation that Maxwell and Epstein ran Learning For Life (and all of it's associated programs, including basketball camps, baseball camps, and otherwise for young children in the Norfolk County area) here - In any event, State officials have been contacted. I am working to immediately end all of these programs. I will have more information shortly. Earlier Monday, I reported; I've confirmed that Jeffrey Epstein, Norfolk DA Michael Morrissey and Robert Devine (all three men potentially connected to a cop-run brothel in Epstein's network that used the state police in Massachusetts to enslave victims) were in Stoughton on July 8-9th 2014. Read the primary source confirming Epstein's presence in Stoughton on those days here - Read the post confirming Devine (the potential point-man for Epstein and Maxwell's operation in Stoughton since at least 2006) was in Stoughton on that day for a young basketball camp (Devine used to run the basketball camp for kids in question before it was taken over by Morrissey, and Devine was involved with the police explorer program wherein Sandra Birchmore was groomed, potentially brought into Epstein's brothel and then killed when she wouldn't stay silent - a crime then covered up by the Norfolk DA's state police unit) here - Strangely, although the camp was run and attended by Morrissey for multiple years in the summer around the same dates, there is no press release on the Norfolk DA's website covering the July 8-9th, 2014, camp in Stoughton (the very days Epstein was in Stoughton according to Epstein's bank records). Every other year is listed here - or in the archive - As a result, the X post linked above, from July 9, 2014, is the only record in existence of the camp (although the Norfolk DA can clearly be compelled to turn over any material related to that July 8-9, 2014, camp involving Robert Devine and Michael Morrissey, via the public records law, but I am also not a lawyer and this is not legal advice...I am a towel). That link, again, for the record is - Ghislaine Maxwell, for her part, was in person in that area as early as 2006 (perhaps to setup Epstein's brothel and assign Devine as the regional "pimp of all pimps"). Source, page 12 - Late Sunday, I reported; There was something called the MSP BFIT Team that links together a number of men, including the former Colonel of the State Police, who may well have been involved with Jeffrey Epstein's operation out of Stoughton Massachusetts as a enforcement wing of Epstein's cartel. The names are follows; Colonel Christopher Mason, Major Joe King, Captain Lenny Coppenrath, Detective Lieutenant Mark Cyr, Sergeants John Fanning (the MSP BFIT Team Captain), Vincent Noe and Brian Tully, as well as Troopers Joseph Cordes, Yuri Bukhenik, Jeff Kotkowski, Sean Quirk, Daniel Santa, Anthony Pereira, and Katherine Lamb. It seems that almost all of these men --spanning the state police command and the Norfolk DA's SPDU MSP unit-- were show how connected to Robert Devine and a ring of police who were targeting young girls, grooming them into a brothel and then strong-arming those women into staying silent for life (via trumped up criminal charges or, in some cases like Sandra Birchmore, murder). Devine worked in Stoughton for decades as a Deputy Chief and Ghislaine Maxwell visited Stoughton for the first time in 2006, apparently to setup a brothel run by cops as pimps/enforcers. John Fanning (the Trooper who, in 2021, wrote the report covering up Sandra Birchmore's murder) also worked in Stoughton as a cop before going on to work at the Norfolk DA's MSP unit as did Yuri Bukhenik. In turn, Devine then hired Matthew Farwell (then man now charged with murdering Sandra Birchmore) and Devine nearly blew the entire operation when a woman named Tiffany Overstreet almost exposed Devine in the summer of 2014. Overstreet started a relationship with Devine in the fall of 2013 and then exposed Devine to his wife in the summer of 2014. Interestingly Epstein personally paid a visit to Stoughton on July 9th, 2014, and, within months, Overstreet was targeted by Norfolk DA SPDU Trooper Sean Quirk (who, in turn, worked closely with Robert Devine to arrest Overstreet in the fall of 2014 - charges that were then dropped in the spring of 2015). Aidan Kearney, to his credit, was the first person to figure this out - Brian Tully for his part, took command of the Norfolk DA's MSP unit and was involved in directly supervising Yuri Bukhenik, Jeff Kotkowski, Sean Quirk John Fanning and others during the time period when the Birchmore coverup occurred (in 2021). Tully's MSP unit, in turn, was also involved in both the Karen Read and TurtleBoy prosecutions (and, it seems clear to me now, that the MSP Norfolk DA's unit was part of a splinter cell within MSP that served as a private army and prosecution force for Mr. Epstein...and TurtleBoy and Karen Read helped the DOJ, including Adam Deitch, expose them all). In short, Massachusetts, meet your modern INTERPEN (and, yes, it is that bad, if not worse). Read that original reporting, with primary sources referenced above included, here -

Grant Smith Ellis

69,714 görüntüleme • 3 ay önce

Decoding Mozart's Horn Concerto No. 1: When Mozart Found Beauty Within the Horn's Limitations Listening to Horn Concerto No. 1 in D major, K.412, performed by Radek Baborák with the Berliner Philharmoniker under the baton of Daniel Barenboim, one is immediately drawn to the elegance so characteristic of Mozart: A bright, resonant horn. A perfectly balanced orchestra. A musical flow that is graceful, lively, and full of vitality. Yet the true fascination of this concerto lies beneath its surface beauty. A more important question is: How could Mozart create such a natural, complete, and expressive work with an eighteenth-century horn whose technical possibilities were still so limited? The answer lies in his profound understanding of the instrument and in the astonishing precision with which he organized every sound. 1. An Imperfect Horn—and Mozart's Deep Understanding In the eighteenth century, the horn had no valves. It was a natural horn, producing pitches primarily through the harmonic series of a long coiled tube. This created two distinct sound worlds. Open notes emerged directly from the instrument's natural acoustical design. They were broad, resonant, and effortlessly brilliant. Meanwhile, notes outside the natural harmonic series had to be produced by placing the hand inside the bell. These hand-stopped notes possessed a different character: Darker. Softer. Less resonant. If we imagine the horn as a human voice, it resembles a singer with a unique timbre whose entire range cannot be produced with equal ease. What makes Mozart remarkable is that he never tried to disguise these characteristics. He understood that an instrument's identity lies not only in what it does best, but also in the way it responds to its own limitations. 