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Alexis Texas putting that world-class ass to work Watch her legendary cheeks bounce while she rides that thick cock straight to creampie. #BigAss #Pawg #Cowgirl #Riding #ThickCock #Creampie #BouncingAss #Milf #BigBooty #Blonde #BigDick #Hardcore #NaturalTits #HugeAss #nsfw

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There was another great April fools prank, even though I’m a day late and a dollar short 🤣 Y’all, this April Fools prank is too good! Granny calls her daughter sounding all serious and worried. She starts going on about how her granddaughter Brandy has been sneaking into her closet and cupboards, taking stuff and loading it straight into her car, then walking back inside like nothing happened. Granny’s whispering that she’s scared to even watch too close in case Brandy catches her! She even mentioned putting up cameras because she didn’t know what to do. The daughter is over there starting to freak out a little, thinking “What in the world is going on?!” Then Granny hangs up real quick when she hears Brandy coming… only to call back saying Brandy just grabbed the family cat Poppy, put him in the car, and took off! The daughter’s arguing back like “Brandy would NEVER do that, and Poppy couldn’t just go with her!” while Granny’s insisting she did because “Poppy’s so special and she likes him so much.” She was half-believing it for a second… until Granny finally yells “April Fools!” and they both burst out laughing. That granny is sneaky for her age—had to give it to her! 😂 Turns out it was Brandy’s idea too. What a crazy family. Best April Fools prank ever. Who else got got yesterday?

There was another great April fools prank, even though I’m a day late and a dollar short 🤣 Y’all, this April Fools prank is too good! Granny calls her daughter sounding all serious and worried. She starts going on about how her granddaughter Brandy has been sneaking into her closet and cupboards, taking stuff and loading it straight into her car, then walking back inside like nothing happened. Granny’s whispering that she’s scared to even watch too close in case Brandy catches her! She even mentioned putting up cameras because she didn’t know what to do. The daughter is over there starting to freak out a little, thinking “What in the world is going on?!” Then Granny hangs up real quick when she hears Brandy coming… only to call back saying Brandy just grabbed the family cat Poppy, put him in the car, and took off! The daughter’s arguing back like “Brandy would NEVER do that, and Poppy couldn’t just go with her!” while Granny’s insisting she did because “Poppy’s so special and she likes him so much.” She was half-believing it for a second… until Granny finally yells “April Fools!” and they both burst out laughing. That granny is sneaky for her age—had to give it to her! 😂 Turns out it was Brandy’s idea too. What a crazy family. Best April Fools prank ever. Who else got got yesterday?

NancyH

39,293 Aufrufe • vor 5 Monaten

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.

Hollywood Golden Age of cinema

35,552 Aufrufe • vor 3 Monaten

SHOCKING: SAVAGE BRONX BEATDOWN! PACK OF BLACK COWARDS GANG UP ON WHITE BLONDE WOMAN WHILE NYPD "INVESTIGATES"! Folks, if you got the stomach for it, pull up that video from the Bronx club. A bunch of grown-ass "men" tatted up, acting like straight animals, piling on one blonde woman, yanking her hair, swinging punches, treating her like a piñata at some third-world throwdown. Bystanders filming, music still bumping, nobody with a spine stepping in. Classic. This ain't "boys being boys" or some bar fight gone wrong. This is the raw, unfiltered result of importing third-world chaos into our cities, letting tribal pack-mentality replace American manhood, and watching common decency get stomped out under "progress." Real men protect women, period. These clowns? They're the reason good folks lock their doors, stay home, and homeschool their kids. NYPD says they're "investigating." Yeah, we'll see how that goes in the Bronx. Probably some plea deal, a couple viral quotes, and back to business as usual while decent Americans foot the bill for the cleanup. Meanwhile, the rest of us watch another piece of civilization circle the drain. Stay armed, stay aware, and teach your sons to be protectors, not participants in this clown show. America didn't used to be this soft and savage at the same time. Time to get hard again, patriots. What say you? Seen enough of these clips yet, or we pretending this is still "just isolated incidents"? Drop your thoughts below but keep it real.

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SHOCKING: SAVAGE BRONX BEATDOWN! PACK OF BLACK COWARDS GANG UP ON WHITE BLONDE WOMAN WHILE NYPD "INVESTIGATES"! Folks, if you got the stomach for it, pull up that video from the Bronx club. A bunch of grown-ass "men" tatted up, acting like straight animals, piling on one blonde woman, yanking her hair, swinging punches, treating her like a piñata at some third-world throwdown. Bystanders filming, music still bumping, nobody with a spine stepping in. Classic. This ain't "boys being boys" or some bar fight gone wrong. This is the raw, unfiltered result of importing third-world chaos into our cities, letting tribal pack-mentality replace American manhood, and watching common decency get stomped out under "progress." Real men protect women, period. These clowns? They're the reason good folks lock their doors, stay home, and homeschool their kids. NYPD says they're "investigating." Yeah, we'll see how that goes in the Bronx. Probably some plea deal, a couple viral quotes, and back to business as usual while decent Americans foot the bill for the cleanup. Meanwhile, the rest of us watch another piece of civilization circle the drain. Stay armed, stay aware, and teach your sons to be protectors, not participants in this clown show. America didn't used to be this soft and savage at the same time. Time to get hard again, patriots. What say you? Seen enough of these clips yet, or we pretending this is still "just isolated incidents"? Drop your thoughts below but keep it real.

AmericanPapaBear™

148,755 Aufrufe • vor 4 Monaten

My wife, Aditi Malhotra Chaturvedi, is a Judge Most people who know us, know how madly proud I am of her. But all of that pride comes at a cost .. I also, unfortunately, need reminders to “understand” the meaning of why she does what she does, while bearing all that she has to in that process So kudos to the makers of #MaamlaLegalHai on Netflix, a satirical show that depicts in each of the 8 episodes courtroom highlights beyond the courtroom that’re lifted straight up from real incidents, bound by a central narrative around some super endearing characters in VD Tyagi, Ananya Shroff, Sujata, Munshi Ji, PP Saab, & others. It’s a kickass show that anyone and everyone will love, for its humour and emotion, & yet, it shows so much of the “judiciary”, so much of how one of the most important pillars of our country operates, with incredible detail Sharing two clips from the last episode, which made Aditi’s eyes tad bit wet, and my chest swell each bit of those 56 inches. I realise though that I can do better than just feeling this pride. It isn’t easy in first place. We see each other not more than 5-6 days in a month. We are not able to be with each other on days good and bad, when ‘that magical hug’ would have meant everything. We give up a lot. Rather, she gives up a lot. Driven by some unknown force, a deep-rooted emotion to do “justice” I live in a world where everything is simplified, productised, incentivised, and even then “motivations” aren’t easy to build. And on the other hand, is this world. Somewhere in a remote corner with remote amenities. With no line of sight on pay, incentives, promotions etc. With no team engagement, no offsites, no ESOPs, no awards. Yet, mad work ethic. Yet, passion to play every day, every hour, with your everything. Yet, a commitment to sacrifice your prime to serve others. I keep wondering what she’s made up of .. There is a life she leads inside the courtroom. Which I have had a chance to “witness” a few times. Just about always manages to send chills down my spines. And there is a life that she leads outside it. Half a day / long train ride away. Where she works incredibly hard again to make everyone ‘feel her presence’ in fullness To be able to do “justice” in your own life, with your own people, while putting yourself out there, is an unbelievable feat that goes unnoticed and uncelebrated .. Every Monday morning when she heads back, we all (including Buzo) remain a bit numb for a few hours … and then life catches up. Waiting for the next opportunity to see each other, hold each other, laugh with each other, cry with each other, just “be” with each other. Which also always makes us feel very ‘grateful’ for whatever time we get. My job doesn’t help. But I try. She tries harder. We make it work. Having been in love since forever helps .. Few weeks back, when Aditi’s dad was in the ICU, she rushed back late in the night only to head back right next morning on that 6 am train. I asked her on the platform that morning if it was necessary to go, and she said a hundred people, across age groups, were waiting for “justice”, and even a single day missed means these ‘files’ which translates to “human lives” get pushed by 5-6 months, such is the sheer volume of litigation in our country’s courts Like the series pretty well shows, a great number of times, what happens inside the court affects. Even as I write in the moment, I am rubbing my temples, shaking my head in disbelief, as I recall the absolute horrid state of criminal and civil suits I’ve seen play out. She’s become thicker with time, you don’t have a choice, but a lot of these cases, when I narrate them in my founder/VC/tech brethren, almost a cent percent are shell-shocked and don’t relate to this India But here we are :) As obsessed as I am with what I do for a living, I realise in moments like these that part of my diktat in this life is to help Aditi win, and do better, for the millions that are invisible to the India that I serve ..

My wife, Aditi Malhotra Chaturvedi, is a Judge Most people who know us, know how madly proud I am of her. But all of that pride comes at a cost .. I also, unfortunately, need reminders to “understand” the meaning of why she does what she does, while bearing all that she has to in that process So kudos to the makers of #MaamlaLegalHai on Netflix, a satirical show that depicts in each of the 8 episodes courtroom highlights beyond the courtroom that’re lifted straight up from real incidents, bound by a central narrative around some super endearing characters in VD Tyagi, Ananya Shroff, Sujata, Munshi Ji, PP Saab, & others. It’s a kickass show that anyone and everyone will love, for its humour and emotion, & yet, it shows so much of the “judiciary”, so much of how one of the most important pillars of our country operates, with incredible detail Sharing two clips from the last episode, which made Aditi’s eyes tad bit wet, and my chest swell each bit of those 56 inches. I realise though that I can do better than just feeling this pride. It isn’t easy in first place. We see each other not more than 5-6 days in a month. We are not able to be with each other on days good and bad, when ‘that magical hug’ would have meant everything. We give up a lot. Rather, she gives up a lot. Driven by some unknown force, a deep-rooted emotion to do “justice” I live in a world where everything is simplified, productised, incentivised, and even then “motivations” aren’t easy to build. And on the other hand, is this world. Somewhere in a remote corner with remote amenities. With no line of sight on pay, incentives, promotions etc. With no team engagement, no offsites, no ESOPs, no awards. Yet, mad work ethic. Yet, passion to play every day, every hour, with your everything. Yet, a commitment to sacrifice your prime to serve others. I keep wondering what she’s made up of .. There is a life she leads inside the courtroom. Which I have had a chance to “witness” a few times. Just about always manages to send chills down my spines. And there is a life that she leads outside it. Half a day / long train ride away. Where she works incredibly hard again to make everyone ‘feel her presence’ in fullness To be able to do “justice” in your own life, with your own people, while putting yourself out there, is an unbelievable feat that goes unnoticed and uncelebrated .. Every Monday morning when she heads back, we all (including Buzo) remain a bit numb for a few hours … and then life catches up. Waiting for the next opportunity to see each other, hold each other, laugh with each other, cry with each other, just “be” with each other. Which also always makes us feel very ‘grateful’ for whatever time we get. My job doesn’t help. But I try. She tries harder. We make it work. Having been in love since forever helps .. Few weeks back, when Aditi’s dad was in the ICU, she rushed back late in the night only to head back right next morning on that 6 am train. I asked her on the platform that morning if it was necessary to go, and she said a hundred people, across age groups, were waiting for “justice”, and even a single day missed means these ‘files’ which translates to “human lives” get pushed by 5-6 months, such is the sheer volume of litigation in our country’s courts Like the series pretty well shows, a great number of times, what happens inside the court affects. Even as I write in the moment, I am rubbing my temples, shaking my head in disbelief, as I recall the absolute horrid state of criminal and civil suits I’ve seen play out. She’s become thicker with time, you don’t have a choice, but a lot of these cases, when I narrate them in my founder/VC/tech brethren, almost a cent percent are shell-shocked and don’t relate to this India But here we are :) As obsessed as I am with what I do for a living, I realise in moments like these that part of my diktat in this life is to help Aditi win, and do better, for the millions that are invisible to the India that I serve ..

Akshay Chaturvedi

140,883 Aufrufe • vor 2 Jahren

Analyzing Episode 39. Season 2 aka Of Closets, Skeletons, and Haunting Truths Eveeeetttt. I finally found some of my old energy to write because last night's episode was AWESOME. And, allow me, nay, give me the freedom to say 'I TOLD YOU SO!' because the zombie turned out to be just as big a sh!thead as I expected him to be. Okay, now that I've gotten that exultant vindication out of the way, let's get on with our analysis. We start the episode with FrankenBoran saying 'Alya' and promptly fainting again. When he comes to again, he remarkably remembers all his other family members, and proceeds to creep Alya out further by calling her beautiful. I mean, don't get me wrong, but if a loving husband woke up from a year-long coma and saw his wife, I'd expect him to say something like 'I missed you' or 'How have you been?' But this guy? He goes straight for the look at my hot trophy-doctor wife. Yech. Anyway, at the zombie's insistence of seeing Cihan Deniz, Alya informs his decrepit self of the accident and all that followed, minus the mountain of trauma she went through. Is anyone else surprised by how handy this man's memory is? Because what the heck do you mean he doesn't remember asking his brother to marry his widow? When Cihan is forced to inform the zombie of his marriage to Alya, he suddenly switches to victim mode and passes out again. Convenient. After that, the assorted Alboras all convene in the salon at Sadakat's insistence, where she tries and fails to guilt-trip Cihan and Alya into showing Deniz to the zombie. Then she fine-tunes her maternal emo blackmail skills to keep Cihan from telling Boran who his real father is. Spot the witch's hypocrisy here? The only thing that made that entire scene bearable was Nare and Kaya supporting Cihan and Alya. Thank goodness for Azem and Fiko anne's genes. Alya's scene with Deniz (who's still blissfully napping) was a cute reprieve. She's understandably struggling with how she's going to explain the mess the zombie has made of their lives to her son. And, like any decent mom, she wants to protect Deniz from all kinds of pain, but finds herself helpless. And the fact that Cihan walks in and says he wishes he could protect Alya from the ugliness of life because she's just as innocent as Deniz was special to me. Because the world we live in will always blame women first, regardless of whether they're guilty or not. I've read so many comments from random losers (yep, losers) blaming Alya and accusing her of 'loose morals' because she refuses to return to the PoS husband who all but foists her on his brother's shoulders to save his own worthless self. That little reminder by Cihan of Alya's innocence in all that's happening to them made me want to hug Gulizar. Because that scene was put in there for a reason. It's to remind the viewers to watch what's happening without the blinders of hate and judgment. Because sometimes the truth requires you to be a little more than just your hateful prejudices. The next scene that stood out to me was when Boran sees Deniz. Because there you can clearly see the difference between Cihan and Boran in their 'husband' or 'protector' roles. When Boran struts to Alya in his fake righteous indignation and asks her about which room is hers, you can see his harsh, condemnatory behavior in juxtaposition to Cihan's loving acceptance of all that Alya is. Even when Cihan doesn't know her, he intrinsically trusts her and refuses to believe his mother's accusations about her and Izzet. The fact that Boran expects Alya to have a separate room, even though he specifically asks Cihan to marry Alya, is just more proof that the zombie merely wanted the marriage to ensure Alya didn't move on in her life. It was never about love or protection. It was about control and possession. Among the many outstanding scenes of this episode were Cihan and Alya facing off against Boran. Because it was about damn time this freaking skeleton was dragged out of the closet and forced into the light of truth. Why do people expect Alya to go back to Boran? Why do they expect her to stay silent about loving Cihan? Because she's a woman? Because her worth is measured by what the world dictates is her honor? Fcuk that. And that's precisely what Alya's monologue is about. How is she the one to blame when her ex-husband was the one lying to her since day one? How is the shame hers when Boran felt none, asking his brother to marry his widow just so he could return and claim her like she's some baggage? Alya rightly informs the zombie that, in his attempt to play God, his decision made her Cihan's wife. And, no matter how much he apologizes, nothing will change the truth of her feelings. She loves Cihan now, and that's that. Now, let's focus on Cihan's talk with Boran. I feel so sad for Ciho, because the man he looked up to turned out to have feet of clay. And, Cihan's realization of that becomes obvious as their 'talk' continues. When Cihan admits he loves Alya, Boran immediately hits him with Meryem. The zombie has the audacity to say that if Cihan managed to get over Meryem, his love for Alya could be a passing thing too. Manipulative ass. Thankfully, Cihan has the perfect comeback. And, what's more, we as the audience know he's telling the truth, because we've seen him evolve. He says what he thought was the truth was actually a lie, and it was only something he realized when he came face-to-face with the real deal. Alya truly is the love of his life. A fact that only becomes clearer as he continues to talk. When Boran dares to ask whether Cihan has slept with Alya, you can see Cihan's heart break in the heavy breath he expels. It's almost as if he can't believe the words he's hearing. But despite that, he answers. And he answers truthfully. Why? Because he'd never allow what he feels for Alya to be marred by accusations of lust. Of falling under the spell of her beauty only. Cihan knows Alya is beautiful. And he's often mesmerized by her beauty. But he falls in love with who Alya is. As a mother. As a doctor. As his wife. He falls in love with all the aspects of her, good and bad. And his dialogue 'whether I touch her or not, my love for her will never change,' proves he's operating on a different plain than his scum of a brother. The fact that Alya is willing to risk being called 'characterless' or 'easy' with the trauma of her past, and that Cihan is willing to go against his entire code of 'family and duty' for each other, is the biggest proof of their love. It's not easy to break out of the mold our circumstances and life place us in. But what makes Alya and Cihan inherently attractive is that they're willing to risk it all for love, while still sticking to their principles and beliefs. I think I fell in love with CihAl as a couple all over again in this episode. These two characters are possibly the most conscientious protagonists I've seen in a dizi, and it's laughable when people pass judgment on them due to morals, lmao. Now, on to less palatable topics. The zombie and Albora's haunting truth. The last scene of the episode makes several silent revelations. One is that Boran was never happy being sidelined in favor of Cihan as the leader. Two is that Boran likely killed Sulaiman Baybars, not out of a vendetta, but possibly because he was trying to prove himself worthy of the mantle of leadership, and being exiled instead pissed him off. Three is that Boran will likely stoop to any level, including going over to Ecmel's side to snatch what he feels is rightfully his. And four is that allowing Boran to escape the consequences of his actions created a monster who thinks the world revolves around him. It's obvious by the look on Boran's face that he's going to pick bitterness and payback over introspection and accountability. And in doing so, Albora's haunting truth will be repeated - the biggest danger to the family isn't some external enemy, it's often one of your own, driven by festering envy and entitlement. Because history doesn't always repeat, but it does rhyme. And that's my two cents on this episode. Till next time, happy reading y'all. #CihAl #UzakŞehir

Analyzing Episode 39. Season 2 aka Of Closets, Skeletons, and Haunting Truths Eveeeetttt. I finally found some of my old energy to write because last night's episode was AWESOME. And, allow me, nay, give me the freedom to say 'I TOLD YOU SO!' because the zombie turned out to be just as big a sh!thead as I expected him to be. Okay, now that I've gotten that exultant vindication out of the way, let's get on with our analysis. We start the episode with FrankenBoran saying 'Alya' and promptly fainting again. When he comes to again, he remarkably remembers all his other family members, and proceeds to creep Alya out further by calling her beautiful. I mean, don't get me wrong, but if a loving husband woke up from a year-long coma and saw his wife, I'd expect him to say something like 'I missed you' or 'How have you been?' But this guy? He goes straight for the look at my hot trophy-doctor wife. Yech. Anyway, at the zombie's insistence of seeing Cihan Deniz, Alya informs his decrepit self of the accident and all that followed, minus the mountain of trauma she went through. Is anyone else surprised by how handy this man's memory is? Because what the heck do you mean he doesn't remember asking his brother to marry his widow? When Cihan is forced to inform the zombie of his marriage to Alya, he suddenly switches to victim mode and passes out again. Convenient. After that, the assorted Alboras all convene in the salon at Sadakat's insistence, where she tries and fails to guilt-trip Cihan and Alya into showing Deniz to the zombie. Then she fine-tunes her maternal emo blackmail skills to keep Cihan from telling Boran who his real father is. Spot the witch's hypocrisy here? The only thing that made that entire scene bearable was Nare and Kaya supporting Cihan and Alya. Thank goodness for Azem and Fiko anne's genes. Alya's scene with Deniz (who's still blissfully napping) was a cute reprieve. She's understandably struggling with how she's going to explain the mess the zombie has made of their lives to her son. And, like any decent mom, she wants to protect Deniz from all kinds of pain, but finds herself helpless. And the fact that Cihan walks in and says he wishes he could protect Alya from the ugliness of life because she's just as innocent as Deniz was special to me. Because the world we live in will always blame women first, regardless of whether they're guilty or not. I've read so many comments from random losers (yep, losers) blaming Alya and accusing her of 'loose morals' because she refuses to return to the PoS husband who all but foists her on his brother's shoulders to save his own worthless self. That little reminder by Cihan of Alya's innocence in all that's happening to them made me want to hug Gulizar. Because that scene was put in there for a reason. It's to remind the viewers to watch what's happening without the blinders of hate and judgment. Because sometimes the truth requires you to be a little more than just your hateful prejudices. The next scene that stood out to me was when Boran sees Deniz. Because there you can clearly see the difference between Cihan and Boran in their 'husband' or 'protector' roles. When Boran struts to Alya in his fake righteous indignation and asks her about which room is hers, you can see his harsh, condemnatory behavior in juxtaposition to Cihan's loving acceptance of all that Alya is. Even when Cihan doesn't know her, he intrinsically trusts her and refuses to believe his mother's accusations about her and Izzet. The fact that Boran expects Alya to have a separate room, even though he specifically asks Cihan to marry Alya, is just more proof that the zombie merely wanted the marriage to ensure Alya didn't move on in her life. It was never about love or protection. It was about control and possession. Among the many outstanding scenes of this episode were Cihan and Alya facing off against Boran. Because it was about damn time this freaking skeleton was dragged out of the closet and forced into the light of truth. Why do people expect Alya to go back to Boran? Why do they expect her to stay silent about loving Cihan? Because she's a woman? Because her worth is measured by what the world dictates is her honor? Fcuk that. And that's precisely what Alya's monologue is about. How is she the one to blame when her ex-husband was the one lying to her since day one? How is the shame hers when Boran felt none, asking his brother to marry his widow just so he could return and claim her like she's some baggage? Alya rightly informs the zombie that, in his attempt to play God, his decision made her Cihan's wife. And, no matter how much he apologizes, nothing will change the truth of her feelings. She loves Cihan now, and that's that. Now, let's focus on Cihan's talk with Boran. I feel so sad for Ciho, because the man he looked up to turned out to have feet of clay. And, Cihan's realization of that becomes obvious as their 'talk' continues. When Cihan admits he loves Alya, Boran immediately hits him with Meryem. The zombie has the audacity to say that if Cihan managed to get over Meryem, his love for Alya could be a passing thing too. Manipulative ass. Thankfully, Cihan has the perfect comeback. And, what's more, we as the audience know he's telling the truth, because we've seen him evolve. He says what he thought was the truth was actually a lie, and it was only something he realized when he came face-to-face with the real deal. Alya truly is the love of his life. A fact that only becomes clearer as he continues to talk. When Boran dares to ask whether Cihan has slept with Alya, you can see Cihan's heart break in the heavy breath he expels. It's almost as if he can't believe the words he's hearing. But despite that, he answers. And he answers truthfully. Why? Because he'd never allow what he feels for Alya to be marred by accusations of lust. Of falling under the spell of her beauty only. Cihan knows Alya is beautiful. And he's often mesmerized by her beauty. But he falls in love with who Alya is. As a mother. As a doctor. As his wife. He falls in love with all the aspects of her, good and bad. And his dialogue 'whether I touch her or not, my love for her will never change,' proves he's operating on a different plain than his scum of a brother. The fact that Alya is willing to risk being called 'characterless' or 'easy' with the trauma of her past, and that Cihan is willing to go against his entire code of 'family and duty' for each other, is the biggest proof of their love. It's not easy to break out of the mold our circumstances and life place us in. But what makes Alya and Cihan inherently attractive is that they're willing to risk it all for love, while still sticking to their principles and beliefs. I think I fell in love with CihAl as a couple all over again in this episode. These two characters are possibly the most conscientious protagonists I've seen in a dizi, and it's laughable when people pass judgment on them due to morals, lmao. Now, on to less palatable topics. The zombie and Albora's haunting truth. The last scene of the episode makes several silent revelations. One is that Boran was never happy being sidelined in favor of Cihan as the leader. Two is that Boran likely killed Sulaiman Baybars, not out of a vendetta, but possibly because he was trying to prove himself worthy of the mantle of leadership, and being exiled instead pissed him off. Three is that Boran will likely stoop to any level, including going over to Ecmel's side to snatch what he feels is rightfully his. And four is that allowing Boran to escape the consequences of his actions created a monster who thinks the world revolves around him. It's obvious by the look on Boran's face that he's going to pick bitterness and payback over introspection and accountability. And in doing so, Albora's haunting truth will be repeated - the biggest danger to the family isn't some external enemy, it's often one of your own, driven by festering envy and entitlement. Because history doesn't always repeat, but it does rhyme. And that's my two cents on this episode. Till next time, happy reading y'all. #CihAl #UzakŞehir

CocoLoco

30,788 Aufrufe • vor 9 Monaten

Since the 2024 election, three distinct explanations have been given for why Democrats lost the White House and both houses of Congress, and why they remain unpopular with voters. Moderates say the party went woke on migration, race, and LGBT issues. A Democratic pollster called the party’s orthodoxy “noticeably out of step with what was electorally optimal or viable.” His firm found undecided voters broke for Trump 52 to 38, with five of their top eight stated reasons involving immigration. Progressives say the party failed to deliver a populist economic message. A Sanders-aligned autopsy found that the Kamala Harris campaign courted suburban Republicans while ignoring working-class voters, and that strong populist economic messages outperformed democracy-threat messages among Pennsylvania blue-collar voters, 57% to 45%. And fundamentalists blame institutional factors, above all, former President Joe Biden and Vice President Harris themselves. One analyst noted that Biden’s approval in the high 30s and two years of recession-level consumer sentiment put the nominee on track to lose the popular vote by 4 points, and Harris lost by 1.5. Biden ran too long, the party held no real primary, and Harris inherited an inflation-poisoned incumbency. In truth, all three explanations are correct and work together, and a Democratic operative turned tell-all author named Evan Barker explains how in a new podcast with Public. Barker spent roughly a decade raising money for the party’s left flank, from the Bernie Sanders orbit through Justice Democrats-aligned campaigns to figures like Jasmine Crockett and Abdul El-Sayed, before writing the bestselling book Nothing Left. In our conversation for Public, she explained that the party’s elites, the DNC and DCCC world, reached an accommodation with the progressive and DSA wing: the establishment embraced woke culture issues while both sides abandoned progressive economics. “The Democratic establishment was also co-opted,” she said. “It embraced those ideas in exchange for not having to do the actual economic populism stuff that the Bernie Sanders campaign in 2016 really made their focus.” The ideas the establishment embraced were open borders, defunding police, and “putting identity and race at the forefront of everything.” The donors preferred it that way. “The donors prefer that they focus on cultural issues,” Barker said. “They don’t really want to talk about economics. It’s a good distraction to their wealth, to be just totally blunt.” ... Please subscribe now to support Public's award-winning investigative journalism, read the rest of the article, and watch the full video!

