Sensitive content

This media may contain sensitive content.

Video yükleniyor...

Video Yüklenemedi

Ana Sayfaya Dön

💖 Class is my only weapon 💖 When Sylvia cares and protects revealing an unforgettable evening dress. 🖌️ BBC Chan🍥 👗 Lalabun 🎙️ ✦𝙿𝚒𝚡𝚒𝚎𝚆𝚒𝚕𝚕𝚘𝚠✦ | Voice Actress & Sound #eveningdress #cleavage #busty #eroge #smutnetwork

ManorStories's profile picture

Manor Stories

21,376 subscribers

68,685 görüntüleme • 4 ay önce •via X (Twitter)

NSFW#eveningdress#cleavage#busty#eroge#smutnetwork
LIVE

Anya Rossi• Live Now

Private livecam show

0 Yorum

Yorum bulunmuyor

Orijinal gönderinin yorumları burada görünecek

Benzer Videolar

The Meaning Behind What Lucy Powell Really Said There comes a moment when the mask slips, when the carefully constructed political facade crumbles, and the public glimpses the truth behind it. For Labour’s Lucy Powell MP, that moment came during BBC Radio 4’s Any Questions, when she was asked whether she had seen the Channel 4 documentary exposing the industrial-scale sexual exploitation of vulnerable white working-class girls by grooming gangs. Her response? “Oh, you want to blow that little trumpet now, do you? Let’s get that dog whistle out, shall we?” This wasn’t a gaffe. It wasn’t a slip of the tongue. It was a revealing moment of political instinct and one that laid bare the contempt held by parts of The Labour Party for the victims of these appalling crimes. Let’s decode the Leader of the House of Commons' words. Calling it a “little trumpet” is not just flippant, it’s sinister. Powell is diminishing the scale and gravity of the rape and trafficking of over 100,000 girls as if it were nothing more than an irritating noise. In her worldview, the gang rape of White working-class girls is a minor nuisance, an inconvenient topic to be dismissed, not a national scandal demanding action. Even more revealing is her invocation of “dog whistle.” In political language, a dog whistle is a coded phrase intended to signal something controversial or bigoted to a specific audience. It is used to dismiss someone’s argument without engaging with the facts, accusing them of racism without directly saying so. Powell was not just sidestepping the question, she was implying that merely raising this issue was itself an act of prejudice. This tactic is well-worn. For decades, Labour politicians have wielded the accusation of racism to deflect legitimate concerns about grooming gangs, protecting voting blocs from within their Muslim communities at the expense of voiceless victims. Powell’s words weren’t just dismissive. They were a signal, to her allies, to her party’s base: “We will protect you. We will smear your critics. We will bury the truth if it threatens our power.” Surely, Lucy Powell MP's position as Leader of the House of Commons is now untenable and Keir Starmer must sack her? Not a chance!!! Full article will be in the inboxes of subscribers to Red Wall and the Rabble soon. _________ For those new to me, I'm Raja Miah MBE. I spent six years leading a small team that exposed how politicians protected the rape gangs. My work continues despite powerful forces including the media, politicians, police and public officials all conspiring to desperately stop me and bury the truth. Now millions know the truth of the industrial scale gang rape of working class White girls by organised networks of politically protected Pakistani men. You won't find me in the mainstream media. With no corporate backers or political sponsors, I rely solely on the support of ordinary people who understand what's at stake. If you value this work, please subscribe to my newsletter. We really need to grow our numbers. All my work is 100% free. I only ask for a small contribution if you can afford to do so; Prefer a one-time contribution? Please help finish this. Raja 🙏
0:43

The Meaning Behind What Lucy Powell Really Said There comes a moment when the mask slips, when the carefully constructed political facade crumbles, and the public glimpses the truth behind it. For Labour’s Lucy Powell MP, that moment came during BBC Radio 4’s Any Questions, when she was asked whether she had seen the Channel 4 documentary exposing the industrial-scale sexual exploitation of vulnerable white working-class girls by grooming gangs. Her response? “Oh, you want to blow that little trumpet now, do you? Let’s get that dog whistle out, shall we?” This wasn’t a gaffe. It wasn’t a slip of the tongue. It was a revealing moment of political instinct and one that laid bare the contempt held by parts of The Labour Party for the victims of these appalling crimes. Let’s decode the Leader of the House of Commons' words. Calling it a “little trumpet” is not just flippant, it’s sinister. Powell is diminishing the scale and gravity of the rape and trafficking of over 100,000 girls as if it were nothing more than an irritating noise. In her worldview, the gang rape of White working-class girls is a minor nuisance, an inconvenient topic to be dismissed, not a national scandal demanding action. Even more revealing is her invocation of “dog whistle.” In political language, a dog whistle is a coded phrase intended to signal something controversial or bigoted to a specific audience. It is used to dismiss someone’s argument without engaging with the facts, accusing them of racism without directly saying so. Powell was not just sidestepping the question, she was implying that merely raising this issue was itself an act of prejudice. This tactic is well-worn. For decades, Labour politicians have wielded the accusation of racism to deflect legitimate concerns about grooming gangs, protecting voting blocs from within their Muslim communities at the expense of voiceless victims. Powell’s words weren’t just dismissive. They were a signal, to her allies, to her party’s base: “We will protect you. We will smear your critics. We will bury the truth if it threatens our power.” Surely, Lucy Powell MP's position as Leader of the House of Commons is now untenable and Keir Starmer must sack her? Not a chance!!! Full article will be in the inboxes of subscribers to Red Wall and the Rabble soon. _________ For those new to me, I'm Raja Miah MBE. I spent six years leading a small team that exposed how politicians protected the rape gangs. My work continues despite powerful forces including the media, politicians, police and public officials all conspiring to desperately stop me and bury the truth. Now millions know the truth of the industrial scale gang rape of working class White girls by organised networks of politically protected Pakistani men. You won't find me in the mainstream media. With no corporate backers or political sponsors, I rely solely on the support of ordinary people who understand what's at stake. If you value this work, please subscribe to my newsletter. We really need to grow our numbers. All my work is 100% free. I only ask for a small contribution if you can afford to do so; Prefer a one-time contribution? Please help finish this. Raja 🙏

Raja Miah

165,506 görüntüleme • 1 yıl önce

When I exposed the rape gang scandal, I was called a far-right extremist. When I warned about the growing Islamist threat and the creeping influence of Sharia law in public life, I was called a racist. When I exposed how the Pakistani biraderi system exploits weaknesses in our democracy to rig elections, they called me a conspiracy theorist. On every single occasion, the evidence has proven me right. And on every single occasion, the response from those in power has been the same. Smear me, attempt to silence my voice and falsely arrest me and try to maliciously prosecute me. Which brings me to the people's channel GB News. I have been repeatedly booked to discuss grooming gangs. I have been then cancelled. This week, I was booked to speak about electoral fraud. Same as before, the appearance is pulled before I go on air. This has happened enough times that it is no longer a coincidence. It is a pattern. And patterns have explanations. I am not difficult to book. I turn up. I am respectful. I speak plainly and I explain what is taking place in a way no one else does. Over the years, I've sat in rooms with world leaders and spoke in front of thousands. The problem is not me. The people pulling these plugs are not scared of me. They are scared of the evidence I carry and what it proves. They would rather speak around the issue, blame people who are blameless, or present what I documented years ago as though it is suddenly new. The working class communities I come from have known about election rigging for a long time. They have experienced it directly. Not only have I campaigned openly against it for nearly a decade, I have led campaigns that defeated those involved. Not only do I know every tactic, more importantly, I know what needs to change to stop it. I'll leave it to you to decide why GB News cancelled me yet again. All I'll add is this - thanks to X, Facebook and YouTube, the censorship of my voice has failed and each day, our numbers grow. _________ I’m Raja Miah MBE. For seven years, I led a campaign that exposed how senior Labour politicians helped protect Pakistani rape gangs. The people of my town helped force the national inquiry. You won’t see me on the BBC. You won’t read my work in the legacy press. That’s not an accident. I take this to a place from where there is no coming back. I document everything in my newsletter. It’s 100% free to read. If this work matters to you, if you believe it must continue, I need your backing. My work is free. No paywalls. No gatekeeping. No exclusions. Because the truth shouldn’t belong only to those who can afford it. If you can afford to do so, supporting me costs as little as 75p a week (£30 a year). Sign up here; 👉 If you can’t commit to a regular subscription, a one-off contribution genuinely helps keep this alive. You can support me using one of these links; 👉 👉 We’re up against a machine, politicians, police, officials, and media, working together to shrink, sanitise, and bury the truth. This work survives because of you. If you’ve ever shared my posts, learned something, or felt less alone reading them, stand with me. I need your help. Raja 🙏
3:14