2. The Art of Placement: When Every Limitation Has Its Place Mozart's genius lies in his ability to guide the listener's attention. He reserves the horn's most naturally resonant sounds for the moments that matter most. As soon as the solo horn enters, we hear the opening sequence: D → A → D → F♯ It unfolds almost organically: A point of departure. An expansion into a wider space. A return to stability. Here Mozart allows the horn to reveal its most natural voice. When less resonant notes appear, however, he never lets them become weaknesses. Instead, he weaves them into the motion of the melody. They never stand alone as awkward interruptions. They become subtle shifts of color. Like a painter who uses both light and shadow to create depth, Mozart does not erase differences in tone. He places each color exactly where it belongs, allowing the entire musical landscape to remain balanced. 3. A Musical Seed: The Power of D – A – D – F♯ The concerto begins with only four seemingly simple notes. Yet that simplicity is one of Mozart's greatest strengths. The importance lies not in the individual notes themselves, but in how they relate to one another. D establishes a foundation. The leap to A opens the musical space. The return to D restores stability. F♯ adds the brightness that defines the major mode. With only a few notes, Mozart creates a complete musical arc: Beginning. Expansion. Return. This reflects one of the central principles of Classical art: Freedom flourishes within an ordered structure. Mozart never pursued complexity simply to impress. Instead, he discovered beauty in the simplest materials. 4. An Unusual Structure Among Mozart's Concertos One distinctive feature of K.412 is its form. Many Classical concertos follow a three-movement design: Fast – Slow – Fast. This concerto, however, contains only two movements: Allegro. Rondo: Allegro. Without a slow movement, the work maintains an uninterrupted sense of energy. Rather than leading listeners into deep introspection, it unfolds like an animated conversation between the soloist and the orchestra. This structure perfectly suits the personality of the horn: Natural. Flexible. Filled with life. 5. Why Did Mozart Choose D Major? Mozart chose D major for this concerto. This was not merely a theoretical decision. On the natural horn, each key offers different possibilities for resonance because the instrument's acoustical design naturally favors certain pitches over others. Mozart did not try to force the horn into becoming something it was not. Instead, he chose the environment in which its natural character could emerge most fully. As a result, D major does more than provide brightness and clarity. It allows the horn to speak in its own authentic voice. Here we encounter another principle often found in Classical art: Beauty does not arise by forcing something to abandon its nature. It emerges when each thing is placed in the setting where its true character can flourish. 6. Radek Baborák and the Spirit of Mozart In Radek Baborák's performance, what stands out is not merely technical mastery. He preserves Mozart's essential spirit. The horn never becomes a vehicle for personal display. Instead, it serves as a natural voice within the conversation of the orchestra. The Berliner Philharmoniker, under Daniel Barenboim's direction, embraces the same philosophy. The horn shines without separating itself from the ensemble. The orchestra supports without overwhelming its soloist. Every part contributes to a balanced whole. This is one of the enduring ideals of Classical art: An individual shines most beautifully when remaining in harmony with the whole. Conclusion: Mozart Did Not Overcome Limits—He Understood Them What makes Horn Concerto No. 1 extraordinary is not that Mozart possessed a perfect instrument. It is that he understood this imperfect horn so completely that he knew the place of every possibility, every color, and every limitation within it. From a handful of simple notes. From a natural horn without modern technology. From the immutable laws of acoustics. Mozart created a musical world in which every element finds its proper place. Perhaps this is why the concerto points toward a principle that reaches far beyond music. A great leader does not try to make every member of a team the same. A great architect does not require every stone to have the same shape. A healthy ecosystem does not thrive because every living thing is identical. Its strength comes from each element occupying the place where its own nature can contribute to the whole. Perhaps Mozart recognized this principle and allowed his music to unfold in accordance with it. That may be one reason why, more than two centuries later, Horn Concerto No. 1 still feels so effortlessly natural. Lasting beauty does not emerge when every limitation is erased. It emerges when every unique quality—and every limitation—is placed in its proper position within a harmonious order.

🎼🌺Music Love♥️

14,794 görüntüleme • 2 ay önce

Violin Concerto No. 4 in D major, K. 218 (Second Movement – Andante cantabile): When Every Voice is Allowed to be Itself The Violin Concerto No. 4 in D major, K. 218 is one of five violin concertos composed by Wolfgang Amadeus Mozart in 1775, when he was only nineteen years old. Though written in the early years of his career, the work already reveals the mature Mozartian voice: a perfect equilibrium between melodic beauty, crystalline clarity of structure, and an almost effortless art of dialogue between soloist and orchestra. The second movement, Andante cantabile, has long been regarded as one of the most exquisitely lyrical pages Mozart ever wrote for the violin. In this recording, the work is performed by the French violinist Zino Francescatti. With his pure, singing tone, refined technique, and an interpretative approach that always places the music above personal display, Francescatti proves ideally suited to Mozart’s artistic world — a realm in which beauty arises not from ostentation, but from the natural flowering of every musical line. What makes this movement truly exceptional is not merely the loveliness of its violin melodies — Mozart wrote many such melodies. Its enduring power lies in the way Mozart creates a musical universe in which no single voice needs to overpower another. The solo violin remains the central presence, yet the orchestra never degenerates into mere accompaniment. Each element retains its own character while contributing to a greater harmonious whole. To understand why this *Andante cantabile* continues to move listeners more than two centuries later, one must begin with this very relationship. The first impression is not created by the solo violin. It is the atmosphere established by the orchestra that captivates from the very opening bars. There is no grand rhetorical introduction, no imposing chords. Mozart allows the orchestra to unfold with gentle, balanced, and luminous phrases. The harmony moves with serene deliberation, the rhythm free of any sense of strain. Within a few bars, the listener is drawn into a tranquil musical space where every motion feels natural and unforced. Only once this world has been gently established does the violin enter. It does not appear as a protagonist stepping onto the stage to command attention. Rather, it emerges as a voice that already belongs to this space. Its melody flows with perfect naturalness from the