Since the 2024 election, three distinct explanations have been given for why Democrats lost the White House and both houses of Congress, and why they remain unpopular with voters. Moderates say the party went woke on migration, race, and LGBT issues. A Democratic pollster called the party’s orthodoxy “noticeably out of step with what was electorally optimal or viable.” His firm found undecided voters broke for Trump 52 to 38, with five of their top eight stated reasons involving immigration. Progressives say the party failed to deliver a populist economic message. A Sanders-aligned autopsy found that the Kamala Harris campaign courted suburban Republicans while ignoring working-class voters, and that strong populist economic messages outperformed democracy-threat messages among Pennsylvania blue-collar voters, 57% to 45%. And fundamentalists blame institutional factors, above all, former President Joe Biden and Vice President Harris themselves. One analyst noted that Biden’s approval in the high 30s and two years of recession-level consumer sentiment put the nominee on track to lose the popular vote by 4 points, and Harris lost by 1.5. Biden ran too long, the party held no real primary, and Harris inherited an inflation-poisoned incumbency. In truth, all three explanations are correct and work together, and a Democratic operative turned tell-all author named Evan Barker explains how in a new podcast with Public. Barker spent roughly a decade raising money for the party’s left flank, from the Bernie Sanders orbit through Justice Democrats-aligned campaigns to figures like Jasmine Crockett and Abdul El-Sayed, before writing the bestselling book Nothing Left. In our conversation for Public, she explained that the party’s elites, the DNC and DCCC world, reached an accommodation with the progressive and DSA wing: the establishment embraced woke culture issues while both sides abandoned progressive economics. “The Democratic establishment was also co-opted,” she said. “It embraced those ideas in exchange for not having to do the actual economic populism stuff that the Bernie Sanders campaign in 2016 really made their focus.” The ideas the establishment embraced were open borders, defunding police, and “putting identity and race at the forefront of everything.” The donors preferred it that way. “The donors prefer that they focus on cultural issues,” Barker said. “They don’t really want to talk about economics. It’s a good distraction to their wealth, to be just totally blunt.” ... Please subscribe now to support Public's award-winning investigative journalism, read the rest of the article, and watch the full video!

Michael Shellenberger

189,644 Aufrufe • vor 1 Monat

Writing these words is incredibly difficult for me right now, but I'm afraid that if I don't write them now, I never will. I was only ten years old when I first saw the photo of Jennifer 'Precious' Finch below. I had just lost my mother after her long battle with cancer. Around that time, I was reading a book about Kurt Cobain and the author mentioned a bass player named Jennifer Finch. Nirvana's drummer Dave Grohl was her boyfriend and she was the one who introduced Courtney Love to Kurt, and she was an incredible bassist, artist, photographer and activist, and played in an all female band called L7. She seemed to have left her fingerprints all over the American punk scene. After reading everything written about Jennifer over and over again, I remember my childself self thinking: 'An all-female punk band?' I couldn't stop staring at her photos in amazement... The fire-red hair, the unbelievable energy bursting out of every image, the confidence, the attitude, the style... I threw the book into my bag, rushed to the nearest record store, showed it to the owner, and asked, "Do you have LPs of any of these bands? Hole? Babes in Toyland? Sugar Babydoll? L7? The Gits?" They had L7. I bought the record and ran straight back home. The years that followed were spent following these women... Their stage presence, their courage, their music, their politics. Even if Oliver Stone had opened Natural Born Killers with an explosion, it couldn't have made a bigger impact on me than hearing "Shitlist." I can't remember how many times that my childhood version watched the film just to hear L7. Or how many times I jumped off the couch when Jennifer appeared in a John Waters film. Or how many nights I stayed up in front of MTV, hoping they'd play another one of their videos. My childhood, my teenage years were shaped by that world. My worldview. My confidence. My taste in music. My politics. Even my closest circle of friends. Then life performed one of its impossible miracles. Jennifer Finch transformed from one of my childhood heroes into a musician I eventually had the privilege of working with, then into a close friend, then an older sister and ultimately someone I call family. The first real tour I ever organized with my friends as a teenager was for Jennifer's new band, The Shocker. Years later, in my twenties, we were sitting together in a kebab shop in Denmark talking about our shared love for Kanye and the Yeezy pop-up store in Los Angeles that had just opened. As I approached my thirties, we wandered through museums together in Nuremberg before going to watch British bands play. Another time, while I was visiting the incredible Raymond Pettibon retrospective in Moscow, I called her to show her the original SST fanzines. "Cali mention, Precious!!' From the day I discovered her as a child until today, Jennifer's influence never left my life. I admired her, learned from her, and never stopped learning from her. I honestly don't think anyone else has shaped my life so profoundly or in so many different ways. Jennifer was so down to earth that you could almost forget, for a moment, just how much she had lived through and how a legendary rockstar she really was. But then she'd start talking about music, art, photography, or politics, and you'd immediately realize the depth of her knowledge. I have met very few people in my life whose understanding of music stretched so effortlessly from hip-hop to metal, from punk to jazz. Jennifer wasn't just an icon of the Los Angeles punk scene. She reached people in the smallest underground communities all over the world and left a lasting mark on countless lives. You could write an entire book about the life she lived. Within seconds she could take you from a jaw dropping story to one that left you crying with laughter. One day she told me she was proud of me. I still remember thinking "Life has been incredibly hard but hey, if I can make my childhood hero proud then it's ok, I made it." I'm writing these words with incredible sadness, grief mixed with anger, because I truly believe that if the United States treated healthcare as a universal human right, Jennifer Finch would still be with us today. Instead, her treatment turned into a battle against private insurance companies that made everything harder, longer and more exhausting. So yes, my heart is broken. And yes, forever, Free Luigi. My deepest condolences to her life partner, Jack, and to everyone who loved her and everyone who was loved by her. Until we meet again, may the stars guide you home. Precious. I'll miss you forever. — Erin RIP Jennifer Precious Finch (1966-2026)

Writing these words is incredibly difficult for me right now, but I'm afraid that if I don't write them now, I never will. I was only ten years old when I first saw the photo of Jennifer 'Precious' Finch below. I had just lost my mother after her long battle with cancer. Around that time, I was reading a book about Kurt Cobain and the author mentioned a bass player named Jennifer Finch. Nirvana's drummer Dave Grohl was her boyfriend and she was the one who introduced Courtney Love to Kurt, and she was an incredible bassist, artist, photographer and activist, and played in an all female band called L7. She seemed to have left her fingerprints all over the American punk scene. After reading everything written about Jennifer over and over again, I remember my childself self thinking: 'An all-female punk band?' I couldn't stop staring at her photos in amazement... The fire-red hair, the unbelievable energy bursting out of every image, the confidence, the attitude, the style... I threw the book into my bag, rushed to the nearest record store, showed it to the owner, and asked, "Do you have LPs of any of these bands? Hole? Babes in Toyland? Sugar Babydoll? L7? The Gits?" They had L7. I bought the record and ran straight back home. The years that followed were spent following these women... Their stage presence, their courage, their music, their politics. Even if Oliver Stone had opened Natural Born Killers with an explosion, it couldn't have made a bigger impact on me than hearing "Shitlist." I can't remember how many times that my childhood version watched the film just to hear L7. Or how many times I jumped off the couch when Jennifer appeared in a John Waters film. Or how many nights I stayed up in front of MTV, hoping they'd play another one of their videos. My childhood, my teenage years were shaped by that world. My worldview. My confidence. My taste in music. My politics. Even my closest circle of friends. Then life performed one of its impossible miracles. Jennifer Finch transformed from one of my childhood heroes into a musician I eventually had the privilege of working with, then into a close friend, then an older sister and ultimately someone I call family. The first real tour I ever organized with my friends as a teenager was for Jennifer's new band, The Shocker. Years later, in my twenties, we were sitting together in a kebab shop in Denmark talking about our shared love for Kanye and the Yeezy pop-up store in Los Angeles that had just opened. As I approached my thirties, we wandered through museums together in Nuremberg before going to watch British bands play. Another time, while I was visiting the incredible Raymond Pettibon retrospective in Moscow, I called her to show her the original SST fanzines. "Cali mention, Precious!!' From the day I discovered her as a child until today, Jennifer's influence never left my life. I admired her, learned from her, and never stopped learning from her. I honestly don't think anyone else has shaped my life so profoundly or in so many different ways. Jennifer was so down to earth that you could almost forget, for a moment, just how much she had lived through and how a legendary rockstar she really was. But then she'd start talking about music, art, photography, or politics, and you'd immediately realize the depth of her knowledge. I have met very few people in my life whose understanding of music stretched so effortlessly from hip-hop to metal, from punk to jazz. Jennifer wasn't just an icon of the Los Angeles punk scene. She reached people in the smallest underground communities all over the world and left a lasting mark on countless lives. You could write an entire book about the life she lived. Within seconds she could take you from a jaw dropping story to one that left you crying with laughter. One day she told me she was proud of me. I still remember thinking "Life has been incredibly hard but hey, if I can make my childhood hero proud then it's ok, I made it." I'm writing these words with incredible sadness, grief mixed with anger, because I truly believe that if the United States treated healthcare as a universal human right, Jennifer Finch would still be with us today. Instead, her treatment turned into a battle against private insurance companies that made everything harder, longer and more exhausting. So yes, my heart is broken. And yes, forever, Free Luigi. My deepest condolences to her life partner, Jack, and to everyone who loved her and everyone who was loved by her. Until we meet again, may the stars guide you home. Precious. I'll miss you forever. — Erin RIP Jennifer Precious Finch (1966-2026)

erin/c

70,875 Aufrufe • vor 2 Monaten

🎵My Dolly Parton Story🎶 - (Video and additional photos in 🧵 below) Exactly one year before the government shut down the world because of the #CommieVirus — especially killing the live entertainment industry — my bands were firing on all cylinders. My private event band, Bull City Syndicate, was doing especially well. We’d been the headlining entertainment for the past two North Carolina Governor’s Inaugural Balls, and played hundreds of high-end corporate events, charity balls, and top-shelf weddings. On March 2, 2019, we were especially excited to be hired as the featured entertainment for a charity event where Dolly Parton would be the main attraction. Not as a musical performer herself, but to promote her own charity, Imagination Library (Imagination Library), and to do a live poetry reading from her own work. The event was the 25th Anniversary Smart Start Gala. Raleigh’s mayor, the governor of NC, and many other VIPs would be in attendance. While the event planner never suggested that we perform or back up Dolly on any of her tunes, it was, in the back of my mind, something I thought would have been really cool. But not something I’d dare suggest or insinuate on my own. My only preshow contact with Dolly’s organization was with her head of security. The Marble’s Kids Museum in Raleigh, NC is a fabulous venue for fun charity events, but it has only one “green room” next to the staging area. Security informed me that the band would have to completely evacuate that shared space at least 30-minutes before Dolly arrived for her portion of the evening’s proceedings. (Not an unusual or inappropriate request, given her enormous superstar status.) The entire 10-piece band was on stage when Dolly was escorted through the back entrance and into the green room. There was some back-and-forth between VIP speeches and live music, so the band stayed in place throughout. Since the event was completely sold out and standing room only, we knew we’d have the best vantage of Dolly if we just stayed on the stage. Dolly’s presentation was scheduled to be only about 10-15 minutes. While the governor and mayor were delivering remarks just in advance of Dolly taking the stage, I looked back at the green room door, off stage left, and I saw my son, Duncan, in full-on, intense conversation with Dolly! (WHAT?!) Duncan, who was only 20 years old at the time and already a freak-of-nature musician himself, was working on my stage crew that night. I’m the band leader, so I’m having to give full attention to the event host and what’s happening on the speaker’s side of the stage … but only 20 feet away, Duncan and Dolly are chatting away like long-lost friends. Finally, at one of my many glances in their direction, Dolly and Duncan catch my eye and both start waving me over to them. I silently point at my chest, then mouth, “Me?” They both nod, say yes, and wave more insistently. I dart off the stage, over to the dimly lit green room entrance corridor. Duncan, who is much taller than I am, puts his hand on my shoulder and introduces me to “Dolly Parton.” (You can imagine the look on my face. Ha!) He tells me that Dolly has a request. I lean down to put my ear close to Dolly, so that she wouldn’t have to speak too loudly while the governor was talking to the audience. (I can imitate her voice, and I wish you could hear it in her voice and Tennessee mountain accent right now.) She says to me: “I didn’t know there was going to be a band here tonight. If I’d known there would be a band, I’d have had you learn some of my songs.” Then she came right out with it. “Do y’all know any of my songs?” I straightened back up, and over the course of less than five seconds my mind raced through every Top-40 solo and duet hit single of hers I’d ever heard on the radio. Country, pop, and otherwise. I made an immediate band leader decision … and lied my ass off. “Yes, we can play ‘Jolene.’” We’d never performed or rehearsed “Jolene,” or any other Dolly Parton tune, in the 20 years I’d led that band. The conversation continued: DOLLY: “Y’all know ‘Jolene?!’” ME: “Yes, ma’am.” DOLLY: “That’s great! When I finish reading my poem, I’ll tell everyone we’re going to sing ‘Jolene.’” ME: “We’ll be ready. What key do you do ‘Jolene’ in?” DOLLY: “I don’t know.” Dolly’s personal assistant leaned over to me and whispered in my ear, “C minor.” (Cm) The original key for “Jolene” was C-sharp minor (C#m), but I assume at 73 years old she might be lowering keys, as many aging vocalists tend to do. I gave Dolly an assuring look and said, “Thank you.” I looked at Duncan with an eye-raised, “Oh, sh-t” look on my face, then ran to the stage and called an emergency huddle of my rhythm section as Governor Cooper droned on in the background. In whispered, panicked tones, I told them, “Guys, you have 10 minutes to learn ‘Jolene’ … Key of C minor … GO!” The guys immediately took out their phones and pulled up the song, each listening privately through their in-ear monitors or holding the phone speaker close to their heads. They started silently fingering around on the guitar and bass guitar frets, and the keyboards. Our drummer sat quietly and listened to the track on his phone. I darted over to our female lead singer, Danie Ward, and asked her if she knew the words and background harmonies to “Jolene.” She gave me “The Look.” Back story … Danie was with my band for over ten years. She was my all-time favorite female lead vocalist, and we became great friends. She and her husband were very active in their church as pastor and she as worship leader. She and her sisters also performed for many years as a family Gospel group. But Danie, as a Black gospel artist, was immensely versatile, able to sing anything from Aretha Franklin to Lady Gaga and leaving you wanting more. And although a Black Gospel artist, her secret desire and ambition was to be a Country music artist. (I kid you not.) So, when I asked her if she knew the words and harmonies to “Jolene,” THE LOOK she gave me was … “Seriously? You dare ask ME that question?” All I needed in response from Danie was “The Look.” No words spoken, and I slinked away appropriately chastised. My band members were all world-class pros, at every position. Especially that rhythm section. Most of whom had been with me for many years at this point. They ended up with more than 10 minutes to quietly and individually—with no rehearsal—learn “Jolene.” A few more minutes passed before Dolly was introduced and brought onstage; then she took another 20 minutes to deliver her remarks and poetry reading. The guys were ready. Dolly finished her poem to a round of applause and immediately announced she’d be performing “Jolene” for them. They cheered in approval. My drummer clicked a four count with his drumsticks, and they were off. As soon as Dolly began to sing the first words of the song, you can see me — in the video below — walking across the front of the stage with a huge smile on my face. Danie then got the thrill of her life. As soon as she’d finished singing the first round of harmonies behind Dolly’s lead, Dolly turned and looked toward Danie and said loudly into the mic, “Good job!” No one knew how or when Dolly wanted to end the song, so there was no real conclusion. They all just kinda stopped. But the audience was enthusiastically grateful they’d gotten more than what they paid for that night. I do wish the event planner had informed Dolly and her team that a band was at the event. I’d have loved to have learned a handful of her songs for the show. Maybe I’d have even been able to sing with her one of her chart-topping duets that she recorded with Kenny Rogers. Even though I never personally sang or performed a single musical note with Dolly, I’ll always be able to say “My band” performed with Dolly Parton. —— Postscript: A few days after that event, I received a call from Dolly’s personal assistant. (The same guy who whispered “C minor” into my ear.) He said he needed my son's address because Dolly had a gift she wanted to send him. Dolly’s PA explained that Duncan reminded her so much of her late brother, Floyd, when he was Duncan’s age. She wanted to send Duncan something special. For whatever reason, the package never arrived. Whether lost in the shuffle of Dolly’s or her staff’s busy life, or because some porch pirate pilfered it, Duncan never received that gift. But the very thought that was conveyed shows you what kind of person Dolly was. (Photos in thread below.) —— Post Postscript: Later that same year, I was attending the W.C. Handy Music Festival in Muscle Shoals, Alabama. At the time, I was managing a renowned Shoals songwriter and his band, James LeBlanc & The Winchesters. Some members of James’ band were performing a lunchtime show at one of the local Shoals area eateries as part of the 10-day festival’s scheduled events. I arrived a few minutes late, and the place was packed. Seated alone at a table near the stage was a woman with bleached Big Hair. She saw me looking for a spot and waved me over. Before I got to the table, I knew she had to be related to Dolly. Sure enough, it was Stella Parton, Dolly’s sister. Stella has had her own far less notable career in music, so I made sure not to gush over Dolly (just in case, and not knowing the family dynamics), but I did tell her about my band performing with Dolly earlier that year. I will forever and always have that story to tell. ⬇️

🎵My Dolly Parton Story🎶 - (Video and additional photos in 🧵 below) Exactly one year before the government shut down the world because of the #CommieVirus — especially killing the live entertainment industry — my bands were firing on all cylinders. My private event band, Bull City Syndicate, was doing especially well. We’d been the headlining entertainment for the past two North Carolina Governor’s Inaugural Balls, and played hundreds of high-end corporate events, charity balls, and top-shelf weddings. On March 2, 2019, we were especially excited to be hired as the featured entertainment for a charity event where Dolly Parton would be the main attraction. Not as a musical performer herself, but to promote her own charity, Imagination Library (Imagination Library), and to do a live poetry reading from her own work. The event was the 25th Anniversary Smart Start Gala. Raleigh’s mayor, the governor of NC, and many other VIPs would be in attendance. While the event planner never suggested that we perform or back up Dolly on any of her tunes, it was, in the back of my mind, something I thought would have been really cool. But not something I’d dare suggest or insinuate on my own. My only preshow contact with Dolly’s organization was with her head of security. The Marble’s Kids Museum in Raleigh, NC is a fabulous venue for fun charity events, but it has only one “green room” next to the staging area. Security informed me that the band would have to completely evacuate that shared space at least 30-minutes before Dolly arrived for her portion of the evening’s proceedings. (Not an unusual or inappropriate request, given her enormous superstar status.) The entire 10-piece band was on stage when Dolly was escorted through the back entrance and into the green room. There was some back-and-forth between VIP speeches and live music, so the band stayed in place throughout. Since the event was completely sold out and standing room only, we knew we’d have the best vantage of Dolly if we just stayed on the stage. Dolly’s presentation was scheduled to be only about 10-15 minutes. While the governor and mayor were delivering remarks just in advance of Dolly taking the stage, I looked back at the green room door, off stage left, and I saw my son, Duncan, in full-on, intense conversation with Dolly! (WHAT?!) Duncan, who was only 20 years old at the time and already a freak-of-nature musician himself, was working on my stage crew that night. I’m the band leader, so I’m having to give full attention to the event host and what’s happening on the speaker’s side of the stage … but only 20 feet away, Duncan and Dolly are chatting away like long-lost friends. Finally, at one of my many glances in their direction, Dolly and Duncan catch my eye and both start waving me over to them. I silently point at my chest, then mouth, “Me?” They both nod, say yes, and wave more insistently. I dart off the stage, over to the dimly lit green room entrance corridor. Duncan, who is much taller than I am, puts his hand on my shoulder and introduces me to “Dolly Parton.” (You can imagine the look on my face. Ha!) He tells me that Dolly has a request. I lean down to put my ear close to Dolly, so that she wouldn’t have to speak too loudly while the governor was talking to the audience. (I can imitate her voice, and I wish you could hear it in her voice and Tennessee mountain accent right now.) She says to me: “I didn’t know there was going to be a band here tonight. If I’d known there would be a band, I’d have had you learn some of my songs.” Then she came right out with it. “Do y’all know any of my songs?” I straightened back up, and over the course of less than five seconds my mind raced through every Top-40 solo and duet hit single of hers I’d ever heard on the radio. Country, pop, and otherwise. I made an immediate band leader decision … and lied my ass off. “Yes, we can play ‘Jolene.’” We’d never performed or rehearsed “Jolene,” or any other Dolly Parton tune, in the 20 years I’d led that band. The conversation continued: DOLLY: “Y’all know ‘Jolene?!’” ME: “Yes, ma’am.” DOLLY: “That’s great! When I finish reading my poem, I’ll tell everyone we’re going to sing ‘Jolene.’” ME: “We’ll be ready. What key do you do ‘Jolene’ in?” DOLLY: “I don’t know.” Dolly’s personal assistant leaned over to me and whispered in my ear, “C minor.” (Cm) The original key for “Jolene” was C-sharp minor (C#m), but I assume at 73 years old she might be lowering keys, as many aging vocalists tend to do. I gave Dolly an assuring look and said, “Thank you.” I looked at Duncan with an eye-raised, “Oh, sh-t” look on my face, then ran to the stage and called an emergency huddle of my rhythm section as Governor Cooper droned on in the background. In whispered, panicked tones, I told them, “Guys, you have 10 minutes to learn ‘Jolene’ … Key of C minor … GO!” The guys immediately took out their phones and pulled up the song, each listening privately through their in-ear monitors or holding the phone speaker close to their heads. They started silently fingering around on the guitar and bass guitar frets, and the keyboards. Our drummer sat quietly and listened to the track on his phone. I darted over to our female lead singer, Danie Ward, and asked her if she knew the words and background harmonies to “Jolene.” She gave me “The Look.” Back story … Danie was with my band for over ten years. She was my all-time favorite female lead vocalist, and we became great friends. She and her husband were very active in their church as pastor and she as worship leader. She and her sisters also performed for many years as a family Gospel group. But Danie, as a Black gospel artist, was immensely versatile, able to sing anything from Aretha Franklin to Lady Gaga and leaving you wanting more. And although a Black Gospel artist, her secret desire and ambition was to be a Country music artist. (I kid you not.) So, when I asked her if she knew the words and harmonies to “Jolene,” THE LOOK she gave me was … “Seriously? You dare ask ME that question?” All I needed in response from Danie was “The Look.” No words spoken, and I slinked away appropriately chastised. My band members were all world-class pros, at every position. Especially that rhythm section. Most of whom had been with me for many years at this point. They ended up with more than 10 minutes to quietly and individually—with no rehearsal—learn “Jolene.” A few more minutes passed before Dolly was introduced and brought onstage; then she took another 20 minutes to deliver her remarks and poetry reading. The guys were ready. Dolly finished her poem to a round of applause and immediately announced she’d be performing “Jolene” for them. They cheered in approval. My drummer clicked a four count with his drumsticks, and they were off. As soon as Dolly began to sing the first words of the song, you can see me — in the video below — walking across the front of the stage with a huge smile on my face. Danie then got the thrill of her life. As soon as she’d finished singing the first round of harmonies behind Dolly’s lead, Dolly turned and looked toward Danie and said loudly into the mic, “Good job!” No one knew how or when Dolly wanted to end the song, so there was no real conclusion. They all just kinda stopped. But the audience was enthusiastically grateful they’d gotten more than what they paid for that night. I do wish the event planner had informed Dolly and her team that a band was at the event. I’d have loved to have learned a handful of her songs for the show. Maybe I’d have even been able to sing with her one of her chart-topping duets that she recorded with Kenny Rogers. Even though I never personally sang or performed a single musical note with Dolly, I’ll always be able to say “My band” performed with Dolly Parton. —— Postscript: A few days after that event, I received a call from Dolly’s personal assistant. (The same guy who whispered “C minor” into my ear.) He said he needed my son's address because Dolly had a gift she wanted to send him. Dolly’s PA explained that Duncan reminded her so much of her late brother, Floyd, when he was Duncan’s age. She wanted to send Duncan something special. For whatever reason, the package never arrived. Whether lost in the shuffle of Dolly’s or her staff’s busy life, or because some porch pirate pilfered it, Duncan never received that gift. But the very thought that was conveyed shows you what kind of person Dolly was. (Photos in thread below.) —— Post Postscript: Later that same year, I was attending the W.C. Handy Music Festival in Muscle Shoals, Alabama. At the time, I was managing a renowned Shoals songwriter and his band, James LeBlanc & The Winchesters. Some members of James’ band were performing a lunchtime show at one of the local Shoals area eateries as part of the 10-day festival’s scheduled events. I arrived a few minutes late, and the place was packed. Seated alone at a table near the stage was a woman with bleached Big Hair. She saw me looking for a spot and waved me over. Before I got to the table, I knew she had to be related to Dolly. Sure enough, it was Stella Parton, Dolly’s sister. Stella has had her own far less notable career in music, so I made sure not to gush over Dolly (just in case, and not knowing the family dynamics), but I did tell her about my band performing with Dolly earlier that year. I will forever and always have that story to tell. ⬇️

