In this video, I give a brief overview of the LDS preparedness manual. It is information dense and gives experience-based advice in many areas to include bug out bags, food, storage, and disaster preparedness. Also, I am not LDS. ? Welcome to the prepping channel for people in the meaty part of the curve…the 68%ers. Keeping preparedness fear and fantasy free! ***All content is 100% human.*** Join the 68%ers! youtube.com/channel/UCYfozK_NJM9H3GmU9O5mfGg/join My Amazon Store https://www.amazon.com/shop/miketangowhiskey?ref_=cm_sw_r_cp_ud_aipsfshop_VEY3S1TQ2EQ4QSH1P0PB Refuge Medical Affiliate Link - https://www.refugemedical.com/MikeTango #68%er #TOTC #prepping #preparedness #emergencykit #shtfsurvival #bugout

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There's useful "garbage" everywhere, pimps, and do you have to buy a ton of shit to make it through SHTF? No, you don't. Learn to be resourceful.

It could inform studies into evolution.

In this experimental event, the most familiar tool of communication – the telephone network – served as an analogy for the museum…. It was an event that provided a preview of the ever-widening world of cyberspace. –  ICC Concept Book, NTT Publishing, 1997     How local is local? From March 15th to 29th, 1991, anyone wishing to attend one exhibition could only do so via a fax machine, telephone or dial-up modem. The Museum Inside The Telephone Network did not inhabit a physical space. Created by the Project InterCommunication Center (ICC), founded by the Japanese telecom NTT, the exhibition wanted to look at ways communication networks could affect museums and other institutions. Visitors to The Museum Inside The Telephone Network could access five channels. They could hear talks and readings on the topic of communication through the phone-based “Voice & Sound Channel”. They could push telephone buttons to create musical tunes in the “Interactive Channel”. In the “Fax Channel”, they could transmit novels, artworks, comics and essays. Live performances by artists and phone conversations between intellectuals were broadcast in the “Live Channel”. Visual materials could be downloaded by modem and observed via a computer monitor. The line-up was impressive. The likes of Laurie Anderson, J.G. Ballard, Laurie Anderson, Pierre Boulez, Ryuichi Sakamoto, John Giorno, William Forsythe, Enki Bilal, Robert Longo, William S. Burroughs, Merce Cunningham, John Cage, Jacques Derrida, Allen Ginsberg, Philip Glass, Félix Guattari, Pontus Hultén, Derek Jarman, Jeff Koons, Steve Reich, Ryuichi Sakamoto, Paul Virilio and John Zorn all participated. Highlights from the exhibition catalog – faxed, naturally – is below:        Via: You can see the entire brochure here. The post The Museum Inside The Telephone Network, 1991 appeared first on Flashbak.

Facebook is rolling out a new Meta AI photo suggestion feature across the U.S. and Canada that lets its AI recommend edits to images stored on users’ camera rolls—even if they haven’t been shared. The feature is currently opt in only.

Consequences often do not show up for an extended period of time, but when they finally arrive they can be exceedingly painful.  For decades, our leaders have been making incredibly foolish decisions, and for decades people like me have been ranting about it.  But most people thought that everything must be okay because the consequences …

Coming soon. Back in May, Kenny Chesney made history as the first country artist in history to perform at Sphere, the $2.3 billion venue and technical marvel, in Las Vegas. Joining the likes of Eagles, Dead and Company, U2, Backstreet Boys, No Doubt, Anyma and film director, Darren Aronofsky, as the select few to headline the venue, the “Summertime” singer performed 15 sold-out shows throughout his first residency this year. If you aren’t familiar with Sphere at this point, it’s nothing short of a technological marvel. Standing at 366 feet tall and 516 feet wide, it contains the world’s largest high-resolution LED screen on its exterior (580,000 square feet) and 160,000 square feet of 16k LED screens, which wrap around the interior. Additionally, it holds 20,000 residents with over 17,000 seats available. Before he even performed at the venue this year, Chesney expressed just how excited he was to deliver the experience to fans across the country, noting how immersive shows at Sphere truly are. “I’m always looking for ways to deepen the way No Shoes Nation experiences this music. Over the years, they have shown me through their own response to these songs how passionate they are about what they mean, how these songs are part of their lives. When people give you that much heart, I want to give them even more. When we started talking about all of the possibilities playing Sphere offered, I was all in. Just the idea of 4D technology and the impossibly dialed in sound raises the experience for No Shoes Nation, literally immersing them in music, visuals, sound and being together. To me, this is going to be a whole new way of rocking the fans, and I can’t wait.” Of course, this led to a visual experience quite unlike anything you’ve ever seen, and Chesney took full advantage of it. Creating some mind-blowing visuals, he and his team left absolutely nothing off the table, leaning heavily into his patented beach aesthetic and even incorporating his love of football into the mix with shots from Neyland Stadium, home of the Tennessee Volunteers. @lifesaboutexperiences Just a little sequence from Night 2 of @Kenny Chesney at the @Sphere #kennychesney #spherelasvegas #sphere #concert ♬ original sound – Christopher W. Brown @madmachenRocky top am I right??♬ I Go Back – Kenny Chesney Undoubtedly, Chesney’s first residency at Sphere was nothing short of a success, and he made it known that he’d be back sooner than later, telling fans he’d see them next summer. “I got a little carried away. But after all the guests, all the songs we hadn’t planned on, all the people who came from all over, I just didn’t want to keep it a secret. I knew we were coming back, and if No Shoes Nation had half as much fun as we did, I wanted them to know we’d see them right here next summer. What could be better?” Taking to Instagram this morning, the Country Music Hall of Fame inductee added more fuel to the fire and posted a video of the Sphere sporting his No Shoes Nation logo across the outside of the venue before transitioning to a graphic of Chesney’s silhouette with #Summertime2026 across it. The caption would tell fans to prepare themselves, reading, “#IGoBack2026 … It’s time to get ready, No Shoes Nation.” View this post on Instagram A post shared by Kenny Chesney (@kennychesney) With the prospect of yet another Sphere residency and perhaps even a full tour in 2026, fans took to the comment section to express their excitement over the new teaser from the legendary singer/songwriter. “Round two! Let’s go No Shoes Nation!” “Sooo exciteddddd omggg” “Let’s GOOOOOOOO” “Planning for two nights this time! So fun last summer!” “Stadium tour please!” “Can’t wait… First time round was the best show of my life!!” “We need a tour, been 2 years too long – we miss you” At this time, it’s unknown if this is a teaser for a full-length tour throughout 2026 or another residency at Sphere. However, it’s safe to assume that a major announcment regarding Chesney’s summertime plans, most likely at Sphere, is coming very, very soon. “Summertime” The post Kenny Chesney Teases Return Las Vegas Sphere In 2026 – “It’s Time To Get Ready, No Shoes Nation” first appeared on Whiskey Riff.

The reason Jamey Johnson stepped away from the studio. In 2004, Jamey made a triumphant return of sorts to music after a 14-year gap between albums. Although let it be known that he never stopped playing live shows, just with old material. This may have been due to a head injury sustained years ago, but Midnight Gasoline proved he’s still got a lot of gas in the tank. In fact, we’re not that far off from hearing more from this new era of Jamey Johnson, as he’s shared he’s been making music at the historic Cash Cabin and has over 50 songs in the bank during a recent sit-down with the Whiskey Riff Raff podcast hosts, Shelby and Quinn. “I’ve got so many songs recorded. Over 50 still unreleased just from the past couple of sessions. We’ve got more sessions coming. I don’t know… at some point we’re gonna have to just start throwing songs out. All this stuff, we recorded over at Johnny Cash’s cabin – the Cash Cabin Studio. There’s a presence out there, and there’s an immediate reverence from the band when we get there. But there’s also this open avenue for anything goes. Grab your guitar, your keyboard, whatever you’re playing, and let’s give it hell. We’re out there making some of the best music I’ve ever gotten to record right now.” @whiskeyriff “There’s a presence out there, and there’s an immediate reverence from the band when we get there.” // Check out the latest Whiskey Riff Raff podcast with @JameyJohnsonOfficial available now on Spotify, Apple, and YouTube. #whiskeyriff #whiskeyriffraff #jameyjohnson #countrymusic #johnnycash ♬ original sound – Whiskey Riff However, Midnight Gasoline marked his triumphant return to the studio and to writing songs. Johnson shared with us that a big reason he was not making new music was that he gave up smoking after his head injury. However, once he was on a trip with many of his songwriting friends, he relapsed on the herbal medicine, and the songs came flooding back to him. “I didn’t smoke again until we wrote ‘What A View.’ When we sat down to write that song, I told you, we all knew a song was coming. The first thing I did was sit down and start thinking of reasons this song ain’t ever gonna fly. If you listen to the wrong voice, you are gonna get the wrong information. And I was sitting there coming up with reasons why I didn’t want to write this song. I looked over and one of my dear friends had put a joint in an ashtray. I could see where this session was going anyway. So I went ahead and smoked one and started writing songs again. They came in like a flood after that.” @whiskeyriff “All the inhibitions had been lifted. There were no more restrictions.” // Check out the latest Whiskey Riff Raff podcast with @JameyJohnsonOfficial available now on Spotify, Apple, and YouTube. #whiskeyriff #whiskeyriffraff #jameyjohnson #countrymusic #whataview ♬ original sound – Whiskey Riff While the mental block of writing seemed to be a massive factor as to why he didn’t record music all of those years, apparently, there was another factor. During a recent appearance on the God’s Country podcast, Johnson shared that there was no money in recording solo records. “The end result was making records didn’t make me any money. It didn’t move the needle for me financially. When it got down to fight or flight, and I was stuck in fight mode, I was just like, man, that’s the last thing I need to be messing with right now. It was just like leave that alone.” Johnson admits he was still writing during this period of studio abstinence; however, he was gifting them to friends or playing them on the road with no plan to re-record them. “I sent songs to people and got some songs cut. But I just enjoyed my time. It was just taking some time and getting to be a true songwriter… I don’t write because it’s Thursday at 10:00 AM. I write because I can’t sit here thinking about this and not write this down. I’ve got to stop what I’m doing and go write. That’s why I want to write something.” It seems like Johnson had a lot to work through after his head injury, and while going 14 years without new music from the famed outlaw was a long and arduous wait, it was well worth it to be gifted Midnight Gasoline and a whole lot more in the pipeline. Sometimes you need to give yourself time to heal, and Jamey Johnson’s patience with himself allowed him to come back better than ever. Fire up a few tunes while you’re here: “What A View” “Bad Guy” The post Jamey Johnson Says Money Was Part Of The Reason He Took A Break From Making Albums: “It Didn’t Move The Needle” first appeared on Whiskey Riff.

President Trump wrote yesterday that he was not happy about the International Maritime Organization trying to pass a global carbon tax on emissions, saying the US will not stand for it: I . . .