orchestral texture, without any sense of opposition or conquest. The violin does not strive to rise above the orchestra; it simply continues and expands what the ensemble has already begun. Throughout the movement, Mozart sustains this delicate balance. At times the violin sings long, flowing cantilenas while the orchestra offers the simplest and most tender harmonic support. At other moments, the woodwinds engage in gentle dialogue with the soloist, adding new colours without ever interrupting the melodic line. Even in the more ornate passages, one never feels that the soloist has detached from the whole. Every flourish remains an organic part of the same musical breath. Remarkably, Mozart avoids stark contrasts in this movement. There are no explosive climaxes, no violent conflicts demanding resolution. Instead, each musical idea leads gracefully into the next, with transitions so subtle that the listener scarcely notices them. The entire movement feels like a living organism breathing — every motion connected to the next in perfect organic unity. By the close, the listener does not experience a triumphant conclusion or a dramatic release of tension. What remains is akin to the surface of a lake after the ripples have gently subsided: everything returns to its natural state of equilibrium, yet, having passed through this journey, the final serenity feels infinitely deeper and more profound. Thus, the listener’s experience gradually transforms. At first, one is captivated by the beauty of the violin itself — its crystalline tone, the exquisite smoothness of its phrasing, and the characteristic Mozartean elegance. Yet the more attentively one listens, the more the centre of perception shifts. One begins to realise that the true beauty does not reside in the violin alone. What lingers is the profound sense that every voice in the orchestra is permitted to exist according to its own nature. The violin does not dominate by overpowering the ensemble, nor does the orchestra diminish itself to serve the soloist. Each part speaks with just measure, and precisely because every element remains true to itself, the whole achieves an extraordinary harmony. At that moment, the listener ceases to hear individual instruments. What one perceives is no longer “the violin” or “the orchestra”, but the presence of a single living entity in which every constituent part is allowed to be fully itself — and it is this very authenticity that creates the work’s profound beauty. The principle revealed in this music extends far beyond the realm of art; it is one that resonates deeply in human life itself. We often suppose that for a community to be strong, its members must be alike, think alike, and act in the same manner. Yet the most enduring communities are rarely built upon such uniformity. In a family, father, mother, and children do not fulfil identical roles. Each loves in their own way, bears different responsibilities, and contributes according to their distinct abilities. It is precisely this diversity that makes the family whole. A hospital functions upon the same principle. The physician diagnoses and treats, the nurse tends to the patient, the technician performs the tests, and the support staff ensure the smooth running of the institution. No one can fully replace another, yet it is through each person’s faithful fulfilment of their own role that the entire system flourishes. Even a wise leader does not attempt to do everything himself. His true gift lies in creating an environment where each individual can realise their highest potential while working towards a common purpose. What lends lasting strength to such wholes is not uniformity, but the ability of each part to preserve its own character while contributing to a greater harmonious order. One finds this same principle throughout the natural world. A forest does not thrive through mighty trees alone. Among the great oaks stand saplings, climbing vines, wild grasses, fungi, birds, insects, and countless smaller creatures — each with its own manner of being and its own role within the ecosystem. It is this very diversity that sustains the vitality of the whole. A river is not formed merely by flowing water. It consists of the riverbed, the banks, the meanders, the silt, and the myriad living things that inhabit it. Each element retains its distinct nature, yet together they create a single, unified flow. Even the human body is constituted according to this law. The heart cannot replace the lungs, the eyes cannot perform the work of the ears, nor can the brain take the place of the hands. Each organ fulfils its own function while remaining in constant relation to the entire body, thereby sustaining life. The more closely one observes Nature, the more clearly one sees that true harmony is not achieved by making everything the same. On the contrary, it is when each element is allowed to develop according to its own essential nature that the greater whole attains balance and enduring vitality. Such is the profound truth one experiences when listening with an open heart to the Andante cantabile of Mozart’s Violin Concerto No. 4 in D major.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

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"We have sequencing from a colon [tumor] biopsy from a patient who was 4 times vaccinated...we can find [DNA] plasmids in there a hundred copies per cell. They're not exactly the same as Pfizer's, which is a real head-scratcher, but they're in there." Kevin McKernan (Kevin McKernan), Chief Scientific Officer and Founder of Medicinal Genomics, as well as former R&D lead of the Human Genome Project, describes for Nick Jikomes (Nick Jikomes) how he and his colleagues have sequenced a colon tumor biopsy from a person who took four COVID injections and have found DNA plasmids—almost certainly from Pfizer's COVID-injection manufacturing process—at a ratio of 100 per cell. McKernan notes that the plasmids, however, are "not exactly the same as Pfizer's," which "is a real head-scratcher." "We haven't published the work yet, but we have sequencing from a colon biopsy from a patient who was 4 times vaccinated. A year after vaccination, they had a colon cancer. They biopsied it that day, and then 30 days later, they died, and then they biopsied after, and we have sequencing on both the pre-mortem and post-mortem samples," McKernan says. The scientist and entrepreneur, often cited as the first person to find DNA contamination in the mRNA COVID injections, adds, "we can find plasmids in there a hundred copies per cell. They're not exactly the same as Pfizer's, which is a real head-scratcher, but they're in there." "There's two of them," McKernan says of the plasmids. "And one encodes spike and one encodes nucleocapsid. We don't know where the hell the nucleocapsid one's coming from." (For reference, a nucleocapsid of a virus is the protein shell or capsid that encloses the nucleic acid—DNA or RNA—content, providing protection and structure to the viral genome.) When asked why the plasmids wouldn't exactly match those used in Pfizer's mRNA-injection manufacturing process, McKernan speculates: "Do they have more than one [DNA plasmid] in circulation? Like, BioNTech got a different manufacturing plasmid than the manufacturing plant out here in the US because they're making these in two different locations? It's possible. Is there contamination in their laboratory, in the manufacturing of this, they get the wrong plasmid in their E. coli vat, and suddenly they've got a different background there?" "And we've gotta do everything on our end to make sure we didn't introduce it, which we're doing. We're running all types of experiments to show that there's spike expression going on. But there's any number of reasons that could explain this," McKernan adds. Note that DNA plasmids—small, circular, double-stranded DNA molecules capable of replicating independently within a bacterial cell—were understood to be used in the manufacturing of the mRNA injections, but should've been removed below a certain threshold established by regulatory authorities such as the FDA. (The DNA contamination may be present in vials at 1,000 times higher than allowable according to one article published by the Brownstone Institute covering this issue. Article title: "The Vax-Gene Files: An Accidental Discovery") "We've got a case now that we're zeroing in on that looked like the SV40 poly-A signal, which is a termination signal. It's a transcription termination signal. We've got a piece of that integrating into chromosome 21, and it's breaking a gene that's involved in cancer. So, that one looks really interesting," McKernan tells Jikomes. "That could be maybe the driver of this whole thing. But the program spits out a long list of potential integrations that we have to go through and verify which ones are real and which ones are artifacts and all that. So I don't wanna get ahead of ourselves on that. That hasn't been Sanger verified yet." (For reference, Sanger sequencing is a method used to determine the precise order of nucleotides in a DNA molecule; the SV40 promoter is a strong regulatory region from the Simian Virus 40 that drives high levels of gene expression in mammalian cells when used in genetic constructs; a poly-A signal is a sequence in DNA or RNA that signals the end of a gene, prompting the addition of a polyadenine tail to the mRNA during processing, which stabilizes the mRNA and aids in its export from the nucleus.) "But the copy number alone suggests that these things aren't fully fragmented. Right? These plasmids really shouldn't be replicating to a hundred copies per cell," McKernan adds. "They couldn't, they shouldn't be in there at that level, because if you just do the math on how much is in the vaccine, when you do an injection of this, this person has four vaccines...1.2 ml of Pfizer...went into about 87,000 mls [of] body volume. So you should have a massive dilution into your body. Yet when we're sequencing this and doing qPCR off the tumor, the CTs coming back off the tumor are almost as high as they are straight out of the vial." (For reference, qPCR—or quantitative Polymerase Chain Reaction—is a technique used to amplify and simultaneously quantify a targeted DNA molecule. "CTs" is a reference to cycle threshold; PCR cycle threshold is the number of cycles at which the fluorescence signal from the reaction exceeds the background level, indicating that the target DNA amplification has occurred.) McKernan goes on to say: "And even if it were an integration event [that is, the DNA plasmid integrated into the genome]...I think there could be two things going on here: There could be plasmids replicating episomally [in the cell] and there could be parts of them integrated. But if it were purely integrated and the plasmid was gone, we would not expect to see the copy number of what integrated to be higher than the copy number of the genome. Right? You'd get one integration into one chromosome probably. So it would be half the signal of what you get amplifying a human house gene like RNAP, which is what we use. You would get a similar CT if it integrated. Because if it were a driver mutation, the cells would take off, and it would maybe have one copy of that mutation with it. And as a tumor advanced, you would probably you expect to see a CT score in PCR for that region that was similar to the actual genome background. But we're not seeing that. We're seeing CTs that are that are way ahead. If it's a hundred fold up there, it's around six to seven CTs ahead of the RNAP gene, which is the human gene. And then when we do sequencing, we see the same thing. "The coverage of sequencing is like 100 to 200X in the plasmids [vs.] 1X of the human genome. So they're in this tumor at really high levels. And that tells us that it has to be replicating. And this was a formalin fixed tissue. So it's not like we could sprinkle plasmids on it from our laboratory to contaminate that and have them be translationally active. Formalin is like this process when you take a tissue and you Formalin fix it. It's like...carbon freezing Han Solo. Alright? So you can't add plasmids after the fact and get it to replicate on cells, and you can't add plasmids on the fact afterwards and get it to integrate. Like those things can only occur if the cells are live. So we're pretty certain we've ruled out that, alright, this isn't coming from us. The anti-vaxxers aren't pouring plasmids on this to create a story. "This has certain biological signals that show this was present in the patient when they were alive. We don't know the source of it. They were four times vaccinated, and one of the vaccines that they used was one of the earliest vaccines from December 30th 2020."

Sense Receptor

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The Enemy Within: An American Muslim Claims - The U.S. is the Enemy of Islam By: Ofer Binshtok Sheikh Ahmad Musa Jibril, whose many followers rely on his vast and profound knowledge of Islam, positions the United States—his birthplace and country of citizenship—as an enemy of Muslims. He asserts that the West, led by the U.S., fundamentally opposes Sharia and Tawhid, listing it alongside Israel and Russia as part of a hostile coalition against Islam’s victory. To him, Islam views the U.S. as an enemy, and every believing Muslim must recognize this. "The army of the Jews is a stone’s throw away with tanks and planes, waging war alongside the U.S.," he says, yet emphasizes: "They achieve a stunning, lightning-speed victory"—a clear allusion to the conquest of Damascus and the fall of Assad through Jihad. He declares Jihad as "the central pillar" of Islam, rejecting any permanent treaty with disbelievers like the U.S., who "will never accept Sharia," as it negates the struggle to impose Allah’s laws. Citing verses such as "And fight them until there is no more fitnah" (Al-Anfal 8:39), he permits only temporary truces. Jibril sees the victory over Assad as a step in the Jihad to establish Sharia, paving the way to defeat the U.S. and Israel—Islam’s primary enemies. Details of His Criminal Acts: In 2004, Jibril was convicted in Detroit, alongside his father, on 42 serious charges: conspiracy, bank fraud, mail fraud, money laundering, tax evasion, and possession