When I exposed the rape gang scandal, I was called a far-right extremist. When I warned about the growing Islamist threat and the creeping influence of Sharia law in public life, I was called a racist. When I exposed how the Pakistani biraderi system exploits weaknesses in our democracy to rig elections, they called me a conspiracy theorist. On every single occasion, the evidence has proven me right. And on every single occasion, the response from those in power has been the same. Smear me, attempt to silence my voice and falsely arrest me and try to maliciously prosecute me. Which brings me to the people's channel GB News. I have been repeatedly booked to discuss grooming gangs. I have been then cancelled. This week, I was booked to speak about electoral fraud. Same as before, the appearance is pulled before I go on air. This has happened enough times that it is no longer a coincidence. It is a pattern. And patterns have explanations. I am not difficult to book. I turn up. I am respectful. I speak plainly and I explain what is taking place in a way no one else does. Over the years, I've sat in rooms with world leaders and spoke in front of thousands. The problem is not me. The people pulling these plugs are not scared of me. They are scared of the evidence I carry and what it proves. They would rather speak around the issue, blame people who are blameless, or present what I documented years ago as though it is suddenly new. The working class communities I come from have known about election rigging for a long time. They have experienced it directly. Not only have I campaigned openly against it for nearly a decade, I have led campaigns that defeated those involved. Not only do I know every tactic, more importantly, I know what needs to change to stop it. I'll leave it to you to decide why GB News cancelled me yet again. All I'll add is this - thanks to X, Facebook and YouTube, the censorship of my voice has failed and each day, our numbers grow. _________ I’m Raja Miah MBE. For seven years, I led a campaign that exposed how senior Labour politicians helped protect Pakistani rape gangs. The people of my town helped force the national inquiry. You won’t see me on the BBC. You won’t read my work in the legacy press. That’s not an accident. I take this to a place from where there is no coming back. I document everything in my newsletter. It’s 100% free to read. If this work matters to you, if you believe it must continue, I need your backing. My work is free. No paywalls. No gatekeeping. No exclusions. Because the truth shouldn’t belong only to those who can afford it. If you can afford to do so, supporting me costs as little as 75p a week (£30 a year). Sign up here; 👉 If you can’t commit to a regular subscription, a one-off contribution genuinely helps keep this alive. You can support me using one of these links; 👉 👉 We’re up against a machine, politicians, police, officials, and media, working together to shrink, sanitise, and bury the truth. This work survives because of you. If you’ve ever shared my posts, learned something, or felt less alone reading them, stand with me. I need your help. Raja 🙏

Raja Miah

180,589 görüntüleme • 6 ay önce

Sorry to talk more about this, but I felt it was important to discuss. Also, I am sorry I also sound so garbage, the flu is hitting hard. Scripted Captions: Hey. I need to talk about what happened yesterday, and honestly what’s been happening for a bit now, because it’s not only inaccurate… it’s starting to affect my ability to create. Also, I caught the flu, so if I sound rough, that’s why. Bare with me. And yes, this is scripted, because my brain is running on fumes and I want to say this clearly. First, thank you, seriously. To everyone who reached out, commented, sent dms, and just… reminded me I’m not crazy for feeling stressed, thank you. I’ve been trying to keep it together behind the scenes, and your kindness genuinely helped. Here’s what’s going on, as plainly as I can put it, my newer posts on Twitter are being reported for sexual content. My profile pictures on IRIAM are being reported and my IRIAM account has been getting reported. And the reason people keep circling is basically, my vtuber model has boobs and cleavage, and there’s a wardrobe detail on the model that is showing underwear lines. I want to be really, really clear here, I am a seiso creator. I don’t post explicit content. I don’t make sexual content. My streams and posts are not sexual. And yes, I understand that IRIAM’s current review guidelines can flag things like visible underwear details and certain levels of chest exposure, and that profile icons get reviewed even more conservatively. My honest take is I don’t personally agree with how strict that is, especially when the model I’m using is one IRIAM provided me through their system, but I’m not here to wage war with platform rules. I’m here to create so I’m adapting. I’m changing how I crop images. I’m changing what I use for icons. And I’m already working on my 2.0 so it’s clearly safe under the current standards, even if that means my 2.0 ends up less showy than I originally wanted. That part is frustrating. But I’m doing it anyway. What this feels like on the back end is targeted harassment. It’s exhausting, it’s time consuming, and it creates this constant anxiety of “is my account going to get hit again today?” “Am I going to get suspended?” Etc. And on top of that, there’s been misinformation being spread about me as a creator, and that part has honestly been the most draining. I’m not going to name names. I’m not here to start a dogpile. That’s not who I am, and it’s not what I want my community to do. But I am going to say this, using report tools as a weapon to punish someone you don’t like is not “protecting the platform.” It’s bullying. So here’s my boundary and my ask, if you don’t like my design, my vibe, my content, that’s okay. You can mute, block, scroll, disengage. No hard feelings. But please stop trying to take away someone’s platform because you personally don’t approve of their body type or character design. If you genuinely believe something violates guidelines, report it once and let moderation do their job. Don’t turn it into a campaign. That’s not accountability. That’s not “keeping things safe.” That’s just trying to control other creators. I’m going to be honest: this has made me pull back. I had plans to connect people, collaborate more openly, and build more bridges, I’ve even paused any work I had planned to do for the Unofficial IRIAM zine… and I’ve been more cautious lately because I’ve needed to protect my mental health. So if I seem a bit more skittish to work openly with creators going forward, this is the reason why. I still want all of us to succeed. I still want creators to support creators. But I can’t keep putting myself in situations where I’m constantly being targeted. Right now, I’m handling things through the proper channels and documenting everything on my end. I’m going to keep creating, I’m going to keep being me, and I’m not going to let bad-faith reporting rewrite who I am as a creator. To everyone who’s been supportive, I appreciate you more than I can say. And I want to say this clearly one more time; you can disagree with a creator’s design and still behave like an adult. Bodies aren’t automatically sexual. And using reports as a weapon helps nobody, it just makes people afraid to exist. Please be kind to each other. Please don’t use TOS or report tools as a battering ram. It doesn’t make the community safer, it just makes people afraid to create. I’m going to rest, drink something hot, and try to kick this flu. Thank you for hearing me out. I love you guys. See you soon. And as always, Be Kind. p.s. Shoutout to my protect goat. Thank you for always having my back girly.
5:05

Sorry to talk more about this, but I felt it was important to discuss. Also, I am sorry I also sound so garbage, the flu is hitting hard. Scripted Captions: Hey. I need to talk about what happened yesterday, and honestly what’s been happening for a bit now, because it’s not only inaccurate… it’s starting to affect my ability to create. Also, I caught the flu, so if I sound rough, that’s why. Bare with me. And yes, this is scripted, because my brain is running on fumes and I want to say this clearly. First, thank you, seriously. To everyone who reached out, commented, sent dms, and just… reminded me I’m not crazy for feeling stressed, thank you. I’ve been trying to keep it together behind the scenes, and your kindness genuinely helped. Here’s what’s going on, as plainly as I can put it, my newer posts on Twitter are being reported for sexual content. My profile pictures on IRIAM are being reported and my IRIAM account has been getting reported. And the reason people keep circling is basically, my vtuber model has boobs and cleavage, and there’s a wardrobe detail on the model that is showing underwear lines. I want to be really, really clear here, I am a seiso creator. I don’t post explicit content. I don’t make sexual content. My streams and posts are not sexual. And yes, I understand that IRIAM’s current review guidelines can flag things like visible underwear details and certain levels of chest exposure, and that profile icons get reviewed even more conservatively. My honest take is I don’t personally agree with how strict that is, especially when the model I’m using is one IRIAM provided me through their system, but I’m not here to wage war with platform rules. I’m here to create so I’m adapting. I’m changing how I crop images. I’m changing what I use for icons. And I’m already working on my 2.0 so it’s clearly safe under the current standards, even if that means my 2.0 ends up less showy than I originally wanted. That part is frustrating. But I’m doing it anyway. What this feels like on the back end is targeted harassment. It’s exhausting, it’s time consuming, and it creates this constant anxiety of “is my account going to get hit again today?” “Am I going to get suspended?” Etc. And on top of that, there’s been misinformation being spread about me as a creator, and that part has honestly been the most draining. I’m not going to name names. I’m not here to start a dogpile. That’s not who I am, and it’s not what I want my community to do. But I am going to say this, using report tools as a weapon to punish someone you don’t like is not “protecting the platform.” It’s bullying. So here’s my boundary and my ask, if you don’t like my design, my vibe, my content, that’s okay. You can mute, block, scroll, disengage. No hard feelings. But please stop trying to take away someone’s platform because you personally don’t approve of their body type or character design. If you genuinely believe something violates guidelines, report it once and let moderation do their job. Don’t turn it into a campaign. That’s not accountability. That’s not “keeping things safe.” That’s just trying to control other creators. I’m going to be honest: this has made me pull back. I had plans to connect people, collaborate more openly, and build more bridges, I’ve even paused any work I had planned to do for the Unofficial IRIAM zine… and I’ve been more cautious lately because I’ve needed to protect my mental health. So if I seem a bit more skittish to work openly with creators going forward, this is the reason why. I still want all of us to succeed. I still want creators to support creators. But I can’t keep putting myself in situations where I’m constantly being targeted. Right now, I’m handling things through the proper channels and documenting everything on my end. I’m going to keep creating, I’m going to keep being me, and I’m not going to let bad-faith reporting rewrite who I am as a creator. To everyone who’s been supportive, I appreciate you more than I can say. And I want to say this clearly one more time; you can disagree with a creator’s design and still behave like an adult. Bodies aren’t automatically sexual. And using reports as a weapon helps nobody, it just makes people afraid to exist. Please be kind to each other. Please don’t use TOS or report tools as a battering ram. It doesn’t make the community safer, it just makes people afraid to create. I’m going to rest, drink something hot, and try to kick this flu. Thank you for hearing me out. I love you guys. See you soon. And as always, Be Kind. p.s. Shoutout to my protect goat. Thank you for always having my back girly.

Celes Aurion 🐾🎧

28,569 görüntüleme • 8 ay önce

Three lives lay buried beneath the mud for nearly three days, and after all that, the mother dog broke down in tears after being rescued 💖✨ After heavy rains in Kerala, India, a minor landslide occurred near a residential area. Local people heard a faint whimper but could not work out where it was coming from. The rain gradually eased, but the sound continued. Unwilling to ignore it, they began digging around the place where the cries seemed to be coming from and discovered a mother dog buried in the mud, with two newborn puppies beside her. The three of them are believed to have been trapped for nearly three days without food or water. The puppies were trembling, their bodies covered in mud, while the mother remained trapped and unable to free herself. The rescuers quickly brought them out. They washed the mud from the two puppies, dried them with towels and wrapped them in cloth to keep them warm. Immediately after being rescued, the mother dog broke down in tears. She stood close to her puppies, watching as they were cleaned and kept warm, while her faint cries could still be heard. No one can know exactly what the mother dog was feeling. But after nearly three days trapped in the mud, perhaps those cries were a mixture of stress, exhaustion and relief that she and her puppies had finally escaped the danger. What is particularly striking is that the two puppies were still beside her. After days of being unable to free herself, the mother could now see her puppies being cared for and have them right beside her. The people then built a small temporary shelter for the three of them beneath a telephone pole, giving them a place to stay and protecting them from the cold rain. They brought them food and water and continued caring for all three until they gradually recovered. What still puzzled those who witnessed the rescue was how the three dogs had managed to survive beneath the mud for so long. There is not enough information to know exactly what allowed them to remain alive in those conditions. But one thing is clear: without those cries, the people might never have known that a small family was trapped beneath the mud. For an animal buried underground, making a sound may be one of the few ways it can signal that it is still alive. People do not need to understand exactly what that sound means to recognise that there is a living creature beneath the mud that needs to be found. Natural disasters do not threaten only people. When landslides occur, water rises or shelters are destroyed, animals can also become trapped, lose their homes, become separated from those they depend on, or be unable to find food and water. Rescuing an animal in such circumstances is therefore more than an act of compassion. It shows that people can extend their sense of responsibility to the other living creatures that share the same environment. A society is judged not only by how it protects its most vulnerable people, but also by how it treats creatures that cannot speak for themselves. People cannot prevent natural disasters from happening, but they can still decide what to do when living beings are left in danger afterwards. Perhaps the most memorable part of this story is that three lives survived because a very small cry was heard.
2:59

Three lives lay buried beneath the mud for nearly three days, and after all that, the mother dog broke down in tears after being rescued 💖✨ After heavy rains in Kerala, India, a minor landslide occurred near a residential area. Local people heard a faint whimper but could not work out where it was coming from. The rain gradually eased, but the sound continued. Unwilling to ignore it, they began digging around the place where the cries seemed to be coming from and discovered a mother dog buried in the mud, with two newborn puppies beside her. The three of them are believed to have been trapped for nearly three days without food or water. The puppies were trembling, their bodies covered in mud, while the mother remained trapped and unable to free herself. The rescuers quickly brought them out. They washed the mud from the two puppies, dried them with towels and wrapped them in cloth to keep them warm. Immediately after being rescued, the mother dog broke down in tears. She stood close to her puppies, watching as they were cleaned and kept warm, while her faint cries could still be heard. No one can know exactly what the mother dog was feeling. But after nearly three days trapped in the mud, perhaps those cries were a mixture of stress, exhaustion and relief that she and her puppies had finally escaped the danger. What is particularly striking is that the two puppies were still beside her. After days of being unable to free herself, the mother could now see her puppies being cared for and have them right beside her. The people then built a small temporary shelter for the three of them beneath a telephone pole, giving them a place to stay and protecting them from the cold rain. They brought them food and water and continued caring for all three until they gradually recovered. What still puzzled those who witnessed the rescue was how the three dogs had managed to survive beneath the mud for so long. There is not enough information to know exactly what allowed them to remain alive in those conditions. But one thing is clear: without those cries, the people might never have known that a small family was trapped beneath the mud. For an animal buried underground, making a sound may be one of the few ways it can signal that it is still alive. People do not need to understand exactly what that sound means to recognise that there is a living creature beneath the mud that needs to be found. Natural disasters do not threaten only people. When landslides occur, water rises or shelters are destroyed, animals can also become trapped, lose their homes, become separated from those they depend on, or be unable to find food and water. Rescuing an animal in such circumstances is therefore more than an act of compassion. It shows that people can extend their sense of responsibility to the other living creatures that share the same environment. A society is judged not only by how it protects its most vulnerable people, but also by how it treats creatures that cannot speak for themselves. People cannot prevent natural disasters from happening, but they can still decide what to do when living beings are left in danger afterwards. Perhaps the most memorable part of this story is that three lives survived because a very small cry was heard.

Beauty of music and nature 🌺🌺

588,446 görüntüleme • 8 gün önce

🚨 Last night, an audio file was discovered in the Epstein Files that appears to be an FBI wiretap recording of what people are claiming is Erika Kirk procuring young girls for Epstein. Here is what I know and the questions I have: 🔻 The Phone Call The recording features a phone discussion involving a youthful-sounding female—portrayed as cooperating with federal authorities (DOJ)—speaking with someone who sounds like Erika Kirk. Background voices suggest law enforcement personnel guiding or debriefing the young woman before and after the conversation. 🔻 The Most Important Question — Is It Really Her? Does it sound like her? Absolutely… but audio can be tricky, and I’m leaning more toward no. Let me tell you why: First, this audio recording did not come with a date—of course. That detail is vitally important. All I know is that this audio comes from Dataset 9, page 661 of the Epstein Files. — Document The FBI/DOJ should take the time to address this. I’m sure an official statement could clarify who these people are… the cooperating victim (if legally permissible), but more importantly, the recruiter. With that said, I did some digging in the documents on my own. This audio recording contains specific keywords that, if it was an FBI call, should have a paper trail, right? —— Key words I searched for: “The more you do, the more you make” or the shorter version, “The more you do.” Sure enough, there are quite a few documents mentioning this. Here is one example: Within the Epstein files, a victim by the name of Haley Robson is identified as someone who was both a victim and later became a recruiter for Epstein. This court document is an excerpt from her deposition in a 2008–2009 civil lawsuit (Jane Doe v. Jeffrey Epstein, Haley Robson, and Sarah Kellen, filed in Florida federal court). The documents refer to events from around 2002 in the Jeffrey Epstein case (specifically tied to his Palm Beach, Florida operations and documented in 2005 police/prosecution materials and the 2009 civil deposition). Robson, then a 16-year-old high school student in West Palm Beach, Florida, was approached at school and recruited. She has stated in interviews and deposition excerpts that she was told the phrase “the more you do, the more you make” in connection with the arrangement and payments. She eventually resisted further sexual acts but was then offered $200 per girl she recruited from her school. She ultimately brought at least eight others (young as 14), earning more based on the level of acts involved. The recruiter who initially approached her and told her the quote is consistently described in all public sources only as “a classmate,” “a friend,” or “a girl in her class” from Royal Palm Beach Community High School. Erika Kirk (Frantzve) did not attend Royal Palm Beach Community High School. She grew up in Scottsdale, Arizona, and graduated in 2007 from Notre Dame Preparatory High School, a private Catholic school in Scottsdale. Erika Kirk is 37 years old today and would have been 13 years old (if this audio recording is from 2002). There’s no way that’s her if this is the case. Haley Robson is 40 years old and was reportedly 16 when she first met Jeffrey Epstein (around 2002). The timeline seems to match, assuming this is the correct year. I’ve listened and compared Haley Robson’s voice, and there are some similarities to the voice heard on this recording. Also consider that 24 years can change a voice significantly. Regardless, this is also something Haley Robson could easily dispel or confirm. If she has an X account, please tag her and ask directly if that is her in the audio. She appears frequently on television, so I don’t think she would mind clarifying whether this recruiter in the audio is her or not. That should be straightforward So as of right now, based on the evidence—at least for me—going with my gut, this is not Erika Kirk.
2:41

🚨 Last night, an audio file was discovered in the Epstein Files that appears to be an FBI wiretap recording of what people are claiming is Erika Kirk procuring young girls for Epstein. Here is what I know and the questions I have: 🔻 The Phone Call The recording features a phone discussion involving a youthful-sounding female—portrayed as cooperating with federal authorities (DOJ)—speaking with someone who sounds like Erika Kirk. Background voices suggest law enforcement personnel guiding or debriefing the young woman before and after the conversation. 🔻 The Most Important Question — Is It Really Her? Does it sound like her? Absolutely… but audio can be tricky, and I’m leaning more toward no. Let me tell you why: First, this audio recording did not come with a date—of course. That detail is vitally important. All I know is that this audio comes from Dataset 9, page 661 of the Epstein Files. — Document The FBI/DOJ should take the time to address this. I’m sure an official statement could clarify who these people are… the cooperating victim (if legally permissible), but more importantly, the recruiter. With that said, I did some digging in the documents on my own. This audio recording contains specific keywords that, if it was an FBI call, should have a paper trail, right? —— Key words I searched for: “The more you do, the more you make” or the shorter version, “The more you do.” Sure enough, there are quite a few documents mentioning this. Here is one example: Within the Epstein files, a victim by the name of Haley Robson is identified as someone who was both a victim and later became a recruiter for Epstein. This court document is an excerpt from her deposition in a 2008–2009 civil lawsuit (Jane Doe v. Jeffrey Epstein, Haley Robson, and Sarah Kellen, filed in Florida federal court). The documents refer to events from around 2002 in the Jeffrey Epstein case (specifically tied to his Palm Beach, Florida operations and documented in 2005 police/prosecution materials and the 2009 civil deposition). Robson, then a 16-year-old high school student in West Palm Beach, Florida, was approached at school and recruited. She has stated in interviews and deposition excerpts that she was told the phrase “the more you do, the more you make” in connection with the arrangement and payments. She eventually resisted further sexual acts but was then offered $200 per girl she recruited from her school. She ultimately brought at least eight others (young as 14), earning more based on the level of acts involved. The recruiter who initially approached her and told her the quote is consistently described in all public sources only as “a classmate,” “a friend,” or “a girl in her class” from Royal Palm Beach Community High School. Erika Kirk (Frantzve) did not attend Royal Palm Beach Community High School. She grew up in Scottsdale, Arizona, and graduated in 2007 from Notre Dame Preparatory High School, a private Catholic school in Scottsdale. Erika Kirk is 37 years old today and would have been 13 years old (if this audio recording is from 2002). There’s no way that’s her if this is the case. Haley Robson is 40 years old and was reportedly 16 when she first met Jeffrey Epstein (around 2002). The timeline seems to match, assuming this is the correct year. I’ve listened and compared Haley Robson’s voice, and there are some similarities to the voice heard on this recording. Also consider that 24 years can change a voice significantly. Regardless, this is also something Haley Robson could easily dispel or confirm. If she has an X account, please tag her and ask directly if that is her in the audio. She appears frequently on television, so I don’t think she would mind clarifying whether this recruiter in the audio is her or not. That should be straightforward So as of right now, based on the evidence—at least for me—going with my gut, this is not Erika Kirk.

MJTruthUltra

147,775 görüntüleme • 6 ay önce

HAPPIEST BIRTHDAY, BELINDA!!! 🩷 cried while editing this video huhuhu being your fan has been such an amazing and unforgettable experience 🥹 Looking back, I realize how happy I was with every little interaction we shared. Even the smallest moments meant so much to me and became memories I will always cherish. One of the things I treasure most is how you’ve always remembered me—not only as your Super BELLEliever but also as Ara. There was never a moment when you forgot to acknowledge or recognize me. There were even times when I was just quietly standing there, yet you would still call my name. And Belle, that is one of the greatest feelings a fan could ever experience. But recently, there was our Cebu trip—a trip that will forever be etched in my heart because of you. Words can never fully describe what I felt as a fan during those moments. Of all the memories we’ve made, our Cebu trip will always hold a special place at the very top of my heart. How blessed I am to be your fan. Thank you for being the person that you are. Thank you for your kindness, your sincerity, your generosity, your passion, and the love you continuously give to the people around you. You inspire so many people every day, including me. I am very proud to be your fan and to support someone whose heart is just as beautiful as her talent. More than your achievements, what I admire most is the way you make people feel seen, appreciated, and loved. You may not realize it, but your simple acts of kindness leave a lasting impact on so many lives. As you celebrate another year of your life, my prayer is that God continues to bless you abundantly. May He grant you good health, genuine happiness, peace of mind, and success in everything you do. May all the dreams you carry in your heart come true, and may you always be surrounded by people who love and support you the way you deserve. Thank you for all the memories, for all the smiles, and for simply existing. I will forever treasure every moment, every interaction, and every memory that I have because of you. No matter where life takes us, I will always be here—supporting you, cheering for you, and believing in you every step of the way. I love you so much, Belle. 😘 Love always, Your Super BELLEliever, Ara 💖 #LaVieEnBELLEin24 #BelleMariano Belle Mariano
5:10

HAPPIEST BIRTHDAY, BELINDA!!! 🩷 cried while editing this video huhuhu being your fan has been such an amazing and unforgettable experience 🥹 Looking back, I realize how happy I was with every little interaction we shared. Even the smallest moments meant so much to me and became memories I will always cherish. One of the things I treasure most is how you’ve always remembered me—not only as your Super BELLEliever but also as Ara. There was never a moment when you forgot to acknowledge or recognize me. There were even times when I was just quietly standing there, yet you would still call my name. And Belle, that is one of the greatest feelings a fan could ever experience. But recently, there was our Cebu trip—a trip that will forever be etched in my heart because of you. Words can never fully describe what I felt as a fan during those moments. Of all the memories we’ve made, our Cebu trip will always hold a special place at the very top of my heart. How blessed I am to be your fan. Thank you for being the person that you are. Thank you for your kindness, your sincerity, your generosity, your passion, and the love you continuously give to the people around you. You inspire so many people every day, including me. I am very proud to be your fan and to support someone whose heart is just as beautiful as her talent. More than your achievements, what I admire most is the way you make people feel seen, appreciated, and loved. You may not realize it, but your simple acts of kindness leave a lasting impact on so many lives. As you celebrate another year of your life, my prayer is that God continues to bless you abundantly. May He grant you good health, genuine happiness, peace of mind, and success in everything you do. May all the dreams you carry in your heart come true, and may you always be surrounded by people who love and support you the way you deserve. Thank you for all the memories, for all the smiles, and for simply existing. I will forever treasure every moment, every interaction, and every memory that I have because of you. No matter where life takes us, I will always be here—supporting you, cheering for you, and believing in you every step of the way. I love you so much, Belle. 😘 Love always, Your Super BELLEliever, Ara 💖 #LaVieEnBELLEin24 #BelleMariano Belle Mariano

arafhel

12,612 görüntüleme • 3 ay önce

I've really debated speaking out about TLC cooper because I have this intense anxiety about being marked as a girl that "causes drama", but I want to share my piece on why I don't think this is an isolated incident for him nor will it be the last time that he behaves this way due to the lack of discipline from FlyQuest. I've been competing in esports since 2017. I've been denied trials because of my gender, hit with every sexist remark, made fun of for my voice, and still despite it all, I compete. A few months ago, TLC delenaa posted a (now deleted) tier list ranking a bunch of different Marvel Rivals players from S to D tier. I forget what I was ranked to be honest, and didn't really pay it much mind until I received a DM from someone showing me that TLC cooper had said something along the lines of (since it's now deleted) "you have me below aramori?? are we serious right now??" At this point I didn't really keep stock of anyone in the scene, I'm particularly bad with names, and I usually don't pay any attention to who I'm playing versus unless they're old teammates of mine (I’ve said this in an interview with Shroud). I did NOT know who he was, only that he was a fellow peer in the competitive scene. my heart dropped when i saw his reply Why was he comparing himself to me when all of my teammates and every other strategist in the scene was also on the list? Why was he not mad that he was below Harvey or Karova, but instead, mad that he was lower than me? The answer left a bad taste in my mouth. Despite not really knowing me, never having played on a team with me, or even talked to me- he had a preconceived notion that I was "bad" or "less than" all of our peers. I responded (screenshot below) "what u say fuck me for" trying to make light of an extremely awkward situation. He responded (screenshot) "woah why are we assuming ily 💖 #MeToo" Me too? The movement where victims of sexual assault gathered an immense amount of courage to come forward and speak about their abusers? I’ve never posted about my own SA stories but why would he feel that its EVER okay to make a dig at someone for something as sinister as sexual assault. And why ME of all people? Because I'm a girl? LOL Me continued to spam #MeToo to me whenever we were in a scrim lobby together and i just never responded. What do you say to someone who makes light of SA? When I saw Ashlyn TTV's video, it didn't surprise me. I was so angry at the hate she received for her voice and him calling her "a fake one too". He had been extremely weird to me in the past but this solidified my feelings, that he was going to continue to behave inappropriately towards women in the scene, treating us as an "other" and insinuating that we are worse or less than because of our gender. All I want for the Marvel Rivals esports scene is for it to be inclusive. I want to be competing side by side with other women. This will NOT happen if we let incidents like this fester with no consequences. I know he is young and I want him to learn from his mistakes, but he needs to understand just how serious this is and how much it affects ALL the women in the scene, not just me and Ashlyn TTV. I'm not getting kicked, by the way.
1:01

I've really debated speaking out about TLC cooper because I have this intense anxiety about being marked as a girl that "causes drama", but I want to share my piece on why I don't think this is an isolated incident for him nor will it be the last time that he behaves this way due to the lack of discipline from FlyQuest. I've been competing in esports since 2017. I've been denied trials because of my gender, hit with every sexist remark, made fun of for my voice, and still despite it all, I compete. A few months ago, TLC delenaa posted a (now deleted) tier list ranking a bunch of different Marvel Rivals players from S to D tier. I forget what I was ranked to be honest, and didn't really pay it much mind until I received a DM from someone showing me that TLC cooper had said something along the lines of (since it's now deleted) "you have me below aramori?? are we serious right now??" At this point I didn't really keep stock of anyone in the scene, I'm particularly bad with names, and I usually don't pay any attention to who I'm playing versus unless they're old teammates of mine (I’ve said this in an interview with Shroud). I did NOT know who he was, only that he was a fellow peer in the competitive scene. my heart dropped when i saw his reply Why was he comparing himself to me when all of my teammates and every other strategist in the scene was also on the list? Why was he not mad that he was below Harvey or Karova, but instead, mad that he was lower than me? The answer left a bad taste in my mouth. Despite not really knowing me, never having played on a team with me, or even talked to me- he had a preconceived notion that I was "bad" or "less than" all of our peers. I responded (screenshot below) "what u say fuck me for" trying to make light of an extremely awkward situation. He responded (screenshot) "woah why are we assuming ily 💖 #MeToo" Me too? The movement where victims of sexual assault gathered an immense amount of courage to come forward and speak about their abusers? I’ve never posted about my own SA stories but why would he feel that its EVER okay to make a dig at someone for something as sinister as sexual assault. And why ME of all people? Because I'm a girl? LOL Me continued to spam #MeToo to me whenever we were in a scrim lobby together and i just never responded. What do you say to someone who makes light of SA? When I saw Ashlyn TTV's video, it didn't surprise me. I was so angry at the hate she received for her voice and him calling her "a fake one too". He had been extremely weird to me in the past but this solidified my feelings, that he was going to continue to behave inappropriately towards women in the scene, treating us as an "other" and insinuating that we are worse or less than because of our gender. All I want for the Marvel Rivals esports scene is for it to be inclusive. I want to be competing side by side with other women. This will NOT happen if we let incidents like this fester with no consequences. I know he is young and I want him to learn from his mistakes, but he needs to understand just how serious this is and how much it affects ALL the women in the scene, not just me and Ashlyn TTV. I'm not getting kicked, by the way.

