CouldnoT

I wish I had these updates when I used to play.

I think it's better to fix the bug from the source, because it didn't exist before.

Same bug reported here:

Same bug happened to me.

Name: CouldnoT De cand asculti Radio B-Zone: 2016 O dedicatie: Tunisian community will love it Playlistu propus: https://www.youtube.com/watch?v=G3KmAQA1uAs

The Mercedes-Maybach GLS 600 is the pinnacle of the GLS family when it comes to luxury amenities, and if you dream about owning one but do not fancy spending your money on an example with only the delivery miles under its belt, then perhaps buying used is the way to go. Mind you, due to the luxury-oriented nature of this model, one might be tempted to think that they need to be extremely loaded in order to dream about buying something like this. And that’s not really the case, because depreciation has struck this model like a train. You see, older, high-mileage examples tend to fetch in the five-digit category. That’s around $90,000, if you must know the numbers, and nearly-new ones that pack plenty of gear are usually worth double in today’s used car market. A brand-new one will set you back north of $180,000. That’s the official MSRP of the 2026 model year in the United States of America. And if you forgot, it was recently replaced by the facelifted iteration. The 2027 Mercedes-Maybach GLS 680, which is its new name (or suffix, in this case), comes with new front and rear fascias, including star-studded lighting units, boasts the latest MBUX infotainment system on the inside, complete with the Superscreen, and can be ordered with new leather upholstery in different colors. The engine is also new, and you are looking at a 4.0-liter twin-turbocharged V8 unit with a flat-plane crank design, assisted by a 48-volt mild-hybrid system. The 9-speed automatic transmission delivers 603 horsepower (612 ps/450 kW) and 627 pound-feet (850 Nm) of torque to all four wheels, and the ISG (integrated starter generator) contributes with an extra 23 horsepower. A revised steering system, a reworked air suspension, an optional E-Active Body Control function, and many others are part of the mid-cycle refresh. Mercedes has yet to announce how much the “new” Maybach GLS 680 will cost in our market, but it will likely be more than $180K, which is the MSRP of the outgoing iteration. Production of this model takes place in Tuscaloosa, Alabama, so it is one important machine that is born in the US of A, which is on the opulent side of things. Mind you, you can enjoy similar (if not identical) opulence in the example pictured in the gallery above. This is a 2022 Mercedes-Maybach GLS 600 that originally came in black. The factory paint finish has been covered in blue wrap, in this case, which is joined by plenty of chrome elements from bumper to bumper. This luxury-oriented SUV rides on the typical Maybach wheels, features a black leather interior with the old dual-screen setup, has ambient lighting, and numerous gizmos that are expected from such a thing. According to the vendor, which is @motorcarsofchicago on Instagram, the 2022 model year Mercedes-Maybach GLS 600 in question has a clean title, and in the region of 31,000 miles (50,000 km) on the clock. As mentioned above, these things tend to sell for roughly $90,000 in today’s second-hand market. So, do you reckon that this is the sticker price attached to this SUV? That would be a no, because the dealer is in this business to make money, so it was asking $109,995 for this machine at the time of writing. Curiously, the vendor did not have anything else to say about this Mercedes-Maybach GLS 600, but we will remind you that this thing took 4.6 seconds to accelerate from 0 to 60 mph (0 to 97 kph). It features a detuned version of the engine powering the Mercedes-AMG GLS 63, and it is a 4.0-liter bi-turbo V8 that steams out 550 hp (558 ps/410 kW) and 558 lb-ft (770 Nm) of torque. The peak thrust is available from 2,500 to 4,500 rpm, and the maximum output between 6,000 and 6,500 rpm. Thus, as you already know, the previous Mercedes-Maybach GLS 600 is less powerful than the new GLS 680. There is a 53-brake horsepower (54 ps/40 kW) difference between the two, and 69 pound-feet (94 Nm) of torque, with the balance obviously tilting in favor of the new one. The selling dealer is not particularly fond of direct messages, as the short caption that accompanies the pictures shared above reveals, it offers financing, and accepts trade-ins. But is $110K really a good deal for this 2022 model year Mercedes-Maybach GLS 600? And better said, if you had that kind of money lying around, and the desire to buy such a thing, would you blow it on the pictured example? Don’t forget that a new Maybach-branded GLS will set you back north of $180K, and it can easily exceed the $200K mark if you tick a few boxes on the options list. The used market value for a Bentley Bentayga is $50,000-$200,000+ in the USA, and the Rolls-Royce Cullinan typically sells for $230,000 to $420,000 used. autoevolution.com

Name: CouldnoT De cand asculti Radio B-Zone: 2016 O dedicatie: Tunisian players will love it Playlistu propus: https://youtu.be/IJHPpTYtIqk?si=qy5dgt5kKKFl9_nJ