Steve Baker

50,752 Aufrufe • vor 22 Tagen

🚨 ISLAMIZATION OF AMERICAN SCHOOL CHILDREN YOUR KIDS GOT EXTRA CREDIT AT AN ILLINOIS MOSQUE RUN BY ICNA’S CONVERSION ARM A "world religion" class was taken to a Chicago-area mosque with their teacher, Emily. The man in front of them was not a museum guide. He was Dr. Sabeel Ahmed of GainPeace - the official dawah / outreach project of the Islamic Circle of North America (ICNA). Speakers. Open houses. Free Qurans. Follow-up for new Muslims. That is ICNA’s public conversion apparatus. ICNA is not a bake sale. Investigators have documented its Jamaat-e-Islami roots. The 1991 Muslim Brotherhood memo - entered as evidence in the Holy Land Foundation trial - listed ICNA among “our organizations and the organizations of our friends.” Before the tour even started, he asked Aaron what class it was. World religion. Had they already covered the Islam chapter? Yes. Then he said it was “fair game” to quiz them. On tape: “Extra grade, right? Extra credit, perhaps. Some of you need some extra credits.” Hands went up. He ran them through the pillars like Sunday school. Daily prayer. Hajj once in a lifetime. Ramadan. He asked how many Muslims were in the class. Aaron. Amir. Yusuf. Emily asked when kids start fasting. He said obligation starts at puberty - then bragged that his son fasted the entire month at age seven. He bragged on film about how his little daughter puts on hijab automatically when she leaves the house. A student asked how you convert. No baptism. No pool in the basement. Understand the six beliefs and five pillars, then say: There is no god but Allah, and Muhammad is His messenger. That sentence makes you a Muslim. Then you are expected to live by it. Another student asked the question every parent should hear: What happens if you follow another faith? This is where the game begins. He quoted Quran 2:256: no compulsion in religion. No force. Peaceful education. Your choice. Then he flipped it. Islam is the faith God ordained for humanity. Islam means submitting to the Creator. If you hear that and consciously reject it, there are consequences. Life is a classroom. God is the teacher. At the end comes the exam. Paradise if you submit. Hellfire if you die having rejected Islam. He never told them what “no compulsion” leaves out. The same chapter tells Muslims to fight until religion is for Allah. Muhammad said he was ordered to fight people until they declare there is no god but Allah. Leave Islam after entering it, and classical law is not a debate club. The hadith is: kill him. Apostasy has been punished that way for 1,400 years. A top cleric later admitted that without the apostasy punishment, Islam would not exist today. None of that made the field trip. He also told Christian students there are no statues, no images, no mediator. You pray straight to God. That is not a décor note. That is a denial of Christ as mediator, delivered to kids sitting on a mosque floor for class credit. Women and girls pray upstairs. Men downstairs. His “logical” reason on tape: a boy standing shoulder to shoulder, touching a pretty girl, might think about her instead of God. Prostration in mixed rows would not be “decent.” Friday prayer: men must leave school and work. He said the place holds maybe 300 on a normal day and 2,000 on Friday - gym, basement, classrooms, two services. Kids from the full-time Islamic school break class and file in. He called it the second-largest Islamic school in the United States. Emily did not push back. She sold it. “Very inclusive.” “You got their brains stirring.” Shoes off - “immersive.” Come back during prayer and watch them pray, if the school allows it. “Way better to see it than read it in a book.” She even showed the class One Day in the Haram on Amazon - a Mecca film about spreading Islam on social media. This was not interfaith. This was ICNA GainPeace dawah with a public-school teacher, extra credit, and a camera. Illinois parents: who signed the slip? Who called this extra credit? Who partnered a classroom with a Brotherhood-listed network’s missionary wing and called it education? SEE THE FULL REPORT HERE:

🚨 ISLAMIZATION OF AMERICAN SCHOOL CHILDREN YOUR KIDS GOT EXTRA CREDIT AT AN ILLINOIS MOSQUE RUN BY ICNA’S CONVERSION ARM A "world religion" class was taken to a Chicago-area mosque with their teacher, Emily. The man in front of them was not a museum guide. He was Dr. Sabeel Ahmed of GainPeace - the official dawah / outreach project of the Islamic Circle of North America (ICNA). Speakers. Open houses. Free Qurans. Follow-up for new Muslims. That is ICNA’s public conversion apparatus. ICNA is not a bake sale. Investigators have documented its Jamaat-e-Islami roots. The 1991 Muslim Brotherhood memo - entered as evidence in the Holy Land Foundation trial - listed ICNA among “our organizations and the organizations of our friends.” Before the tour even started, he asked Aaron what class it was. World religion. Had they already covered the Islam chapter? Yes. Then he said it was “fair game” to quiz them. On tape: “Extra grade, right? Extra credit, perhaps. Some of you need some extra credits.” Hands went up. He ran them through the pillars like Sunday school. Daily prayer. Hajj once in a lifetime. Ramadan. He asked how many Muslims were in the class. Aaron. Amir. Yusuf. Emily asked when kids start fasting. He said obligation starts at puberty - then bragged that his son fasted the entire month at age seven. He bragged on film about how his little daughter puts on hijab automatically when she leaves the house. A student asked how you convert. No baptism. No pool in the basement. Understand the six beliefs and five pillars, then say: There is no god but Allah, and Muhammad is His messenger. That sentence makes you a Muslim. Then you are expected to live by it. Another student asked the question every parent should hear: What happens if you follow another faith? This is where the game begins. He quoted Quran 2:256: no compulsion in religion. No force. Peaceful education. Your choice. Then he flipped it. Islam is the faith God ordained for humanity. Islam means submitting to the Creator. If you hear that and consciously reject it, there are consequences. Life is a classroom. God is the teacher. At the end comes the exam. Paradise if you submit. Hellfire if you die having rejected Islam. He never told them what “no compulsion” leaves out. The same chapter tells Muslims to fight until religion is for Allah. Muhammad said he was ordered to fight people until they declare there is no god but Allah. Leave Islam after entering it, and classical law is not a debate club. The hadith is: kill him. Apostasy has been punished that way for 1,400 years. A top cleric later admitted that without the apostasy punishment, Islam would not exist today. None of that made the field trip. He also told Christian students there are no statues, no images, no mediator. You pray straight to God. That is not a décor note. That is a denial of Christ as mediator, delivered to kids sitting on a mosque floor for class credit. Women and girls pray upstairs. Men downstairs. His “logical” reason on tape: a boy standing shoulder to shoulder, touching a pretty girl, might think about her instead of God. Prostration in mixed rows would not be “decent.” Friday prayer: men must leave school and work. He said the place holds maybe 300 on a normal day and 2,000 on Friday - gym, basement, classrooms, two services. Kids from the full-time Islamic school break class and file in. He called it the second-largest Islamic school in the United States. Emily did not push back. She sold it. “Very inclusive.” “You got their brains stirring.” Shoes off - “immersive.” Come back during prayer and watch them pray, if the school allows it. “Way better to see it than read it in a book.” She even showed the class One Day in the Haram on Amazon - a Mecca film about spreading Islam on social media. This was not interfaith. This was ICNA GainPeace dawah with a public-school teacher, extra credit, and a camera. Illinois parents: who signed the slip? Who called this extra credit? Who partnered a classroom with a Brotherhood-listed network’s missionary wing and called it education? SEE THE FULL REPORT HERE:

Amy Mek

38,603 Aufrufe • vor 21 Tagen

"What NewJeans Wanted to Say" [Full transcript translated to English] 240911 19:00 KST Hyein: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. Minji: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Hee-jin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. Danielle: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Hee-jin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Hee-jin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Hee-jin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. Haerin: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Hee-jin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. Hanni: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. Minji: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about how many more similar incidents might occur in the future and whether we’ll be subtly ostracized without anyone there to protect us. Hanni: I hope no one else has to go through something like that, but since it’s already happened once, I can’t help but feel scared that other members might experience the same thing. I spoke to the new CEO about it, but since I didn’t have evidence and it was considered too late, they seemed to brush it off, making me feel like there’s no one left to protect us. It really felt like the concern for us was gone, and even though I was being honest, it made me feel like I was suddenly being treated as a liar. Before, Min Hee-jin, our previous CEO, used to take care of us a lot. But now, while the new people say they’ll help, it’s just been months of excuses... excuses... excuses... They keep saying that it’s something they can’t resolve. But this is something that I personally went through and experienced, yet they are trying to dismiss it as if it’s my fault. I’m worried and scared about what might happen next. Minji: Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. Hanni: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Hee-jin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. Minji: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. Danielle: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Hee-jin Daepyonim, as we have done so far. Haerin: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. Hyein: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. Minji: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. Hanni: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow HYBE's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Hee-jin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Hee-jin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. Hyein: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. Danielle: From a human perspective, I hope you stop harassing our CEO, Min Hee-jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. Minji: What we want is the original ADOR, where CEO Min Hee-jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. NewJeans: Thank you. #NewJeans_Never_Die #NeverForget

"What NewJeans Wanted to Say" [Full transcript translated to English] 240911 19:00 KST Hyein: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. Minji: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Hee-jin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. Danielle: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Hee-jin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Hee-jin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Hee-jin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. Haerin: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Hee-jin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. Hanni: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. Minji: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about how many more similar incidents might occur in the future and whether we’ll be subtly ostracized without anyone there to protect us. Hanni: I hope no one else has to go through something like that, but since it’s already happened once, I can’t help but feel scared that other members might experience the same thing. I spoke to the new CEO about it, but since I didn’t have evidence and it was considered too late, they seemed to brush it off, making me feel like there’s no one left to protect us. It really felt like the concern for us was gone, and even though I was being honest, it made me feel like I was suddenly being treated as a liar. Before, Min Hee-jin, our previous CEO, used to take care of us a lot. But now, while the new people say they’ll help, it’s just been months of excuses... excuses... excuses... They keep saying that it’s something they can’t resolve. But this is something that I personally went through and experienced, yet they are trying to dismiss it as if it’s my fault. I’m worried and scared about what might happen next. Minji: Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. Hanni: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Hee-jin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. Minji: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. Danielle: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Hee-jin Daepyonim, as we have done so far. Haerin: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. Hyein: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. Minji: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. Hanni: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow HYBE's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Hee-jin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Hee-jin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. Hyein: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. Danielle: From a human perspective, I hope you stop harassing our CEO, Min Hee-jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. Minji: What we want is the original ADOR, where CEO Min Hee-jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. NewJeans: Thank you. #NewJeans_Never_Die #NeverForget

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19,445 Aufrufe • vor 10 Monaten

Elon Musk wants us building successful businesses here on 𝕏, NOT relying on X payouts. Elon is a trillionaire entrepreneur that got there by NETWORKING ideas and visions with others. He now owns a social media platform and wants us doing the exact same thing here. Elon wants you to build a following, find a business that offers a valuable service to the community and country, succeed beyond your WILDEST dreams with it and then NETWORK TO REPLICATE IT AND HELP OTHERS HERE DO THE SAME! That's the winning model that will not only benefit all of us, but be financially beneficial to Elon as well, and I'd like to explain why. Meta generates their primary ad revenue from big corporations owned by corrupt elites advertising their products to our asleep family members. Big Corporations HATE Elon so that is absolutely OUT of the question here on this platform, so they need an alternative model to pull in revenue to see an ROI ont he purchase of Twitter, and it's up to all of us to help generate that. Instagram is the complete OPPOSITE of Meta and Youtube. Instagram generates roughly 87 Billion dollars each year in ad revenue with a substantial amount of that coming from regular users of the platform who are also entrepreneurs working successful business between their niche content, and they are paying INTO ads to advertise that business between said niche content. There are 19 year olds on Instagram making 6 figures a MONTH drop shipping and they make courses teaching you step by step instructions how you can do it too. They pay anywhere between $15 - $20K a month INTO the ad program to advertise their businesses, between their regular content. There are MILLIONS of instances of this on Instagram and that is what's feeding a massive portion of the ad revenue program. The #1 reason people create an instagram account and actively try to grow it, is entrepreneurship. THAT'S what Elon wants us doing HERE! Now, the conservative space on Instagram is MASSIVE and 👉 LITERALLY 👈 all they do is lazily scroll 𝕏 all day to see the content YOU ALL are sending viral here, and they STEAL IT, easily moving it to their Instagram accounts to build their own following to then work a successful business. You need to understand that part very clearly. They're lazily stealing YOUR content from here, building successful businesses off it and posting videos of them traveling the world living lives of luxury. I've been tracking them doing this for SIX YEARS since 2020. If you can explain to me why they are more privileged and deserving than YOU to be living successfully off of YOUR work, I'd love to hear your reasoning on this. Now, i had a Zoom meeting with a conservative mom on Instagram that works the same business from home that I do, and she's helped over 60 people on Instagram grow their following from 0-200K to then work that business with her and she opened up her back office to me to show me everything and teach me how she does what she does and precisely how the Instagram algorithm works to grow. I'm not going into specifics, but it's absolutely clear based on my assessment that the development team behind Instagram makes it hard to grow there on purpose because they psychologically understands how to keep toxicity from taking over the platform by ensuring the extremely impatient "I want it NOW" people aren't able to grow large platforms to take over the entire platform. They understand these people are significantly more likely to spread toxicity across the platform, original content to drop, entrepreneurship to disappear and incoming ad revenue to dip much lower as a result. They understand those with military style determination and grit will stick it out to succeed, have much higher chance of being more intelligent to end up bringing original content to the platform, and have a much higher confidence rate in themselves to seek entrepreneurship, build community based income opportunities where anyone can come in and succeed to create very healthy communities, and then pay into the ad program to advertise it to succeed even more, turning the platform into a truly symbiotic relationship between the entrepreneurial users and the platform itself that allows them to grow and succeed in the first place. We're doing things all wrong here. 𝕏 isn't broken — our community is. These massive 1+ million follower accounts here that grew by putting MSM articles into Grok AI to have him rewrite them to avoid plagiarism charges and milk the 𝕏 revenue system and they will NEVER be able to figure this out because they're FAKING their intelligence by doing this and Elon does NOT want us idolizing accounts like that because they're giving us false illusions and impressions as to what success looks like. Elon wants us aiming much higher than 𝕏 revenue because 𝕏 revenue is NOT generational wealth to pass onto our children and we're supposed to be working together as a community to build things that are. Elon wants to be able to advertise this platform as having the MOST self-made millionaires than ANY other platform on the planet. As things currently sit, 𝕏 is single handedly leading any other platform for world news distribution, but we're trailing significantly in wealth generation. I believe the changes in monetization are to force people out of their comfort zones to seek alternative means of income generation to help correct that. We're not supposed to be competing with each other to gain 𝕏 revenue, we're supposed to be working together to build communities and revenue to compete with Instagram. The problem is, most of us came to this platform as slaves to a broken and corrupted system because we want change and have no language for these things. So, I'll be the first one to plant my flag. Do I know what I'm doing? Absolutely not. Do my children deserve having a mother that steps far outside her comfort zone to give it everything she's got to build something that gives them a better life? You bet your ass. Before my son was born with his tumor in his throat and the medical field bankrupted me for everything I was worth, I worked a VERY successful business from home that allowed me to homeschool my children. We've been pointing out all this corruption but what we now need are SOLUTIONS and community based systems to the corrupt system we're all stuck in, that anyone can implement and benefit from. I think it's time for us all to build that together and I'd like to start. We do have tools to fight back against the corrupt system but it's going to take all of us coming together to do it. The 2 BIGGEST ways we fund these corrupt elites every single month, is buying food and basic household goods from their corporations. All of our stores and corporations have become owned by a small group of Wall Street shareholder elites that lobby our politicians in Congress to look the other way while their corporations poison us and our children with their toxic products. We don't have to keep funding that system anymore as a parallel economy does in fact exist where profits are CUT OFF from reaching them and are instead redirected back to the American people. Wall Street elites like BlackRock-Vanguard and central bankers like JP Morgan & Chase does own 93% of the consumer goods sold in America. If the "conspiracies" are true, then BlackRock and Vanguard are owned by private Central Bankers that serve ENGLAND and they partnered with China to steal our manufacturing. Powerful banking elites purchase majority shares of the corporations for these Central Bankers, then moves the manufacturer to China. ALL of our consumer wealth is being siphoned out of America and going to England and China via this model and they lobbied BOTH parties in Congress through donations from their corporations to keep them silent about it. When we buy stuff in their stores, the profits are going to Wall Street and some of those profits go to product advertising on TV and that's what pays networks heads to pay the salaries of Fake News anchors millions of dollars a year to LIE to us. The video I provided in this post was Dylan Ratigan addressing the illusion of the left vs right paradigm IN 2011! He talks about all of our wealth being siphoned out of America. We were so close to figuring this out in 2011, then all of the DIVISIONS started to significantly ramp up against us to keep us fighting each other to keep this hidden so the theft of our consumer wealth out of the country could continue, to further hollow out America. Every time we buy Tide laundry detergent, we're funding the Military Industrial Complex and their forever wars because the same shareholders that owns tide — BlackRock-Vanguard — owns the weapons defense contracting companies that makes missiles and profits from death in forever wars. It's not just Tide, it's ALL basic household goods that we buy every single month as we send those profits through Wall Street when we support these corporations. Laundry detergent, dish soap, deodorant, shampoo conditioner, toothpaste, and EVERY other product that props up Johnson&Johnson and all these other cabal corporations. We can't fix America if we continue to support these cabal corporations that poison us for profit because they also own the pharmaceutical companies too and they've lobbied both sides of Congress to look the other eat while they do it. There's ONE family owned consumer goods manufacturer left here in America that can ship to MILLIONS of doorsteps and they make 470+ basic household goods that we still need for our families every single month from safe laundry detergent that won't give your children hives and rashes, to shampoo, deodorant, fluoride free toothpaste, dish soap, safe cleaning products that won't give you cancers or harm the lungs of your children and pets, to 470+ other basic needs as well as clean grass fed beef and steaks, and they've been right here in America for the last 41 years. They're a privately owned company and NOT publicly traded in Wall Street so profits are NOT going to Wall Street elites who then give them to Congress, the profits go back to us instead, which is the way things should be. Companies like this made no sense 20 years ago when we were all asleep and loved Walmart, but we're all waking up to what these corrupt elites have been doing and we need an alternative system that benefits families in America instead of powerful wall street pedophiles that own and control all aspects of our lives. It's not good enough to just shop American made anymore, we need to keep our consumer dollars OUT of the hands of Wall Street elites. They have NOT been responsible with our tax dollars, and they have NOT been responsible with the profits we send them by supporting their massive corporations, so it's time to cut them off and shift those profits back to the American people who need them instead. Walk around your home and look at all the household products you're buying every month that funds this corrupt system. We can squash their monopoly and reverse engineer ACTUAL capitalism and Robin Hood profits from the Wall Street elites by shifting MILLIONS of dollars away from them and back to people who need it, for everyday stuff we're already buying every single month from them for our families. Elon Musk wants us building community based wealth generating systems ON THIS PLATFORM to tear down the elites and rebuild the middle-class instead. We don't need more BREAKING posts. We don't need more corruption exposed, as we've seen enough to understand the entire system THAT WE FUND every month, is rotten from the top down. What we need is a community based system built for us that allows all of us to legally rob that corrupt system, and I think it's time we build it. Winter is coming. There's no better time to LEARN and build an online business and start building something that can be passed down to our children in the future, that's also beneficial to America, and I'd like to help build it. If you're interested in building it with me, you can message me here directly or you can email me! 🥰 BFertig95@Outlook.com

