Placeholder: But I ain't never crossed a man that didn't deserve it Me be treated like a punk, you know that's unheard of You better watch how you talkin' and where you walkin' Or you and your homies might be lined in chalk But I ain't never crossed a man that didn't deserve it Me be treated like a punk, you know that's unheard of You better watch how you talkin' and where you walkin' Or you and your homies might be lined in chalk

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@generalpha

Prompt

But I ain't never crossed a man that didn't deserve it Me be treated like a punk, you know that's unheard of You better watch how you talkin' and where you walkin' Or you and your homies might be lined in chalk

distorted image, malformed body, malformed fingers

14 days ago

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SSD-1B

Guidance Scale

7

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1024 × 1024

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codargilv
Catch it, catch the beat Do it to me, and I'll do it to you Catch it, catch it, catch the beat Do it to me, and I'll do it to you (Say what?) To the break Just keep the same old beat
Manu Chao and the Radio Bemba Sound System dancing and singing on stage surrounded by women, Perdido en el corazón De la grande Babylon (Como una raya en el mar) Me dicen el clandestino Por no llevar papel
The last Cigarette
Histoire(s) du cinéma est un film expérimental de Jean-Luc Godard, débuté en 1988 et achevé dix ans plus tard, en 1998. Il est divisé en huit chapitres.
he essence of a modern beatnik road trip from the East Coast to the West Coast, inspired by the themes of William S. Burroughs' "The Electronic Revolution" and Jack Kerouac's "On the Road." The images should blend the restless spirit of the beat generation with the digital age, highlighting the tension between authentic experiences and the manipulative power of electronic media.
ithin this realm of the local, we encounter the enchanting concept of continuity. It is through the lens of local continuity that we perceive the behavior of functions within a small vicinity. The modulus of continuity, like a maestro's baton, guides our exploration. It measures the rate at which a function can wiggle and wander within a confined neighborhood. It quantifies the subtle oscillations, the intricate twists and turns, that a function can take on this intimate scale. But let us not co
[very impressive high res masterpiece in Kodak Eastman 5247, scene by László Krasznahorkai] the Black or Afro-American sheriff in the Wild West. A tale as rare and powerful as a shooting star in the night sky. Picture this: a lone figure, standing tall in the dusty streets of a frontier town, a badge gleaming on their chest, defying the odds and challenging the stereotypes of the time.
But I ain't never crossed a man that didn't deserve it Me be treated like a punk, you know that's unheard of You better watch how you talkin' and where you walkin' Or you and your homies might be lined in chalk
Here's to the teachers in the crowded rooms Here's to the workers in the fields Here's to the preachers of the sacred word Here's to the drivers at the wheel
Here's to the doctors and their healing work Here's to the loved ones in their care Here's to the strangers on the streets tonight Here's to the lonely everywhere
[very impressive high res masterpiece in Kodak Eastman 5247, by Stanley Kubrick] Il montait un destrier qui avait belle allure, était vêtu d’un haubert argenté, et son heaume était couvert d’un mélange contrasté d’or et de pierreries ouvrés de main de maître selon son désir, au-dessus duquel était fixée, bien au centre, une roue qui se mettait à tourner lorsqu’il joutait. Une précieuse zibeline ornait tout son heaume brillant qui était parcouru, au-dessus de ses yeux, par une bande dorée d’une
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