Girino Vey!
girino@girino.org
npub18lav...cfsz
Bitcoin holder since 2013, software developer and political nihilist.
Thanks, I hate it.
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White Liberal Shocked As Black Man Gets ID
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79 万次播放 · 3.4 万个心情 | White Liberal Shocked As Black Man Gets ID | The Babylon Bee
White Liberal Shocked As Black Man Gets ID
Frédéric Bastiat warned that when plunder becomes normalized, it doesn’t disappear — it gets legalized.
This is why teaching kids how to think about law, power, and incentives matters. Real education helps them recognize the difference between justice and force, even when force is dressed up as policy.
👉 https://buff.ly/2mtsLho
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Election in the USA/UK/Western Europe vs Election in Peru 🇵🇪
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🎶 Registro histórico: em 1976, no programa Fantástico, Waldir Azevedo solou sua obra “Arrasta-Pé” acompanhado no cavaquinho por ninguém menos que Beth Carvalho, que fazia o centro com maestria.
✨ Foi no ano em que Waldir lançou o LP Minhas Mãos, Meu Cavaquinho, marcando sua volta após o acidente que quase encerrou sua carreira.
Um encontro inesquecível entre dois gigantes da nossa música!
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7.9 万次播放 · 3,729 个心情 | 🎶 Registro histórico: em 1976, no programa Fantástico, Waldir Azevedo solou sua obra “Arrasta-Pé” acompanhado no cavaquinho por ninguém menos que Beth Carvalho, que fazia o centro com maestria.
✨ Foi no ano em que Waldir lançou o LP Minhas Mãos, Meu Cavaquinho, marcando sua volta após o acidente que quase encerrou sua carreira.
Um encontro inesquecível entre dois gigantes da nossa música! | Instituto Waldir Azevedo
🎶 Registro histórico: em 1976, no programa Fantástico, Waldir Azevedo solou sua obra “Arrasta-Pé” acompanhado ...
#ai #art #aiart #alita #grok
#ai #art #aiart #alita #grok
Creative industries attract people with progressive instincts. Writers, actors, and directors are drawn to storytelling that challenges tradition, authority, and social norms. That naturally aligns with left-leaning worldviews.
But that doesn’t tell the whole story.
Most industry professionals live in Los Angeles or New York City. Both vote Democratic by 40+ points.
This geographic concentration creates what researchers call "The Big Sort", a widely studied phenomenon where like-minded people cluster together, reinforcing shared assumptions.
When your entire professional network shares the same worldview, those assumptions become invisible. They feel like objective reality instead of political choices.
Major studios control distribution deals and marketing budgets. Green-lighting a film requires convincing executives who may find certain messages personally objectionable.
This creates bottlenecks. Projects that challenge progressive assumptions face structural resistance not because they lack artistic merit, but because they create professional risk for decision-makers.
The safest career move is always to align with institutional consensus.
The Oscars implemented Representation and Inclusion Standards for the Best Picture category. Films must meet specific diversity criteria related to onscreen representation, themes, and behind-the-camera crew to qualify for nomination.
These function as quotas by setting minimum standards. A film can be artistically brilliant but ineligible for the industry's highest honor if it doesn't meet demographic requirements.
This isn't neutral. It's institutional power shaping which stories get told and rewarded.
When Mel Gibson's "The Passion of the Christ" sought distribution in 2004, major studios passed. They predicted box office failure.
Gibson self-financed and self-distributed. It earned $612 million worldwide, becoming the highest-grossing R-rated film for 12 years.
The system didn't just fail to recognize audience demand. It actively worked against a film that violated institutional assumptions.
Sound of Freedom" (2023) faced similar obstacles. Major studios passed. Mainstream critics dismissed it before release.
It earned $250 million worldwide on a $14.5 million budget. Audiences showed up despite institutional resistance.
The gap between what institutions greenlight and what audiences want keeps growing. This isn't sustainable.
Hollywood shapes cultural narratives. It influences how millions understand history, morality, and political choices.
When institutional incentives systematically favor one worldview, alternative perspectives get marginalized not through argument but through structural exclusion.
This isn't about individual filmmakers being "biased." It's about an ecosystem that discourages certain stories while rewarding others.
Ready to navigate institutions that systematically exclude dissenting perspectives?
Get the College Survival Kit: your blueprint for thriving in hostile environments without compromising your principles.
Learn to recognize institutional bias, engage effectively, and build community with serious thinkers.
Access👉 https://buff.ly/wKtKqAS
We covered geography, gatekeeping, award systems, and narrative patterns. But what other factors do you think contribute to Hollywood's political bias? What structural incentives or cultural dynamics did we overlook?
Drop your analysis below.
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#ai #art #aiart #penxil
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Selective outrage serves the interests of the State, not us.
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- ENGLISH BELOW 👇 –
🇵🇹 Jogo do Pau de Bucos em 1970. Documentário filmado em Bucos no final dos anos 60 e estreado em 1970 pela IWF (Göttingen), Instituto fundado em 1956 que usa os meios audiovisuais como base científica.
Este documentário etnográfico faz parte do projecto ciêntifico internacional «Encyclopaedia Cinematografica», que tinha como base a criação de curtas-metragens, em sua maioria mudos, em que um único tema de pesquisa científica foi capturado cinematograficamente. Este projecto, funcionou entre 1952 e 1994.
Documentário criado por Frank Simon, e pelos etnólogos portugueses Ernesto Veiga de Oliveira e Benjamin Enes Pereira, etnólogos de renome que fizeram parte da equipa fundadora do Museu Nacional de Etnologia.
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🇬🇧 Jogo do Pau from Bucos in 1970. Documentary filmed in Bucos at the end of the 1960s and premiered in 1970 by the IWF (Göttingen), an institute founded in 1956 that uses audiovisual media as a scientific basis.
This ethnographic documentary is part of the international scientific project "Encyclopaedia Cinematografica", which was based on the creation of short films, mostly silent, in which a single topic of scientific research was captured cinematically. This project ran from 1952 to 1994.
Documentary created by Frank Simon, and Portuguese ethnologists Ernesto Veiga de Oliveira and Benjamin Enes Pereira, renowned ethnologists who were part of the founding team of the National Museum of Ethnology.
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Saiba mais sobre o documentário/
more about the documentary:
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#jogodopaubucos #jogodopaucabeceirasdebasto #wikipedia #jogodopau #jogodopauportugues #jogodopauportuguês #stafffighters #hema #artesmarciais #artesmarciaishistoricas #artesmarciaishistóricas #artesmarciaishistoricaseuropeias #artesmarciaishistóricaseuropeias #esgrima #esgrima🤺 #esgrimamedieval
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Filme: Sudwest-Europa, Portugal - Stockspiel in Basto - Jogo do Pau Português
5.3 万次播放 · 1,522 个心情 | - ENGLISH BELOW 👇 –
🇵🇹 Jogo do Pau de Bucos em 1970. Documentário filmado em Bucos no final dos anos 60 e estreado em 1970 pela IWF (Göttingen), Instituto fundado em 1956 que usa os meios audiovisuais como base científica.
Este documentário etnográfico faz parte do projecto ciêntifico internacional «Encyclopaedia Cinematografica», que tinha como base a criação de curtas-metragens, em sua maioria mudos, em que um único tema de pesquisa científica foi capturado cinematograficamente. Este projecto, funcionou entre 1952 e 1994.
Documentário criado por Frank Simon, e pelos etnólogos portugueses Ernesto Veiga de Oliveira e Benjamin Enes Pereira, etnólogos de renome que fizeram parte da equipa fundadora do Museu Nacional de Etnologia.
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🇬🇧 Jogo do Pau from Bucos in 1970. Documentary filmed in Bucos at the end of the 1960s and premiered in 1970 by the IWF (Göttingen), an institute founded in 1956 that uses audiovisual media as a scientific basis.
This ethnographic documentary is part of the international scientific project "Encyclopaedia Cinematografica", which was based on the creation of short films, mostly silent, in which a single topic of scientific research was captured cinematically. This project ran from 1952 to 1994.
Documentary created by Frank Simon, and Portuguese ethnologists Ernesto Veiga de Oliveira and Benjamin Enes Pereira, renowned ethnologists who were part of the founding team of the National Museum of Ethnology.
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Saiba mais sobre o documentário/
more about the documentary: https://jogodopau.wiki/index.php?title=Filme:_Sudwest-Europa,_Portugal_-_Stockspiel_in_Basto
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#jogodopaubucos #jogodopaucabeceirasdebasto #wikipedia #jogodopau #jogodopauportugues #jogodopauportuguês #stafffighters #hema #artesmarciais #artesmarciaishistoricas #artesmarciaishistóricas #artesmarciaishistoricaseuropeias #artesmarciaishistóricaseuropeias #esgrima #esgrima🤺 #esgrimamedieval | Jogo do Pau Português wikipédia
- ENGLISH BELOW 👇 –
🇵🇹 Jogo do Pau de Bucos em 1970. Documentário filmado em Bucos no final dos anos 60 e estre...