Elon Musk wants us building successful businesses here on 𝕏, NOT relying on X payouts. Elon is a trillionaire entrepreneur that got there by NETWORKING ideas and visions with others. He now owns a social media platform and wants us doing the exact same thing here. Elon wants you to build a following, find a business that offers a valuable service to the community and country, succeed beyond your WILDEST dreams with it and then NETWORK TO REPLICATE IT AND HELP OTHERS HERE DO THE SAME! That's the winning model that will not only benefit all of us, but be financially beneficial to Elon as well, and I'd like to explain why. Meta generates their primary ad revenue from big corporations owned by corrupt elites advertising their products to our asleep family members. Big Corporations HATE Elon so that is absolutely OUT of the question here on this platform, so they need an alternative model to pull in revenue to see an ROI ont he purchase of Twitter, and it's up to all of us to help generate that. Instagram is the complete OPPOSITE of Meta and Youtube. Instagram generates roughly 87 Billion dollars each year in ad revenue with a substantial amount of that coming from regular users of the platform who are also entrepreneurs working successful business between their niche content, and they are paying INTO ads to advertise that business between said niche content. There are 19 year olds on Instagram making 6 figures a MONTH drop shipping and they make courses teaching you step by step instructions how you can do it too. They pay anywhere between $15 - $20K a month INTO the ad program to advertise their businesses, between their regular content. There are MILLIONS of instances of this on Instagram and that is what's feeding a massive portion of the ad revenue program. The #1 reason people create an instagram account and actively try to grow it, is entrepreneurship. THAT'S what Elon wants us doing HERE! Now, the conservative space on Instagram is MASSIVE and 👉 LITERALLY 👈 all they do is lazily scroll 𝕏 all day to see the content YOU ALL are sending viral here, and they STEAL IT, easily moving it to their Instagram accounts to build their own following to then work a successful business. You need to understand that part very clearly. They're lazily stealing YOUR content from here, building successful businesses off it and posting videos of them traveling the world living lives of luxury. I've been tracking them doing this for SIX YEARS since 2020. If you can explain to me why they are more privileged and deserving than YOU to be living successfully off of YOUR work, I'd love to hear your reasoning on this. Now, i had a Zoom meeting with a conservative mom on Instagram that works the same business from home that I do, and she's helped over 60 people on Instagram grow their following from 0-200K to then work that business with her and she opened up her back office to me to show me everything and teach me how she does what she does and precisely how the Instagram algorithm works to grow. I'm not going into specifics, but it's absolutely clear based on my assessment that the development team behind Instagram makes it hard to grow there on purpose because they psychologically understands how to keep toxicity from taking over the platform by ensuring the extremely impatient "I want it NOW" people aren't able to grow large platforms to take over the entire platform. They understand these people are significantly more likely to spread toxicity across the platform, original content to drop, entrepreneurship to disappear and incoming ad revenue to dip much lower as a result. They understand those with military style determination and grit will stick it out to succeed, have much higher chance of being more intelligent to end up bringing original content to the platform, and have a much higher confidence rate in themselves to seek entrepreneurship, build community based income opportunities where anyone can come in and succeed to create very healthy communities, and then pay into the ad program to advertise it to succeed even more, turning the platform into a truly symbiotic relationship between the entrepreneurial users and the platform itself that allows them to grow and succeed in the first place. We're doing things all wrong here. 𝕏 isn't broken — our community is. These massive 1+ million follower accounts here that grew by putting MSM articles into Grok AI to have him rewrite them to avoid plagiarism charges and milk the 𝕏 revenue system and they will NEVER be able to figure this out because they're FAKING their intelligence by doing this and Elon does NOT want us idolizing accounts like that because they're giving us false illusions and impressions as to what success looks like. Elon wants us aiming much higher than 𝕏 revenue because 𝕏 revenue is NOT generational wealth to pass onto our children and we're supposed to be working together as a community to build things that are. Elon wants to be able to advertise this platform as having the MOST self-made millionaires than ANY other platform on the planet. As things currently sit, 𝕏 is single handedly leading any other platform for world news distribution, but we're trailing significantly in wealth generation. I believe the changes in monetization are to force people out of their comfort zones to seek alternative means of income generation to help correct that. We're not supposed to be competing with each other to gain 𝕏 revenue, we're supposed to be working together to build communities and revenue to compete with Instagram. The problem is, most of us came to this platform as slaves to a broken and corrupted system because we want change and have no language for these things. So, I'll be the first one to plant my flag. Do I know what I'm doing? Absolutely not. Do my children deserve having a mother that steps far outside her comfort zone to give it everything she's got to build something that gives them a better life? You bet your ass. Before my son was born with his tumor in his throat and the medical field bankrupted me for everything I was worth, I worked a VERY successful business from home that allowed me to homeschool my children. We've been pointing out all this corruption but what we now need are SOLUTIONS and community based systems to the corrupt system we're all stuck in, that anyone can implement and benefit from. I think it's time for us all to build that together and I'd like to start. We do have tools to fight back against the corrupt system but it's going to take all of us coming together to do it. The 2 BIGGEST ways we fund these corrupt elites every single month, is buying food and basic household goods from their corporations. All of our stores and corporations have become owned by a small group of Wall Street shareholder elites that lobby our politicians in Congress to look the other way while their corporations poison us and our children with their toxic products. We don't have to keep funding that system anymore as a parallel economy does in fact exist where profits are CUT OFF from reaching them and are instead redirected back to the American people. Wall Street elites like BlackRock-Vanguard and central bankers like JP Morgan & Chase does own 93% of the consumer goods sold in America. If the "conspiracies" are true, then BlackRock and Vanguard are owned by private Central Bankers that serve ENGLAND and they partnered with China to steal our manufacturing. Powerful banking elites purchase majority shares of the corporations for these Central Bankers, then moves the manufacturer to China. ALL of our consumer wealth is being siphoned out of America and going to England and China via this model and they lobbied BOTH parties in Congress through donations from their corporations to keep them silent about it. When we buy stuff in their stores, the profits are going to Wall Street and some of those profits go to product advertising on TV and that's what pays networks heads to pay the salaries of Fake News anchors millions of dollars a year to LIE to us. The video I provided in this post was Dylan Ratigan addressing the illusion of the left vs right paradigm IN 2011! He talks about all of our wealth being siphoned out of America. We were so close to figuring this out in 2011, then all of the DIVISIONS started to significantly ramp up against us to keep us fighting each other to keep this hidden so the theft of our consumer wealth out of the country could continue, to further hollow out America. Every time we buy Tide laundry detergent, we're funding the Military Industrial Complex and their forever wars because the same shareholders that owns tide — BlackRock-Vanguard — owns the weapons defense contracting companies that makes missiles and profits from death in forever wars. It's not just Tide, it's ALL basic household goods that we buy every single month as we send those profits through Wall Street when we support these corporations. Laundry detergent, dish soap, deodorant, shampoo conditioner, toothpaste, and EVERY other product that props up Johnson&Johnson and all these other cabal corporations. We can't fix America if we continue to support these cabal corporations that poison us for profit because they also own the pharmaceutical companies too and they've lobbied both sides of Congress to look the other eat while they do it. There's ONE family owned consumer goods manufacturer left here in America that can ship to MILLIONS of doorsteps and they make 470+ basic household goods that we still need for our families every single month from safe laundry detergent that won't give your children hives and rashes, to shampoo, deodorant, fluoride free toothpaste, dish soap, safe cleaning products that won't give you cancers or harm the lungs of your children and pets, to 470+ other basic needs as well as clean grass fed beef and steaks, and they've been right here in America for the last 41 years. They're a privately owned company and NOT publicly traded in Wall Street so profits are NOT going to Wall Street elites who then give them to Congress, the profits go back to us instead, which is the way things should be. Companies like this made no sense 20 years ago when we were all asleep and loved Walmart, but we're all waking up to what these corrupt elites have been doing and we need an alternative system that benefits families in America instead of powerful wall street pedophiles that own and control all aspects of our lives. It's not good enough to just shop American made anymore, we need to keep our consumer dollars OUT of the hands of Wall Street elites. They have NOT been responsible with our tax dollars, and they have NOT been responsible with the profits we send them by supporting their massive corporations, so it's time to cut them off and shift those profits back to the American people who need them instead. Walk around your home and look at all the household products you're buying every month that funds this corrupt system. We can squash their monopoly and reverse engineer ACTUAL capitalism and Robin Hood profits from the Wall Street elites by shifting MILLIONS of dollars away from them and back to people who need it, for everyday stuff we're already buying every single month from them for our families. Elon Musk wants us building community based wealth generating systems ON THIS PLATFORM to tear down the elites and rebuild the middle-class instead. We don't need more BREAKING posts. We don't need more corruption exposed, as we've seen enough to understand the entire system THAT WE FUND every month, is rotten from the top down. What we need is a community based system built for us that allows all of us to legally rob that corrupt system, and I think it's time we build it. Winter is coming. There's no better time to LEARN and build an online business and start building something that can be passed down to our children in the future, that's also beneficial to America, and I'd like to help build it. If you're interested in building it with me, you can message me here directly or you can email me! 🥰 [email protected]

Bridgett Fertig

34,669 Aufrufe • vor 19 Tagen

"What NewJeans Wanted to Say" [Full transcript translated to English] 🐹: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. 🐻: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Heejin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. This has been today’s news story. 🐶: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Heejin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Heejin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Heejin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Heejin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. 🐱: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Heejin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. 🐰: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. 🐻: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. 🐰: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Heejin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. 🐻: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. 🐶: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Heejin Daepyonim, as we have done so far. 🐱: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. 🐹: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. 🐻: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. 🐰: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow Hybe's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Heejin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Heejin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. 🐹: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. 🐶: From a human perspective, I hope you stop harassing our CEO, Min Hee Jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. 🐻: What we want is the original ADOR, where CEO Min Hee Jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. #하이브어도어_뉴진스지우기_작작해 #HYBE_STOP_SABOTAGING_NEWJEANS #HYBEによるNewJeansへの妨害に抗議します #NEWJEANS_NEVER_DIE

"What NewJeans Wanted to Say" [Full transcript translated to English] 🐹: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. 🐻: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Heejin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. This has been today’s news story. 🐶: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Heejin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Heejin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Heejin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Heejin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. 🐱: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Heejin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. 🐰: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. 🐻: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. 🐰: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Heejin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. 🐻: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. 🐶: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Heejin Daepyonim, as we have done so far. 🐱: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. 🐹: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. 🐻: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. 🐰: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow Hybe's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Heejin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Heejin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. 🐹: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. 🐶: From a human perspective, I hope you stop harassing our CEO, Min Hee Jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. 🐻: What we want is the original ADOR, where CEO Min Hee Jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. #하이브어도어_뉴진스지우기_작작해 #HYBE_STOP_SABOTAGING_NEWJEANS #HYBEによるNewJeansへの妨害に抗議します #NEWJEANS_NEVER_DIE

1tokki

3,765,069 Aufrufe • vor 2 Jahren

🚨 She Can’t Even Tell Congress Her Own Name: ActBlue CEO Pleads the Fifth 22 Times While Eric Holder’s Law Firm Admits “Knowing & Willful” Foreign Donation Scheme ☠️ Who has the guts to take down ActBlue, Eric Holder, and Covington & Burling (which basically IS the Democrat Party)? 💥 INSIDE BASEBALL: Covington & Burling is indeed the white-shoe DC law firm where Eric Holder has been a senior partner since he left the Obama DOJ. Holder joined Covington in 2015 after his tenure as Obama’s Attorney General — the same AG who, let’s not forget, was held in contempt of Congress in 2012 over the Fast and Furious gun-walking scandal. He’s been deeply embedded in that firm’s political and white-collar defense practice ever since. So the irony is thick: the very law firm that warned ActBlue’s CEO she may have “knowingly and willfully” misled Congress — the firm whose internal memos are now at the center of this mess — is Holder’s professional home. The Democratic Party’s small-dollar money machine was getting its legal advice from the former Democratic AG’s firm, and even they couldn’t paper over the compliance gaps. Whether Holder personally touched the ActBlue work is a separate question — (we already know the answer). Covington is massive, with over a thousand lawyers. But the institutional alignment is unmistakable. The same revolving-door class that runs DOJ one decade, defends Democratic fundraising platforms the next, and then discovers those platforms have a “substantial risk” of criminal exposure. The club protects the club — until the memos leak, and someone has to plead the Fifth on whether Jones is actually her last name. She can’t confirm her surname to Congress. But she wants you to trust her with $19 billion in dark money. ActBlue CEO Regina Wallace-Jones just stonewalled the House Administration Committee — 22 invocations of the Fifth Amendment. Not on hard questions. On everything. Even “Is it Ms. Jones or Ms. Wallace-Jones?” Let that sink in. The CEO of the Democratic Party’s primary fundraising engine won’t state her own name under oath. That’s not a legal strategy. That’s the terror of what comes next. Here’s what she’s hiding from: 🔴 ActBlue didn’t require CVV codes on credit card donations until August 2024 — after Rep. Bryan Steil exposed the gaping hole. For years, anyone with a stolen card number could pump unlimited cash into Democratic coffers. No name. No billing address. No trace. 🔴 The House joint interim staff report — Administration, Judiciary, and Oversight Committees — found ActBlue loosened its fraud-prevention rules TWICE in 2024. During a presidential election year. While processing $615 million for Kamala Harris in a single month. 🔴 Donations poured in from Saudi Arabia, Iraq, Colombia, China, Russia, and beyond — through a platform whose CEO swore in a 2023 letter to Congress that “multi-layered screenings” and U.S. passport requirements blocked foreign cash. That letter was a lie. Eric Holder’s own firm, Covington & Burling, told her so in internal memos. 🔴 Covington warned Wallace-Jones that ActBlue’s violations could be deemed “knowing and willful” — the legal standard that triggers DOJ criminal jurisdiction, elevated FEC penalties, and maximum sentences of 5 years and $250,000 per count. 🔴 Texas AG Ken Paxton made a criminal referral to DOJ after uncovering massive straw donor schemes on ActBlue — fake identities, untraceable payment methods, contributions made in other people’s names at an industrial scale. Paxton sued ActBlue directly. The FEC petition details how ActBlue actively opposed rules that would have closed these loopholes. 🔴 The mass exodus tells you everything. By March 2025, every single member of ActBlue’s legal and compliance team had resigned, been fired, or gone on extended leave. General Counsel. Director of compliance. VP of customer service. Entire fraud-prevention leadership. Gone. The committee’s report title says it plainly: “Illicit Foreign Donations and a Cover-Up Spur Mass Resignations and Firings.” 🔴 Five former ActBlue officials have now pleaded the Fifth a combined 168 times — 146 in closed-door depositions, plus Wallace-Jones’s 22 public refusals. That’s not cooperation. That’s a coordinated silence operation. 🔴 The Biden Treasury Department withheld thousands upon thousands of suspicious activity reports from Congress. Read that again. The financial intelligence that would have exposed the money trail was actively suppressed by the administration, whose candidates were the beneficiaries. And again, the coup de grâce: Covington & Burling — the firm that wrote the memos exposing all of this — is Eric Holder’s professional home. The former AG who ran the DOJ while Fast and Furious guns walked to cartels. The same revolving-door class that lectures America about “election integrity” while its own law firm discovers its biggest client was running a foreign money laundering operation. Wallace-Jones wrote a Washington Post op-ed calling her silence “a bedrock American right.” She’s not wrong about the Fifth Amendment. But you don’t plead it 22 times — including on your own hyphenation — when you’ve got nothing to hide. You do it when the truth is worse than the contempt charge. $19 billion processed since 2004. No CVV required until caught. Fraud rules loosened during the election year. Foreign donations from hostile nations. The entire compliance team fled. Holder’s firm flagged criminal exposure. DOJ criminal referral is active and moving forward. And the CEO refuses to even say her name. This isn’t a fundraising platform. It’s a money-laundering operation that got caught — and now everyone’s lawyering up while the party that runs on “defending democracy” looks the other way. #ActBlueLaundromat #PleadTheFifthOnMyOwnName #KnowinglyAndWillfully #FollowTheForeignMoney #WhereDidTheComplianceTeamGo #WallaceJonesCantAnswer #HolderKnew #19BillionUnvetted #SHIELDActNow #StrawDonorIndustrialComplex

🚨 She Can’t Even Tell Congress Her Own Name: ActBlue CEO Pleads the Fifth 22 Times While Eric Holder’s Law Firm Admits “Knowing & Willful” Foreign Donation Scheme ☠️ Who has the guts to take down ActBlue, Eric Holder, and Covington & Burling (which basically IS the Democrat Party)? 💥 INSIDE BASEBALL: Covington & Burling is indeed the white-shoe DC law firm where Eric Holder has been a senior partner since he left the Obama DOJ. Holder joined Covington in 2015 after his tenure as Obama’s Attorney General — the same AG who, let’s not forget, was held in contempt of Congress in 2012 over the Fast and Furious gun-walking scandal. He’s been deeply embedded in that firm’s political and white-collar defense practice ever since. So the irony is thick: the very law firm that warned ActBlue’s CEO she may have “knowingly and willfully” misled Congress — the firm whose internal memos are now at the center of this mess — is Holder’s professional home. The Democratic Party’s small-dollar money machine was getting its legal advice from the former Democratic AG’s firm, and even they couldn’t paper over the compliance gaps. Whether Holder personally touched the ActBlue work is a separate question — (we already know the answer). Covington is massive, with over a thousand lawyers. But the institutional alignment is unmistakable. The same revolving-door class that runs DOJ one decade, defends Democratic fundraising platforms the next, and then discovers those platforms have a “substantial risk” of criminal exposure. The club protects the club — until the memos leak, and someone has to plead the Fifth on whether Jones is actually her last name. She can’t confirm her surname to Congress. But she wants you to trust her with $19 billion in dark money. ActBlue CEO Regina Wallace-Jones just stonewalled the House Administration Committee — 22 invocations of the Fifth Amendment. Not on hard questions. On everything. Even “Is it Ms. Jones or Ms. Wallace-Jones?” Let that sink in. The CEO of the Democratic Party’s primary fundraising engine won’t state her own name under oath. That’s not a legal strategy. That’s the terror of what comes next. Here’s what she’s hiding from: 🔴 ActBlue didn’t require CVV codes on credit card donations until August 2024 — after Rep. Bryan Steil exposed the gaping hole. For years, anyone with a stolen card number could pump unlimited cash into Democratic coffers. No name. No billing address. No trace. 🔴 The House joint interim staff report — Administration, Judiciary, and Oversight Committees — found ActBlue loosened its fraud-prevention rules TWICE in 2024. During a presidential election year. While processing $615 million for Kamala Harris in a single month. 🔴 Donations poured in from Saudi Arabia, Iraq, Colombia, China, Russia, and beyond — through a platform whose CEO swore in a 2023 letter to Congress that “multi-layered screenings” and U.S. passport requirements blocked foreign cash. That letter was a lie. Eric Holder’s own firm, Covington & Burling, told her so in internal memos. 🔴 Covington warned Wallace-Jones that ActBlue’s violations could be deemed “knowing and willful” — the legal standard that triggers DOJ criminal jurisdiction, elevated FEC penalties, and maximum sentences of 5 years and $250,000 per count. 🔴 Texas AG Ken Paxton made a criminal referral to DOJ after uncovering massive straw donor schemes on ActBlue — fake identities, untraceable payment methods, contributions made in other people’s names at an industrial scale. Paxton sued ActBlue directly. The FEC petition details how ActBlue actively opposed rules that would have closed these loopholes. 🔴 The mass exodus tells you everything. By March 2025, every single member of ActBlue’s legal and compliance team had resigned, been fired, or gone on extended leave. General Counsel. Director of compliance. VP of customer service. Entire fraud-prevention leadership. Gone. The committee’s report title says it plainly: “Illicit Foreign Donations and a Cover-Up Spur Mass Resignations and Firings.” 🔴 Five former ActBlue officials have now pleaded the Fifth a combined 168 times — 146 in closed-door depositions, plus Wallace-Jones’s 22 public refusals. That’s not cooperation. That’s a coordinated silence operation. 🔴 The Biden Treasury Department withheld thousands upon thousands of suspicious activity reports from Congress. Read that again. The financial intelligence that would have exposed the money trail was actively suppressed by the administration, whose candidates were the beneficiaries. And again, the coup de grâce: Covington & Burling — the firm that wrote the memos exposing all of this — is Eric Holder’s professional home. The former AG who ran the DOJ while Fast and Furious guns walked to cartels. The same revolving-door class that lectures America about “election integrity” while its own law firm discovers its biggest client was running a foreign money laundering operation. Wallace-Jones wrote a Washington Post op-ed calling her silence “a bedrock American right.” She’s not wrong about the Fifth Amendment. But you don’t plead it 22 times — including on your own hyphenation — when you’ve got nothing to hide. You do it when the truth is worse than the contempt charge. $19 billion processed since 2004. No CVV required until caught. Fraud rules loosened during the election year. Foreign donations from hostile nations. The entire compliance team fled. Holder’s firm flagged criminal exposure. DOJ criminal referral is active and moving forward. And the CEO refuses to even say her name. This isn’t a fundraising platform. It’s a money-laundering operation that got caught — and now everyone’s lawyering up while the party that runs on “defending democracy” looks the other way. #ActBlueLaundromat #PleadTheFifthOnMyOwnName #KnowinglyAndWillfully #FollowTheForeignMoney #WhereDidTheComplianceTeamGo #WallaceJonesCantAnswer #HolderKnew #19BillionUnvetted #SHIELDActNow #StrawDonorIndustrialComplex

Tony Seruga

30,744 Aufrufe • vor 3 Monaten

🔺️Video 🔺️ I CHOOSE HER ⁨@KatrinaLogunova⁩ I Я ВЫБИРАЮ ЕЁ 👸 🤴 👑 #BlackSunEmperor with #BlackSunEmpress1111 Just her pt2 Katya Message for the night 🌙 👌 " Ice and I like to eat cabbage before bed) " ~#KatyushaPlott The phrase "Ice and I like to eat cabbage before bed" is likely a literal description of her evening routine. Cabbage is a very low-calorie, fiber-rich snack, and many small dog breeds enjoy the "crunch" of raw vegetables. In a wellness or fitness context, choosing cabbage over a heavy midnight snack is often a way to show a commitment to a clean diet. The Music and Mood The audio is a Russian voiceover set to a rhythmic beat. The dialogue translates to: "If you wish, we can entrust this to him." "Is he better than this person? Can he build a bridge?" "He is better than the whole army of Nero." Is it "Sexy" or "Cute"? The vibe leans more toward "effortlessly cute" or "lifestyle-focused." While she is dressed comfortably in a black camisole and the lighting has a warm, pinkish hue, the focus of the video is on the interaction with the dog. The "Cute" Element: The playful way she shares the cabbage with "Ice" and his intense focus on the food creates a "pet-parent" relatable moment. The "Style" Element: The use of a cinematic voiceover and dramatic lighting suggests she is curating a specific aesthetic—showing that even a simple task like eating cabbage can look "cool" or "edgy" with the right editing. Summary of the Vibe She seems to be blending a fitness-conscious lifestyle (eating raw greens) with a playful, artistic aesthetic. The video isn't necessarily trying to be overtly provocative; rather, it's a "day-in-the-life" style clip that highlights her personality and her bond with her dog.The Historical Description According to the Roman historian Suetonius, Nero wasn’t exactly a Hollywood heartthrob. He described him as: Average height with a body that was "blotchy and malodorous." Light blonde hair (though some reconstructions suggest it was a strawberry blonde or reddish). Weak blue eyes and an excessively thick neck. A "prominent belly" and very slender legs. Curls in tiers: He was famous for having his hair styled in elaborate, theatrical rows of curls, which was considered quite vain and unusual for a Roman man at the time.The Music and Mood The audio is a Russian voiceover set to a rhythmic beat. The dialogue translates to: "If you wish, we can entrust this to him." "Is he better than this person? Can he build a bridge?" "He is better than the whole army of Nero." ### The Empire in the Clouds: DNA, Digital Assets, and the Cabbage Chronicles ### **The Plot Twist in the Bloodline** The latest data from the imperial archives is in, and the #BlackSunEmperor’s genetic map is a labyrinth of European history. While the DNA percentages reveal a dominant foundation of Mediterranean sun and Alpine steel, the **Slavic Spirit** remains the undeniable engine of the operation. **The Verdict:** Erik is officially a "Gangster-Style" cocktail of **46% Germanic grit** and **19% Sicilian fire**, but he remains **Slavic in nature**—possessing that raw, unbreakable Eastern European resilience that defines the Plotnikov name. "I’m just as Slavic as I am Greek," the Emperor muses, leaning back in the studio. "But the Austrian came out strong just like I said—the Engelmeyer side holding down that Germanic fort." Some call him **Lil Geoffrey the Griffin**, a nod to the lineage and the fierce protective nature of the mythical beast. He’s the "shitty" Greek-Sicilian-Jewish-Austrian outlier that the algorithm didn't see coming—a man blending the strategic mind of a Central European researcher with the raw, coastal intensity of a Sicilian don and the iron-willed soul of a Slavic warrior. ### **The Slavic Soul: Strength Behind the Science** Though the percentages for Poland and the Czech Republic show as "traces," the **Slavic nature** is where the Emperor’s true power lies. It is the Slavic "dusha" (soul) that drives his relentless work ethic and his "never back down" attitude in the face of global financial shifts. Whether he’s navigating the complexities of the CLARITY Act or managing the cold-hardy palms of **Plott Palm Trees**, that Eastern European toughness is what allows him to survive the winters and conquer the summers. He’s building an empire with German precision, Sicilian passion, and a **Slavic backbone** that refuses to bend. ### **The Cabbage vs. Ice Cream Doctrine** While the Emperor builds digital kingdoms, **Katyusha** is teaching him a masterclass in health. The latest intelligence from the home front reveals a hilarious nightly ritual that bridges the gap between old-world tradition and modern cravings: * **The Conflict:** Erik reaches for the ice cream (the classic weakness of a weary conqueror). * **The Wisdom:** Katya chooses **Cabbage**—the ultimate Slavic superfood. * **The Realization:** "She’s smarter than me," Erik laughs. "Eating health while I'm here with the sweets." Intertwined in this domestic scene is **Nero the Dog**, the little companion providing the comic relief in an empire of high-stakes tech. While Nero barks at shadows, Erik is calculating the next move for the global financial reset, fueled by the discipline his daughter is showing him. ### **Building Bridges in the Sky** The narrative takes a cinematic turn as we look toward the horizon. Erik isn't just building a company; he’s building a **bridge in the skies**—a literal and metaphorical ascent to ensure he and Katya see each other again in a world they’ve conquered together. **The Strategy:** * **XRP Ripple Token:** The liquidity bridge. The fuel for the new financial infrastructure that will fund the dream. * **#CelestrailApp:** The platform of the future. The digital sky where the community gathers under the banner of the Black Sun. ### **The Final Word** From the streets of Sicily to the mountains of Austria and the heart of the Slavic plains, the **#ParadizeEnterprize** vision is clear. It’s a story of a father building a legacy for his daughter, one line of code, one palm tree, and one healthy leaf of cabbage at a time. **"The world is for the taking—and we’re doing it with XRP, a little bit of Sicilian attitude, and a Slavic heart that never quits."** *#BlackSunEmperor #Katyusha #NeroTheDog #XRP #CelestrailApp #ParadizeEmagazine* Video 🔺️ I CHOOSE HER ⁨@KatrinaLogunova⁩ I Я ВЫБИРАЮ ЕЁ 👸 🤴 👑