sen aramori

1,458,453 görüntüleme • 1 yıl önce

If you follow Star Citizen, please RT. You can help me shout out a few people on this. So Will Price leads our ISC Gameplay Capture Team and dropped the first version of this scene in chat as a gag this week. It was a, "Haha, this is funny, too bad we can't do it" moment... But anyone who's ever worked alongside me will tell you that's usually the first and best reason I'll ever need to make something happen, and things started to move. Meanwhile our brilliant Kat Huckaby (✿•_•✿) was already working on a brand update for the show. I have a tendency to be very "xtra" and she was working to finally realize what I'd tried to do when I invented this branding way back in 2016, and everyone on the team was thrilled with the results. So, I finally had the logo I'd always wanted, and a kickass sequence that referenced the earliest days of the persistent universe (look up "Big Benny's Challenge" and Matt | BadNewsBaron 🚀 if you don't know or remember) and my current life in the UK, what I needed now was a track to lay under it that could not only hold it all up, but elevate it beyond its combined parts. I spent hours searching the libraries we had. Nothing fit. Nothing vibed. In desperation, I pinged Pedro Macedo Camacho at 12:39am in the morning. Of course, he was working, too. I was only looking for guidance, but he knew exactly what was needed, and he didn't hesitate to offer to create something special for our milestone. We only had an evening to work. We'd need to extend the sequence to fit the idea. We had to create moments for the new title to reveal. This was the 1,171 video I've made for CIG, and 500th in a legacy begun by others and entrusted to me by Ben “LOAF” Lesnick (important) that I take as seriously today as I did when he asked if I could do it in 2015 and I summoned up a lifetime of bullshit to tell him I could. 😜 But not one of those 1,171 was made by me alone. It's people like Will and Kat and Pedro and so, so many more that enable me to still love what I do, it's people like Ben and Sandi and Chris that take chances on weirdos like me, and folks who's names and faces you don't see nearly as often as mine who keep taking those chances with me week after week. It's 2:04am on another evening I can't sleep, and I just gave Twitter $4 so I could make this post. But my life doesn't get to be what it is without these people and others like David and Tom and David and Alex and Julian and Joe and Rena and Toby and Gemma and Vicki and Tyler and Elliott and more and more and I hope you'll forgive me taking this space on your timeline to say how much I love working with them. Ups and down and ups and downs, but always with love and appreciation for those who came before, those who are here now, and those that'll help make the next 500. 💖
0:25

If you follow Star Citizen, please RT. You can help me shout out a few people on this. So Will Price leads our ISC Gameplay Capture Team and dropped the first version of this scene in chat as a gag this week. It was a, "Haha, this is funny, too bad we can't do it" moment... But anyone who's ever worked alongside me will tell you that's usually the first and best reason I'll ever need to make something happen, and things started to move. Meanwhile our brilliant Kat Huckaby (✿•_•✿) was already working on a brand update for the show. I have a tendency to be very "xtra" and she was working to finally realize what I'd tried to do when I invented this branding way back in 2016, and everyone on the team was thrilled with the results. So, I finally had the logo I'd always wanted, and a kickass sequence that referenced the earliest days of the persistent universe (look up "Big Benny's Challenge" and Matt | BadNewsBaron 🚀 if you don't know or remember) and my current life in the UK, what I needed now was a track to lay under it that could not only hold it all up, but elevate it beyond its combined parts. I spent hours searching the libraries we had. Nothing fit. Nothing vibed. In desperation, I pinged Pedro Macedo Camacho at 12:39am in the morning. Of course, he was working, too. I was only looking for guidance, but he knew exactly what was needed, and he didn't hesitate to offer to create something special for our milestone. We only had an evening to work. We'd need to extend the sequence to fit the idea. We had to create moments for the new title to reveal. This was the 1,171 video I've made for CIG, and 500th in a legacy begun by others and entrusted to me by Ben “LOAF” Lesnick (important) that I take as seriously today as I did when he asked if I could do it in 2015 and I summoned up a lifetime of bullshit to tell him I could. 😜 But not one of those 1,171 was made by me alone. It's people like Will and Kat and Pedro and so, so many more that enable me to still love what I do, it's people like Ben and Sandi and Chris that take chances on weirdos like me, and folks who's names and faces you don't see nearly as often as mine who keep taking those chances with me week after week. It's 2:04am on another evening I can't sleep, and I just gave Twitter $4 so I could make this post. But my life doesn't get to be what it is without these people and others like David and Tom and David and Alex and Julian and Joe and Rena and Toby and Gemma and Vicki and Tyler and Elliott and more and more and I hope you'll forgive me taking this space on your timeline to say how much I love working with them. Ups and down and ups and downs, but always with love and appreciation for those who came before, those who are here now, and those that'll help make the next 500. 💖

Jared Huckaby, Prefers to Like Things

34,636 görüntüleme • 2 yıl önce

PROPHETIC DECLARATIONS I decree and declare over everyone under the sound of my voice, the grace to follow this roadmap until you are victorious, let that grace be released upon you! The discipline by The Spirit to walk in keeping with these principles until the results speak in your life; I release that grace upon you now! For those who have diligently followed this roadmap, I declare that your profiting appears speedily, in the name of Jesus! For someone, this week's beginning is your week of appearance; your week of manifestation; your week of favour. All of these areas listed in the teaching, may you begin to excel in them. Excel spiritually Excel in the area of your mind Excel in your health Excel in your assignment Excel in your finances Excel in the area of relationships, in the name of Jesus! I prophecy over you, no weapon fashioned against you shall prosper, and every tongue that rises up against you will fall in judgement. You are blessed in Jesus name. You are favoured in Jesus name. You will experience increase in Jesus name. Helpers arise for your sake. The Lord brings resources to you, in the name of Jesus Christ! The wisdom needed for the next phase of your life, receive it! The favour needed for the next phase of your life, receive it! The anointing needed for the next phase of your life, receive it, in the name of Jesus Christ! When men say there is a casting down, I speak over you, you will say there is a lifting up, in the name of Jesus! For someone, from Sunday to next week Sunday, let it be testimonies everyday! In the morning, testimonies! At noon, testimonies! In the evening, testimonies! Even at night, testimonies! Your going out is blessed. Your coming in is blessed. The mark of favour is upon you. The mark of honour is upon you. Go and excel! You are an ambassador of the Kingdom! May signs and wonders be wrought through your hands, in Jesus mighty name we pray! #PropheticDeclarations #ApostleJoshuaSelman #TheRoadMap #ThePathToEverIncreasingGlory #KoinoniaAbuja #KoinoniaGlobal
2:59

PROPHETIC DECLARATIONS I decree and declare over everyone under the sound of my voice, the grace to follow this roadmap until you are victorious, let that grace be released upon you! The discipline by The Spirit to walk in keeping with these principles until the results speak in your life; I release that grace upon you now! For those who have diligently followed this roadmap, I declare that your profiting appears speedily, in the name of Jesus! For someone, this week's beginning is your week of appearance; your week of manifestation; your week of favour. All of these areas listed in the teaching, may you begin to excel in them. Excel spiritually Excel in the area of your mind Excel in your health Excel in your assignment Excel in your finances Excel in the area of relationships, in the name of Jesus! I prophecy over you, no weapon fashioned against you shall prosper, and every tongue that rises up against you will fall in judgement. You are blessed in Jesus name. You are favoured in Jesus name. You will experience increase in Jesus name. Helpers arise for your sake. The Lord brings resources to you, in the name of Jesus Christ! The wisdom needed for the next phase of your life, receive it! The favour needed for the next phase of your life, receive it! The anointing needed for the next phase of your life, receive it, in the name of Jesus Christ! When men say there is a casting down, I speak over you, you will say there is a lifting up, in the name of Jesus! For someone, from Sunday to next week Sunday, let it be testimonies everyday! In the morning, testimonies! At noon, testimonies! In the evening, testimonies! Even at night, testimonies! Your going out is blessed. Your coming in is blessed. The mark of favour is upon you. The mark of honour is upon you. Go and excel! You are an ambassador of the Kingdom! May signs and wonders be wrought through your hands, in Jesus mighty name we pray! #PropheticDeclarations #ApostleJoshuaSelman #TheRoadMap #ThePathToEverIncreasingGlory #KoinoniaAbuja #KoinoniaGlobal

