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๐™‡๐™–๐™ข๐™—๐™š๐™ง๐™ฉ ๐™ฉ๐™๐™š ๐™‹๐™ง๐™š๐™ฉ๐™ค๐™ง๐™ž๐™–๐™ฃ banner
๐™‡๐™–๐™ข๐™—๐™š๐™ง๐™ฉ ๐™ฉ๐™๐™š ๐™‹๐™ง๐™š๐™ฉ๐™ค๐™ง๐™ž๐™–๐™ฃ

๐™‡๐™–๐™ข๐™—๐™š๐™ง๐™ฉ ๐™ฉ๐™๐™š ๐™‹๐™ง๐™š๐™ฉ๐™ค๐™ง๐™ž๐™–๐™ฃ

@SPQRSA

!ke e: /xarra //ke ๐Ÿ‡ฟ๐Ÿ‡ฆ โ€ข ๐šƒ๐š‘๐šŽ ๐š๐šŽ๐šŽ๐š” ๐šœ๐š‘๐šŠ๐š•๐š• ๐š’๐š—๐š‘๐šŽ๐š›๐š’๐š ๐š๐š‘๐šŽ ๐š–๐š’๐š›๐š๐š‘. Book hoarder, etymology spelonker, zealous scholar of useless trivia.

Pretoria, South Africa Katฤฑlฤฑm Mayฤฑs 2020
1.5K Takip Edilen1.2K Takipรงiler
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Chris Martz
Chris Martz@ChrisMartzWXยท
Billionaires donโ€™t steal my money, dipshit. Politicians and bureaucrats do. If a billionaire gets my money, itโ€™s because I paid for a product that he or she has made.
J@TyJay2022

@ChrisMartzWX @Eventzon Meanwhile you're happy paying billionaires while they work to systematically take as much from you as they can?

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Honestly.... do these people have teams working on this? Downloading, cropping, scrubbing attribution from THOUSANDS of videos... That is not some bloke on the shitter with his mobile. It would just have been easier not be be a douche, to credit, quote, and repost.
Professorrr๐Ÿ’ฐ@XMasterrrrrs

Is Nikita out of his mind? Massimo has been uploading content for 11 years and his account has 4.3 million followers. He is a curator. Even Elon Musk praises Massimoโ€™s account. Elon Musk has also subscribed to @Rainmaker1973 And almost all video content creators take videos from other platforms and upload them on X. This has been happening from the beginning. Is @ViralRushX an original content creator? He also takes videos from YouTube and uploads them. So why is Massimo being treated differently? Nikita Bier publicly saying โ€œToday is your last day in the Creator Programโ€ to one of Xโ€™s biggest curator accounts is a terrible look for the platform. For years X rewarded reposts, curation, and engagement driven content. Now suddenly the same accounts that helped fuel the platformโ€™s growth are being treated like criminals? Massimo built one of the biggest science and discovery communities on X. Millions of people discovered fascinating content, rare moments, space, tech, and science every single day because of that account. You can debate attribution policies. That's completely fair. But publicly shaming creators who clearly added massive value to the platform is not how you build a healthy creator ecosystem. Curation is also a skill. If X wants to change the rules then create clear and transparent systems for credit, licensing, and revenue sharing. Not selective punishment after an account becomes huge. Because if โ€œcurating viral contentโ€ suddenly becomes a crime, half of X disappears tomorrow. Publicly telling such a huge creator โ€œwe are removing you from creator revenueโ€ is not fair from the Head of Product at X.