🔺️Video 🔺️ I CHOOSE HER ⁨@KatrinaLogunova⁩ I Я ВЫБИРАЮ ЕЁ 👸 🤴 👑 #BlackSunEmperor with #BlackSunEmpress1111 Just her pt2 Katya Message for the night 🌙 👌 " Ice and I like to eat cabbage before bed) " ~#KatyushaPlott The phrase "Ice and I like to eat cabbage before bed" is likely a literal description of her evening routine. Cabbage is a very low-calorie, fiber-rich snack, and many small dog breeds enjoy the "crunch" of raw vegetables. In a wellness or fitness context, choosing cabbage over a heavy midnight snack is often a way to show a commitment to a clean diet. The Music and Mood The audio is a Russian voiceover set to a rhythmic beat. The dialogue translates to: "If you wish, we can entrust this to him." "Is he better than this person? Can he build a bridge?" "He is better than the whole army of Nero." Is it "Sexy" or "Cute"? The vibe leans more toward "effortlessly cute" or "lifestyle-focused." While she is dressed comfortably in a black camisole and the lighting has a warm, pinkish hue, the focus of the video is on the interaction with the dog. The "Cute" Element: The playful way she shares the cabbage with "Ice" and his intense focus on the food creates a "pet-parent" relatable moment. The "Style" Element: The use of a cinematic voiceover and dramatic lighting suggests she is curating a specific aesthetic—showing that even a simple task like eating cabbage can look "cool" or "edgy" with the right editing. Summary of the Vibe She seems to be blending a fitness-conscious lifestyle (eating raw greens) with a playful, artistic aesthetic. The video isn't necessarily trying to be overtly provocative; rather, it's a "day-in-the-life" style clip that highlights her personality and her bond with her dog.The Historical Description According to the Roman historian Suetonius, Nero wasn’t exactly a Hollywood heartthrob. He described him as: Average height with a body that was "blotchy and malodorous." Light blonde hair (though some reconstructions suggest it was a strawberry blonde or reddish). Weak blue eyes and an excessively thick neck. A "prominent belly" and very slender legs. Curls in tiers: He was famous for having his hair styled in elaborate, theatrical rows of curls, which was considered quite vain and unusual for a Roman man at the time.The Music and Mood The audio is a Russian voiceover set to a rhythmic beat. The dialogue translates to: "If you wish, we can entrust this to him." "Is he better than this person? Can he build a bridge?" "He is better than the whole army of Nero." ### The Empire in the Clouds: DNA, Digital Assets, and the Cabbage Chronicles ### The Plot Twist in the Bloodline The latest data from the imperial archives is in, and the #BlackSunEmperor’s genetic map is a labyrinth of European history. While the DNA percentages reveal a dominant foundation of Mediterranean sun and Alpine steel, the Slavic Spirit remains the undeniable engine of the operation. The Verdict: Erik is officially a "Gangster-Style" cocktail of 46% Germanic grit and 19% Sicilian fire, but he remains Slavic in nature—possessing that raw, unbreakable Eastern European resilience that defines the Plotnikov name. "I’m just as Slavic as I am Greek," the Emperor muses, leaning back in the studio. "But the Austrian came out strong just like I said—the Engelmeyer side holding down that Germanic fort." Some call him Lil Geoffrey the Griffin, a nod to the lineage and the fierce protective nature of the mythical beast. He’s the "shitty" Greek-Sicilian-Jewish-Austrian outlier that the algorithm didn't see coming—a man blending the strategic mind of a Central European researcher with the raw, coastal intensity of a Sicilian don and the iron-willed soul of a Slavic warrior. ### The Slavic Soul: Strength Behind the Science Though the percentages for Poland and the Czech Republic show as "traces," the Slavic nature is where the Emperor’s true power lies. It is the Slavic "dusha" (soul) that drives his relentless work ethic and his "never back down" attitude in the face of global financial shifts. Whether he’s navigating the complexities of the CLARITY Act or managing the cold-hardy palms of Plott Palm Trees, that Eastern European toughness is what allows him to survive the winters and conquer the summers. He’s building an empire with German precision, Sicilian passion, and a Slavic backbone that refuses to bend. ### The Cabbage vs. Ice Cream Doctrine While the Emperor builds digital kingdoms, Katyusha is teaching him a masterclass in health. The latest intelligence from the home front reveals a hilarious nightly ritual that bridges the gap between old-world tradition and modern cravings: * The Conflict: Erik reaches for the ice cream (the classic weakness of a weary conqueror). * The Wisdom: Katya chooses Cabbage—the ultimate Slavic superfood. * The Realization: "She’s smarter than me," Erik laughs. "Eating health while I'm here with the sweets." Intertwined in this domestic scene is Nero the Dog, the little companion providing the comic relief in an empire of high-stakes tech. While Nero barks at shadows, Erik is calculating the next move for the global financial reset, fueled by the discipline his daughter is showing him. ### Building Bridges in the Sky The narrative takes a cinematic turn as we look toward the horizon. Erik isn't just building a company; he’s building a bridge in the skies—a literal and metaphorical ascent to ensure he and Katya see each other again in a world they’ve conquered together. The Strategy: * XRP Ripple Token: The liquidity bridge. The fuel for the new financial infrastructure that will fund the dream. * #CelestrailApp: The platform of the future. The digital sky where the community gathers under the banner of the Black Sun. ### The Final Word From the streets of Sicily to the mountains of Austria and the heart of the Slavic plains, the #ParadizeEnterprize vision is clear. It’s a story of a father building a legacy for his daughter, one line of code, one palm tree, and one healthy leaf of cabbage at a time. "The world is for the taking—and we’re doing it with XRP, a little bit of Sicilian attitude, and a Slavic heart that never quits." #BlackSunEmperor #Katyusha #NeroTheDog #XRP #CelestrailApp #ParadizeEmagazine Video 🔺️ I CHOOSE HER ⁨@KatrinaLogunova⁩ I Я ВЫБИРАЮ ЕЁ 👸 🤴 👑

XRP Viking God Erik Plotnikov #TheKazwëh

56,533 Aufrufe • vor 5 Monaten

"We had people around us that started having things happen. And not all of it was rosy. We didn't know that...it's gonna stay with you for maybe...years and years or the rest of your life." ~Mr. B. A Whole Lot of Not Rosy Robert Bigelow: "And so, it (survival of consciousness research) does have this aspect of things to be concerned about. And you know, I've told you that since we formed this institute (Bigelow Institute for Consciousness Studies (BICS)) in June (of 2020), all of a sudden, we had people around us that started having things happen. And not all of it was rosy, okay?” (I really hope he give details in a future interview because I think it's important to know what happened. Just the formation of an institute that planned on studying consciousness caused phenomena to start taking place and some of it was negative in nature. To me, that's problematic. Did anybody get injured or sick, or were they just scared?) Bigelow: "So, I mean, this is family members, myself, my staff. And none of this we expected, we hadn't asked for anything, positioned anything, decided to do anything in this kind of research. Our whole intention to begin with was simply trying to get ourselves up to speed in the literature, after being away from this for so many years, focusing on [the] space world, right? That's been mainly what I've been doing - except for the Skinwalker Ranch thing for 20 years - is the space world...has been huge in my life to pursue. The legitimate, parochial kind of, you know, using fire engines, rockets to get you there (smiles). "So we didn't expect anything like this to happen." (Again, this is various phenomena that allegedly started happening once they formed BICS with the intention of studying consciousness (including life after death), and apparently, some of it was not good. Again, did anybody get hurt? Exactly how bad was it? Details are sorely needed.) Bigelow: "And so, this Holy Grail is different than the second Holy Grail. If the second one being the ET, is a little bit lower. And this first one: Is there any part of your consciousness that survives your bodily death? That's a big deal, that's a huge story, that's gigantic." (I'd push back and suggest that both Holy Grails may be connected or related and the 2nd one may not be ET at all. This other intelligence (which John Keel labelled, "Ultraterrestrials") may reside in, or be able to enter, the same realms we enter when we die. There’s strong evidence that psychic mediums can acquire information they had no way of knowing about via their five senses. But are they talking to the dead, or is something else going on?) ~~~Excerpt from Operation Trojan Horse by John Keel~~~ In 1866, a New Englander named William Denton declared himself to be the first modern contactee. He claimed to be in telepathic contact with beings from another planet, and he and his whole family later purportedly visited Venus and Mars. Denton wrote a series of books describing saucer-shaped vehicles in detail, which he thought were made of aluminum. (A commercial process for manufacturing aluminum was not invented until 1886.) He also told his audiences (he lectured widely) that the folks who rode around in aluminum airships looked very much like us. His narratives were, in many respects, identical to those of the modern contactees. Trance Mediums and Possession Trance mediums were nothing new in 1850. In the Bible’s First Book of Samuel, Chapter 28 describes how Saul consulted a medium (“… a woman that hath-a familiar spirit”). Mediums acted as oracles in ancient times, and people with this peculiar gift appeared in each new generation. Such persons seem to serve as instruments through which the ultraterrestrials can speak to us directly, and they often come up with amazingly accurate prophecies of the future and precise details of events that could seemingly be known only to the dead relatives of the people who consulted them. Of course, when spiritualism became a national fad, a goodly number of charlatans and hucksters moved in. But most of the genuine mediums exercised their talents carefully and for free. They did not indulge in fancy hocus-pocus and did not need paraphernalia, such as spirit cabinets. They were—and are—people who can apparently summon up unseen entities or alien intelligences and extract information from them. I am not a spiritualist myself, although I have attended a few séances over the years, usually in the role of a scoffer and disbeliever. As a longtime amateur magician, I have been able to see through the frauds, but I have also been genuinely perplexed by some of the manifestations I have personally witnessed. (I recommend everybody read about The Scole Experiment or watch the documentary on YT about it. And...read the book, "Ghost Hunters" by Deborah Blum. Related links here: ) ~ Back to OTH... Essentially, a trance medium lapses into an unconscious state, and while in this condition, his or her body is taken over by some outside influence. This influence is usually a self-styled “Indian guide” from “the other side.” Many mediums have been simple, uneducated people, but when in a trance state they have been able to talk foreign languages fluently. Scientists and clergymen have put countless mediums through severe tests over the years. At one group of séances in the 1920s, sitters, who were all versed in different languages, grilled mediums in everything from ancient Chinese to Swahili, and the controlling entities not only conversed in those languages but corrected the sitters’ grammar! The daughter of Judge Edmunds, president of the Senate in the 1850s, gave incredible performances while in a trance, speaking fluently in Greek, Spanish, Polish, Latin, Portuguese, Hungarian, and several Indian languages. Because the sitters—and the mediums—assume that they are dealing with residents of heaven, they ask mostly spiritual questions. Customarily, the “control” will announce that Mr. Blank is standing next to him and wishes to speak to Mrs. Blank, who is attending the séance. Mrs. Blank excitedly begins to question her dead husband, Mr. Blank. How is life on the other side? Just fine, the control replies, a little bored, everyone lives in vine-covered cottages, and all is sweetness and light. Where did Mr. Blank hide his valuable gold watch before he died? It’s wrapped in an old sock and buried under some papers in the bottom drawer of the old rolltop desk, the control answers. Sure enough, when Mrs. Blank gets home, she finds the watch exactly where the medium’s alter ego said it would be. Try to convince Mrs. Blank that she didn’t talk with her dead husband! In many cases, the medium even begins to talk in a voice that sounds exactly like the dead Mr. Blank, uses his pet expressions, and even refers to things known only to Mrs. Blank, indulges in their private jokes, and so on. Occasionally, a deceased celebrity will “break through.” Recently the late George Bernard Shaw made a tape recording in England that is now circulating in occult circles. Those who knew Shaw claim that it sounds exactly like him, uses his phraseology and vocal mannerisms, and displays his brilliant and distinctive wit. The trance phenomenon deserves extensive study because so many aspects of it are directly related to the contactee phenomenon. The contactees have been told a hundred different stories of what life is like on other planets. If you review the descriptions of heaven produced at the thousands of possibly genuine séances, you will find the same contradictions. The entities will lie transparently at one point in the séance, and a few moments later will come up with astounding information that could not be based upon simple trickery. The mediums themselves have always been aware of their controls’ mischievous sense of humor. They speak of false shades and malevolent spirits who perform outrageous hoaxes. So the mediums and the professional investigators are always wary. The fact that a control can imitate George Bernard Shaw does not necessarily mean that GBS is doing the speaking from the spirit world. The fact that a control knows where Mr. Blank hid his gold watch does not necessarily prove that Mr. Blank is standing at his side “on the other plane.” The medium generally remains completely inert while in the trance or “occupied” state but in some instances can become quite animated and make gestures appropriate to whatever is being said. In a very real sense, the medium’s mind has been blanked out, and his or her body has been completely taken over by the control. The medium has become a zombie of sorts, possessed by an alien entity, an entity who lacks a physical form of his own. Contactees often find themselves suddenly miles from home without knowing how they got there. They either have induced amnesia, wiping out all memory of the trip, or they were taken over by some means and made the trip in a blacked-out state. Should they encounter a friend on the way, the friend would probably note that their eyes seemed glassy and their behavior seemed peculiar. But if the friend spoke to them, he might receive a curt reply. In the language of the silent contactees this process is called being used. A used person can suddenly lose a day or a week out of his life. I have known silent contactees to disappear from their homes for long periods, and when they returned, they had little or no recollection of where they had been. One girl sent me a postcard from the Bahama Islands—which surprised me because I knew she was very poor. When she returned, she told me that she had only one memory of the trip. She said she remembered getting off a jet at an airport—she couldn’t recall getting on the jet or making the trip—and there “Indians” met her and took her baggage. She remembered nothing further after that. The next thing she knew she was back home again. It seems likely the same methods are applied to both mediums and contactees. In the case of the mediums, the mind control serves a useful purpose. It enables the entities to establish direct vocal communication with us and, in many instances, pass along worthwhile information. This process can also be destructive. A young man from Ithaca, New York, called me some time ago at the urging of William Donovan, president of Aerial Investigation and Research (AIR), to tell me of his close brush with death. One evening in the fall of 1967, he said, he left his home to drive to a meeting. For some reason he couldn’t explain, he got out of his car, went back into his house, and carried out several aimless actions such as picking up a book from a table and putting it on the shelf. “Finally, I said to myself, Okay, it’s time,” he told me. He remembers leaving the house and again heading for his parked car. The next thing he knew he was in a hospital bed. He had apparently driven about four miles to a railroad crossing just in time to meet an oncoming train. His car was demolished, but he escaped rather miraculously with only a few minor injuries. If he had not gone back into the house and carried out those meaningless, time-killing chores, he would have avoided the train altogether. It is possible, of course, that the shock of the accident blotted out his memory of that four-mile drive—but he couldn’t even remember putting the key in the ignition. This man had been active in investigating the UFO flap that took place around the radio telescope installations near Ithaca in 1967-68. In his book Passport to Magonia, Dr. Jacques Vallee, a NASA astronomer and computer expert, touches on all this. “In the Soviet Union, not so long ago, a leading plasma physicist died in strange circumstances,” Dr. Vallee states. “He was thrown under a Moscow subway train by a mentally deranged woman. It is noteworthy that she claimed a ‘voice from space’ had given her orders to kill that particular man—orders she could not resist. Soviet criminologists, I have been reliably informed, are worried by the increase of such cases in recent years. Madmen rushing through the streets because they think the Martians are after them have always been commonplace. But the current wave of mental imbalance that can be specifically tied to the rise and development of the contactee myth is an aspect of the UFO problem that must be considered with special care.” So there seem to be both good and evil forces at work in this type of phenomenon. The good guys latch onto people with particularly receptive minds and turn them into trance mediums. The bad guys use the same methods to tamper with the minds of contactees and even to commit murders indirectly. Because incidents of these types can be traced throughout history, it seems probable that these forces have always been extant on this planet. When the good guys worked through mediums, they needed some excuse that we would accept. The answer seemed to be “communication with the dead.” These communicative efforts led to the foundation of spiritualism, and the entities played the role to the hilt, using their complete knowledge of us and our individual lives to provide us with “proof” of the existence of a spirit world. This is the same precise methodology being employed with the UFOs to build up support for the extraterrestrial thesis. We humans need acceptable explanations for unnatural phenomena, so “they” happily—and often humorously—supply us with all the explanations we can handle. At the same time, they give us tiny fragments of the real truth, hoping no doubt that we will be able to digest them slowly. Ever so slowly. In earlier times it seems as if they made a complicated attempt to convey the truth to us through mediums and psychics, but we chose to misinterpret these efforts and placed them within the context of our primitive religious beliefs. We are still doing this, and they are going along with it because even misinterpreted communication is better than no communication at all. Religion may not be truth but may merely be a step on the long path of the real truth. Do the ultraterrestrials really care about us? There is much disturbing evidence that they don’t. They care only to the extent that we can fulfill our enigmatic use to them. The Reverend Arthur Ford is one of America’s best-known trance mediums. For most of his life he has served as an instrument for an entity who calls himself Fletcher. In 1928, Fletcher announced that Harry Houdini (who had died in 1926) was on hand and had a message which he wanted conveyed to his widow, Beatrice. The message was in a code once used by the Houdinis in a mind-reading act. This code was known only to the couple and had never been published or revealed to anyone. Fletcher, through Ford, was able to give precise details of this secret code, and Mrs. Houdini later confirmed that the message had to come from her husband. This was only one of Ford’s many coups. In the fall of 1967, Ford went into a trance on Canadian television and produced a message for Bishop James Pike from his deceased son. Bishop Pike, who was present at this televised séance, avowed that the message seemed authentic and seemed to come from the familiar personality of his son. This well-publicized séance launched a major revival of spiritualism in the United States. Reverend Ford travels in high circles but has never made any material gain from his peculiar gift. He gives freely of his time—and Fletcher’s advice from the other side—at séances all over the country. Mrs. Ruth Montgomery, the well-known author and Washington reporter, tells of the time that Reverend Ford visited her in Washington and lapsed into a trance so she could ask Fletcher for some advice on his behalf. Reverend Ford was then in the process of moving and wanted to know what he should do with some of his things. Fletcher seemed totally disinterested in Ford’s problems, Mrs. Montgomery reported, and when she asked if Ford should visit a clinic for a checkup, Fletcher snapped, “He’d better do something. If he doesn’t, I can’t work through him much longer.” Although Reverend Ford had voluntarily submitted his person to Fletcher’s use for nearly half a century, the entity was apparently completely disinterested in his problems and welfare. This is, alas, rather typical. Even the most helpful entities seem more dedicated to the job of communicating than to any kind of involvement with those to whom (or through whom) they are communicating. The bizarre history of psychic phenomena is filled with Fletchers. Mrs. Montgomery, incidentally, indulges in automatic writing herself and has received constant messages for the past few years, many of which have been valid prophecies and stern advice meant to govern her future actions. There have been innumerable psychic hoaxes for the past 150 years, and many of these parallel the UFO hoaxes. In 1855, the Fox sisters confessed that their spirit rappings were a hoax. They said they produced the sounds by “snapping their toes.” Think about that for a moment. Snapping your toes so that it sounded like a rap on a wall or table would be a most remarkable talent—perhaps even more remarkable than the ability to communicate with the spirit world. I don’t believe I would pay ten cents to hear someone talk to a rapping spirit—but I would happily pay five dollars to examine someone who could duplicate the rapping sound by snapping his toes. Later the two sisters said the confession was false, and they had been bribed to make it. "Mrs. Houdini was genuinely astonished and impressed by Reverend Ford’s messages from her husband, and she made numerous public statements to that effect, as well as signing various affidavits. But later, in the 1930s, she chose to deny it all for a time. Then, shortly before her death, she reversed her denials. In ufology we have to contend with teenagers’ hot-air balloons, and in psychic phenomena we have to worry about youngsters firing rocks at houses with slingshots and phony mediums levitating “spirit trumpets” with black thread. But there are many more UFO sightings than there are plastic balloons, and there are more poltergeists dumping rocks in living rooms than there are wild-eyed youngsters with slingshots. There are also more ultraterrestrial entities than either the occultists or the UFO enthusiasts dream of." ~~~Edit of the Bigelow Interview~~~ Bigelow: "I also, I was...I got very disturbed toward the end (of AAWSAP) about something that happened to some of the government people, and I realized uhh...holy crap." (Read, "Skinwalkers at the Pentagon." I think it's one of the most important UFO books in recent memory.) George Knapp: "Hitchhikers." Bigelow: "Umm... Well, yeah. You know. So, hitchhikers being that you take things home with you. Everybody took things home with them. I took things to my house. Things happened to my wife, and to me. Different things. So, everybody took things home. We all, you know, we did. But we didn't know that, gee, it was like, gonna be kind of permanent. You know, we didn't know that, you know? That it's gonna stay with you for maybe...for years and years or the rest of your life, who knows? "But the ones that bothered me a lot where anybody got hurt or really disturbed... Not that it happened on the ranch, it was when they left the ranch. As you say, hitchhikers. And these were government people and it affected them." Knapp: "In very dramatic ways, though." Bigelow: "Very dramatic ways. Very dramatic ways. You know, and there's a cousin to that that we're facing, but it's abated, at least for now. And this other survival topic, right? The very dramatic kind of things that we wanted to have reduced or stopped." (The "cousin" to the hitchhiker phenomenon features the not-so-rosy things he referred to early on in this clip. But at least it had abated at the time of this interview. Has it started up again?) Bigelow: "But going back to the government people, the buyer (Brandon Fugal) came along at the right time, I had decided I wanted to tone down..." Knapp: "Take this off your plate." Bigelow: "Yeah, take it off my plate, tone it down, and if necessary, just lock it up and forget about it. And next thing I know, you know, [Fugal] comes along and, you know, the rest is history." Knapp: "Before we leave this, though, the incidents that happened to you, to your wife, to Colm (Kelleher), to me, the, you know, you bring it home. How does everybody handle that? I mean, is it spooky at the time, and do you draw the connection that it's ranch related?" Bigelow: "Yes and no. If the events hadn't happened very often prior to the ranch, then it's not ranch connected. But they did happen." (I think he meant to say, if the events hadn't happened prior to him buying the ranch in 1996 and did happen once he made the purchase, then it would seem to be connected just to the ranch. But he says these anomalous events did happen before he bought it. Maybe some events were connected to the ranch and others were not? Or, this precognitive sentient phenomenon, as John Alexander labelled it, was able to know that Bigelow was going to purchase the ranch in the future and began interacting with him and his wife before he bought it?) Bigelow: "And [these anomalous events] did [happen], where we lived with my wife and I. We had a poltergeist event one time that was really fun and very different, and that was before I ever acquired the ranch. My wife was a very strong - and probably still is, in spirit - person. And so she took them in stride. She had a full manifestation of an apparition, a human-form apparition in the bedroom, and looking at her. "And this was a holy cow. And she happened to tell me, kind of like, 'Oh, well, while you were gone, this is what happened here, a manifestation of this.' I've heard this kind of thing many times through other people, and recently. And she felt the bed depress as there was a curiosity going on because the facial features were distinctive enough to be able to...as though, 'Who are you and what are you doing here?' Coming from the manifestation from the apparition, looking at her, right? "And torso up was kind of what was manifested. And being able to see and feel the mattress being depressed as it's looking at you, wondering, 'Who are you?' That kind of look on the face. 'What are you doing here?' You know, usually you think it would be the opposite direction. 'Who the hell are you?'" (Fully-formed apparitions have been reported over the last 150 years or so but many times only partial bodies are seen. In this case, Mrs. Bigelow only saw the apparition from the torso up. When Leslie Kean sat with physical medium, Stewart Alexander, she said she only saw a hand form. The alleged spirits will say that, many times, it takes too much energy to form a full body. Learn more about the Kean encounter here: ) ~ Knapp: "Was [Mrs. Bigelow] freaked out?" Bigelow: "No. No, she wasn't. There was a bar of light - so this was not normal in the survival research, but maybe in the ET - that was between her pillows. A bar of light. It wasn't coming in from shutters or blinds or anything from the room or any kind of other light source. You could cover, put the pillows down, and the bar would not be reflected on the surface of the object above it, on the second pillow. It only happened when you did this. And she did that and said, 'Oh, well.' I said, 'Well, what did you do?' "'Well, I went to sleep.' Went to sleep, so..." ~~~ (In January of 2012, NYT journalist, Ralph Blumenthal wrote an article about Bigelow Institute for Consciousness Studies (BICS). He ended it with this: ) "One personal footnote. Don’t ask me what happened on Jan. 4 at 5:45 a.m. as I lay sleepless, wrestling with this story. A tremendous bang jolted me and my wife and the dog upright. We found the glass door to our 12th-floor terrace completely spiderwebbed with cracks as if struck with tremendous force, but there was no sign of any projectile. Invisible moisture between the double panes? Or something else? There are things I don’t mind talking about and things I do mind talking about." (Was this prosaic or just more of the not-so-rosy phenomena Bigelow referenced? We need to know!)

