Pache.co

We’re back for some more Terraria adventuring, today we’re checking out Eternity mode in Fargo’s Soul Mod which adds a true Master Mode to Terraria.

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These designs were a collab with AntiDarkHeart, you can check out her work here https://twitter.com/AntiDarkHeart & https://linktr.ee/antidarkheart

This is filmed using Terraria Tmodloader for 1.3.5!

Terraria Eternity Mode Playlist:

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? About Terraria: Terraria is a 2D action-adventure sandbox video game developed by Re-Logic. The game was initially released for Microsoft Windows in May 2011, and has since been released for various consoles, handhelds, and mobile devices. Gameplay of Terraria features exploration, crafting, building, and combat with a variety of creatures in a procedurally generated 2D world.

#Terraria #Gaming

Amanda Magda de Oliveira is a jiu-jitsu black belt under Luis Marques and a representative of Team Fratres in the sport’s international circuit. Amanda first made waves at the professional level of grappling in the 2022 South American Championships of the International Brazilian Jiu-Jitsu Federation (IBJJF) with a gold medal in the adult division, despite being a rookie black belt and eligible to compete in Masters 3 at 44 years of age, then earning her way into the world rankings, a placement Magda solidified that year with several more wins in other events on the IBJJF calendar.

Amanda Magda Jiu-Jitsu

Full Name: Amanda Magda de Oliveira

Main Achievements:

Main Achievements (Masters):

Main Achievements (Colored Belts):

Main Achievements (Masters Colored Belts):

* Absolute
** Weight and Absolute

Favorite Position/Technique: Armlock

Weight Division: Peso Pesado (79.3 kg / 174.8 lb)

Team/Association: Frates JJ

Amanda Magda Biography

Amanda Magda was born on January 17, 1978, in São Paulo, Brazil.

Growing up Magda played volleyball and handball for her school while also practicing swimming. Later, after her scholastic sporting life, Amanda joined a Muay Thai club and in 2014, a jiu-jitsu academy, though that first grappling experience ended up short-lived as Amanda was forced to pause her training schedule to give birth to her second child.

A few months after becoming a mother for the second time, Amanda started experiencing high levels of anxiety in mundane circumstances. This affliction led her to see a psychiatrist who medicated her and led her down a path of apathy for daily activities and life in general. The medication also affected her weight as she grew into a physical shape she no longer felt comfortable with.

The weight gain drove Amanda Magda to a combat sports club (MAVORS in Perdizes, SP) where he re-started kickboxing and Muay Thai training. Being active vastly improved her quality of life and as that improved, her dependence on the medication dwelled off.

In 2016, Amanda’s kickboxing coach offered her a jiu-jitsu kimono and told her to try grappling as he believed she would enjoy it just as much as striking. Magda tried a jiu-jitsu class that day and immediately fell in love with the sport, becoming an avid student while taking 2 classes per day, often taking private classes as well.

Amanda’s growth in jiu-jitsu was exponential, first with coach Rodrigo Pacheco (Tartaruga) of team Demian Maia, who promoted Magda to blue belt, and later with Talita Nogueira and Robson Rezende who promoted her to purple belt in August 2018 after the São Paulo native won the IBJJF World Masters tournament in Las Vegas, Nevada, USA.

In February 2019 Amanda Magda was introduced to Luis Marques, one of the region’s top black belts who took over much of Magda’s development from then on, promoting her to the brown and black belt ranks, the latter in a ceremony that took place on December 11, 2021.

Amanda Magda Grappling Record

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#PathOfExile #EndlessDelve #Elementalist

This build was brought to my attention by Findar, check out their channel here: https://www.youtube.com/channel/UCa1snRiM1JRuq5tUHWaXCAw – someone who breaks the game once is likely to do it again. Findar’s gameplay video is unlisted, but is at https://www.youtube.com/watch?v=Zc-0918NEHQ

Findar’s Reddit post discussing the build: https://www.reddit.com/r/PathOfExileBuilds/comments/rb46qk/my_ssf_delve_build_infernal_warcry_ignite/

Findar’s approach is simple enough – use dynamite to kill one monster. Then let that one burn the entire node to the ground via incredible corpse explosion scaling.

This build is likely not viable outside the Endless Delve event.