Before screenings of their new documentary, the members of Katseye appear in a video message to thank fans for their support. Their followers, Eyekons, have played a critical role in their rise to stardom, so it makes sense that Katseye: Wild Hearts, released in global theaters this month, takes a beat to shout out to them. Perhaps more than many other big music groups today, the group’s rise has depended on their relationship with their devotees who ensure that few corners of the world are safe from Katseye mania. Katseye’s multinational members – Daniela, Lara, Manon, Megan, Sophia and Yoonchae – were selected through a combination of fan votes and judge scores on the 2023 YouTube reality competition The Debut: Dream Academy. The joint project between the American record label Geffen Records and Korean entertainment company Hybe aimed to create a global girl group, with hopefuls participating in a rigorous bootcamp to test their singing and dancing skills. The following year, Netflix’s docu-series Pop Star Academy: Katseye – which documented the group’s nascent era, behind-the-scenes drama and all – catapulted them to a new level of visibility. Katseye blend western pop’s individualism with the intense training and choreography of the well-oiled K-pop machine. Though they identify as a “global girl group”, much of Katseye’s domination can be credited to their K-pop DNA. “Katseye started with that core K-pop training [and high standards], which ensured they were firing on all cylinders from the start,” said K-pop columnist Jeff Benjamin. “Often in pop, there is a rewarding payoff in seeing an artist finally get backed by a big-label budget for a certain song, music video, or project, but K-pop ensures everything is supported from the start.” As a $5bn company with offices in Seoul, LA, Mexico City, Tokyo, Miami and Mumbai, Hybe’s resources have certainly contributed to the group’s success, but Katseye don’t adhere to all of K-pop’s structural norms. “There’s no hiding that many top-down decisions are made for them,” said Benjamin. “But Katseye divert by openly speaking about decisions they don’t agree with – the members seem not to like Pop Star Academy and the competition format they were created from – and addressing things most K-pop acts don’t speak about, including their personal lives and sexualities.” In 2026, Katseye are experiencing a surge of popularity that’s impossible to ignore, including a sold-out tour, nearly 40m monthly Spotify listeners and two Grammy nominations. Katseye: Wild Hearts, which features behind-the-scenes footage, interviews and fan-submitted videos, pulled in nearly $4m its opening weekend. The band have vacuumed up major marketing deals: they’ve worked with State Farm, Pandora, Target and the bougie LA grocery story Erewhon, where they have their own $22 smoothie. Their Gap Better in Denim campaign sparked a wildly viral TikTok trend and saw an upswing in revenue growth for the brand. Fans in their 20s, teens and younger are eating up what Katseye are serving far beyond retail shelves thanks to their hybrid western pop/K-pop mythos, high-energy performances and inclusive cultural and LGBTQ+ representation. (Two members identify as queer.) There’s also their digital posturing: Katseye is quick to leverage a viral meme to promote their product as well as build relatability with their fans. They reference zoomer Disney Channel nostalgia, collaborate with other chronically online stars such as Troye Sivan and rally fan participation with popular TikTok dances. “Katseye emerged in a landscape where social media isn’t just a promotional tool, but part of how pop culture is made and circulated,” said Dr Lucy Bennett, senior lecturer in Popular Music and Fandom at Cardiff University. “Fans can take a song, performance or interaction and repackage it for their own social media, promoting the group further.” In short, the Eyekons are better than any marketing team. “This is particularly significant for a new group because fandom can help create a sense that something is happening around the group, such as a feeling of momentum and cultural relevance.” Katseye’s core gen Z and Alpha fanbase isn’t by accident. Their easy-to-replicate dance trends, collaborations with toy brands such as Monster High and Gui Gui slime, and “brain rot” lyrics are targeted to young audiences. “Boba tea (gnarly) / Tesla (gnarly) / Fried chicken (gnarly),” they sing on Gnarly, while their latest single features lines such as: “Carry my matcha / Mount Valley water / I like my mochi drenched in chocolata.” The group’s fast-tracked success has not come without friction. Katseye say they have faced “heavy” racist and sexist harassment, dealt with extreme toxic fandom and received death threats. Lara, a Connecticut-raised US citizen of Tamil Indian background, told the BBC she was falsely reported to ICE, while Sophia, who is Filipina-American, revealed their family members had received hateful comments. Manon, who is of Swiss-Ghanaian heritage, called the experience “terrorizing on the mind”. Like the Pussycat Dolls, Fifth Harmony and other girl groups before them, Katseye have faced an onslaught of rumors of tensions within the group. Shadily edited clips of the girls have been presented on social media as proof of enmity between members. Some have outright pitted the girls against each other. “People see us as women to rank. They’ll grade us based on how pretty we are, our singing skill, dancing skill, and then add it up and give us a percentage. That’s so dystopian,” Lara said. The all-too-familiar parasocial expectations fans have of artists weigh heavily over Katseye, but that’s nothing new in pop. “The more intimate the digital relationship becomes, the more complicated it can be to maintain boundaries,” said Bennett. “Because fans can invest so much time and emotional energy in an artist, this can create expectations around access and responsiveness.” Other public scrutiny surrounding the band has been murkier. In February, the group announced Manon was taking a temporary step back to “focus on her health and wellbeing”, leaving the band to perform at Coachella as a five-piece. Soon after, she removed references to Katseye from her Instagram bio. In August, just months after Manon stepped back, Hybe announced Sophia was similarly going on hiatus for her “mental health and wellness”, casting another shadow of uncertainty over the group’s seemingly dwindling roster. It’s unclear if she will return in time to join her bandmates on their global Wildworld Tour this September. Meanwhile, the active members have voiced their support for both bandmates during recent promotional activities and appearances. Bennett said “the participatory nature of Katseye’s formation” makes their relationship with fans complex. “If fans have voted, promoted, defended and helped shape the formation of the group, they may feel they have a genuine stake in what happens to it. That can be a really positive thing, creating a strong sense of loyalty and investment in the group. At the same time, fans may feel that their investment gives them a particular interest in questioning or discussing decisions about [the band].” Katseye’s trajectory has so far triumphed over hiatuses, controversies and sneery rumors. Released on 14 August, Wild is a mega-success. The EP debuted at No 1 on the Billboard 200, setting a remarkable new record for the biggest week by a girl group in the streaming era. Wild also marks the biggest US debut for a girl group since Danity Kane’s 2008 album Welcome to the Dollhouse, and is the fourth No 1 album by a girl group this decade following K-pop releases such as Blackpink’s Born Pink, NewJeans’ second EP Get Up, and Twice’s With You-th. Despite record-breaking sales, critics are less enthused about the band’s recent output. Vulture called Wild a “war between bittersweet pop … and deliberately juvenile singles”, while Pitchfork shrugged at its “hollow” songs. Perhaps a testament to their rebellious gen Z pop swag, Katseye refuse to be chained to any one rhythm in particular – for better or worse. When the EP bangs, it bangs: Pinky Up, the spiritual successor to the initially polarizing Gnarly, is an intoxicating blast of thumping techno-pop. Co-penned by Ed Sheeran, Animal is a slice of radio-primed, early-2010s throwback pop. Tragically, one of the EP’s best songs, Unloveu, is a Target physical CD exclusive. Written by Lara, the ballad highlights the individual members’ voices as they harmonize about recovering from a toxic relationship. It hints at what could be if Katseye’s artistic input and vocals were emphasized above viral choreography and brand endorsements. Wild’s sonic incohesiveness and genre-hopping make for an uneven listening experience. It’s also woefully devoid of standout solo moments, the girls’ voices often blending into a sleek but frustratingly symmetrical monovocal. Bel Air, an unreleased 13-year-old Charli xcx song, is so languid it sounds more like a raw demo than the original. Then there’s Hootie Frutti. The Brazilian funk-flavored single is the EP’s most divisive, with some celebrating its chaotic, campy silliness and others criticizing its sexually charged, comedically product placement-heavy music video. (Manon and Sophia might be on hiatus. Orange-flavored Tic Tacs are decidedly not.) Amid a whiplash-inducing string of brand deals and promotions, fans are worried Katseye are being overworked. Maybe so. Representatives for the band did not respond to the Guardian’s requests for comment for this article. K-pop has long been under scrutiny for its infamously intense work schedules, while the western pop industry is no better for the many pressures facing female artists in particular. Coupled with various health-related hiatuses and public controversies, a cloudy patina of skepticism lies over the group’s nonstop schedules. In the past two weeks alone they have performed at the Disney Legends awards, appeared on the Today Show and Tonight Show, performed a Spotify event called Klub Katseye, signed CDs at Hot Topic and Barnes & Noble and headlined a music festival. Katseye’s potential for mainstream pop staying power is undeniable. As the global pop group of today, they are heralded by fans for their confidence, vibrant and distinct personalities – they embody an attitude emblematic of modern sisterhood in all its messy, magical glory – and celebration of diversity and digital culture. But something feels unsustainable. While one demand of the pop industry seems to be maintaining momentum at all costs, Katseye’s grueling commitments coupled with unrelenting public scrutiny could be harmful in the long run. Nonstop activity could also be holding the group back from more intentionally developing their core image and artistic perspective – both paramount to solidifying a musical legacy outside of flash-in-the-pan trends. Time will tell if the band’s current hyper-saturation is a natural outcome of the well-earned hype surrounding them, or a consequence of a larger, more insidious system that views pop stars as products. Perhaps after the Wild promotion is done, the band would benefit from a collective recalibration to figure out what artistic goals exist for Katseye beyond going viral. These talented performers deserve as much. theguardian.com