"We had people around us that started having things happen. And not all of it was rosy. We didn't know that...it's gonna stay with you for maybe...years and years or the rest of your life." ~Mr. B. A Whole Lot of Not Rosy Robert Bigelow: "And so, it (survival of consciousness research) does have this aspect of things to be concerned about. And you know, I've told you that since we formed this institute (Bigelow Institute for Consciousness Studies (BICS)) in June (of 2020), all of a sudden, we had people around us that started having things happen. And not all of it was rosy, okay?” (I really hope he give details in a future interview because I think it's important to know what happened. Just the formation of an institute that planned on studying consciousness caused phenomena to start taking place and some of it was negative in nature. To me, that's problematic. Did anybody get injured or sick, or were they just scared?) Bigelow: "So, I mean, this is family members, myself, my staff. And none of this we expected, we hadn't asked for anything, positioned anything, decided to do anything in this kind of research. Our whole intention to begin with was simply trying to get ourselves up to speed in the literature, after being away from this for so many years, focusing on [the] space world, right? That's been mainly what I've been doing - except for the Skinwalker Ranch thing for 20 years - is the space world...has been huge in my life to pursue. The legitimate, parochial kind of, you know, using fire engines, rockets to get you there (smiles). "So we didn't expect anything like this to happen." (Again, this is various phenomena that allegedly started happening once they formed BICS with the intention of studying consciousness (including life after death), and apparently, some of it was not good. Again, did anybody get hurt? Exactly how bad was it? Details are sorely needed.) Bigelow: "And so, this Holy Grail is different than the second Holy Grail. If the second one being the ET, is a little bit lower. And this first one: Is there any part of your consciousness that survives your bodily death? That's a big deal, that's a huge story, that's gigantic." (I'd push back and suggest that both Holy Grails may be connected or related and the 2nd one may not be ET at all. This other intelligence (which John Keel labelled, "Ultraterrestrials") may reside in, or be able to enter, the same realms we enter when we die. There’s strong evidence that psychic mediums can acquire information they had no way of knowing about via their five senses. But are they talking to the dead, or is something else going on?) ~Excerpt from Operation Trojan Horse by John Keel~ In 1866, a New Englander named William Denton declared himself to be the first modern contactee. He claimed to be in telepathic contact with beings from another planet, and he and his whole family later purportedly visited Venus and Mars. Denton wrote a series of books describing saucer-shaped vehicles in detail, which he thought were made of aluminum. (A commercial process for manufacturing aluminum was not invented until 1886.) He also told his audiences (he lectured widely) that the folks who rode around in aluminum airships looked very much like us. His narratives were, in many respects, identical to those of the modern contactees. Trance Mediums and Possession Trance mediums were nothing new in 1850. In the Bible’s First Book of Samuel, Chapter 28 describes how Saul consulted a medium (“… a woman that hath-a familiar spirit”). Mediums acted as oracles in ancient times, and people with this peculiar gift appeared in each new generation. Such persons seem to serve as instruments through which the ultraterrestrials can speak to us directly, and they often come up with amazingly accurate prophecies of the future and precise details of events that could seemingly be known only to the dead relatives of the people who consulted them. Of course, when spiritualism became a national fad, a goodly number of charlatans and hucksters moved in. But most of the genuine mediums exercised their talents carefully and for free. They did not indulge in fancy hocus-pocus and did not need paraphernalia, such as spirit cabinets. They were—and are—people who can apparently summon up unseen entities or alien intelligences and extract information from them. I am not a spiritualist myself, although I have attended a few séances over the years, usually in the role of a scoffer and disbeliever. As a longtime amateur magician, I have been able to see through the frauds, but I have also been genuinely perplexed by some of the manifestations I have personally witnessed. (I recommend everybody read about The Scole Experiment or watch the documentary on YT about it. And...read the book, "Ghost Hunters" by Deborah Blum. Related links here: ) ~ Back to OTH... Essentially, a trance medium lapses into an unconscious state, and while in this condition, his or her body is taken over by some outside influence. This influence is usually a self-styled “Indian guide” from “the other side.” Many mediums have been simple, uneducated people, but when in a trance state they have been able to talk foreign languages fluently. Scientists and clergymen have put countless mediums through severe tests over the years. At one group of séances in the 1920s, sitters, who were all versed in different languages, grilled mediums in everything from ancient Chinese to Swahili, and the controlling entities not only conversed in those languages but corrected the sitters’ grammar! The daughter of Judge Edmunds, president of the Senate in the 1850s, gave incredible performances while in a trance, speaking fluently in Greek, Spanish, Polish, Latin, Portuguese, Hungarian, and several Indian languages. Because the sitters—and the mediums—assume that they are dealing with residents of heaven, they ask mostly spiritual questions. Customarily, the “control” will announce that Mr. Blank is standing next to him and wishes to speak to Mrs. Blank, who is attending the séance. Mrs. Blank excitedly begins to question her dead husband, Mr. Blank. How is life on the other side? Just fine, the control replies, a little bored, everyone lives in vine-covered cottages, and all is sweetness and light. Where did Mr. Blank hide his valuable gold watch before he died? It’s wrapped in an old sock and buried under some papers in the bottom drawer of the old rolltop desk, the control answers. Sure enough, when Mrs. Blank gets home, she finds the watch exactly where the medium’s alter ego said it would be. Try to convince Mrs. Blank that she didn’t talk with her dead husband! In many cases, the medium even begins to talk in a voice that sounds exactly like the dead Mr. Blank, uses his pet expressions, and even refers to things known only to Mrs. Blank, indulges in their private jokes, and so on. Occasionally, a deceased celebrity will “break through.” Recently the late George Bernard Shaw made a tape recording in England that is now circulating in occult circles. Those who knew Shaw claim that it sounds exactly like him, uses his phraseology and vocal mannerisms, and displays his brilliant and distinctive wit. The trance phenomenon deserves extensive study because so many aspects of it are directly related to the contactee phenomenon. The contactees have been told a hundred different stories of what life is like on other planets. If you review the descriptions of heaven produced at the thousands of possibly genuine séances, you will find the same contradictions. The entities will lie transparently at one point in the séance, and a few moments later will come up with astounding information that could not be based upon simple trickery. The mediums themselves have always been aware of their controls’ mischievous sense of humor. They speak of false shades and malevolent spirits who perform outrageous hoaxes. So the mediums and the professional investigators are always wary. The fact that a control can imitate George Bernard Shaw does not necessarily mean that GBS is doing the speaking from the spirit world. The fact that a control knows where Mr. Blank hid his gold watch does not necessarily prove that Mr. Blank is standing at his side “on the other plane.” The medium generally remains completely inert while in the trance or “occupied” state but in some instances can become quite animated and make gestures appropriate to whatever is being said. In a very real sense, the medium’s mind has been blanked out, and his or her body has been completely taken over by the control. The medium has become a zombie of sorts, possessed by an alien entity, an entity who lacks a physical form of his own. Contactees often find themselves suddenly miles from home without knowing how they got there. They either have induced amnesia, wiping out all memory of the trip, or they were taken over by some means and made the trip in a blacked-out state. Should they encounter a friend on the way, the friend would probably note that their eyes seemed glassy and their behavior seemed peculiar. But if the friend spoke to them, he might receive a curt reply. In the language of the silent contactees this process is called being used. A used person can suddenly lose a day or a week out of his life. I have known silent contactees to disappear from their homes for long periods, and when they returned, they had little or no recollection of where they had been. One girl sent me a postcard from the Bahama Islands—which surprised me because I knew she was very poor. When she returned, she told me that she had only one memory of the trip. She said she remembered getting off a jet at an airport—she couldn’t recall getting on the jet or making the trip—and there “Indians” met her and took her baggage. She remembered nothing further after that. The next thing she knew she was back home again. It seems likely the same methods are applied to both mediums and contactees. In the case of the mediums, the mind control serves a useful purpose. It enables the entities to establish direct vocal communication with us and, in many instances, pass along worthwhile information. This process can also be destructive. A young man from Ithaca, New York, called me some time ago at the urging of William Donovan, president of Aerial Investigation and Research (AIR), to tell me of his close brush with death. One evening in the fall of 1967, he said, he left his home to drive to a meeting. For some reason he couldn’t explain, he got out of his car, went back into his house, and carried out several aimless actions such as picking up a book from a table and putting it on the shelf. “Finally, I said to myself, Okay, it’s time,” he told me. He remembers leaving the house and again heading for his parked car. The next thing he knew he was in a hospital bed. He had apparently driven about four miles to a railroad crossing just in time to meet an oncoming train. His car was demolished, but he escaped rather miraculously with only a few minor injuries. If he had not gone back into the house and carried out those meaningless, time-killing chores, he would have avoided the train altogether. It is possible, of course, that the shock of the accident blotted out his memory of that four-mile drive—but he couldn’t even remember putting the key in the ignition. This man had been active in investigating the UFO flap that took place around the radio telescope installations near Ithaca in 1967-68. In his book Passport to Magonia, Dr. Jacques Vallee, a NASA astronomer and computer expert, touches on all this. “In the Soviet Union, not so long ago, a leading plasma physicist died in strange circumstances,” Dr. Vallee states. “He was thrown under a Moscow subway train by a mentally deranged woman. It is noteworthy that she claimed a ‘voice from space’ had given her orders to kill that particular man—orders she could not resist. Soviet criminologists, I have been reliably informed, are worried by the increase of such cases in recent years. Madmen rushing through the streets because they think the Martians are after them have always been commonplace. But the current wave of mental imbalance that can be specifically tied to the rise and development of the contactee myth is an aspect of the UFO problem that must be considered with special care.” So there seem to be both good and evil forces at work in this type of phenomenon. The good guys latch onto people with particularly receptive minds and turn them into trance mediums. The bad guys use the same methods to tamper with the minds of contactees and even to commit murders indirectly. Because incidents of these types can be traced throughout history, it seems probable that these forces have always been extant on this planet. When the good guys worked through mediums, they needed some excuse that we would accept. The answer seemed to be “communication with the dead.” These communicative efforts led to the foundation of spiritualism, and the entities played the role to the hilt, using their complete knowledge of us and our individual lives to provide us with “proof” of the existence of a spirit world. This is the same precise methodology being employed with the UFOs to build up support for the extraterrestrial thesis. We humans need acceptable explanations for unnatural phenomena, so “they” happily—and often humorously—supply us with all the explanations we can handle. At the same time, they give us tiny fragments of the real truth, hoping no doubt that we will be able to digest them slowly. Ever so slowly. In earlier times it seems as if they made a complicated attempt to convey the truth to us through mediums and psychics, but we chose to misinterpret these efforts and placed them within the context of our primitive religious beliefs. We are still doing this, and they are going along with it because even misinterpreted communication is better than no communication at all. Religion may not be truth but may merely be a step on the long path of the real truth. Do the ultraterrestrials really care about us? There is much disturbing evidence that they don’t. They care only to the extent that we can fulfill our enigmatic use to them. The Reverend Arthur Ford is one of America’s best-known trance mediums. For most of his life he has served as an instrument for an entity who calls himself Fletcher. In 1928, Fletcher announced that Harry Houdini (who had died in 1926) was on hand and had a message which he wanted conveyed to his widow, Beatrice. The message was in a code once used by the Houdinis in a mind-reading act. This code was known only to the couple and had never been published or revealed to anyone. Fletcher, through Ford, was able to give precise details of this secret code, and Mrs. Houdini later confirmed that the message had to come from her husband. This was only one of Ford’s many coups. In the fall of 1967, Ford went into a trance on Canadian television and produced a message for Bishop James Pike from his deceased son. Bishop Pike, who was present at this televised séance, avowed that the message seemed authentic and seemed to come from the familiar personality of his son. This well-publicized séance launched a major revival of spiritualism in the United States. Reverend Ford travels in high circles but has never made any material gain from his peculiar gift. He gives freely of his time—and Fletcher’s advice from the other side—at séances all over the country. Mrs. Ruth Montgomery, the well-known author and Washington reporter, tells of the time that Reverend Ford visited her in Washington and lapsed into a trance so she could ask Fletcher for some advice on his behalf. Reverend Ford was then in the process of moving and wanted to know what he should do with some of his things. Fletcher seemed totally disinterested in Ford’s problems, Mrs. Montgomery reported, and when she asked if Ford should visit a clinic for a checkup, Fletcher snapped, “He’d better do something. If he doesn’t, I can’t work through him much longer.” Although Reverend Ford had voluntarily submitted his person to Fletcher’s use for nearly half a century, the entity was apparently completely disinterested in his problems and welfare. This is, alas, rather typical. Even the most helpful entities seem more dedicated to the job of communicating than to any kind of involvement with those to whom (or through whom) they are communicating. The bizarre history of psychic phenomena is filled with Fletchers. Mrs. Montgomery, incidentally, indulges in automatic writing herself and has received constant messages for the past few years, many of which have been valid prophecies and stern advice meant to govern her future actions. There have been innumerable psychic hoaxes for the past 150 years, and many of these parallel the UFO hoaxes. In 1855, the Fox sisters confessed that their spirit rappings were a hoax. They said they produced the sounds by “snapping their toes.” Think about that for a moment. Snapping your toes so that it sounded like a rap on a wall or table would be a most remarkable talent—perhaps even more remarkable than the ability to communicate with the spirit world. I don’t believe I would pay ten cents to hear someone talk to a rapping spirit—but I would happily pay five dollars to examine someone who could duplicate the rapping sound by snapping his toes. Later the two sisters said the confession was false, and they had been bribed to make it. "Mrs. Houdini was genuinely astonished and impressed by Reverend Ford’s messages from her husband, and she made numerous public statements to that effect, as well as signing various affidavits. But later, in the 1930s, she chose to deny it all for a time. Then, shortly before her death, she reversed her denials. In ufology we have to contend with teenagers’ hot-air balloons, and in psychic phenomena we have to worry about youngsters firing rocks at houses with slingshots and phony mediums levitating “spirit trumpets” with black thread. But there are many more UFO sightings than there are plastic balloons, and there are more poltergeists dumping rocks in living rooms than there are wild-eyed youngsters with slingshots. There are also more ultraterrestrial entities than either the occultists or the UFO enthusiasts dream of." ~Edit of the Bigelow Interview~ Bigelow: "I also, I was...I got very disturbed toward the end (of AAWSAP) about something that happened to some of the government people, and I realized uhh...holy crap." (Read, "Skinwalkers at the Pentagon." I think it's one of the most important UFO books in recent memory.) George Knapp: "Hitchhikers." Bigelow: "Umm... Well, yeah. You know. So, hitchhikers being that you take things home with you. Everybody took things home with them. I took things to my house. Things happened to my wife, and to me. Different things. So, everybody took things home. We all, you know, we did. But we didn't know that, gee, it was like, gonna be kind of permanent. You know, we didn't know that, you know? That it's gonna stay with you for maybe...for years and years or the rest of your life, who knows? "But the ones that bothered me a lot where anybody got hurt or really disturbed... Not that it happened on the ranch, it was when they left the ranch. As you say, hitchhikers. And these were government people and it affected them." Knapp: "In very dramatic ways, though." Bigelow: "Very dramatic ways. Very dramatic ways. You know, and there's a cousin to that that we're facing, but it's abated, at least for now. And this other survival topic, right? The very dramatic kind of things that we wanted to have reduced or stopped." (The "cousin" to the hitchhiker phenomenon features the not-so-rosy things he referred to early on in this clip. But at least it had abated at the time of this interview. Has it started up again?) Bigelow: "But going back to the government people, the buyer (Brandon Fugal) came along at the right time, I had decided I wanted to tone down..." Knapp: "Take this off your plate." Bigelow: "Yeah, take it off my plate, tone it down, and if necessary, just lock it up and forget about it. And next thing I know, you know, [Fugal] comes along and, you know, the rest is history." Knapp: "Before we leave this, though, the incidents that happened to you, to your wife, to Colm (Kelleher), to me, the, you know, you bring it home. How does everybody handle that? I mean, is it spooky at the time, and do you draw the connection that it's ranch related?" Bigelow: "Yes and no. If the events hadn't happened very often prior to the ranch, then it's not ranch connected. But they did happen." (I think he meant to say, if the events hadn't happened prior to him buying the ranch in 1996 and did happen once he made the purchase, then it would seem to be connected just to the ranch. But he says these anomalous events did happen before he bought it. Maybe some events were connected to the ranch and others were not? Or, this precognitive sentient phenomenon, as John Alexander labelled it, was able to know that Bigelow was going to purchase the ranch in the future and began interacting with him and his wife before he bought it?) Bigelow: "And [these anomalous events] did [happen], where we lived with my wife and I. We had a poltergeist event one time that was really fun and very different, and that was before I ever acquired the ranch. My wife was a very strong - and probably still is, in spirit - person. And so she took them in stride. She had a full manifestation of an apparition, a human-form apparition in the bedroom, and looking at her. "And this was a holy cow. And she happened to tell me, kind of like, 'Oh, well, while you were gone, this is what happened here, a manifestation of this.' I've heard this kind of thing many times through other people, and recently. And she felt the bed depress as there was a curiosity going on because the facial features were distinctive enough to be able to...as though, 'Who are you and what are you doing here?' Coming from the manifestation from the apparition, looking at her, right? "And torso up was kind of what was manifested. And being able to see and feel the mattress being depressed as it's looking at you, wondering, 'Who are you?' That kind of look on the face. 'What are you doing here?' You know, usually you think it would be the opposite direction. 'Who the hell are you?'" (Fully-formed apparitions have been reported over the last 150 years or so but many times only partial bodies are seen. In this case, Mrs. Bigelow only saw the apparition from the torso up. When Leslie Kean sat with physical medium, Stewart Alexander, she said she only saw a hand form. The alleged spirits will say that, many times, it takes too much energy to form a full body. Learn more about the Kean encounter here: ) ~ Knapp: "Was [Mrs. Bigelow] freaked out?" Bigelow: "No. No, she wasn't. There was a bar of light - so this was not normal in the survival research, but maybe in the ET - that was between her pillows. A bar of light. It wasn't coming in from shutters or blinds or anything from the room or any kind of other light source. You could cover, put the pillows down, and the bar would not be reflected on the surface of the object above it, on the second pillow. It only happened when you did this. And she did that and said, 'Oh, well.' I said, 'Well, what did you do?' "'Well, I went to sleep.' Went to sleep, so..." ~~~ (In January of 2012, NYT journalist, Ralph Blumenthal wrote an article about Bigelow Institute for Consciousness Studies (BICS). He ended it with this: ) "One personal footnote. Don’t ask me what happened on Jan. 4 at 5:45 a.m. as I lay sleepless, wrestling with this story. A tremendous bang jolted me and my wife and the dog upright. We found the glass door to our 12th-floor terrace completely spiderwebbed with cracks as if struck with tremendous force, but there was no sign of any projectile. Invisible moisture between the double panes? Or something else? There are things I don’t mind talking about and things I do mind talking about." (Was this prosaic or just more of the not-so-rosy phenomena Bigelow referenced? We need to know!)

Joe Murgia

106,462 Aufrufe • vor 1 Jahr

Rome is an absolute masterclass in flavor alchemy, a sweeping, sun-kissed metropolis where thousand-year-old shepherd traditions have been masterfully refined into a world-class pasta culture. Roman cooking does not hide behind complicated reductions or over-engineered techniques; instead, it relies on the absolute perfection of four humble ingredients: sharp pecorino, crispy pork cheek, black pepper, and fresh egg dough. To navigate this legendary underworld like a seasoned insider, you must seek out the specific kitchens that have spent generations building an iron-clad reputation for excellence. Your immersive carbohydrate pilgrimage should naturally anchor at the historic threshold of Osteria da Fortunata near Campo de' Fiori. This high-energy tavern has completely captivated the international food scene by putting their craft out on display. As you wait for a table, you can watch local Italian nonnas hand-roll thick, rustic strands of strozzapreti pasta right behind the glass window. The fresh, porous dough is flash-boiled and tossed into a roaring pan to create a Carbonara that is an absolute sensory masterpiece, creamy, rich, and heavily loaded with black pepper and crackling cubes of cured guanciale pork cheek. For a completely different, historic vibration of old-world glamour, secure a white-tablecloth reservation beneath the oil paintings of Il Vero Alfredo. This is the undisputed, global birthplace of the original Fettuccine Alfredo. Bypassing the heavy, processed jarred creams of international imitations, the master waiters here execute a mesmerizing tableside performance, using golden forks to vigorously spin paper-thin egg noodles with fields of fresh butter and aged Parmigiano-Reggiano until it melts into a velvety, cloud-soft cloak that completely redefines the dish. As the midday sun clears the historic facades, escape the high-density central corridors by tracking north to the residential Prati district to uncover the unpretentious elegance of Osteria Della Parola. This local sanctuary is a favorite among Roman residents, specializing in slow-cooked heritage comfort foods like tender tripe and rich oxtail stews that melt off the bone. Finally, conclude your culinary marathon just steps from the Trevi Fountain at the charming tables of Agrodolce. While monument-adjacent dining is routinely avoided by savvy travelers, this boutique bistro breaks all the traditional rules, serving up an exceptional selection of pinsa. Rome's ancestral, oval-shaped pizza crafted from a long-fermented soy and rice flour dough that bakes into an incredibly light, airy, and shatteringly crispy crust. By trading generic tourist menus for the unhurried, time-honored rhythm of these historic Roman kitchens, you pull back the curtain on the true, sun-drenched soul of Italian hospitality, gaining an unforgettable core memory of what the Eternal City tastes like when it cooks from the heart. 🎥 thetravelingfoodiefam | IG

Rome is an absolute masterclass in flavor alchemy, a sweeping, sun-kissed metropolis where thousand-year-old shepherd traditions have been masterfully refined into a world-class pasta culture. Roman cooking does not hide behind complicated reductions or over-engineered techniques; instead, it relies on the absolute perfection of four humble ingredients: sharp pecorino, crispy pork cheek, black pepper, and fresh egg dough. To navigate this legendary underworld like a seasoned insider, you must seek out the specific kitchens that have spent generations building an iron-clad reputation for excellence. Your immersive carbohydrate pilgrimage should naturally anchor at the historic threshold of Osteria da Fortunata near Campo de' Fiori. This high-energy tavern has completely captivated the international food scene by putting their craft out on display. As you wait for a table, you can watch local Italian nonnas hand-roll thick, rustic strands of strozzapreti pasta right behind the glass window. The fresh, porous dough is flash-boiled and tossed into a roaring pan to create a Carbonara that is an absolute sensory masterpiece, creamy, rich, and heavily loaded with black pepper and crackling cubes of cured guanciale pork cheek. For a completely different, historic vibration of old-world glamour, secure a white-tablecloth reservation beneath the oil paintings of Il Vero Alfredo. This is the undisputed, global birthplace of the original Fettuccine Alfredo. Bypassing the heavy, processed jarred creams of international imitations, the master waiters here execute a mesmerizing tableside performance, using golden forks to vigorously spin paper-thin egg noodles with fields of fresh butter and aged Parmigiano-Reggiano until it melts into a velvety, cloud-soft cloak that completely redefines the dish. As the midday sun clears the historic facades, escape the high-density central corridors by tracking north to the residential Prati district to uncover the unpretentious elegance of Osteria Della Parola. This local sanctuary is a favorite among Roman residents, specializing in slow-cooked heritage comfort foods like tender tripe and rich oxtail stews that melt off the bone. Finally, conclude your culinary marathon just steps from the Trevi Fountain at the charming tables of Agrodolce. While monument-adjacent dining is routinely avoided by savvy travelers, this boutique bistro breaks all the traditional rules, serving up an exceptional selection of pinsa. Rome's ancestral, oval-shaped pizza crafted from a long-fermented soy and rice flour dough that bakes into an incredibly light, airy, and shatteringly crispy crust. By trading generic tourist menus for the unhurried, time-honored rhythm of these historic Roman kitchens, you pull back the curtain on the true, sun-drenched soul of Italian hospitality, gaining an unforgettable core memory of what the Eternal City tastes like when it cooks from the heart. 🎥 thetravelingfoodiefam | IG

𝕏 Travels, Hotels and Resorts

10,547 Aufrufe • vor 2 Monaten

What makes this couple’s dance explode with such raw, infectious vitality is a perfect storm of chemistry, mastery, and cultural soul that turns every step into pure celebration. Watch Stephen Sayer and Chanzie (Chandrae Roettig Gomez) move and you feel the music living inside their bodies. Their partnership—honed through years of swing, Lindy Hop, and jitterbug—radiates the kind of connection that cannot be faked. Every lead and follow is instantaneous; every spin, kick, and slide arrives exactly on the beat of Boney M’s “Rasputin.” The song itself is a disco anthem steeped in Russian folklore: its driving rhythm, balalaika-tinged energy, and references to the legendary mystic pull from traditional Cossack and folk dances—the low squats, explosive kicks, and fierce, earth-grounded power of the kazachok and barynya. When this modern swing couple rides that pulse, the result is electric. They take the grounded, athletic power of Russian traditional dance and fuse it with the airborne freedom, improvisation, and joyful partner connection of American swing. The contrast creates unstoppable life-force. Their energy is not mere athleticism. It is joy made visible. Stephen’s smooth, almost gliding footwork and effortless control meet Chanzie’s sassy, powerful, expressive style. She answers every invitation with fire and playfulness; he frames her with protective strength and playful challenge. Together they create a conversation in motion—smiles, eye contact, the occasional shared laugh mid-move—that tells you they are not performing for the camera so much as living the music in real time. That authenticity is what makes the vitality contagious. Viewers do not simply watch; they feel their own bodies wanting to move. Traditional dance culture supplies the deeper roots. Across the world, folk and social dances have always been more than entertainment. They are communal memory, physical storytelling, and emotional release. Russian folk dances emphasize strength, stamina, and collective spirit. Swing, born in the ballrooms and clubs of early 20th-century Harlem, carries African American improvisational genius, resilience, and the pure delight of moving together through hard times. When a contemporary couple channels both lineages—precision and power from one tradition, freedom and partnership from the other—the dance becomes a living bridge. The remix simply makes that bridge visible: 1970s disco storytelling about a Russian figure meets 21st-century swing virtuosity, and suddenly the old and the new dance as one. Technique alone never produces this level of life. What elevates Stephen and Chanzie is the invisible work of countless hours of practice, teaching, and performing together, plus an obvious mutual respect and affection that lets risk and play coexist. They trust each other completely, so they can push the energy higher, invent variations, and still land every phrase cleanly. The result looks spontaneous and inevitable at the same time. In an age of polished digital performance, their dancing feels human and generous. It reminds us why people have always danced: to celebrate being alive, to connect with another person, to honor the music and the cultures that shaped it. The vitality is not manufactured. It is the natural outcome of two skilled bodies, two open hearts, and centuries of traditional dance wisdom meeting a song that demands nothing less than total commitment. That is why the clip refuses to leave the mind. It does not merely show talent. It transmits life. #Rasputin #SwingDance #StephenAndChanzie #DanceEnergy #TraditionalDance #BoneyM

What makes this couple’s dance explode with such raw, infectious vitality is a perfect storm of chemistry, mastery, and cultural soul that turns every step into pure celebration. Watch Stephen Sayer and Chanzie (Chandrae Roettig Gomez) move and you feel the music living inside their bodies. Their partnership—honed through years of swing, Lindy Hop, and jitterbug—radiates the kind of connection that cannot be faked. Every lead and follow is instantaneous; every spin, kick, and slide arrives exactly on the beat of Boney M’s “Rasputin.” The song itself is a disco anthem steeped in Russian folklore: its driving rhythm, balalaika-tinged energy, and references to the legendary mystic pull from traditional Cossack and folk dances—the low squats, explosive kicks, and fierce, earth-grounded power of the kazachok and barynya. When this modern swing couple rides that pulse, the result is electric. They take the grounded, athletic power of Russian traditional dance and fuse it with the airborne freedom, improvisation, and joyful partner connection of American swing. The contrast creates unstoppable life-force. Their energy is not mere athleticism. It is joy made visible. Stephen’s smooth, almost gliding footwork and effortless control meet Chanzie’s sassy, powerful, expressive style. She answers every invitation with fire and playfulness; he frames her with protective strength and playful challenge. Together they create a conversation in motion—smiles, eye contact, the occasional shared laugh mid-move—that tells you they are not performing for the camera so much as living the music in real time. That authenticity is what makes the vitality contagious. Viewers do not simply watch; they feel their own bodies wanting to move. Traditional dance culture supplies the deeper roots. Across the world, folk and social dances have always been more than entertainment. They are communal memory, physical storytelling, and emotional release. Russian folk dances emphasize strength, stamina, and collective spirit. Swing, born in the ballrooms and clubs of early 20th-century Harlem, carries African American improvisational genius, resilience, and the pure delight of moving together through hard times. When a contemporary couple channels both lineages—precision and power from one tradition, freedom and partnership from the other—the dance becomes a living bridge. The remix simply makes that bridge visible: 1970s disco storytelling about a Russian figure meets 21st-century swing virtuosity, and suddenly the old and the new dance as one. Technique alone never produces this level of life. What elevates Stephen and Chanzie is the invisible work of countless hours of practice, teaching, and performing together, plus an obvious mutual respect and affection that lets risk and play coexist. They trust each other completely, so they can push the energy higher, invent variations, and still land every phrase cleanly. The result looks spontaneous and inevitable at the same time. In an age of polished digital performance, their dancing feels human and generous. It reminds us why people have always danced: to celebrate being alive, to connect with another person, to honor the music and the cultures that shaped it. The vitality is not manufactured. It is the natural outcome of two skilled bodies, two open hearts, and centuries of traditional dance wisdom meeting a song that demands nothing less than total commitment. That is why the clip refuses to leave the mind. It does not merely show talent. It transmits life. #Rasputin #SwingDance #StephenAndChanzie #DanceEnergy #TraditionalDance #BoneyM

Emotion & Music

61,945 Aufrufe • vor 1 Monat

(1/2) Last night's Aidan Kearney meltdown over his falling out with Karen Read on an X Space is the peak of catharsis and real-time online toxicity: It starts with the the bombshell claim about Aidan recorded Karen Read, moves to Karen's newly-released texts about being "done" with Aidan after "someone" sent a recording of that conversation to David Yannetti and Alan Jackson, then spirals into ad hominems, and ends with Kearney storming off to counter-publish. The flood of primary source documents posted on online overnight, thus, acts as the host's (Chris) victory lap over Kearney. FULL TRANSCRIPT; *(Cleaned for grammar/spelling, punctuated for flow, and line-broken for readability. Some errors are expected.)* **Aidan:** Am I on? **Host/Other:** You're on. **Aidan:** So who are you? Who is this? **Chris:** Don't worry about it. It doesn't matter who I am. **Aidan:** Well, it does. You're some fucking kangaroo court motherfucker talking about her. What the fuck do you know about anything? **Chris:** Well, I don't know exactly what you've been doing. **Aidan:** So what are your sources? What are your sources? What are your sources you're talking about? Huh? You don't know your sources? What do you talk about? No, your sources. Shut up. Let's see 'em. Let's see your sources. **Lily:** Hang on, Aidan. I'm the host. I'm Lily. **Aidan:** Yes, Lily. Hi, Lily. How are you? **Lily:** I'm good. I'm just going to wait. I know you may not know it, Chris, but you know me. And so I just wanted to say hi. **Aidan:** Yeah, I know, but this Koala motherfucker is up here making shit up, running his mouth nonsense. Let's see the receipts. I mean, what were you talking to Karen Read about? What are you talking about? Who the fuck are you? **Chris:** I'm asking you flat out: Did you or did you not record her phone calls between yourself and Karen? **Aidan:** I did not. I did not. **Chris:** Okay, so Karen is lying? **Aidan:** You talked to Karen Read? Karen isn't talking to anyone in the media, but she's talking to this call-the-motherfucker. That's what you're telling me right now. **Chris:** Like I said, If you want to go down this hill, stand ten toes down." **Aidan:** I'm calling you out because you're making shit up. **Chris:** Who? I'm not making anything up. I'm not making anything up. I'm not making anything up. **Aidan:** So let's see it. Let's see the fucking evidence. Let's see your communications with Karen Read where she says that. Let's see it. **Lily:** Hang on. Chris, you're going to have to provide the receipts. **Chris:** I'm going to tell you, the guy who's doing this—you know, he's going to put them out. **Chris:** Do you really want to prove it? You want to prove it to me? I've got all the mistakes that come out. I can't. Literally. Yeah. Yeah. Sure. What's that? Let's see it. Let's see it. Produce it. Tweet it out right now. **Aidan:** So I'm denying it—like, hardcore, 100%. I'm the guy you have to deny it to. I don't, because you've become a bit of a fuck-up. It's about as fucking legitimate as Lindsey trying to be a rake. Let's fucking see it, motherfucker. You got it, right? 'Cause I—accusations—I always bring fucking receipts. Where's your receipt, bitch? **Aidan:** You got 'em? **Chris:** I've got 'em now. I think you want me to be saying—to be honest—hang a room on the fucker with no receipt. **Aidan:** You got 'em? Yes or no? **Chris:** I've got a receipt. Where's your fuck? **Chris:** You just need, bro—you just need to like chill, because you're gonna have a lot of fucking neck on your face, because I don't really care. **Chris:** I said to the people who bought this story: If I end up having egg on my face, I'll put everyone's name in it, and I'm given—I have a... Just shut your fucking mouth for one fucking minute. **Aidan:** Right. Let's see it. **Chris:** I've just messaged the person. **Aidan:** Joe Flipp, you want to talk about a fucking psychopath? That motherfucker is—just, Joe Flipp. Really want to fucking go there?" 'Cause it's Joe. You can just say it's Nick from Philadelphia, isn't it? Yeah, I know all about Nick from Philadelphia. If you fucking want to go there and the fucking hell—that psychopath—what Olivia Lambo went through. You just don't want to come out. Does he want to talk about all that? Does he want to launch? **Chris:** Okay? You know what? How was your lunch with Meredith the other week. Fuck it. I don't care. How was your lunch with Meredith? How's your lunch with Meredith? **Aidan:**What the fuck? **Chris:** Chat, what, what am I talking about? How is your lunch with Meredith here? We got—you know what you want to do? You want to carry on and be a fuck with me here? I like you—always up. **Chris:** How was your lunch with Meredith a couple weeks ago, and what did you play for her? What the fuck are you talking about? Yeah, what the fuck am I talking about? You know exactly what I'm talking about. And I'm trying to do this respectfully, but you come in hot like you always do. So now I'm just gonna fucking do it. How was your lunch with Meredith the other week? **Aidan:** I didn't have one with Meredith. Yeah, bullshit. Okay, so that's it. So someone else is lying now. **Chris:** So you're gonna call Meredith a liar? Why? Meredith's a liar? **Aidan:** Are you talking to Meredith? **Chris:**I'm not talking to Meredith. **Aidan:** What are you talking about? **Chris:** Okay, well, so you have great Meredith in an Oscar. If you said that to Meredith, you just spread rumors. That's what you do—you don't spread any rumors. I want to laugh tonight about this. **Erika Walsh:** I warned you, Chris, about this last night. **Aidan:** You got no—Joe Flipp—fucking feeding you nonsense. That slimy psychopath, fucking nut job who called in Olivia's entire family to harass them—to the point where she had the fucking... Nothing to do with Olivia. And Joe's Flipp— **Chris:* this is to do with you. Stop deflecting, that motherfucker. **Aidan:** I'm telling you this—he's the one telling you this. **Chris:** I've been told by three different people. Three different people. There's people in this chat who know about this. There's people in chat—they won't stand up and say anything, but I know the people who know about this. **Aidan:** Bring all these lame cons up one by one so I can slam 'em down one by one, because none of you motherfuckers got a receipt to back up any of this shit. None of you do. Bring it. By adding them. **Chris:** Stand by. Stand by. Stand by. **Joe Flipperhead:** You have the text, bro. You know I saw the screenshot. **Aidan:** So we gonna talk about what you did to Olivia Lambo? We have a lot of things, dude. **Joe:** You're deflecting. When you... **Aidan:** You want to go there? Mark Bedderow? Oh, of being in on a fucking conspiracy against you? To tell us—if when we told you Olivia Lambo... You made us fucking get on a FaceTime with her because you thought she was dead. You thought you were being catfished by her, fucking... I was, and so we agreed to do a Zoom call with her. And when I called you and I told you Olivia Lambo is real—I just saw her face. What did you do? You accused me and Mark Bedderow of lying to you, of being in on it, because you are a fucking psychopathic motherfucker. And I didn't put it there because I don't want to fuck... **Joe:** Yeah, you did put it out there, though. If you want to get into the Olivia thing, that's fine, and I'll go down that road. But you're calling me a psychopath You fucking recorded Karen Read's fucking calls and sent them to people. **Chris:** I'm just gonna keep muting him because he's yelling. You can say it. **Aidan:** Is this Lily's space or yours? **Joe:** I have the text, dude. I'll put it on one of our... Your—She told me she's fucking done with you, dude. **Aidan:** All right. I'm going on my own right now. I'm calling out fucking Joe Flipp-ed life. If I get muted one more fucking time. I'm gonna do a whole fucking... Thank you. I'm publishing all your fucking texts—the whole world can see what a fucking sadistic psychopath you are. You controlling predator piece of shit. You fucking go there. **Chris:** This is completely the actions of a normal innocent person. **Aidan:* You're a pyscho freak. **Joe:** Yeah, says the guy that recorded Karen. **Aidan:** Oh, yeah, let's hear it. See the fucking recording. Can I hear it? **Joe:** I got the text saying you recorded. But the text says there's a recording, so where's the fucking recording? *Aidan:** Hey, let's hear Joe. Why? I just got asked if I'm—what would you say if I'm a massage in this? Like, go— **Joe:** Why does Liv still text me to this day? **Aidan:** You text her. Oh, you want to see the receipts, dude? I've seen the receipts—all of them. Okay, I got all the receipts. **Joe:** You got the August ones, the September ones where she misses me and hates how things ended? You got those? Fuck, I see 'em. Publish 'em. I will do it. I don't plan—I talk about you. Go for it. **Chris:** You're doing everything back. **Joe:** When I told you how she wouldn't FaceTime me for three months, how she puts up month-old pictures if you wouldn't fucking... **Aidan:** Yeah, you know why? You know why she wouldn't do that? She's just not into you. Ever have you do this with every girl you fucking talk to? **Joe:**You said to me, after reading the text from her sister— **Chris:** Says the guy who is swining on a 19-year old. **Joe:** You said Aidan, that she said to you, "she's love with you," bro. That's what you said. She's in love with you. That's what you said. Yeah, when her sister—and then he can get you caught by somebody. Let's just get back to you. Deflection from Aidan, who doesn't want to be on the line. **Joe:** As you wish—she wouldn't FaceTime me. She wouldn't meet up with me, and she lied to me constantly. Yeah, why would she meet up? **Aidan:** Maybe she's just not that into you. Ever think about that? Maybe she's just not that into you. Maybe you saw the text. I know, I know—it's hard for you to accept that the girl just doesn't want you. You have to accept the person doesn't want nothing to do with you, isn't it? I did, and you got clingy and possessive. And so she fucking stopped talking to you, so you called her mother and you talked—you don't even know because you're psychotic, bro. I'm fucking... you. *Joe:** You're just deflecting, bro. This is fucking pathetic. I'm not your one. She's talking about this. **Aidan:** I got no fucking thing—you—you are a fucking psychopath. **Joe:** You're first of all—she doesn't want you to fucking be talking about this because why? **Aidan:** You're the one fucking airing it out now, motherfucker. **Chris:** You're the one airing it because you got caught recording Karen. **Aidan:** So let's hear the recording. Let's play the recording. You got a recording of me, right? **Joe:** I know you did it, dude. **Aidan:** What? **Joe:** I know you recorded. Are you lying? Karen Read's a liar? All right, am I...? **Aidan:** You are the fucking coward. Where's the recording? What recording you talking about? You're—you're— **Joe:** You're accusing Karen Read of lying about this? **Aidan:** Yes. **Joe:** You're really—are you really serious? How many fucking—serious? **Aidan:** Let's hear the fucking recording. **Lily** Chris or Joe? Please play it. Did it? You didn't have... for people. Can you please provide a receipt? Just like I think it's fair. **Joe:** Aidan has it. **Aidan:: I thought you had it. I thought you had it. Let's hear it. Let's hear the recording. **Joe:** All right, you sent me the text that I sent. You haven't... **Aidan:** Yeah, let's—so let's hear the actual recording. Does it exist, though? **Joe:** So Karen is lying. **Aidan:: Karen Read would never lie (sarcastic tone). Oh, yeah. **Chris:** True color. *Joe:** So yeah, let me just run this: You recorded it. You recorded the conversation. You showed it to people, and then the very next day she randomly accused you of fucking doing it. That's what happened. That's what your story is, right? **Aidan:** There's no fucking recording. **Joe:** There is, dude. Where is it? **Aidan:** So let me hear it. Play it. **Joe:** I don't fucking have it. **Aidan:** Oh, you don't know if there's a recording, do you? Thank you. Because you're full of shit. I know—I just fucking caught you. That's what you just said. Those—bring it up here. I talked to somebody—bring her up here. Bring Karen Read up here, bro. You talked to her? Bring her on up here. **Joe:** I spoke to somebody that you played the recording for. Okay, oh—you know, just—I just say I've already said it, so just say it. Okay, I said I wanted to not say her name, but you know who—you played it for. **Aidan:** I haven't played it for anyone just— there's no recording. **Joe:** Stop fucking lying. Let's hear it from the point. *Aidan:** Let's hear it. Let's hear it. **Joe:** Aidan, this is fucking crazy, dude. **Aidan:** I'm not the one that fucking caught it—got blocked by Olivia's mother, and fucking brother... **Joe** Here we go. This is deflecting, and dude—that's admitting how fucking guilty you are right here. **Aidan:** Let's hear a fucking recording. You said you got a fucking recording, right? **Joe:** Nobody said that. We said—oh, Karen Read doesn't want to talk to you anymore because you recorded her calls, set them to people, and it got back to her. **Chris:** I got a question for you, Aidan, I didn't know—so sure. When you went on your little pity party and then you— **Joe:** The worst part is you lied to everybody acting on it. You had no idea what was wrong and why she she fucking set you straight—trying to get sympathy. That, my friend, is fucking psychotic. **Aidan:** Okay, okay, sure thing. Yeah, you said I sent the recording out. Where's the recording? *Joe:** Dude? It's not—I'm not obligated to fucking get the recording. **Aidan:** Oh, yeah, you wouldn't want to back it up, right? **Joe:** You're so—you're going to go on record that Karen is lying? Say it. You're caling Karen Read a liar about this. **Aidan:** There is no fucking recording. **Joe:** You're lying, dude. It's fucking crazy. This is what's here. It—play the note. You played it for somebody. You got it. I don't got it. **Aidan:** Let's hear you play it. You're the one that says there's a fucking record. **Chris:** I mean, that's—you have a history of recording people. **Lily:** Wait, we have—well, I feel like we have a responsibility as me as a host to Chris and... You're both—you're actually both not providing a receipt, and I'm—Aidan is actually asking for a receipt. I have to—for the recording. **Joe and Chris** He has—asking for the recording. **Lily:** You guys—she has which he sent to—we know I said. So who has it? One of the receipts. I know you're not gonna have— **Aidan:: you don't have the recording because— **Lily:** Just fucking say it. Karen doesn't want the recording out there. **Aidan:** What recording? There's no recording. **Joe:** Never even asked her for it, to be honest with you. **Aidan:** And so you wait—yeah, you never asked. Thank you—you never asked. **Joe:** Karen is fucking so done with you, bro. She sent—she told me about this completely unsolicited. **Lily:**That's beside the point, and I'm not the first—(Joe) Karen's done with him, ..but what the fuck—just post the fucking receipt for him. **Chris:** You can't come on here saying he has it, Lily. He's seen the same thing you've seen. He's even seen the same thing that I showed you. **Lily:** I know. You don't come on here and say I've got this, and then Aidan demands a receipt—you deserve. Okay... **Joe:** He's deflecting, asking for a recording he knows about the text. **Lily:** Yeah, I know, Joe. I get what you're saying, and I respect every—like what you're saying, but he's denying it. **Joe:** Fine, I'll post the fuck—I'll post them right now. I really don't give a fuck. **Lily:** Thank you. And that's immense—he can—he can then riff like whatever he can. I can't—I'm so like nervous. I've got dry mouth because... Then Aidan can like look at those, and he at least has—you know exactly what's been spoken about. He's just denying it. I can't say that, and I get it, but he is asking for the receipt, which is fair. And **Joe:** I'll even add the text message when he came on here initially. He said it was all alive, right? He said he sent me—fucking text message on Monday morning. **Lily:** I see it. We've established that now. We established that Aidan's denying it, so just post the receipt that you have, and then he can actually reflect on that and—and do you see what I mean? He's not gonna turn around now and say actually it is true. But if you've got the receipt, he can then say, "I will—this is x, y and z there." I just think it's fair—like... **Aidan:** Now, yeah, what he has is a screenshot that he claims is from Karen Read. It was— **Joe:** You're saying it's not from Karen Read. **Aidan:** I don't—there's no fucking name on the top. **Joe:** Yeah, I have it. Do you want me to read? **Aidan:** Okay, so there was an allegation? I'm reading. **Joe:** Do I have a text from you saying I was sent the same thing the morning after the verdict? Did you not say that to me? **Aidan:** Yes, you sent me the same thing the morning after the verdict. **Joe:** Okay, so then she sent it to me too. **Aidan:** Yeah, she knows—she said to me the morning after the Wilbur—she after the morning after the show, she said that she was sent a 30-minute fucking tape. Where's the fuck? What tape? Okay, she's not fucking accusing me. I have no—there's no fucking tape. There's no tape. She thinks I recorded her because I fucking told people about the conversation. That's it. **Joe:** You're telling me you didn't? **Aidan:: And I'm telling you I fucking didn't. You're wrong. **Joe:** 100% You're lying, dude. **Aidan:** Okay, so prove it. Let's see it. You got evidence, right? You like evidence? You got Any? **Joe**: I mean—I—a screenshot of—how many people did you send it to? **Aidan:** Zero, because there's no recording. **Joe:** There is. **Aidan:** Let's hear it. Play it. Let's play it. Let's go. **Joe:** Let's hold on. Let's hold on. Can I go real quick? So you come in here calling it—you were making fun of Chris because he's an Australian motherfucker. He doesn't have nothing, right? You said there was no text, no proof. And then now we're transitioning to the recording because I don't have the recording. Okay, so you think Karen Read is just fucking lying about this? How would she know? How would she know what about the recording? **Aidan:** There is no recording. **Joe:** You're telling me you didn't show it to anybody? Is that really what you're gonna tell people? **Aidan:**There's no recording to share with anyone. Okay, okay. Well, I mean, you got evidence, right? To back this up. **Joe:** Yeah, right. **Aidan:: You got something, right? Yeah, yeah. Did you been right? I mean, you have that, right? You have that right because you wouldn't say something—because if you know I had it, right? **Joe:** I have—why Karen Read won't speak to you. **Aidan:** You have a screenshot of a conversation with Karen Read. You don't have an actual fucking audio, though. **Joe:** I have—in Karen Read's words. Why do you think she would lie about this? **Aidan:** Do I think she would lie about having a recording? **Joe:** She wouldn't lie about this. Explain that one—about having a recording. **Aidan:** Yes, I know she's lying about that. **Joe:** Why, though? **Aidan:** I don't know why Karen is acting the way she is. It's unfortunate. Yeah, and honestly, I'm not the one—you're a fucking airing it all out right now. That's odd that Karen would green-light you coming on here and fucking doing this. That's kind of odd. Because I love you—notice, but like—kind of yeah, we raised 1.1 million fucking dollars for a little... Here I know—here, I'm here. I'm here. There's still a— **Chris;** there's no because you—still a fucking snake. Yeah, I know. He records people's phone calls. **Aidan:: Let's hear the tape. Let's hear the tape. You're the one making—you guys got nothing. Nothing. Nothing. I just sent the fucking text out. Just say—there you go, buddy. **Aidan:** Okay, so Karen Read is green-lighting this sort of drama? That's what you're saying? **Joe:** I asked her. I said—you asked her? She said yes, go ahead. I said, do you want your side out there? She said, 'sure. You're gonna read it? Sure. I told many people my side. This is my last straw. I would never and have never betrayed him. Meanwhile, he has put me in harm's way in a huge way multiple times.' **Aidan:** I put her—fucking words, okay? Not mine. Yep. Okay. I put Karen Read in harm's way? I went to jail for Karen Read. I don't know if you're familiar. **Chris:** You didn't go to jail for Karen Read, you fuck. **Aidan:** Oh, really? Then what am I on bail for? What is—the full—what's the full? **Chris:** You went to jail for Karen Read? You went to jail because of Lindsey. You went to jail because you're a fucking dick. **Aidan:** Why was I on bail? I think you're a fuck—while you're on bail. I'm saying because—why would I care? Maybe someone in the night— **Chris:** hey, you're full of shit. You're a fucking hell. **Aidan:** What the fuck was I on bail for? **Joe** Because they may know that—if you didn't record it, why are you being so hush-hush about it with everybody? Why would he just tell the people what she was saying since she's lying? What do you mean hush-hush about it? **Aidan** You think I won't talk about what she texted me? But you were hinting at it because I don't want to hear the fucking drama, but apparently she does because she's—you fucking do this because you're recording. Thank you. You're telling me no recording of any fucking phone calls? What's the—what's the fight? So you weren't mocking her the past however long—every time you went on the show saying you owe everything to Karen, all that shit? How is that little white lie? **Aidan:** I owe everything to Karen? What? Why is that little sub-story? You went on two weeks—how is that mocking her? That wasn't in the recording. What recording? There's no fucking recording. **Joe:** I heard it was a 10-minute recording. Does that make sense? **Aidan:** No recording, bro. Let's hear it. You heard it. Let's hear it. **Joe:** Dude, I'm not putting that part out here. **Aidan:** She's talking about her shit. What she's texting you right now—obviously. Who egging this on, isn't she? **Joe:** Who? Okay? Okay, who? Keep playing dumb. Hey—who? **Aidan:** Mm-hmm? Believe it or not—you guys got nothing, right? **Chris;** We got good—from the horse's mouth, mate. I mean, it's not over the horse. Yeah, that's enough for me. I don't need... **Aidan:** Karen's not talking to anyone in the media. **Joe:** If you read the text message, I just reached out to her as a friend—just to reach out and say hope you're doing well. She went into this whole thing about you. **Aidan:** So you reached out—let me get this right—you reached out to her just to say hope you're doing well, and the first thing she did was complain about me? **Joe:** Yes, okay. That says it all. There we go. Where is she? Tired of me? Maybe she's fucking tired of you telling the people bullshit. **Aidan:** What—what—what—what—what bullshit have I told people? That you have no idea why she won't fucking come on your whatever it is. **Aidan:** What do you mean I have no idea why? **Joe:** That's what you've been saying—you don't know what's going on, like you feel a bit sorry for—like the thing with the fucking Howie Carr, dude. That was ridiculous. **Aidan:** What was ridiculous? You're the entire way you handled—I didn't say a word about that. **Chris:** Yes, you did. You deleted the receipt, but let's see—where did I complain about her appearance on Howie Carr? You made a lot of all quiet. Oh, this fuck it. Oh... **Joe:** Wait, but you think we're fucking dumb? Do people are fucking dumb? So where did I—after you deleted it, and then you made a post about deleting it. **Aidan:** What did I say about it? I don't remember. **Chris:** But you don't remember? Yeah, you deleted it, bro. You deleted it. Yeah, remember? You deleted it. And then you made a post about the deleting of the post. Part 2 coming later.