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When Tyler Perry wrote the screenplay for “A Jazzman’s Blues” in 1995, he imagined Diana Ross in the role of Hattie Mae, mother to a young man named Bayou (Joshua Boone) and an entrepreneurial woman who opens a juke joint in the 1940s South. When Perry finally made the movie — a passion project he held onto for 27 years, which is now streaming on Netflix — he turned to Amirah Vann to play the role.

Best known for powerhouse performances opposite Emmy-winner Viola Davis in “How to Get Away With Murder,” as well as major roles in “Queen Sugar” (as Parker Campbell, a foil to the OWN series’ central Bordelon family) and “Underground” (as Ernestine, the fiercely protective matriarch and head house slave of a Georgia plantation), Vann was “honored” to get the call from Perry — and even more so that he believed she possessed acting and singing chops comparable to Ross.

“The first time I remember him saying it, I was like, ‘Wait a minute?’” Vann tells Variety over the phone. “It just made me feel so honored. It lets me know, at this point in my career, that God is like, ‘You’re on the right path. You are where you should be.’ That’s the real deal.”

The same could be said of Vann, whose layered performance in “A Jazzman’s Blues” has earned positive notice from critics. But it’s the unexpected compliments from other Black women that she admires — like Pauletta Washington and Kevin Durant’s mother Wanda Durant — that affirm her decision to assess each project for what it shares with the world about the African American experience and, personally, for the legacy she’s leaving her 20-month-old daughter, Nyla Fe Oyeku.

“When they say ‘Wow, your performance has really touched me, and the way you represent us as Black women really makes me proud,’ I do take a lot of pride in telling stories where I feel like we’re putting goodness into the world, that can help us grow and be better as humans overall,” she explains.

Below, Vann talks more about “A Jazzman’s Blues” and “Queen Sugar’s” final season.

When “A Jazzman’s Blues” premiered at TIFF, Tyler Perry introduced the cast to Oprah Winfrey on the red carpet. What was that like?

Oh my God, it was insane. I know that Oprah and Tyler are friends, so the cast was talking amongst ourselves, saying, “You realize we will probably meet Oprah today, right?” We were all trying to keep our bearings, stay calm and try not to come up with silly things to say that we’re going to regret later. I remember just standing in front of her and being like, “We’re so honored to have you here.” And I left it at that.

Then Oprah told you her grandmother was named Hattie Mae.

Yes, which is very interesting, because then when I spoke to my mother, she told me that I have an aunt on my father’s side who’s a Hattie Mae too. Hattie Mae, just the name alone resonates with a lot of people and elicits some warm feelings, so I feel like that’s great she made a connection. If she’s bringing it up, hopefully it inspired good feelings.

How did you get cast in the role?

My reps said, “Tyler Perry’s gonna call you,” which in and of itself was a huge honor. I was like, “Excuse me, who?” But I’ve felt that numerous times in my career already — when they said, “Amirah, we need you on a flight tomorrow to play opposite Viola,” or when I’m talking to Ava [DuVernay] about “Queen Sugar.” These are people who I am always inspired by. These are people who pass the baton sideways, because as much as I look up to them, we’re all happening right now. I feel grateful that Tyler’s like “I want to give you an opportunity,” and Ava’s like “I want to give you an opportunity.” It’s a huge honor to be able to learn from and work with these extraordinary artists.

When Tyler called me, I expressed my passion for Hattie Mae and I auditioned. But the first thing he said to me was, “What’s her name?” and he was referring to my daughter. It was beautiful. That lets you know the kind of man he is. [Editor’s note: At the time of filming, Vann was a new mother, having given birth to her daughter just a few weeks prior.]

When you got the script, what did you relate to about this character?

As soon as I read it, I said, “Oh, my gosh, I need to do this.” I requested Hattie Mae; I said, “Tyler please…” I love the music of the period, the story itself drew me in, but, I’ve gotta say, there’s something about the way Tyler writes. We always talk about representation and seeing ourselves — and I see that now with my daughter; she can recognize someone who looks like her where she goes, “Oh, it’s like I’m looking in a mirror.”