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Kholeka Gcaleka was going on about "migration". Now Chrispin Phiri is also saying "migration". Both of them were referring to IMMIGRATION & they know the difference. The are deliberately manipulating the language as if it will make the problem disappear. x.com/i/status/20587โ€ฆ
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Chrispin Phiri ๐Ÿ‡ฟ๐Ÿ‡ฆ
Chrispin Phiri ๐Ÿ‡ฟ๐Ÿ‡ฆ@Chrispin_JPhiriยท
No amount of cyberbullying will change the facts: 1. Irregular migration cannot be addressed by vigilantism. Law enforcement must address all matters of criminality, including the abuse of immigration laws. 2. Migration will happen, but it must happen within the confines of the rule of law. 3. Dehumanising people does not address any problem, let alone immigration challenges. 4. Structural economic issues will not be addressed by targeting foreign nationals. 5. The history of South Africa cannot be told without understanding migration, from the Mfecane / Difaqane up to the dictates of colonial settlers.
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StarLedi
StarLedi@LadyMpopiยท
@Chrispin_JPhiri Vigilante ke magrigaba from Nyasa. Voetsek
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Karata
Karata@karatademadaยท
Massimo, one of the biggest accounts on X, just got removed from the Revenue Sharing Program. In a direct comment, Nikita Bier told him that today is his โ€œlast day in the Creator Programโ€ after accusing him of sourcing thousands of videos from another creator and simply cropping out the watermark to bypass attribution. X is making it very clear now: The era of reposting other peopleโ€™s content, removing credits, and profiting from it is finally coming to an end. Many creators have been waiting for the platform to take action to better protect original work. Stealing someone elseโ€™s content, removing attribution, and pretending itโ€™s yours was never sustainable. If X is serious about rewarding original creators, then protecting the people who actually make the content is a step in the right direction. Do you agree? Source : ๐Ÿ‘‡
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"About land" can be looked at in two ways.... The negative imperialim / colonialism sense. Which is just dumb. The positive, patriotic sense. In that the anthem is a hymn to our motherland. Which I much prefer to a hymn to any God. I love that the part that we always sang, was entirely a secular hymn of love and allegiance to the country. _____ Uit die blou van onse hemel, uit die diepte van ons see, Oor ons ewige gebergtes waar die kranse antwoord gee. Deur ons ver-verlate vlaktes met die kreun van ossewaโ€Šโ€”โ€Š Ruis die stem van ons geliefde, van ons land Suid-Afrika. Ons sal antwoord op jou roepstem, ons sal offer wat jy vra: Ons sal lewe, ons sal sterweโ€Šโ€”โ€Šons vir jou, Suid-Afrika.
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ล uppiluliuma Herlaai
ล uppiluliuma Herlaai@BoerHindoeยท
Very silly take. The reason of course being that the Nkosi Sikelel' iAfrika portion was written as a hymn, before it was sloppily, irreverently and artificially cut in half and stitched together with a version of Die Stem van Suid-Afrika which was itself cut and bastardized, and the latter was written as a national anthem, which are usually about folk and fatherland. Even so, the last verse, which the Bantu Supremacist regime ripped out, runs: "Op U Almag vas vertrouend het ons vadere gebou: Skenk ook ons die krag, o Here! om te handhaaf en te hou โ€” Dat die erwe van ons vadโ€™re vir ons kinders erwe bly: Knegte van die Allerhoogste, teen die hele wรชreld vry. Soos ons vadere vertrou het, leer ook ons vertrou, o Heer โ€” Met ons land en met ons nasie sal dit wel wees, God regeer." which means something to the effect of: (my own translation) "Firmly trusting in Your omnipotence did our fathers build Grant us too the strength, oh Lord, to govern, and to ensure That the inheritance of our fathers, is kept as inheritances for our children: Servants of the Most High; against the whole world free As our fathers trusted (You) teach us also to trust, (You) oh Lord With our land and with our people, it will be well (because) God governs (it)" So we can see that Boers have always had a very mature, spiritual, understanding of their place on their soil in southern Africa as servants of God, but that this duty to serve Him includes a certain amount of responsibility to folk and fatherland, just as God calls us to protect our houses and immediate nuclear family. After all, the fatherland is the house of the ethnos, and the ethnos is the extended family of the individual. It isn't that Boers were greedy genociders with an obsession with acquiring more and more land and resources. Rather, the lens through which the Boer sees all reality is one where he is the servant of God, but he knows that duty plays out within a particular place, and within a particular people for the most part. Bantu thought had never been this developed. In the very least, their songs have never been this explicit about these concepts, I say because these concepts were foreign to the Bantu mind at the time. Bantus did seem to have some concept of the nation or ethnos, but it wasn't as developed as the Boer concept, otherwise they would have their own anthem with the philosophical and theological depth of Die Stem, yet they had no such thing and had to re-purpose a hymn as their "struggle" song or anthem. To be fair, the anthems of the Bantu Homelands or Bantustans sometimes had this kind of thinking, but of course, the idea was introduced to them, at least in this level of depth, by the Boers. If anything, this silly attempt to show that the songs Boers sung at the time prove we were evil, shows the exact opposite about the so-called "struggle." There are exactly zero period Boer songs about killing Bantus, but there are countless Bantu "struggle" songs about killing Boers. For example, the infamous Kill the Boer song, as well as Dubul'iBhunu (Shoot the Boer; bonus fact: the isiZulu prefix for people, um- is not used for the root - Bhunu meaning "Boer" but rather i- which implies that Boers aren't human grammatically) and Xhosa 'magwijo staple Hamba Kahle Mkhonto WeSizwe (Meaning "Stay well/Goodbye Mkhonto We Sizwe" (Spear of the Nation) in which the translated lyrics "We have pledged ourselves to kill them, to kill the amaBhulu" (Boers, appreciate the human prefix ama- here I guess, even if it's singing about our genocide) feature. What does that say about the consciousness of the people on both sides? Exactly the opposite of what this person is trying to prove. The Boers were and are a good people. We have committed excesses in maintaining systems we genuinely believed at the time benefited everyone, and which ultimately didn't benefit them as much as we had thought, but our intentions were moral. The same can't be said about the Bantu supremacist "struggle."
