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THERE IS GOOD THING COMING🚨🚨🚨 I talk a lot about my beginnings and the aspirations that drive me. Living off League of Legends was something I never imagined, but it is a gift that God gave me and I am very grateful for it. A very interesting project from CBLOL that I am very happy to be a part of. I hope you enjoy the video and that some can identify with a little of my story.💚💚 Being a "successor" of CBLOL is like a dream for me, thank you. (translated)

Calendário da F1 foi anunciado hoje. 24 GPs (saem Barcelona e Holanda, entram Portugal e Istambul). 10 sprints, volta de SP como sprint e estreia da corrida curta em Mônaco tb. A ideia mais por causa das 2 classificações do que da emoção em si da sprint. #F1 #Corrida #Motorsport

Would you inhabit a 3D-printed house erected in eight days? An affordable / mould-resistant / fire-resistant / seismic-resistant / climate-disaster-resilient house. SOURCE: https://www.facebook.com/reel/1420242892872158 A 3D-printed house that genuinely resolves the global housing crisis!!! What you are viewing in the video is no mere exhibition prototype. It is House Zero — the first luxury 3D-printed residence realised in Austin, Texas, by the American firm ICON in collaboration with the practice Lake|Flato Architects. Two hundred square metres, three bedrooms, a drawing room with exposed beams, a designer kitchen, and an independent casita in the garden. Its iconic undulating walls were extruded in a mere eight to ten days. A project so revolutionary as to have been included in TIME's list of the Best Inventions of 2022. But what does it truly signify to dwell in a 3D-printed house? WHAT A 3D-PRINTED HOUSE IS: No bricks or formwork are employed. An enormous robotic arm — ICON's Vulcan system — deposits, layer upon layer, a proprietary special concrete, Lavacrete, a material engineered to be eminently resistant, insulating, and printable. The entire process is governed by software that adjusts the formula every fifteen minutes according to weather conditions. Plaster and structure become one and the same. WHY IT IS THE FUTURE OF CONSTRUCTION: ALL THE ADVANTAGES 1. Record times: The walls of House Zero were completed in eight days, as opposed to the months required by a traditional building site. The site operates twenty-four hours a day, seven days a week, and never ceases for lack of labour. 2. Less waste and greater sustainability: Additive printing uses only the material that is necessary. Site waste and emissions from material transport are reduced to nigh on zero. Moreover, Lavacrete is designed for superior energy efficiency. 3. Lower costs (potentially): Fewer workmen on site, fewer deaths and injuries at work, less time, fewer errors. According to ICON, the system can substantially curtail construction costs and render housing more accessible. 4. Total architectural liberty: The curves, the fluted walls, the integrated niches you see in the video would be exorbitantly expensive or impossible by traditional methods. With 3D printing, form truly follows function. 5. Resilience and insulation: The walls in printed reinforced concrete are more resistant to fire, water, mould, and extreme atmospheric agents, typical of Texas. The thermal inertia of the material guarantees superior insulation. 6. A solution to the housing crisis: It is the technology that ICON is already employing to build entire neighbourhoods of one hundred houses in Texas and for social housing projects in Mexico. The question now is this: having seen it within, would you live in it?

The Daycare Governance Model Something sinister is lurking behind the curtain of compassion. We have told ourselves that caring for others is the highest good, but there is a pathological side to it that we refuse to acknowledge. There is a phenomenon known as Munchausen syndrome by proxy. It is a form of child abuse in which a caregiver—typically the mother—fabricates or induces illness in someone under her care in order to gain attention or sympathy. The mother is not indifferent to the child’s well-being, and that is the most disturbing part. She is devoted to the child. Around the clock, she visibly tends to the infant’s needs. This is depicted in *The Sixth Sense*. A young boy who can see and speak to the dead is brought to the wake of a girl named Kyra. She leads him to a box containing a videotape. The tape shows Kyra’s mother quietly lacing her daughter’s food with poison, only to play the role of a saint at her bedside for the gathered relatives—absorbing their pity and praise for how selflessly she cared for her dying daughter. The town saw a devoted mother, but the reality was manufactured sickness. We have scaled this pathology up to the level of civilization. The will to care is one of the most powerful drives in women. Properly channeled, it is deeply necessary and virtuous. But as social institutions—therapy, academia, law, NGOs, and bureaucracies—are increasingly comprised of women, this instinct is redirected from individual children, where it can be extremely beneficial, toward society at large, where it becomes disastrous. I call this the daycare governance model. It has only three roles: infants to be protected, or the oppressed; caregivers to administer care, or the dissenters. The caretaking class, or its allies, gains power and influence by managing human suffering. They are rewarded with prestige, funding, and greater authority—all of which increase in proportion to the number of victims under their care. Those incentives resemble the logic of Munchausen syndrome by proxy: increasing the number of sick people under their supervision will, in the end, produce more sick people.