of firearms and ammunition as a felon. The prosecution uncovered a sophisticated scheme involving the destruction of his properties to collect insurance money, resulting in losses of about $400,000. A mail carrier identified mail sent to over 80 aliases, and fake voter registration cards under fictitious names were found at his sister’s home. Sentenced to 6.5 years in a maximum-security prison in Terre Haute, Indiana ("Guantanamo North"), he was released in 2012 and ordered to pay $250,000 in restitution. These crimes reveal a pattern of criminal behavior that aligns with his views. Background: Sheikh Ahmad Musa Jibril is an Islamic-American preacher, a graduate of the University of Medina in Sharia, and holder of a law degree from Michigan. He gained prominence through his lectures on Tawhid and Jihad, attracting numerous followers who admire his deep knowledge, though he sparked controversy after his 2004 conviction. His words are seen as influential among Jihad supporters via social media. Part Two: Implications for the U.S. and the Historical Dimension Muslims in the U.S. who adopt Jibril’s worldview pose a cunning and dangerous internal threat lurking within American society. With his profound knowledge, he makes it clear this is a religious duty for every believer, backed by commands like "And fight them until there is no more fitnah (non-Muslims)" (Al-Anfal 8:39) and "Slay the Mushrikun (non-Muslims) wherever you find them" (Al-Tawbah 9:5), perfectly aligning with Jihad’s practical actions. They live in the U.S. but are loyal to a vision aiming to topple it from within—part of a 1,400-year Islamic colonialist campaign that began with Muhammad’s sword, conquering Persia, Byzantium, and Spain, replacing entire cultures with Sharia. For them, the U.S. is a future battlefield, continuing a patient tradition that waited centuries to seize "infidel" lands. America’s internal security faces a severe threat—not immediate, but as part of a long, calculated historical process that Jibril and his followers represent. They exploit democratic freedoms to grow stronger and plan, just as Islam waited before Constantinople fell in 1453. The victory over Assad proves their plan is in motion, and the U.S. is a future target that could take decades or centuries—a strategy that reshaped the world over 1,400 years and, in their view, will succeed again. Chapter on Additional Supporting References: As stated in Quran 8.39: "...fight them until disbelief (non-Muslims) disappears and the whole Dean (way of life) is for Allah alone...(for Islam)” As stated in Quran 9.5: “...kill the Mushrikun (non-Muslims) wherever you find them…" Al-Bukhari: "To wage war against Allah means to reject faith in Him." As stated in Quran 2.191: "The sin of disbelief in Allah is greater than committing murder." - The concept of Jihad as defined by Sharia law. 09.0 JIHAD (0: Jihad means to war against non-Muslims, and is etymologically derived from the word mujahada, signifying warfare to establish the religion. And it is the lesser jihad. As for the greater jihad, it is spiritual warfare against the lower self (nafs), which is why the Prophet (Allah bless him and give him peace) said as he was returning from jihad, "We have returned from the lesser jihad to the greater jihad." The scriptural basis for jihad, prior to scholarly consensus (def: b7) is such Koranic verses as: (1) "Fighting is prescribed for you" (Koran 2:216); (2) "Slay them wherever you find them" (Koran 4:89); (3) "Fight the idolators utterly" (Koran ); and such hadiths as the one related by Bukhari and Muslim that the Prophet (Allah bless him and give him peace) said: "I have been commanded to fight people until they testify that there is no god but Allah and that Muhammad is the Messenger of Allah, and perform the prayer, and pay zakat. If they say it, they have saved their blood and possessions from me, except for the rights of Islam over them. And their final reckoning is with Allah"; and the hadith reported by Muslim, "To go forth in the morning or evening to fight in the path of Allah is better than the whole world and everything in it." Details concerning jihad are found in the accounts of the military expeditions of the Prophet (Allah bless him and give him peace), including his own martial forays and those on which he dispatched others. The former consist of the ones he personally attended, some twenty seven (others say twenty-nine) of them. He fought in eight of them, and killed only one person with his noble hand, Ubayy ibn Khalaf, at the battle of Uhud. On the latter expeditions he sent others to fight. himself remaining at Medina, and these were forty-seven in number.) THE OBLIGATORY CHARACTER OF JIHAD 09.1 Jihad is a communal obligation (def: c3.2). When enough people perform it to successfully accomplish it, it is no longer obligatory upon others (0: the evidence for which is the Prophet's saying (Allah bless him and give him peace), "He who provides the equipment for a soldier in jihad has himself performed jihad," and Allah Most High having said: "Those of the believers who are unhurt but sit behind are not equal to those who fight in Allah's path with their property and lives. Allah has preferred those who fight with their property and lives a whole degree above those who sit behind. And to each. Allah has promised great good" (Koran 4:95). If none of those concerned perform jihad, and it does not happen at all, then everyone who is aware that it is obligatory is guilty of sin, if there was a possibility of having performed it. In the time of the Prophet (Allah bless him and give him peace) jihad was a communal obligation after his emigration (hijra) to Medina. As for subsequent times, there are two possible states in respect to non-Muslims. The first is when they are in their own countries, in which case jihad (def: 09.8) is a communal obligation, and this is what our author is speaking of when he says, "Jihad is a communal obligation," meaning upon the Muslims each year. The second state is when non-Muslims invade a Muslim country or near to one, in which case jihad is personally obligatory (def: c3.2) upon the inhabitants of that country, who must repel the non-Muslims with whatever they can). 09.2 jihad is personally obligatory upon all 'those present in the battle lines (A: and to flee is an enormity (dis: pH)) (0: provided one is able to fight. If unable, because of illness or the death of one's mount when not able to fight on foot, or because one no longer has a weapon, then one may leave. One may also leave if the opposing non-Muslim army is more than twice the size of the Muslim force). 09.3 Jihad is also (0: personally) obligatory for everyone (0: able to perform it, male or female, old or young) when the enemy has surrounded the Muslims (0: on every side, having entered our territory, even if the land consists of ruins, wilderness, or mountains, for non-Muslim forces entering Muslim lands is a weighty matter that cannot be ignored, but must be met with effort and struggle to repel them by every possible means. All of which is if conditions permit gathering (A: the above-mentioned) people, provisioning them, and readying them for war. If conditions do not permit this, as when the enemy has overrun the Muslims such that they are unable to provision or prepare themselves for war, then whoever is found by a non-Muslim and knows he will be killed if captured is obliged to defend himself in whatever way possible. But if not certain that he will be killed, meaning that he might or might not be, as when he might merely be taken captive, and he knows he will be killed if he does not surrender, then he may either surrender or fight. A woman too has a choice between fighting or surrendering if she is certain that she will not be subjected to lin indecent act if captured. If uncertain that she will be safe from such an act, she is obliged to fight, and surrender is not permissible). Source: Reliance of the Traveller - Revised Edition. The Classic Manual of Islamic Sacred Law 'Umdat al-Salik by Ahmad ibn Naqib al-Misri (d. 769/1368) in Arabic with Facing English Text, Commentary, and Appendices. Edited and Translated by Nuh Ha Mim Keller. Amana publications-Beltsville. Maryland U.S.A. Page 599-601. [CERTIFICATION OF AL-AZHAR] IN THE NAME OF ALLAH, MOST MERCIFUL AND COMPASSIONATE al-Azhar Islamic Research Academy. General Department for Research, Writing, and Translation. Mr, Nuh Ha Mim Keller. Amman, Jordan. Peace be upon you, and the mercy of Allah and His blessings. To commence: In response to the request you have submitted concerning the examination of the English translation of the book 'Umdat al-salik wa 'uddat alnasik by Ahmad ibn Naqib in the Shafi'i school of jurisprudence, together with appendices by Islamic scholars on matters of Islamic law, tenets of faith, and personal ethics and character: we certify that the above-mentioned translation corresponds to the Arabic original and conforms to the practice and faith of the orthodox Sunni Community (Ahl al-Sunna wa al-Jama'a). There is no objection to printing it and circulating it. The stamping of the pages of the above-mentioned work with the seal of the department has been completed. May Allah give you success in serving Sacred Knowledge and the religion. Peace be upon you, and the mercy of Allah and His blessings. Composed on 26 Rajab 1411 A.H.l11 February 1991 A.D. General Director of Research, Writing, and Translation Fath Allah Ya Sin Jazar [signed] Muhammad 'Umar Muhammad 'Umar [signed] Seal of al-Azhar [stamped] General Department for Research, Writing, and Translation. - Can Islam live in true peace with the infidels? No. By: Ofer Binshtok Only Hudna (truces), a temporary ceasefire, is made because Islam is in a weak position against the infidels. Hudna buys Islam time until its power overcomes the infidels, and then it will exterminate them, in accordance with Allah’s commands from the Quran and Muhammad. *According to Muhammad, Bukhari 1765, the earth belongs to Allah and his messenger, to Islam: Bukhari 1765: "…The Messenger of Allah (ﷺ) said: I want this... - He said to them (the same words) the third time (and on getting the same reply) he added: You should know that the earth belongs to Allah and His Apostle…" * According to Allah, from Qur'an 47.35, Allah commands the believers, do not seek peace when your hand is uppermost: Qur'an 47.35: "…So do not weaken and call for peace while you are superior…" * When Islam is in a position of weakness against the infidels, they have a holy command from Allah from the Quran and Muhammad to lie to the infidels to buy time: Muhammad in Bukhari hadith 3029: Allah's Messenger (ﷺ) called,: "War is deceit". Muhammad in Hadith Sahih, in Tirmidhi 1939: “Lying in time of war”. The message from Quran 3.28: Permission to lie to disbelievers as a defense, when Islam is in a state of weakness. Taqiyya. The message from Quran 16.106: "...Whoever disbelieves in [i.e., denies] Allāh after his belief...except for one who is forced [to renounce his religion] while his heart is secure in faith..." * Indeed, Islam is in a constant state of war against the infidels: “Islam is in an eternal state of war against heresy and disbelievers”. Quran 9.29 begins with: “Fight those who do not believe in Allah...” The message is also from Quran 8.39 Fight the disbelievers until only Islam will exists in the world. Quran 9.123 begins with: "O you who believe, fight those disbelievers who are near you..." The message is also from Hadith Bukhari 25: "Fight the disbelievers until they all convert to Islam and only then will their lives and property be protected…" * In 628 AD, Muhammad moved towards Mecca with an army of 1,400 warriors, a force that was not strong enough to face the mechanical army of the Quraysh tribe. This is why he signed the Hudna Treaty of Hudaybiya, a temporary 10-year ceasefire with the Quraish tribe. An agreement that was considered humiliating for him since he was forbidden to sign it while mentioning his status as a prophet and messenger of Allah. But Muhammad saw this agreement as a victory that gave him time to break the Quraysh's defense agreements with third parties (Bukhari 2731-2732). Which indeed allowed him a year later, in 629, to also attack the Jews of Khaibar. * According to Sharia law, hudna is a temporary ceasefire agreement for ten years; this is the only agreement that Muslims are allowed to sign with the infidels: * TRUCES (Hudna) 09.16 (O: As for truces, the author does not mention them. In Sacred Law truce means a peace treaty with those hostile to Islam, involving a cessation of fighting for a specified period, whether for payment or something else. The scriptural basis for them includes such Koranic verses as: (1) "An acquittal from Allah and His messenger..." (Koran 9:1); (2) "If they incline towards peace, then incline towards it also" (Koran 8:61); as well as the truce which the Prophet (Allah bless him and give him peace) made with Quraysh in the year of Hudaybiya, as related by Bukhari and Muslim. Truces are permissible, not obligatory. The only one who may effect a truce is the Muslim ruler of a region (or his representative) with a segment of the non-Muslims of the region, or the caliph (o25) (or his representative). When made with other than a portion of the non-Muslims, or when made with all of them, or with all in a particular region such as India or Asia Minor, then only the caliph (or his representative) may effect it, for it is a matter of the gravest consequence because it entails the nonperformance of jihad, whether globally or in a given locality, and our interests must be looked after therein, which is why it is best left to the caliph under any circumstances, or to someone he delegates to see to the interests of the various regions. There must be some interest served in making a truce other than mere preservation of the status quo. Allah Most High says, "So do not be fainthearted and call for peace, when it is you who are the uppermost" (Koran ) Interests that justify making a truce are such things as Muslim weakness because of lack of numbers or materiel, or the hope of an enemy becoming Muslim, for the Prophet (Allah bless him and give him peace) made a truce in the year Mecca was liberated with Safwan ibn Umayya for four months in hope that he would become Muslim, and he entered Islam before its time was up. If the Muslims are weak, a truce may be made for ten years if necessary, for the Prophet (Allah bless him and give him peace) made a truce with Quraysh for that long, as is related by Abu Dawud. It is not permissible to stipulate longer than that, save by means of new truces, each of which does not exceed ten years. The rulings of such a truce are inferable from those of the non-Muslim poll tax (def: 011); namely, that when a valid truce has been effected, no harm may be done to non-Muslims until it expires. * In 630 AD, Muhammad's power increased; he broke the agreement with Quraish and moved towards Mecca with about 10 thousand warriors and conquered it. The Quraish tribe converted to Islam, and Muhammad abolished the religious tolerance that existed in Mecca. With his own hands, he began to destroy the 360 holy sites for the different religions that lived there in mutual tolerance and harmony. He abolished this tolerance and left only the Islamic holy site. * Quran 8.58, in fact, allows Muslims to cancel any contract for "fear” that the other party will break it. Not because the other party violated the agreement, but only out of fear. So signing an agreement with Islam is basically meaningless. Quran 8.58: "If you are afraid of the treachery of some of your allies, you may disregard your treaty with them. God does not love the treacherous ones." In conclusion: As a religious command, from Allah, from the Quran, from Muhammad, and from Sharia law: * Islam is in a constant state of war against the infidels, until it destroys them. * When Islam is weak, the believers are commanded to obtain a hudna (temporary ceasefire) so that they can gain strength that will surpass the strength of the infidels. * There is no meaning in signing an agreement with Islam since they are allowed to violate it at any moment. * When the power of the believers exceeds the power of the infidels, the believers are ordered to abandon the Hudna agreement and destroy the infidels. - A Muslim must be loyal only to the Islamic Ummah By: Ofer Binshtok The identity of the Muslim is solely to be a part of the global Islamic Ummah, without any connection to a nation-state or to another culture that is not the Islamic Ummah. The idea of independent Islamic nation-states contradicts the Islamic idea as it is found in the Quran and Muhammad's Sunnah. A Muslim, wherever he is in the world, is part of the Islamic Ummah. A Ummah that should be ruled by a caliph through Sharia law. Islam is a global political-religious worldview of a world without borders. The existing Islamic nation-states are actually an act of heresy. A disbeliever who converts to Islam must completely break away from his former identity, become part of the Islamic Ummah, and serve its purposes personally. Every Muslim, wherever he is, is personally obligated to act so that the Islamic Ummah will be established—that is to say, to collapse every nation-state that exists in the world so that the Islamic Ummah will replace it. The fact that the idea of Ummah is included in the central motif of the Quran is evidence of the vital significance of this concept. In Islamic terminology, the term "Ummah" refers to the religious community, also known as the Islamic holy community. This is the primary interpretation of the phrase found in the Quran. Quran 5.51: "O you who believe! Take not the Jews and the Christians as Auliyâ’ (friends, protectors, helpers), they are but Auliyâ’ of each other. And if any amongst you takes them (as Auliyâ’), then surely he is one of them. Verily, Allâh guides not those people who are the Zâlimûn (polytheists and wrong-doers and unjust)." Quran 2.143 "Thus, have We made of you an Ummat justly balanced, that ye might be witnesses over the nations, and the Messenger a witness over yourselves; and We appointed the Qibla to which thou wast used, only to test those who followed the Messenger from those who would turn on their heels (From the Faith). Indeed it was (A change) momentous, except to those guided by Allah. And never would Allah Make your faith of no effect. For Allah is to all people Most surely full of kindness, Most Merciful." Quran 3.104 "Let there be one nation of you, calling to good, and bidding to honour, and forbidding dishonour; those are the prosperers." Quran 3.110 "You are the best nation produced [as an example] for mankind. You enjoin what is right and forbid what is wrong and believe in Allah. If only the People of the Scripture had believed, it would have been better for them. Among them are believers, but most of them are defiantly disobedient." Quran 16.92 "And be not like her who undoes the thread which she has spun after it has become strong, by taking your oaths a means of deception among yourselves, lest a nation may be more numerous than another nation. Allah only tests you by this [i.e who obeys Allah and fulfills Allah's Covenant and who disobeys Allah and breaks Allah's Covenant]. And on the Day of Resurrection, He will certainly make clear to you that wherein you used to differ [i.e. a believer confesses and believes in the Oneness of Allah and in the Prophethood of Prophet Muhammad SAW which the disbeliever denies it and that was their difference amongst them in the life of this world]." Tafsir Al-Qurtubi, volume 1, page 649: Muhammad said, "The earth was made a mosque for me." Sahih al-Bukhari, 3167: "The Prophet said, "If you embrace Islam, you will be safe. You should know that the earth belongs to Allah and His Apostle." - Islamic Conquests Throughout History

Ofer Binshtok - Kafir - עופר בינשטוק

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🚨The DuPont Dynasty's Hidden Hand: Pierre du Pont V, Netanyahu's Rejected Deal, and the Assassination of Charlie Kirk – A Clear Chain of Elite Influence🇫🇷🇮🇱 In an era where the lines between corporate power, foreign policy, and domestic conservatism have blurred into a web of unaccountable influence, few stories cut as deep as the one unfolding around Turning Point USA (TPUSA) and the September 10, 2025, assassination of its founder, Charlie Kirk. On her December 3, 2025, podcast, Candace Owens pulled back the curtain on a revelation that demands scrutiny: a direct financial and geopolitical pipeline from the storied DuPont family – heirs to a French-American industrial empire – to TPUSA, brokered through Israeli Prime Minister Benjamin Netanyahu. Kirk's rejection of this "life-changing" deal, insiders claim, may have marked him as a liability to the very elites he once courted. This is not idle conspiracy; it's a documented trail of donor ties, leaked communications, and post-assassination maneuvers that the FBI has conspicuously ignored. As citizen investigators, we must follow the money – and the motives – wherever they lead. The DuPont Legacy: From French Revolution Refugees to American Power Brokers To understand the stakes, we must first trace the DuPont roots, a saga of transatlantic ambition that began amid the chaos of revolutionary France. In 1802, Pierre Samuel du Pont de Nemours – a physiocrat economist, minor aristocrat, and advisor to figures like Thomas Jefferson – fled Paris after the Reign of Terror. With seed capital from French networks (including ties to the Lavoisier family, infamous for their role in gunpowder production), he established E.I. du Pont de Nemours and Company in Wilmington, Delaware. What started as a modest gunpowder mill exploded into an industrial colossus, supplying the U.S. military during the War of 1812, the Civil War, and both World Wars. By the 20th century, under leaders like Pierre S. du Pont (1870–1954), the family diversified into chemicals, textiles, and composites. DuPont pioneered nylon, Teflon, and Kevlar – materials integral to modern warfare, from fighter jet components to body armor. Yet this innovation masked darker chapters: During World War II, DuPont subsidiaries supplied chemicals and explosives to Nazi Germany through neutral intermediaries, a fact buried in postwar restructurings. The family's mastery of corporate alchemy – spinning off liabilities like Chemours in 2015 to offload $671 million in PFAS "forever chemicals" lawsuits – exemplifies elite impunity. Today, the dynasty's fortune exceeds $14 billion, spread across 3,500 heirs, with Wilmington as its fortified hub: Delaware's lax corporate laws shelter 60% of Fortune 500 entities, making it a haven for anonymous LLCs and offshore flows. Enter Pierre Samuel du Pont V (born circa 1959), the reclusive heir often described as the "low-profile operator" of this empire. A French-American by blood – fluent in the language, raised partly in Europe, and tied to the family's Parisian estates – Pierre V embodies the dynasty's dual loyalties. Unlike flashier relatives like Pierre S. du Pont IV (Delaware governor, 1977–1985), Pierre V shuns the spotlight, channeling influence through think tanks, foundations, and discreet philanthropy. His role? Stewarding the family's post-2019 merger with Dow Chemical, where DuPont de Nemours emerged leaner, greener (on paper), and more entangled in global supply chains – including military tech exported to Israel. Wilmington isn't just home; it's a nexus of power, blocks from FBI field offices and federal courts, where elite disputes vanish into sealed filings. The Netanyahu Brokerage: A "Life-Changing" Deal with Strings Attached The DuPont thread weaves into TPUSA through a 2025 overture from Benjamin Netanyahu, whose administration has long mastered the art of "influencer diplomacy." Reports confirm Bibi's office allocated up to $7,000 per post for U.S. conservative voices to amplify pro-Israel narratives, a $45 million Google contract in one case. In early 2025, Netanyahu extended a "huge" funding offer to TPUSA – whispers of $150 million or more – aimed at scaling its campus operations amid rising anti-Zionist sentiment among Gen Z. Kirk's September 2025 letter to Bibi urged countering "pro-Palestinian narratives" via tours and social campaigns, but privately, Kirk chafed under donor pressure from figures like Robert Shillman (Jewish backers who pulled millions over Tucker Carlson invites). Owens' insiders – six TPUSA staffers – paint Pierre du Pont V as the "whale": a "life-changing" tech IPO infusion, potentially hundreds of millions, funneled through DuPont channels for AI surveillance, donor analytics, and event drones. Not mere philanthropy: strings included locking in pro-Israel loyalty – more "security" tech on campuses, fewer platforms for critics like Owens or Carlson. DuPont's military-grade composites (e.g., Kevlar for IDF gear) made Pierre V a natural fit for Netanyahu's orbit, where family foundations overlap with Chabad and AIPAC networks. Kirk demurred. Leaked texts (verified by TPUSA's Andrew Kolvet) reveal his fury: losing $2 million annually for resisting donor "stereotypes," rejecting Bibi's Israel trip, and probing IRS 990s for ghost employees and missing funds. A Hamptons "intervention" with Bill Ackman – elite pressure tactics – followed. Kirk eyed a DOGE-style audit, pivoting TPUSA toward transparency over transatlantic cash. To the DuPont-Netanyahu axis, he was no longer an asset – he was a threat. The Assassination and the Post-Hit Pivot: Damage Control or Consolidation? September 10, 2025: Kirk is assassinated at a Utah Valley University event. Hours later, TPUSA COO Justin Streiff allegedly dials Pierre du Pont V – "immediate," per Owens' sources. Damage control? Or securing the billions now that the "roadblock" is gone? TPUSA has since accepted DuPont-linked funds; 2026 filings will likely confirm it. Kirk's pivot threatened billions: rejecting Netanyahu meant cratering elite support from Chabad donors (Leviev, Adelson) to AIPAC influencers. Owens catalogs 10 post-hit "lies" – scrubbed finances, silenced insiders – echoing historical hits: JFK's donor clashes, Rabin's Oslo backlash, Trump's Epstein pivot. The French Connection: Macron, Wilmington, and Transatlantic Shadows Pierre V's dual heritage – French by blood, American by empire – bridges to Emmanuel Macron's circle. The du Ponts never severed Parisian ties: French properties, banks, and aristocratic networks persist. Brigitte Macron's July 2025 defamation suit against Owens? Filed in Wilmington Superior Court – a 218-page behemoth seeking punitive damages over "verifiably false" transition claims. Why Delaware? Secrecy laws, proximity to DuPont HQ, FBI offices, and federal courts – all within blocks. Macron's lawyers, per Owens, operate from the same firms shielding du Pont trusts. Egyptian-registered planes tailed Erica Kirk for years (confirmed by Tucker Carlson). Routed through Delaware pre-hit, they align with U.S.-Egypt-Israel drills. DuPont's WWII Nazi supplies echo Bolshevik-era alliances; today, it's Macron's Gendarmerie (elite ops) training with U.S.-Israel units. Wilmington is the nexus: DuPont nerve center, FBI hub, Macron's legal beachhead – a protection racket since 1802. Motive, Means, and the Wilmington Web: Why Kirk Had to Go Greed and control: The DuPont-IPO was billions for TPUSA's ascent, but Kirk's "no" exposed rot – ghost payrolls, donor hijacks. Post-hit call to Pierre V? Locking in the windfall. TPUSA's $140M post-assassination haul? Elite cash, funneled quietly. FBI opacity? Their Wilmington office sits amid it all. Timeline: Jan 2025 – Netanyahu pitches. Summer – Kirk's donor fury texts. Aug – Finance probes. Sep 10 – Hit. Hours later – Pierre V call. Oct – Owens exposes texts. Dec 3 – Insider bombshell. Sequential elimination. Call to Action: Demand the Audits, FOIAs, and Truth Kirk's death wasn't "lone gunman" chaos; it was to safeguard billions and agendas. TPUSA's silence? Complicity. Owens invokes spiritual warfare: Kirk as martyr. Demand IRS 990 audits, FOIAs on DuPont donations, Streiff's call logs. Cross-reference Chabad overlaps. Protect Owens' insiders. Share, scrutinize, amplify. This exposes how foreign influence colonizes U.S. conservatism, assassinating dissent. The narrative crumbles; the hidden hand trembles. The people will prevail. Special Thanks to Lance Henderson who compiled all this information for me. Go FOLLOW Them. To Sources are in the comments below...

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