With this movie, Tyler also captured the rhythm of how we speak; how we say things in a certain, very specific way, like “Child, I’m moving on” or “Not on yo’ life.” It’s short, and sometimes it’s clipped and brief, but it’s direct and to the point. Sometimes it’s more poetic, but everyone gets the feel of it, and it adds humor in places that I don’t think the average person who would try to tell our stories would understand. It’s so natural and honest about how we have existed for centuries. I love hearing our sounds in there. It adds another layer of joy in the midst of everything that we had to overcome during that time, and during every time, really.

Because this is set in the jazz era, there’s also lots of singing. What did you enjoy most about getting a chance to show off your pipes?

To be able to collaborate with Terence Blanchard and Joel C. High, both of these men are really super talented, super loving.

The musical language that I speak is always story first. Prepping for it was fantastic because a lot of these songs are originally sung by men, so it was very much in the low register, which I enjoy singing in anyway, but it’s much lower than the way I normally sing. That was fun, to keep going down and getting into that bass and those rich colors.

Once all of that work was done, we recorded all of this in studio in Atlanta. It was really wonderful to be in the studio and have Terence directing a few of the songs. At that point, it’s not about perfection. You’ve done the work, but now you let the story lead, and whatever the voice is doing, that’s secondary to the storytelling, and that’s everything that we learned in theater. I was so at home.

“A Jazzman’s Blues” debuted in the Top 10 on Netflix, and people said they’ve been moved to tears by the story. What do you think has been resonating so deeply?

It’s always the simple things we can all identify with. Hattie Mae is balancing working as a washerwoman during the day, working as a midwife, and then what I loved about her is she found a way to find her passion and really live her dream. All these decisions that we make and try to find balance and joy — she’s trying to raise these two boys, and I’m trying to figure out balance, let me tell you, with this 20-month-old. Is taking care of her something that means that you give up on your dreams? No. It really is [a chance to] let me be an example, to show you how you can do all of these things. When Mommy says, “She has to go to work,” she gets to go to work; it’s not has to. You know, “Mommy’s doing what she loves. Mommy gets to tell people stories.”

Acting is always a very personal experience, and I take it very seriously to represent that in the most truthful way. Something always comes up that really hits home for me.

What have been some of the most memorable or powerful comments you’ve heard so far?

In general, life is hard. Life is difficult, and we’re all constantly trying to figure out the best way to navigate it, to find joy, to be able to take care of our families, to find love and to do work in a place where we don’t have to be miserable. I think it’s really fantastic that people can look at “A Jazzman’s Blues” and feel like, “Wow, there was a lot more joy than I expected.” That always means so much to me. Sometimes you need to feel compassion and to feel seen.

As “Queen Sugar” winds down, will we see more of Parker Campbell? What has that experience represented for you?

We will be seeing Parker, which is exciting. I think she has a really shocking ending. I love the journey that Parker has taken, and it is a really good full circle moment for the character. When I read it, I was like, “Oooh, this is good.”

Every time I showed up the cast was so welcoming, and I felt the same way about them, because I’m a huge fan of their work and the story that they created. Even to collaborate with DeMane Davis — one of the female directors of the all-female directed series — I met her on “How to Get Away with Murder,” so to be able to reunite with her is wonderful.

What’s next for you?

That’s always an actor’s fear — work and what’s coming next. It oftentimes takes saying, “You know what, I’m going to trust God that if I sit here, still, with no next job, God is going to provide.” And he always has opened the door. It’s difficult because you can’t always see it — I can’t see that Tyler Perry’s watching my work and is going to call me for his next movie, I can’t know that that’s happening.

I just finished filming “The Changeling,” [the Apple TV+ series starring Lakeith Stanfield] and I’m super proud of that and I love the role. But while I was there, I was like, “I don’t know what this is going to be or who it’s going to touch, so all I can do is be in this room, be in this space, telling the story with my whole heart, and thinking about this woman and all the complexity of who she is and what she wants to be.”

And “Shirley,” directed by John Ridley. To sit opposite Regina King — I’ve had the pleasure of acting opposite her before on a potential pilot that didn’t get picked up — she’s my friend, and she’s a great person, but she’s also one of those people who you look at and they crack your whole soul open in the most beautiful way.

Try Not To Laugh Challenge is a hilarious compilation of Funny and cute Animal Videos, featuring some of the funniest cats memes around! With so many cute and funny animals in one place, you’re sure to be entertained for hours on end. So why not sit back, relax, and watch some of the funniest animals around?