Vídeo extenso onde comento a operação de hoje do comunista Flávio Dino que visa atingir @FlavioBolsonaro, mas foi mais um tiro pela culatra. O regime está desesperado. Curta, assista, INSCREVA-SE no canal 👇 https://t.co/yMtAaLMor5 https://t.co/cMa526HVEd #Política #Brasil #FlávioDino

SURPRESA A medida de Richarlison e seu estafe de entrar na justiça pedindo rescisão unilateral, caiu como uma bomba no Vasco. A direção do clube classificava como ótima a relação com os ingleses do Tottenham, que estavam em boa conversa para aceitar a proposta cruzmaltina e forma de pagamento proposto de dividir em 4 ou 5 anos os US$10 milhões de euros por 50 por cento do atleta. A medida surgiu de repente e os dirigentes vascaínos não souberam de onde veio a intenção de brigar na justiça quando o acordo se encaminhava para um desfecho feliz. Os agentes do jogador estavam na negociação e isso causou espanto porque não pareceu em nenhum momento que haveria esta mudança drástica. Nesta quinta feira, o Vasco espera a manifestação do clube inglês, que pode inclusive aceitar o proposto pelo Vasco, deixando o estafe do jogador e o jogador em situação de saia curta. Richarlison chegou a dizer que gostaria de jogar até dezembro e o Vasco deu o okay, apesar de ter tentado convencer o jogador a assinar por mais tempo com o gigante. A postura do jogador da uma dúvida ao Vasco quanto ao que ele fará caso fique livre. Se ele optará por jogar na colina ou se for decisão dos que estão próximos a ele e que tem forte influência nas negociações, irá aproveitar para buscar maiores e melhores propostas? O Vasco ainda tem muita esperança que ele virá, mas o caso pode se complicar com este movimento da noite do Pombo e sua gente. A quinta feira promete. NA JANELA AINDA? Sobre o atacante Matheus Gonçalves, o Vasco fez a proposta aos árabes do Al Hilal, mas como a dedicação foi total ao caso do atacante do Tottenham, não houve maiores buscas hoje. O clube que agora se fixa em oportunidades de jogadores livres. Só assim poderá fazer novas contratações. #Vasco #Futebol #Transferências

The European Commission proposed new rules to regulate short-term accommodation, such as Airbnb, in response to the housing crisis in the EU, establishing criteria to identify areas under housing pressure and allowing restrictive measures without prohibiting local accommodation. (translated)