(1/2) Last night's Aidan Kearney meltdown over his falling out with Karen Read on an X Space is the peak of catharsis and real-time online toxicity: It starts with the the bombshell claim about Aidan recorded Karen Read, moves to Karen's newly-released texts about being "done" with Aidan after "someone" sent a recording of that conversation to David Yannetti and Alan Jackson, then spirals into ad hominems, and ends with Kearney storming off to counter-publish. The flood of primary source documents posted on online overnight, thus, acts as the host's (Chris) victory lap over Kearney. FULL TRANSCRIPT; (Cleaned for grammar/spelling, punctuated for flow, and line-broken for readability. Some errors are expected.) Aidan: Am I on? Host/Other: You're on. Aidan: So who are you? Who is this? Chris: Don't worry about it. It doesn't matter who I am. Aidan: Well, it does. You're some fucking kangaroo court motherfucker talking about her. What the fuck do you know about anything? Chris: Well, I don't know exactly what you've been doing. Aidan: So what are your sources? What are your sources? What are your sources you're talking about? Huh? You don't know your sources? What do you talk about? No, your sources. Shut up. Let's see 'em. Let's see your sources. Lily: Hang on, Aidan. I'm the host. I'm Lily. Aidan: Yes, Lily. Hi, Lily. How are you? Lily: I'm good. I'm just going to wait. I know you may not know it, Chris, but you know me. And so I just wanted to say hi. Aidan: Yeah, I know, but this Koala motherfucker is up here making shit up, running his mouth nonsense. Let's see the receipts. I mean, what were you talking to Karen Read about? What are you talking about? Who the fuck are you? Chris: I'm asking you flat out: Did you or did you not record her phone calls between yourself and Karen? Aidan: I did not. I did not. Chris: Okay, so Karen is lying? Aidan: You talked to Karen Read? Karen isn't talking to anyone in the media, but she's talking to this call-the-motherfucker. That's what you're telling me right now. Chris: Like I said, If you want to go down this hill, stand ten toes down." Aidan: I'm calling you out because you're making shit up. Chris: Who? I'm not making anything up. I'm not making anything up. I'm not making anything up. Aidan: So let's see it. Let's see the fucking evidence. Let's see your communications with Karen Read where she says that. Let's see it. Lily: Hang on. Chris, you're going to have to provide the receipts. Chris: I'm going to tell you, the guy who's doing this—you know, he's going to put them out. Chris: Do you really want to prove it? You want to prove it to me? I've got all the mistakes that come out. I can't. Literally. Yeah. Yeah. Sure. What's that? Let's see it. Let's see it. Produce it. Tweet it out right now. Aidan: So I'm denying it—like, hardcore, 100%. I'm the guy you have to deny it to. I don't, because you've become a bit of a fuck-up. It's about as fucking legitimate as Lindsey trying to be a rake. Let's fucking see it, motherfucker. You got it, right? 'Cause I—accusations—I always bring fucking receipts. Where's your receipt, bitch? Aidan: You got 'em? Chris: I've got 'em now. I think you want me to be saying—to be honest—hang a room on the fucker with no receipt. Aidan: You got 'em? Yes or no? Chris: I've got a receipt. Where's your fuck? Chris: You just need, bro—you just need to like chill, because you're gonna have a lot of fucking neck on your face, because I don't really care. Chris: I said to the people who bought this story: If I end up having egg on my face, I'll put everyone's name in it, and I'm given—I have a... Just shut your fucking mouth for one fucking minute. Aidan: Right. Let's see it. Chris: I've just messaged the person. Aidan: Joe Flipp, you want to talk about a fucking psychopath? That motherfucker is—just, Joe Flipp. Really want to fucking go there?" 'Cause it's Joe. You can just say it's Nick from Philadelphia, isn't it? Yeah, I know all about Nick from Philadelphia. If you fucking want to go there and the fucking hell—that psychopath—what Olivia Lambo went through. You just don't want to come out. Does he want to talk about all that? Does he want to launch? Chris: Okay? You know what? How was your lunch with Meredith the other week. Fuck it. I don't care. How was your lunch with Meredith? How's your lunch with Meredith? Aidan:What the fuck? Chris: Chat, what, what am I talking about? How is your lunch with Meredith here? We got—you know what you want to do? You want to carry on and be a fuck with me here? I like you—always up. Chris: How was your lunch with Meredith a couple weeks ago, and what did you play for her? What the fuck are you talking about? Yeah, what the fuck am I talking about? You know exactly what I'm talking about. And I'm trying to do this respectfully, but you come in hot like you always do. So now I'm just gonna fucking do it. How was your lunch with Meredith the other week? Aidan: I didn't have one with Meredith. Yeah, bullshit. Okay, so that's it. So someone else is lying now. Chris: So you're gonna call Meredith a liar? Why? Meredith's a liar? Aidan: Are you talking to Meredith? Chris:I'm not talking to Meredith. Aidan: What are you talking about? Chris: Okay, well, so you have great Meredith in an Oscar. If you said that to Meredith, you just spread rumors. That's what you do—you don't spread any rumors. I want to laugh tonight about this. Erika Walsh: I warned you, Chris, about this last night. Aidan: You got no—Joe Flipp—fucking feeding you nonsense. That slimy psychopath, fucking nut job who called in Olivia's entire family to harass them—to the point where she had the fucking... Nothing to do with Olivia. And Joe's Flipp— **Chris:* this is to do with you. Stop deflecting, that motherfucker. Aidan: I'm telling you this—he's the one telling you this. Chris: I've been told by three different people. Three different people. There's people in this chat who know about this. There's people in chat—they won't stand up and say anything, but I know the people who know about this. Aidan: Bring all these lame cons up one by one so I can slam 'em down one by one, because none of you motherfuckers got a receipt to back up any of this shit. None of you do. Bring it. By adding them. Chris: Stand by. Stand by. Stand by. Joe Flipperhead: You have the text, bro. You know I saw the screenshot. Aidan: So we gonna talk about what you did to Olivia Lambo? We have a lot of things, dude. Joe: You're deflecting. When you... Aidan: You want to go there? Mark Bedderow? Oh, of being in on a fucking conspiracy against you? To tell us—if when we told you Olivia Lambo... You made us fucking get on a FaceTime with her because you thought she was dead. You thought you were being catfished by her, fucking... I was, and so we agreed to do a Zoom call with her. And when I called you and I told you Olivia Lambo is real—I just saw her face. What did you do? You accused me and Mark Bedderow of lying to you, of being in on it, because you are a fucking psychopathic motherfucker. And I didn't put it there because I don't want to fuck... Joe: Yeah, you did put it out there, though. If you want to get into the Olivia thing, that's fine, and I'll go down that road. But you're calling me a psychopath You fucking recorded Karen Read's fucking calls and sent them to people. Chris: I'm just gonna keep muting him because he's yelling. You can say it. Aidan: Is this Lily's space or yours? Joe: I have the text, dude. I'll put it on one of our... Your—She told me she's fucking done with you, dude. Aidan: All right. I'm going on my own right now. I'm calling out fucking Joe Flipp-ed life. If I get muted one more fucking time. I'm gonna do a whole fucking... Thank you. I'm publishing all your fucking texts—the whole world can see what a fucking sadistic psychopath you are. You controlling predator piece of shit. You fucking go there. Chris: This is completely the actions of a normal innocent person. **Aidan:* You're a pyscho freak. Joe: Yeah, says the guy that recorded Karen. Aidan: Oh, yeah, let's hear it. See the fucking recording. Can I hear it? Joe: I got the text saying you recorded. But the text says there's a recording, so where's the fucking recording? *Aidan: Hey, let's hear Joe. Why? I just got asked if I'm—what would you say if I'm a massage in this? Like, go— Joe: Why does Liv still text me to this day? Aidan: You text her. Oh, you want to see the receipts, dude? I've seen the receipts—all of them. Okay, I got all the receipts. Joe: You got the August ones, the September ones where she misses me and hates how things ended? You got those? Fuck, I see 'em. Publish 'em. I will do it. I don't plan—I talk about you. Go for it. Chris: You're doing everything back. Joe: When I told you how she wouldn't FaceTime me for three months, how she puts up month-old pictures if you wouldn't fucking... Aidan: Yeah, you know why? You know why she wouldn't do that? She's just not into you. Ever have you do this with every girl you fucking talk to? Joe:You said to me, after reading the text from her sister— Chris: Says the guy who is swining on a 19-year old. Joe: You said Aidan, that she said to you, "she's love with you," bro. That's what you said. She's in love with you. That's what you said. Yeah, when her sister—and then he can get you caught by somebody. Let's just get back to you. Deflection from Aidan, who doesn't want to be on the line. Joe: As you wish—she wouldn't FaceTime me. She wouldn't meet up with me, and she lied to me constantly. Yeah, why would she meet up? Aidan:** Maybe she's just not that into you. Ever think about that? Maybe she's just not that into you. Maybe you saw the text. I know, I know—it's hard for you to accept that the girl just doesn't want you. You have to accept the person doesn't want nothing to do with you, isn't it? I did, and you got clingy and possessive. And so she fucking stopped talking to you, so you called her mother and you talked—you don't even know because you're psychotic, bro. I'm fucking... you. *Joe: You're just deflecting, bro. This is fucking pathetic. I'm not your one. She's talking about this. Aidan: I got no fucking thing—you—you are a fucking psychopath. Joe: You're first of all—she doesn't want you to fucking be talking about this because why? Aidan: You're the one fucking airing it out now, motherfucker. Chris: You're the one airing it because you got caught recording Karen. Aidan: So let's hear the recording. Let's play the recording. You got a recording of me, right? Joe: I know you did it, dude. Aidan: What? Joe: I know you recorded. Are you lying? Karen Read's a liar? All right, am I...? Aidan: You are the fucking coward. Where's the recording? What recording you talking about? You're—you're— Joe: You're accusing Karen Read of lying about this? Aidan: Yes. Joe: You're really—are you really serious? How many fucking—serious? Aidan: Let's hear the fucking recording. Lily Chris or Joe? Please play it. Did it? You didn't have... for people. Can you please provide a receipt? Just like I think it's fair. Joe: Aidan has it. Aidan:: I thought you had it. I thought you had it. Let's hear it. Let's hear the recording. Joe: All right, you sent me the text that I sent. You haven't... Aidan: Yeah, let's—so let's hear the actual recording. Does it exist, though? Joe: So Karen is lying. Aidan:: Karen Read would never lie (sarcastic tone). Oh, yeah. Chris:** True color. *Joe: So yeah, let me just run this: You recorded it. You recorded the conversation. You showed it to people, and then the very next day she randomly accused you of fucking doing it. That's what happened. That's what your story is, right? Aidan: There's no fucking recording. Joe: There is, dude. Where is it? Aidan: So let me hear it. Play it. Joe: I don't fucking have it. Aidan: Oh, you don't know if there's a recording, do you? Thank you. Because you're full of shit. I know—I just fucking caught you. That's what you just said. Those—bring it up here. I talked to somebody—bring her up here. Bring Karen Read up here, bro. You talked to her? Bring her on up here. Joe: I spoke to somebody that you played the recording for. Okay, oh—you know, just—I just say I've already said it, so just say it. Okay, I said I wanted to not say her name, but you know who—you played it for. Aidan: I haven't played it for anyone just— there's no recording. Joe:** Stop fucking lying. Let's hear it from the point. *Aidan: Let's hear it. Let's hear it. Joe: Aidan, this is fucking crazy, dude. Aidan: I'm not the one that fucking caught it—got blocked by Olivia's mother, and fucking brother... Joe Here we go. This is deflecting, and dude—that's admitting how fucking guilty you are right here. Aidan: Let's hear a fucking recording. You said you got a fucking recording, right? Joe: Nobody said that. We said—oh, Karen Read doesn't want to talk to you anymore because you recorded her calls, set them to people, and it got back to her. Chris: I got a question for you, Aidan, I didn't know—so sure. When you went on your little pity party and then you— Joe: The worst part is you lied to everybody acting on it. You had no idea what was wrong and why she she fucking set you straight—trying to get sympathy. That, my friend, is fucking psychotic. Aidan:** Okay, okay, sure thing. Yeah, you said I sent the recording out. Where's the recording? *Joe: Dude? It's not—I'm not obligated to fucking get the recording. Aidan: Oh, yeah, you wouldn't want to back it up, right? Joe: You're so—you're going to go on record that Karen is lying? Say it. You're caling Karen Read a liar about this. Aidan: There is no fucking recording. Joe: You're lying, dude. It's fucking crazy. This is what's here. It—play the note. You played it for somebody. You got it. I don't got it. Aidan: Let's hear you play it. You're the one that says there's a fucking record. Chris: I mean, that's—you have a history of recording people. Lily: Wait, we have—well, I feel like we have a responsibility as me as a host to Chris and... You're both—you're actually both not providing a receipt, and I'm—Aidan is actually asking for a receipt. I have to—for the recording. Joe and Chris He has—asking for the recording. Lily: You guys—she has which he sent to—we know I said. So who has it? One of the receipts. I know you're not gonna have— Aidan:: you don't have the recording because— Lily: Just fucking say it. Karen doesn't want the recording out there. Aidan: What recording? There's no recording. Joe: Never even asked her for it, to be honest with you. Aidan: And so you wait—yeah, you never asked. Thank you—you never asked. Joe: Karen is fucking so done with you, bro. She sent—she told me about this completely unsolicited. Lily:That's beside the point, and I'm not the first—(Joe) Karen's done with him, ..but what the fuck—just post the fucking receipt for him. Chris: You can't come on here saying he has it, Lily. He's seen the same thing you've seen. He's even seen the same thing that I showed you. Lily: I know. You don't come on here and say I've got this, and then Aidan demands a receipt—you deserve. Okay... Joe: He's deflecting, asking for a recording he knows about the text. Lily: Yeah, I know, Joe. I get what you're saying, and I respect every—like what you're saying, but he's denying it. Joe: Fine, I'll post the fuck—I'll post them right now. I really don't give a fuck. Lily: Thank you. And that's immense—he can—he can then riff like whatever he can. I can't—I'm so like nervous. I've got dry mouth because... Then Aidan can like look at those, and he at least has—you know exactly what's been spoken about. He's just denying it. I can't say that, and I get it, but he is asking for the receipt, which is fair. And Joe: I'll even add the text message when he came on here initially. He said it was all alive, right? He said he sent me—fucking text message on Monday morning. Lily: I see it. We've established that now. We established that Aidan's denying it, so just post the receipt that you have, and then he can actually reflect on that and—and do you see what I mean? He's not gonna turn around now and say actually it is true. But if you've got the receipt, he can then say, "I will—this is x, y and z there." I just think it's fair—like... Aidan: Now, yeah, what he has is a screenshot that he claims is from Karen Read. It was— Joe: You're saying it's not from Karen Read. Aidan: I don't—there's no fucking name on the top. Joe: Yeah, I have it. Do you want me to read? Aidan: Okay, so there was an allegation? I'm reading. Joe: Do I have a text from you saying I was sent the same thing the morning after the verdict? Did you not say that to me? Aidan: Yes, you sent me the same thing the morning after the verdict. Joe: Okay, so then she sent it to me too. Aidan: Yeah, she knows—she said to me the morning after the Wilbur—she after the morning after the show, she said that she was sent a 30-minute fucking tape. Where's the fuck? What tape? Okay, she's not fucking accusing me. I have no—there's no fucking tape. There's no tape. She thinks I recorded her because I fucking told people about the conversation. That's it. Joe: You're telling me you didn't? Aidan:: And I'm telling you I fucking didn't. You're wrong. Joe: 100% You're lying, dude. Aidan: Okay, so prove it. Let's see it. You got evidence, right? You like evidence? You got Any? Joe: I mean—I—a screenshot of—how many people did you send it to? Aidan: Zero, because there's no recording. Joe: There is. Aidan: Let's hear it. Play it. Let's play it. Let's go. Joe: Let's hold on. Let's hold on. Can I go real quick? So you come in here calling it—you were making fun of Chris because he's an Australian motherfucker. He doesn't have nothing, right? You said there was no text, no proof. And then now we're transitioning to the recording because I don't have the recording. Okay, so you think Karen Read is just fucking lying about this? How would she know? How would she know what about the recording? Aidan: There is no recording. Joe: You're telling me you didn't show it to anybody? Is that really what you're gonna tell people? Aidan:There's no recording to share with anyone. Okay, okay. Well, I mean, you got evidence, right? To back this up. Joe: Yeah, right. Aidan:: You got something, right? Yeah, yeah. Did you been right? I mean, you have that, right? You have that right because you wouldn't say something—because if you know I had it, right? Joe: I have—why Karen Read won't speak to you. Aidan: You have a screenshot of a conversation with Karen Read. You don't have an actual fucking audio, though. Joe: I have—in Karen Read's words. Why do you think she would lie about this? Aidan: Do I think she would lie about having a recording? Joe: She wouldn't lie about this. Explain that one—about having a recording. Aidan: Yes, I know she's lying about that. Joe: Why, though? Aidan: I don't know why Karen is acting the way she is. It's unfortunate. Yeah, and honestly, I'm not the one—you're a fucking airing it all out right now. That's odd that Karen would green-light you coming on here and fucking doing this. That's kind of odd. Because I love you—notice, but like—kind of yeah, we raised 1.1 million fucking dollars for a little... Here I know—here, I'm here. I'm here. There's still a— Chris; there's no because you—still a fucking snake. Yeah, I know. He records people's phone calls. Aidan:: Let's hear the tape. Let's hear the tape. You're the one making—you guys got nothing. Nothing. Nothing. I just sent the fucking text out. Just say—there you go, buddy. Aidan: Okay, so Karen Read is green-lighting this sort of drama? That's what you're saying? Joe: I asked her. I said—you asked her? She said yes, go ahead. I said, do you want your side out there? She said, 'sure. You're gonna read it? Sure. I told many people my side. This is my last straw. I would never and have never betrayed him. Meanwhile, he has put me in harm's way in a huge way multiple times.' Aidan: I put her—fucking words, okay? Not mine. Yep. Okay. I put Karen Read in harm's way? I went to jail for Karen Read. I don't know if you're familiar. Chris: You didn't go to jail for Karen Read, you fuck. Aidan: Oh, really? Then what am I on bail for? What is—the full—what's the full? Chris: You went to jail for Karen Read? You went to jail because of Lindsey. You went to jail because you're a fucking dick. Aidan: Why was I on bail? I think you're a fuck—while you're on bail. I'm saying because—why would I care? Maybe someone in the night— Chris: hey, you're full of shit. You're a fucking hell. Aidan: What the fuck was I on bail for? Joe Because they may know that—if you didn't record it, why are you being so hush-hush about it with everybody? Why would he just tell the people what she was saying since she's lying? What do you mean hush-hush about it? Aidan You think I won't talk about what she texted me? But you were hinting at it because I don't want to hear the fucking drama, but apparently she does because she's—you fucking do this because you're recording. Thank you. You're telling me no recording of any fucking phone calls? What's the—what's the fight? So you weren't mocking her the past however long—every time you went on the show saying you owe everything to Karen, all that shit? How is that little white lie? Aidan: I owe everything to Karen? What? Why is that little sub-story? You went on two weeks—how is that mocking her? That wasn't in the recording. What recording? There's no fucking recording. Joe: I heard it was a 10-minute recording. Does that make sense? Aidan: No recording, bro. Let's hear it. You heard it. Let's hear it. Joe: Dude, I'm not putting that part out here. Aidan: She's talking about her shit. What she's texting you right now—obviously. Who egging this on, isn't she? Joe: Who? Okay? Okay, who? Keep playing dumb. Hey—who? Aidan: Mm-hmm? Believe it or not—you guys got nothing, right? Chris; We got good—from the horse's mouth, mate. I mean, it's not over the horse. Yeah, that's enough for me. I don't need... Aidan: Karen's not talking to anyone in the media. Joe: If you read the text message, I just reached out to her as a friend—just to reach out and say hope you're doing well. She went into this whole thing about you. Aidan: So you reached out—let me get this right—you reached out to her just to say hope you're doing well, and the first thing she did was complain about me? Joe: Yes, okay. That says it all. There we go. Where is she? Tired of me? Maybe she's fucking tired of you telling the people bullshit. Aidan: What—what—what—what—what bullshit have I told people? That you have no idea why she won't fucking come on your whatever it is. Aidan: What do you mean I have no idea why? Joe: That's what you've been saying—you don't know what's going on, like you feel a bit sorry for—like the thing with the fucking Howie Carr, dude. That was ridiculous. Aidan: What was ridiculous? You're the entire way you handled—I didn't say a word about that. Chris: Yes, you did. You deleted the receipt, but let's see—where did I complain about her appearance on Howie Carr? You made a lot of all quiet. Oh, this fuck it. Oh... Joe: Wait, but you think we're fucking dumb? Do people are fucking dumb? So where did I—after you deleted it, and then you made a post about deleting it. Aidan: What did I say about it? I don't remember. Chris:** But you don't remember? Yeah, you deleted it, bro. You deleted it. Yeah, remember? You deleted it. And then you made a post about the deleting of the post. Part 2 coming later.

Grant Smith Ellis

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