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Kayla Harrison, the two-time defending PFL women’s lightweight champion and the promotion’s most dominant fighter, is undefeated no more. Larissa Pacheco, who twice before had faced Harrison and had lost both times, got a stunning victory in her third crack at Harrison on Friday night in New York.

The fight was one of six weight division PFL season championship finals contested inside Hulu Theater at Madison Square Garden.

Harrison (15-1), a two-time Olympic gold medalist in judo, came in as an 8-1 betting favorite. She and the PFL were already making plans for next year, removing her from regular-season competition in order to book her in “superfights,” presumably with a step up in competition. Pacheco might have spoiled those plans.

The fight started well for Harrison, who scored an early takedown and threatened a submission for much of the first round. But Pacheco (19-4) withstood those difficult five minutes and fought back in the second round, using her powerful stand-up skills to land heavy strikes and utilizing strong takedown defense to turn the tide.

The fight appeared to be tied going into the fifth round, and Pacheco was the fresher fighter at that point. She landed some hard punches on Harrison, who eventually landed a takedown but could not capitalize.

All three judges scored the bout 48-47 in favor of Pacheco. Before this bout, Harrison had not lost even a single round in her career. Harrison is No. 8 in the ESPN pound-for-pound women’s top 10, the only PFL fighter in either those rankings or the divisional ones.

When Pacheco was awarded the championship belt and an oversized replica of a $1 million check, she credited her opponent for playing a role in getting her to where she now stands in her career.

“Just like Kayla said before: I’ve always made her a better competitor,” Pacheco said through an interpreter. “Well, she’s always made me a better competitor. She drove me to this moment.”

With the ascent of the radio, popular music became an important cultural phenomenon for the masses throughout the world. Therefore, it is the perfect mouthpiece for Allied war propaganda during the Second World War.

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Hosted by: Anna Deinhard
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Director: Wieke Kapteijns
Creative Producer: Maria Kyhle
Written by: Fiona Rachel Fischer
Edited by: Karolina Dołęga
Sound design by: Marek Kamiński
Colorizations by:
Mikołaj Uchman

Source literature list: http://bit.ly/WW2sources

Archive footage: Screenocean/Reuters – https://www.screenocean.com

Image sources:
Imperial War Museums: MWY 33, P 552, D 12274, E 12950, P 553
Bundesarchiv
National Archives NARA
Fortepan: 5463
Portrait of Vera Lynn courtesy of Nationaal Archief
Portrait of Yevgeny Dolomatovskii courtesy of mil.ru
1948 Wurlitzer poster courtesy of James Vaughan https://www.flickr.com/photos/x-ray_delta_one/3846783843
Picture of Vera Lynn in 1973 courtesy of Allan Warren https://commons.wikimedia.org/wiki/Category:Photographs_by_Allan_Warren

Soundtracks from Epidemic Sound:
– Cocktail Hour – The Fly Guy Five
– All Good Things Come in Threes – Ritchie Everett
– I Will Be Right Here With You – Wendy Marcini
– Just Got Eyes For You – Ivy-Rose Lyon
– Fog of Moscow – Sight of Wonders
– Viva Vodka – Medite
– Oh Motherland – Sight of Wonders
– Stomp! Stomp! Stomp! – Martin Landstrom
– Sunday Worship – Radio Night
– Time for Spring – Nocturnal Spirits
– A Caper Story – Martin Landstrom.
– Bravo! – Nico Dickens
– Vintage Dream – Mathilda June
– Memoirs of a Silk Bow Tie – The Fly Guy Five
– Ship – Hara Noda
– Moving to Disturbia – Experia
– The Chairman Of The Board 5 – Martin Landh

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

The Kansas City Chiefs have solidified their roster for Week 9 of the 2022 NFL season.

The Chiefs elevated one player from the practice squad, bringing this week’s total to 54 players. Keep in mind only 48 players will be made active for the game with a minimum of eight offensive linemen active. The team will need to make six players inactive on Sunday. We already know that TE Jody Fortson has been ruled out.

Be sure that you know how to identify all of Kansas City’s players during the Week 9 game against the Titans. Here is a look at the Chiefs’ roster by jersey number: