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1000 results for “cheukting_ho”
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Activision / Treyarch / Raven Software seems to be under the impression that there are no cheating players in their latest incarnation of Call Of Duty, Black Ops 7.
Either their Excel Warriors live under a rock, or none of them have actually played the game. Failure to deal with people cheating in online FPS games will, ultimately, kill the game and their investment.
#blackops #blackops7 #fps #gaming #game #treyarch #ravensoftware #activision #onlinegaming
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Foghazer – He Left the Temple Review By TymeBlack metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.
If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.
He Left The Temple by Foghazer
Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.
There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.
There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.
Rating: 2.5/5.0
#25 #2026 #BlackMetal #Darkthrone #Foghazer #Germany #HeLeftTheTemple #HypnoticDirgeRecords #Mar26 #Moderator #Portishead #Review #TripHop
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026 -
Foghazer – He Left the Temple Review By TymeBlack metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.
If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.
He Left The Temple by Foghazer
Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.
There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.
There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.
Rating: 2.5/5.0
#25 #2026 #BlackMetal #Darkthrone #Foghazer #Germany #HeLeftTheTemple #HypnoticDirgeRecords #Mar26 #Moderator #Portishead #Review #TripHop
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026 -
Foghazer – He Left the Temple Review By TymeBlack metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.
If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.
He Left The Temple by Foghazer
Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.
There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.
There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.
Rating: 2.5/5.0
#25 #2026 #BlackMetal #Darkthrone #Foghazer #Germany #HeLeftTheTemple #HypnoticDirgeRecords #Mar26 #Moderator #Portishead #Review #TripHop
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026 -
Foghazer – He Left the Temple Review By TymeBlack metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.
If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.
He Left The Temple by Foghazer
Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.
There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.
There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.
Rating: 2.5/5.0
#25 #2026 #BlackMetal #Darkthrone #Foghazer #Germany #HeLeftTheTemple #HypnoticDirgeRecords #Mar26 #Moderator #Portishead #Review #TripHop
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026 -
Foghazer – He Left the Temple Review By TymeBlack metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.
If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.
He Left The Temple by Foghazer
Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.
There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.
There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.
Rating: 2.5/5.0
#25 #2026 #BlackMetal #Darkthrone #Foghazer #Germany #HeLeftTheTemple #HypnoticDirgeRecords #Mar26 #Moderator #Portishead #Review #TripHop
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026 -
Kicking off PHASE TWO of blawnktober: indie horror & collabs!! 🎃
✝️ Continuing FAITH: THE UNHOLY TRINITY on Monday!
😱 Checking out FEARS TO FATHOM on Wednesday!
👻 duckomato, Libearty, and mudiknives are joining me for PHASMOPHOBIA on Thursday~SEE YOU THERE!!
>> http://blawnk.com <<
#blawnk #VTuber #ENVTuber #Streamer #LowPoly #Twitch #IndieHorror #FAITH #FearsToFathom #Phasmophobia
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As a #GM #DM #Storyteller or other name for a #TTRPG referee, you can't really control the rolls (unless you're cheating) or the players (which is half the fun!), but you can control the tone of results.
When I'm running a heroic game, I never want to undercut the players and make the characters feel foolish. "You rolled a 1 so you drop your weapon and soil yourself" diminishes the character.
Instead, I use that as a chance to make the world feel more dangerous.
"You rolled a 1. The bandit in front of you blocks your attack and pushes an offense, slashing at you, knocking you off balance with skill and grace."
"You rolled a 1. Your blood drips into your eyes, temporarily blinding you with stinging saltiness."
"You rolled a 1. The goblin lashes out with surprising ferocity. Fear and desperation in its eyes, hoping to drive you off and protect its family from the invading adventurers."
But that's just my two cents.
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Rosencrantz and Guildenstern are Dead.
And now, so is Tom Stoppard. RIP.ROSENCRANTZ: We could play at questions.
GUILDENSTERN: What good would that do?
ROS: Practice!
GUIL: Statement! One-love!
ROS: Cheating!
GUIL: How?
ROS: I hadn't started yet!
GUIL: Statement. Two-love.
ROS: Are you counting that?
GUIL: What?
ROS: Are you counting that?
GUIL: Foul! No repetitions. Three-love. First game to--
... -
All y'all, talkin' how These next four years are gonna be rough - are adorable. I will be pleasantly surprised if we see someone living in the White House, who is not a member of the #GOP, before 2041. That's only four #election cycles: We just #elected our king, so sez SCOTUS, & we can't #prosecute him for ANYTHING he does while in office, so he's not going anywhere. Then his mini-me will be in the #WhiteHouse because "If we #win it's #fair & if you win it's #cheating." #SCOTUS #king #trump
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HNL Alert from the Oahu Department of Emergency Management
Issued: 11:05 AM 03-10-2026
Severe Weather Update 1: March 2026 Kona Low Storm
Details
Weather conditions are expected to worsen over Oahu tonight (Tuesday) and continue through the end of the week as a Kona storm impacts the state. A combination of heavy rains, high winds, and the potential for thunderstorms will create dangerous conditions. Heavy rains may cause flooding. Be aware of nearby streams, drainage channels, roads, ditches, and other areas known to flood. High winds can cause downed trees and power outages.
A Flood Watch goes into effect tonight through Saturday.
A Special Weather Statement has been issued for the state highlighting the threat of flooding and concern about severe thunderstorms.The City and County of Honolulu began preparation for the storm and coordination with partner agencies late last week. Mayor Blangiardi has issued an Emergency Proclamation ahead of expected impacts. City crews have been clearing stream mouths and checking for blockages. In anticipation of the storm, there may be schedule changes or closures of City services and facilities. Monitor for updates.
Residents and visitors are urged to use caution when outdoors and to prepare for potential power outages.
Turn around, don’t drown! Do not attempt to walk, swim, or drive through flowing or rising water. Floodwaters can rise rapidly. Just one foot of moving water can sweep away a vehicle. If your vehicle is caught in rapidly moving water, stay inside. If water begins to rise inside the vehicle, get on the roof.
Protect your home: Secure outdoor items so they do not become projectiles in high winds. Clear gutters and drains around your property to help prevent flooding.
Drive carefully: Roads may be blocked or partially closed due to fallen trees, rocks, or debris. Use caution and watch for first responders and crews working in the area. Be aware of officers directing traffic. If a traffic signal is out or malfunctioning, treat the intersection as a four-way stop.
Use extreme caution outdoors. Limit outdoor activities. High winds can cause falling rocks or branches and dangerous ocean conditions. Do not cross flooded streams. Streambeds that appear dry can quickly flood due to rain upstream, even if it is not raining where you are.
Prepare for power outages: Keep back up batteries for flashlights, cell phones, and medical equipment charged and ready. Fill water containers. Turn your refrigerator and freezer to their coldest settings.Stay Informed
Additional updates will be issued as the situation develops or if there are significant changes to the weather forecast. Follow DEM on social media, encourage others to sign up for HNL Alert, and monitor local TV/radio. Help keep lines clear for first responders. Call 911 for emergencies only. Do not call 911 for general information updates.
Learn more about emergency preparedness and how to protect your family at honolulu.gov/dem.
Mahalo and stay safe!
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🚀🎉 Hold onto your keyboards, folks! #Astral has unleashed "ty," a lightning-fast #Python #type #checker, because, of course, we needed another one. Written in #Rust, because Python apparently wasn't fast enough for checking itself, "ty" is now in #Beta and ready to bravely enter a market already saturated with the likes of #mypy, #Pyright, and other tools you didn't know you couldn't live without. 🌪️🔧
https://astral.sh/blog/ty #ty #HackerNews #ngated -
Redid my #neovim config to keep up with the times (I used many deprecated
plug-ins, and didn't use #lua).I haven't the faintest idea what I'm doing, I just followed a tutorial, got #lazyVim, and a few plug-ins, and I am utterly stomped by how to set up the #python lsp, especially as I want to include #mypy type checking.
The duality of #documentation is that I either get a tutorial that explains nothing and expects you to copy paste, or a manual that goes waaaay over my head.
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Short visit at the Phuket Sunshine Village Foundation https://phuketsunshinevillage.org
Checking on the completion of our new 2 story wear house.... got distracted by some of our Kindergarten kids... #charity #Phuket #childreninneed -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
My day job is all about #Python (which I love). Here are some personal rules, specific to working with Python projects:
* Do **not** install or modify global tools, especially Python itself or any packages. This means a given system might not even **have** a global Python
* Always use virtual environments (`uv` agrees with me, and doesn't need this but). I always set the global environment variable `PIP_REQUIRE_VIRTUALENV`.
* The two rules above mean my virtual environment contains (not via a link, it's really there) Python itself (and of course, of the right version)
* Virtual environments always live **inside** a project directory. Never global.
* Activate virtual environments only **inside** the project directory (`direnv` #direnv makes this easy)
* Don't install (let alone use) #Anaconda, #Miniconda, or #Mamba, because those violate all the rules above (but see the next rule)
* Anaconda-based packages implies a `pixi` #Pixi project (it's the same people, but a better answer, and you still get what you want -- the correct packages)
* No Anaconda-based packages implies a `uv` #UV project
* Always use `pyproject.toml` #pyprojecttoml over any other config file (e.g., `requirements.txt` #requirementstxt), except where things just don't work, such as needing `pyrefly.toml`
* `uv`, `pixi`, and `direnv` must exist outside of any project, so install them at the user level, or else globally if and only if that is appropriate and compelling enough to override rule oneThat was a wall of text, but in practice doing it this way is trivial. It's probably **less** work than you have been doing. This post is just about managing your Python versions, environments, and projects. Not about, e.g., using `pre-commit` #precommit, or doing type checking, etc. But if you follow these rules, your work will be easier, faster, more adaptable, and encounter fewer obstacles.
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My day job is all about #Python (which I love). Here are some personal rules, specific to working with Python projects:
* Do **not** install or modify global tools, especially Python itself or any packages. This means a given system might not even **have** a global Python
* Always use virtual environments (`uv` agrees with me, and doesn't need this but). I always set the global environment variable `PIP_REQUIRE_VIRTUALENV`.
* The two rules above mean my virtual environment contains (not via a link, it's really there) Python itself (and of course, of the right version)
* Virtual environments always live **inside** a project directory. Never global.
* Activate virtual environments only **inside** the project directory (`direnv` #direnv makes this easy)
* Don't install (let alone use) #Anaconda, #Miniconda, or #Mamba, because those violate all the rules above (but see the next rule)
* Anaconda-based packages implies a `pixi` #Pixi project (it's the same people, but a better answer, and you still get what you want -- the correct packages)
* No Anaconda-based packages implies a `uv` #UV project
* Always use `pyproject.toml` #pyprojecttoml over any other config file (e.g., `requirements.txt` #requirementstxt), except where things just don't work, such as needing `pyrefly.toml`
* `uv`, `pixi`, and `direnv` must exist outside of any project, so install them at the user level, or else globally if and only if that is appropriate and compelling enough to override rule oneThat was a wall of text, but in practice doing it this way is trivial. It's probably **less** work than you have been doing. This post is just about managing your Python versions, environments, and projects. Not about, e.g., using `pre-commit` #precommit, or doing type checking, etc. But if you follow these rules, your work will be easier, faster, more adaptable, and encounter fewer obstacles.
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My day job is all about #Python (which I love). Here are some personal rules, specific to working with Python projects:
* Do **not** install or modify global tools, especially Python itself or any packages. This means a given system might not even **have** a global Python
* Always use virtual environments (`uv` agrees with me, and doesn't need this but). I always set the global environment variable `PIP_REQUIRE_VIRTUALENV`.
* The two rules above mean my virtual environment contains (not via a link, it's really there) Python itself (and of course, of the right version)
* Virtual environments always live **inside** a project directory. Never global.
* Activate virtual environments only **inside** the project directory (`direnv` #direnv makes this easy)
* Don't install (let alone use) #Anaconda, #Miniconda, or #Mamba, because those violate all the rules above (but see the next rule)
* Anaconda-based packages implies a `pixi` #Pixi project (it's the same people, but a better answer, and you still get what you want -- the correct packages)
* No Anaconda-based packages implies a `uv` #UV project
* Always use `pyproject.toml` #pyprojecttoml over any other config file (e.g., `requirements.txt` #requirementstxt), except where things just don't work, such as needing `pyrefly.toml`
* `uv`, `pixi`, and `direnv` must exist outside of any project, so install them at the user level, or else globally if and only if that is appropriate and compelling enough to override rule oneThat was a wall of text, but in practice doing it this way is trivial. It's probably **less** work than you have been doing. This post is just about managing your Python versions, environments, and projects. Not about, e.g., using `pre-commit` #precommit, or doing type checking, etc. But if you follow these rules, your work will be easier, faster, more adaptable, and encounter fewer obstacles.
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My day job is all about #Python (which I love). Here are some personal rules, specific to working with Python projects:
* Do **not** install or modify global tools, especially Python itself or any packages. This means a given system might not even **have** a global Python
* Always use virtual environments (`uv` agrees with me, and doesn't need this but). I always set the global environment variable `PIP_REQUIRE_VIRTUALENV`.
* The two rules above mean my virtual environment contains (not via a link, it's really there) Python itself (and of course, of the right version)
* Virtual environments always live **inside** a project directory. Never global.
* Activate virtual environments only **inside** the project directory (`direnv` #direnv makes this easy)
* Don't install (let alone use) #Anaconda, #Miniconda, or #Mamba, because those violate all the rules above (but see the next rule)
* Anaconda-based packages implies a `pixi` #Pixi project (it's the same people, but a better answer, and you still get what you want -- the correct packages)
* No Anaconda-based packages implies a `uv` #UV project
* Always use `pyproject.toml` #pyprojecttoml over any other config file (e.g., `requirements.txt` #requirementstxt), except where things just don't work, such as needing `pyrefly.toml`
* `uv`, `pixi`, and `direnv` must exist outside of any project, so install them at the user level, or else globally if and only if that is appropriate and compelling enough to override rule oneThat was a wall of text, but in practice doing it this way is trivial. It's probably **less** work than you have been doing. This post is just about managing your Python versions, environments, and projects. Not about, e.g., using `pre-commit` #precommit, or doing type checking, etc. But if you follow these rules, your work will be easier, faster, more adaptable, and encounter fewer obstacles.
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My day job is all about #Python (which I love). Here are some personal rules, specific to working with Python projects:
* Do **not** install or modify global tools, especially Python itself or any packages. This means a given system might not even **have** a global Python
* Always use virtual environments (`uv` agrees with me, and doesn't need this but). I always set the global environment variable `PIP_REQUIRE_VIRTUALENV`.
* The two rules above mean my virtual environment contains (not via a link, it's really there) Python itself (and of course, of the right version)
* Virtual environments always live **inside** a project directory. Never global.
* Activate virtual environments only **inside** the project directory (`direnv` #direnv makes this easy)
* Don't install (let alone use) #Anaconda, #Miniconda, or #Mamba, because those violate all the rules above (but see the next rule)
* Anaconda-based packages implies a `pixi` #Pixi project (it's the same people, but a better answer, and you still get what you want -- the correct packages)
* No Anaconda-based packages implies a `uv` #UV project
* Always use `pyproject.toml` #pyprojecttoml over any other config file (e.g., `requirements.txt #requirementstxt), except where things just don't work, such as needing `pyrefly.toml`
* `uv`, `pixi`, and `direnv` must exist outside of any project, so install them at the user level, or else globally if and only if that is appropriate and compelling enough to override rule oneThat was a wall of text, but in practice doing it this way is trivial. It's probably **less** work than you have been doing. This post is just about managing your Python versions, environments, and projects. Not about, e.g., using `pre-commit` #precommit, or doing type checking, etc. But if you follow these rules, your work will be easier, faster, more adaptable, and encounter fewer obstacles.
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I have a local friend active in #SURJ (Showing Up for Racial Justice), a national organization with local chapters, and she invited me to the local meeting tonight, and it was such a great group of down to earth, cool people. They had real, actionable plans, they valued community so much, and the group vibe was friendly and warm. Highly recommend checking out your local chapter! Especially if you're tired of feeling like voting and donating is all you can do. It isn't!