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Ous'Bongie
Ous'Bongie@BongsMahlangu_ยท
Whatโ€™s an avocado in Afrikaans? Knowing Afrikaans itโ€™s probably called something ridiculous like โ€˜Worteltortelโ€™ or โ€˜Groenpampoenโ€™ ๐Ÿ˜ฎโ€๐Ÿ’จ๐Ÿ˜ฉ
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Lucas McCain
Lucas McCain@LMcain63425ยท
@aviationbrk Don't care whose fault it was. That woman has ice in her veins! She didn't panic or freak out, she kept her cool, remained calm and survived without any drama or other BS! Mad props and congrats on walking away from that!
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I will never read the solid columns of text. Impossible. Even one sentence paragraphs are easier to read. "Homer makes us Hearers." Pope has said, "and Virgi/leaves us Readers." So the great translator of Homer, no doubt unknowingly, set at odds the claims of an oral tradition and those of a literary one, as we would call the two traditions now. Homer's work isa performance. even in part a musical event. Perhaps that isthe source of his speed, directness and simplicity that Matthew Arnold heard-and his nobility too, elusive yet undeniable, that Arnold chased but never really caught. Surely it is a major source of Homer's energy, the loft and carry of his imagination that sweeps along the listener together with the performer. For there is something powerful in his song, "that unequal'd Fire and Rapture"Pope again-"which is so forcible in Homer, that no Man of a true Poetical Spirit is Master of himself" while he experiences the Iliad. "In Homer. and in him only, it burns every where clearly, and every where irresistibly." But it also brings to light the Homeric Question facing all translators: How to convey the powerof his performance in the medium of writing? "Homer makes us Hearers, and Virgilleaves us Readers." Yet the contrast may be too extreme. Virgil the writer was certainly no stranger to recitation. Homer the performer. as the Introduction speculates. may have knowna rudimentaryform ofwriting. And writing may have lent his work some qualities we associate with texts in general-idiosyncrasies at times. and pungency and wit-and with the Iliad in particular, its archltectonics, its magnificent scale. and the figure of Achilles. But even if Homer never used an alphabet himself. he now seems less the creature of an oral tradition whom Milman Parry discovered. and more and more its master. as envisioned by Parry's son, Adam. Homer the brilliant improviser deployed its stock, inherited features with all the individual talent he could muster. Never more so, in fact. than in his use of the fixed and formulaic. frequently repeated phrase. Not only is Homer often less formulaic. but the formulas themselves are often more resonant, more apt and telling in their contexts than the hard Parryites had argued for at first. So the original form of Homer's work, while a far cry from a work of literature as we know it now. is not exactly a song either. pure and simple. It may be more the irecord of a song. building over the poet's lifetime perhaps, or what Marianne Moore would call "a simulacrum of spontaneity." Obviously at a far remove from Homer, in this translation I have tried to find a middle ground (and not a no man's land, if I can help it) between the features of his performance and the expectations of a contemporary reader. Nota line-for-line translation, my version of the Iliad is, I hope, neither so literal in rendering Homer's language as to cramp and distort my own-though Iwant to convey as much of what he says as possible-nor so literary as to brake his energy, his forward drivethough I want my work to be literate, with any luck. For the more literal approach would seem to be too little English,and the moreliterary seems too little Greek. I have tried to find a cross between the two, a modern English Homer. Of course it is a risky business, stating what one has tried to do or, worse, the principles one has used (petards that will probably hoist the writer later). But a word or two of explanation seems in order, and the first refers to the more fixedand formulaic pansofHomer. Ihave treated them in a flexible, discretionary way, not incompatible with Homer's way, I think-especially when his formulas are functional as well as fixed-while also answering to the ways we read today. It is a matter of "riding easy in the harness," as Robert Frost once said of democracy. and my practice ranges from the pliant to the strict.
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Carl
Carl@HistoryBoomerยท
Here's what I don't get. Twitter used to be short snippets of text. Brief and to the point. Then they doubled characters allowed to 280. Longer tweets, but still a single chunk of text. But then they allowed blue checks to write longer posts. Much longer! And suddenly, a new trend started spewing into our timelines. Long postsโ€”really longโ€”filled with short one-sentence 'paragraphs'. Why? Good question. My best guesses are: A- AI. AI loves those snappy short sentences for impact. B- They're designed to appeal to people whose attention span has been so degraded by social media garbage that even this sentence is probably too long for them to fully comprehend. And I hate these long, single-sentence paragraph tweets. I hate them all.
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@Lordweb111 Only a couple.. here I documented one. x.com/i/status/18330โ€ฆ
๐™‡๐™–๐™ข๐™—๐™š๐™ง๐™ฉ ๐™ฉ๐™๐™š ๐™‹๐™ง๐™š๐™ฉ๐™ค๐™ง๐™ž๐™–๐™ฃ@SPQRSA

Chess.com awarded me a โ€ผ๏ธ for this move. My white Bishop was attacking from my right flank, Rook and Queen lining up to kick the front door down. What was brilliant (for me) was what my opponent did next.. My Knight sacrifice was okay.. but hardly brilliant.

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Dan_Chess
Dan_Chess@Lordweb111ยท
Ever had a brilliant move before?
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@MadeforTyresse Here's some dip for that chip on your shoulder. The human race migrated from Africa all the way to Australia and South America. They also migrated within Africa, as they are still doing today. Or didn't you notice all the Nigerians in SA? Look up: irrefutable proof.
๐™‡๐™–๐™ข๐™—๐™š๐™ง๐™ฉ ๐™ฉ๐™๐™š ๐™‹๐™ง๐™š๐™ฉ๐™ค๐™ง๐™ž๐™–๐™ฃ tweet media
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Here's some dip for that chip on your shoulder. The human race migrated from Africa all the way to Australia and South America. They also migrated within Africa, as they are still doing today. Or didn't you notice all the Nigerians in SA? Look up: irrefutable proof.
๐™‡๐™–๐™ข๐™—๐™š๐™ง๐™ฉ ๐™ฉ๐™๐™š ๐™‹๐™ง๐™š๐™ฉ๐™ค๐™ง๐™ž๐™–๐™ฃ tweet media
Tyresseโ™ง@MadeforTyresse

The bantu migration is actually a myth

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