The Vindication of the “GIO Festival”: “BroadwayWorld” Celebrates Marina and the Umberto Giordano Theatre of Foggia SOURCE: https://www.linkedin.com/pulse/vindication-gio-festival-broadwayworld-celebrates-sardella-ph-d--8zzce/ SOURCE: https://www.letteremeridiane.org/2026/08/la-rivincita-del-gio-festival-broadwayworld-celebra-marina-e-foggia/ The GIO Festival has been, to put it mildly, overlooked by Rai3 Puglia and several regional outlets. Yet the festival dedicated to Umberto Giordano — promoted by the Chamber of Commerce of Foggia together with the Municipality and the Province, and supported by the Apulia Region and the Fondazione Monti Uniti — has achieved a remarkable vindication, landing on the homepage of BroadwayWorld thanks to the world première of the opera Marina, staged on 5 June at the Umberto Giordano Theatre in Foggia. This is no small feat, considering that BroadwayWorld is among the most influential American platforms devoted to theatre and the performing arts. The transatlantic debut of the opera by Foggia’s great composer did not escape the attention of Luciano Magaldi Sardella, who submitted to the editorial board of Lettere Meridiane an in‑depth and compelling contribution, reproduced below. In the article, the author masterfully reconstructs the extraordinary story of Giordano’s first opera, composed in 1888 and left without a staged production for 138 years, until its historic performance on 5 June at the Giordano Theatre. Above all, he recounts how the inaugural edition of the GIO Festival has restored Foggia to the centre of the international operatic stage, through the rediscovery and valorisation of Marina, the involvement of major musical institutions, and the attention of the American press. It is a stimulating reflection on the cultural and identity‑driven renaissance of a city that, for far too long, bore Giordano’s name on the façade of its theatre without managing to turn it into a lever of international visibility. (g.i.) + + + + + There are moments in the life of a city when past and future clasp hands upon the stage of the present. Foggia experienced one of these moments on the evening of 5 June 2026, when the curtain of the Umberto Giordano Theatre rose upon Marina, an opera composed in 1888 by a young man of twenty‑one — Umberto Giordano — then a student at the San Pietro a Majella Conservatoire in Naples. After one hundred and thirty‑eight years of silence, that score finally found its first scenic breath in the world. “It is not an ordinary event. It is a turning point. A void filled. A story rewritten.” Umberto Giordano, one of the most celebrated verismo composers of the fin‑de‑siècle — born in Foggia, author of masterpieces such as Andrea Chénier, Fedora, Siberia — had remained, until now, the only great Italian opera composer without a festival entirely dedicated to his oeuvre. A paradox that weighed like a historical injustice upon a city that bears his name engraved on the pediment of its most beautiful theatre. This is the extraordinary journey of Marina, Giordano’s first opera, which after 138 years of oblivion received its world première in scenic form on 5 June 2026 at the Umberto Giordano Theatre in Foggia, as the opening event of the GIO Festival — the inaugural edition of the Giordano International Opera Festival. The manuscript, preserved in the Frederick R. Koch Collection at Yale University’s Beinecke Rare Book and Manuscript Library, has travelled an astonishing path: from the elite libraries of America’s East Coast to the beating heart of the Daunia. On the night of 5 June 2026, at the Umberto Giordano Theatre, that silence was finally broken. The GIO Festival was conceived in Foggia as an ambitious cultural project promoted by the Chamber of Commerce, the Municipality, and the Province, with the support of the Apulia Region, aiming to transform the artistic legacy of the verismo composer into a driver of territorial development and cultural tourism. Under the artistic direction of conductor Gianna Fratta and violinist Dino De Palma, the event at last fills a historical void. Its model is explicit and ambitious: a project inspired by the great festivals dedicated to Italian composers — such as the Verdi Festival, the Puccini Festival, the Rossini Opera Festival — while maintaining a strong territorial and participatory dimension. In other words, Foggia formally claims its seat at the table of the greats. And it does so with the credentials required: an unrepeatable world scenic première (parallel to the concert première at Milan’s Teatro Dal Verme, recorded by the prestigious opera label Decca Classics), a high‑quality operatic production, and the support of leading cultural institutions (Teatro dell’Opera di Milano, Fondazione Teatro Petruzzelli of Bari). The festival benefitted from the collaboration of the Orchestra of the Conservatoire and the Chorus of the Fondazione Teatro Petruzzelli of Bari, the Umberto Giordano Conservatoire of Foggia, the Fondazione Monti Uniti, and the Fondazione Apulia Felix. A network of excellence that lent the event national resonance and stature. The Umberto Giordano Theatre is a nineteenth‑century jewel of rare beauty — the oldest functioning horseshoe‑shaped historic theatre in Apulia. Yet for decades it lived in a state of semi‑clandestine cultural marginality, relegated to the periphery of the operatic routes that matter, hindered by long interruptions in its use from 2007 to 2014, including recent fire‑safety compliance requirements. Some referred to it, with a mixture of condescension and provincial resignation, as a “provincial theatre”, destined merely to bear Giordano’s name. That label is now destined to fall. It is precisely in Foggia that this youthful gem received its first scenic staging, placing the city on the international map of opera. A positioning without precedent in the city’s recent history. The Giordano Theatre recorded a full house for the historic première of Marina, welcoming hundreds of spectators, while many more followed the performance from outside via a large screen installed for the occasion. The production met expectations with full artistic dignity: the staging transposed the narrative to the First World War, heightening the opera’s dramatic and realist character. On the podium, the Symphony Orchestra of the Umberto Giordano Conservatoire conducted by Matteo Dal Maso. Sets and costumes by Alfredo Troisi; lighting by Massimo Russo. An ensemble of talents worthy of the name the theatre proudly bears. The definitive seal of this moment’s historical significance arrived from across the Atlantic. BroadwayWorld, the world’s most influential outlet for live performance criticism and reporting — with over 5.5 million monthly views — dedicated exclusive coverage to the event, publishing a complete photographic gallery of the world scenic première curated by Chloe Rabinowitz and a substantial critical review by Rachel Stone. The American article emphasised the historical value of the undertaking and the bond between the composer and his native city, highlighting the musical quality of the score, deemed surprisingly mature for the composer’s age. For the first time, the Umberto Giordano Theatre appeared on the New York‑based site alongside institutions such as the Los Angeles Opera House, Houston Opera, and BBC Classical Music at the Royal Opera House. It is its natural place. It should have been there decades ago. Until now, the world knew Giordano through his Milanese triumphs, not through the youthful opera written between Foggia and the Naples Conservatoire — the lost (and later rediscovered) Marina of 1888. Let us be clear: this is no minor detail. BroadwayWorld does not grant exclusive galleries to provincial theatres. It does so for events that shift the coordinates of musical and theatrical history within the circuits that matter. This time, those coordinates shifted to Foggia thanks to the GIO Festival, in the name of Umberto Giordano. For the record — and for those who may not yet know — the GIO Festival is a new and ambitious biennial event conceived by the Chamber of Commerce of Foggia, with the aim of celebrating the genius of Umberto Giordano and transforming it into a powerful engine of development for the entire Capitanata. Biennial means continuity, planning, vision. It means that Foggia does not intend to be a meteor in the operatic firmament, but a stable and recognisable presence within the international festival circuit. Andrea Chénier, Siberia, and Fedora had already carried Giordano’s name to the Metropolitan Opera House in New York for more than a century, where his works are still performed to great acclaim. Now Foggia itself — not merely its scattered operatic legacy — claims its rightful “place in the sun”. The composer whom his city struggled to recognise in life, and whose name it preserves on its theatre, its square, and its conservatoire, may finally become the lever of an unprecedented cultural, economic, and identity‑driven renaissance. The GIO Festival 2026 is not, one hopes, a point of arrival. It should be the first chapter of a new story for Foggia, for the Capitanata, and for the cultural South of Italy. The Umberto Giordano Theatre is no longer merely an architectural jewel to be preserved: it has now become a place of creation and inspiration, capable of attracting international press attention and hosting events that enter the annals of world opera. To those who still whisper that Foggia is a provincial city, the answer is now written upon the world’s stages: on the evening of 5 June 2026, the periphery became the centre.

É O SEU FUTURO Hoje 18h farei transmissão AO VIVO com Adolpho @ASachsida e estarei atento aos comentários. Curta, assista, conpartilhe nos grupos de whats e redes👇 https://t.co/SWZFgI28fG #Futuro #TransmissãoAoVivo #AdolphoSachsida

Hoje farei live com @ASachsida: economia com Lula x economia com @FlavioBolsonaro Inscreva-se, curta, assista👇 https://t.co/9kiSm2KBwS https://t.co/6Ud2Jvco9Y #economia #live #política

“Eu vou esclarecer quantas vezes forem necessárias.” É uma daquelas frases curtas que parecem simples, mas carregam muito significado. Soa como “não importa quantas vezes perguntem, eu continuarei respondendo.” É uma frase muito forte. #clareza #comunicação #significado

Após as declaração inflamadas de Javier Milei, que disse que os britânicos que vivem nas Malvinas (Falklands) não têm direito à autodeterminação dos povos e que a Argentina retomará o controle das ilhas, muita gente está se perguntando se a Argentina, hoje, teria alguma chance de retomar aquele território britânico pela força. A resposta curta é: NÃO! A resposta longa você pode ver neste vídeo que publiquei recentemente no canal: https://t.co/RYcDcinQWW #Malvinas #Argentina #Geopolítica