Koinonia Global

16,602 görüntüleme • 1 yıl önce

I was just on with my colleagues and good friends over at Real America’s Voice this morning and I want to reiterate this point… The illegal immigration we saw under the Biden administration was intentional but also insidious. Yes, they intended to justify stolen elections. Yes, they intended to overwhelm taxpayers and further break the American working class. But let’s not shortchange these people. At the height of their social engineering goals, they wanted to overwhelm the public’s sense of safety. They planned to use the fear of our country devolving to chaos, as a way to justify their own martial law. That is the connective tissue between Covid, Climate Change and Mass Migration. The color revolution doesn’t end in chaos, there is a ruler that ascends to the throne. In this case an ideological collective of global interests and power. We see these globalist/communist traitors to American freedom. We know who the real fascists are and we remember the scent of authoritarianism coming from the “science world” during the pandemic. We know how you really feel about humanity and it’s reflected by the followers you’ve produced in the streets. This is why many have left the Democratic Party and are leaving the Democratic Party. This is why many Black men refuse to stand with you now. People have complaints and grievances, and rightfully so, but not all of them are nihilistic about life itself and that’s becoming a dividing line on the left. I know because I come from the belly of the beast. Some people have real political points of view, but some you are ripe with manic, nihilistic, victimhood and depression about your unfulfilled, superficial, materialistic vision of your own life. Some of you hate yourselves and don’t know where to begin to turn that around, because you don’t know God. I hear the nazi rhetoric resurfacing. How disingenuous? Only a narrative you would think you can run, on a population you were in charge of miseducating. The nazis were the working class, that unionized, became the bourgeoise, took political power, then decided to keep political power by instituting a police state. Does that sound familiar? This is exactly the blueprint liberals have been trying to follow in this country since they brought the nazis in on operation paperclip. It wasn’t just scientific engineering that they were interested in. This is the problem with American politics, people can’t even talk like this and hope to get elected, that’s the real crisis in America. A crisis of leadership and failure of citizenship. Resign Jacob Frey, you sir are wrong. Illegal immigration is wrong. Policing it is difficult but nearly impossible when you tell the people of Minneapolis to protect the illegal immigrants. Republicans in Minnesota, get out of my way. Thank you! Royce White for U.S. Senate MN 2026 America 1st
0:31

I was just on with my colleagues and good friends over at Real America’s Voice this morning and I want to reiterate this point… The illegal immigration we saw under the Biden administration was intentional but also insidious. Yes, they intended to justify stolen elections. Yes, they intended to overwhelm taxpayers and further break the American working class. But let’s not shortchange these people. At the height of their social engineering goals, they wanted to overwhelm the public’s sense of safety. They planned to use the fear of our country devolving to chaos, as a way to justify their own martial law. That is the connective tissue between Covid, Climate Change and Mass Migration. The color revolution doesn’t end in chaos, there is a ruler that ascends to the throne. In this case an ideological collective of global interests and power. We see these globalist/communist traitors to American freedom. We know who the real fascists are and we remember the scent of authoritarianism coming from the “science world” during the pandemic. We know how you really feel about humanity and it’s reflected by the followers you’ve produced in the streets. This is why many have left the Democratic Party and are leaving the Democratic Party. This is why many Black men refuse to stand with you now. People have complaints and grievances, and rightfully so, but not all of them are nihilistic about life itself and that’s becoming a dividing line on the left. I know because I come from the belly of the beast. Some people have real political points of view, but some you are ripe with manic, nihilistic, victimhood and depression about your unfulfilled, superficial, materialistic vision of your own life. Some of you hate yourselves and don’t know where to begin to turn that around, because you don’t know God. I hear the nazi rhetoric resurfacing. How disingenuous? Only a narrative you would think you can run, on a population you were in charge of miseducating. The nazis were the working class, that unionized, became the bourgeoise, took political power, then decided to keep political power by instituting a police state. Does that sound familiar? This is exactly the blueprint liberals have been trying to follow in this country since they brought the nazis in on operation paperclip. It wasn’t just scientific engineering that they were interested in. This is the problem with American politics, people can’t even talk like this and hope to get elected, that’s the real crisis in America. A crisis of leadership and failure of citizenship. Resign Jacob Frey, you sir are wrong. Illegal immigration is wrong. Policing it is difficult but nearly impossible when you tell the people of Minneapolis to protect the illegal immigrants. Republicans in Minnesota, get out of my way. Thank you! Royce White for U.S. Senate MN 2026 America 1st

Royce White 🇺🇸

369,221 görüntüleme • 7 ay önce

The Sound of Music (1965): When Human Beauty Is Revealed Within a Greater Order The opening sequence of The Sound of Music (1965) remains one of the most recognisable images in the history of classical cinema. Upon the green hills of the Austrian Alps, Maria, portrayed by Julie Andrews, stretches out her arms and begins to sing The Sound of Music. Around her lie sweeping mountain ranges, open meadows and an expansive sky. The lyrics speak of hills filled with music, songs that have echoed through the ages, and the joy of a heart united with the natural world. The scene is often remembered for the beauty of its imagery and its unforgettable melody. Yet the lasting power of this opening lies in something deeper. Robert Wise builds the entire sequence upon a single organising principle: he does not place Maria at the centre of the world. Instead, he allows the human person to discover their place within a greater order. It is precisely by belonging within that order that human beauty is most fully revealed. This principle is established from the very first images. The film does not begin with a close-up of Maria's face. Nor does it introduce her through narration or dialogue. Instead, the camera first opens onto the vastness of mountains, sky and open fields. Only after the audience has absorbed the scale and grandeur of the landscape does Maria appear, as one element within the wider composition. This is more than a visual choice. It establishes the relationship between the human person and the world. Nature is not there simply to draw attention to Maria. Nor does Maria arrive to conquer or dominate the landscape. Both belong within the same order, where every element has its proper place. For that reason, when Maria begins to sing, the audience does not feel that she is performing before nature. Rather, it feels as though she is joining a world whose music has long been sounding. The lyrics themselves express this same idea. "The hills are alive with the sound of music." The music does not begin with Maria. The hills are already alive with song. Her voice does not bring life to nature. It is a response to a beauty that was already there. The verses that follow continue the same thought. Her heart longs to sing every song it hears. To laugh with the streams. To sing like the birds among the hills. Here, the human person does not stand apart from the world to observe or control it. Instead, they become part of the rhythm already woven into nature. Robert Wise expresses the same principle through the language of cinema. Wide landscape shots are used more frequently than close-ups. The camera keeps enough distance for Maria and the surrounding landscape to share the same frame. Even when she spins across the hillside or runs through the meadows, the landscape retains a significance equal to that of the character herself. The audience therefore does not watch Maria alone. They experience the wider world to which she belongs. This creates an important distinction. Had Maria consistently dominated the frame, the landscape would merely have become a backdrop. Robert Wise chooses a different approach. He allows nature, the human figure and the music to participate together in a unified composition. No element exists simply to serve another. Each contributes to the meaning of the whole. This also explains why Maria's movements feel so natural. Her turns, her steps and her gestures are never designed simply to draw attention to herself. They seem instead to continue the rhythm of the wind, the hills and the melody that surrounds her. Human beings do not become more beautiful by standing apart from the world. They become more beautiful when they move in harmony with the world in which they live. The same principle can be observed in nature. A bird in flight is not beautiful merely because of the bird itself. Its beauty emerges through the harmony between its wings, the open sky, the movement of the air and the act of flight itself. If one were to separate the bird from the sky, it would still remain a bird. Yet something essential to the beauty of its flight would be lost. So it is with human beings. The beauty of a person is most fully revealed when they discover their place within a greater order, where every relationship contributes to revealing who they truly are. Perhaps this is one reason why the opening of The Sound of Music has continued to resonate with audiences across generations. The film begins with more than a celebrated song or a magnificent landscape. It begins with a way of understanding the human person. Robert Wise does not place Maria above the world around her, making her the centre of everything. Instead, he allows her to become part of a larger whole. Within that harmony, the beauty of Maria, of nature and of music is revealed together. That is the enduring principle at the heart of this remarkable opening sequence: human beings are at their most beautiful not when they stand apart from the world, but when they discover their rightful place within a greater order, where every part contributes to the beauty of the whole.
1:47

The Sound of Music (1965): When Human Beauty Is Revealed Within a Greater Order The opening sequence of The Sound of Music (1965) remains one of the most recognisable images in the history of classical cinema. Upon the green hills of the Austrian Alps, Maria, portrayed by Julie Andrews, stretches out her arms and begins to sing The Sound of Music. Around her lie sweeping mountain ranges, open meadows and an expansive sky. The lyrics speak of hills filled with music, songs that have echoed through the ages, and the joy of a heart united with the natural world. The scene is often remembered for the beauty of its imagery and its unforgettable melody. Yet the lasting power of this opening lies in something deeper. Robert Wise builds the entire sequence upon a single organising principle: he does not place Maria at the centre of the world. Instead, he allows the human person to discover their place within a greater order. It is precisely by belonging within that order that human beauty is most fully revealed. This principle is established from the very first images. The film does not begin with a close-up of Maria's face. Nor does it introduce her through narration or dialogue. Instead, the camera first opens onto the vastness of mountains, sky and open fields. Only after the audience has absorbed the scale and grandeur of the landscape does Maria appear, as one element within the wider composition. This is more than a visual choice. It establishes the relationship between the human person and the world. Nature is not there simply to draw attention to Maria. Nor does Maria arrive to conquer or dominate the landscape. Both belong within the same order, where every element has its proper place. For that reason, when Maria begins to sing, the audience does not feel that she is performing before nature. Rather, it feels as though she is joining a world whose music has long been sounding. The lyrics themselves express this same idea. "The hills are alive with the sound of music." The music does not begin with Maria. The hills are already alive with song. Her voice does not bring life to nature. It is a response to a beauty that was already there. The verses that follow continue the same thought. Her heart longs to sing every song it hears. To laugh with the streams. To sing like the birds among the hills. Here, the human person does not stand apart from the world to observe or control it. Instead, they become part of the rhythm already woven into nature. Robert Wise expresses the same principle through the language of cinema. Wide landscape shots are used more frequently than close-ups. The camera keeps enough distance for Maria and the surrounding landscape to share the same frame. Even when she spins across the hillside or runs through the meadows, the landscape retains a significance equal to that of the character herself. The audience therefore does not watch Maria alone. They experience the wider world to which she belongs. This creates an important distinction. Had Maria consistently dominated the frame, the landscape would merely have become a backdrop. Robert Wise chooses a different approach. He allows nature, the human figure and the music to participate together in a unified composition. No element exists simply to serve another. Each contributes to the meaning of the whole. This also explains why Maria's movements feel so natural. Her turns, her steps and her gestures are never designed simply to draw attention to herself. They seem instead to continue the rhythm of the wind, the hills and the melody that surrounds her. Human beings do not become more beautiful by standing apart from the world. They become more beautiful when they move in harmony with the world in which they live. The same principle can be observed in nature. A bird in flight is not beautiful merely because of the bird itself. Its beauty emerges through the harmony between its wings, the open sky, the movement of the air and the act of flight itself. If one were to separate the bird from the sky, it would still remain a bird. Yet something essential to the beauty of its flight would be lost. So it is with human beings. The beauty of a person is most fully revealed when they discover their place within a greater order, where every relationship contributes to revealing who they truly are. Perhaps this is one reason why the opening of The Sound of Music has continued to resonate with audiences across generations. The film begins with more than a celebrated song or a magnificent landscape. It begins with a way of understanding the human person. Robert Wise does not place Maria above the world around her, making her the centre of everything. Instead, he allows her to become part of a larger whole. Within that harmony, the beauty of Maria, of nature and of music is revealed together. That is the enduring principle at the heart of this remarkable opening sequence: human beings are at their most beautiful not when they stand apart from the world, but when they discover their rightful place within a greater order, where every part contributes to the beauty of the whole.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

10,750 görüntüleme • 2 ay önce

A brief lesson in British history, linguistics and why one should never underestimate the dangers of an Atlantic language barrier. I have posted this before, but frankly, some things are simply too glorious to be confined to the archives. In 1978, Birds Eye produced a perfectly respectable television advert for faggots. Yes. I shall give you a moment. Before anyone reaches for the smelling salts, a faggot was, quite unremarkably, a traditional British pork meatball made with herbs and served in a rich onion gravy. A humble staple of British working-class cooking. Quite delicious, apparently. And then Birds Eye decided to advertise them on national television. The advert opens with a gentleman cheerfully addressing the nation with the immortal words: “Hello, faggot lovers everywhere!” I should very much like to have attended the meeting at Birds Eye when this was approved. “Any objections to the opening line, gentlemen?” “No.” “Legal?” “Perfectly sound.” “Public relations?” “Excellent.” “Splendid. We shall broadcast it to millions of people.” And so they did. Nobody screamed. Nobody complained. Nobody cancelled anyone. Nobody wrote an angry letter to the BBC. Because the word meant something entirely different in Britain at the time. It was a meatball. A pork meatball. With gravy. One could scarcely be more innocent. Then language evolved, the Atlantic did what the Atlantic does, and suddenly a completely ordinary British food advert became one of the most gloriously accidental pieces of vintage comedy ever committed to television. Imagine being a perfectly respectable 1970s Birds Eye executive, spending your afternoon proudly approving a commercial about frozen meatballs, only to discover decades later that the internet has turned your earnest little culinary masterpiece into comedy gold. The man who wrote: “Hello faggot lovers everywhere!” probably went home that evening thinking he’d had a productive day. And, technically, he had. He had sold the faggots. Quite a lot of them, I imagine. Language is a marvellous thing. It changes. Meanings shift. Words acquire entirely new lives. And occasionally, a frozen meatball commercial survives long enough to become one of the funniest things on the internet. Which is why I shall never again complain that modern television has become ridiculous. 1978 Birds Eye was out there greeting faggot lovers on national television and nobody thought anything of it. We really have lost something…. Possibly our innocence. Certainly our ability to advertise meatballs without causing an international incident. 🇬🇧 🎩Laird of the Manor🎩 💜🎩
0:29

A brief lesson in British history, linguistics and why one should never underestimate the dangers of an Atlantic language barrier. I have posted this before, but frankly, some things are simply too glorious to be confined to the archives. In 1978, Birds Eye produced a perfectly respectable television advert for faggots. Yes. I shall give you a moment. Before anyone reaches for the smelling salts, a faggot was, quite unremarkably, a traditional British pork meatball made with herbs and served in a rich onion gravy. A humble staple of British working-class cooking. Quite delicious, apparently. And then Birds Eye decided to advertise them on national television. The advert opens with a gentleman cheerfully addressing the nation with the immortal words: “Hello, faggot lovers everywhere!” I should very much like to have attended the meeting at Birds Eye when this was approved. “Any objections to the opening line, gentlemen?” “No.” “Legal?” “Perfectly sound.” “Public relations?” “Excellent.” “Splendid. We shall broadcast it to millions of people.” And so they did. Nobody screamed. Nobody complained. Nobody cancelled anyone. Nobody wrote an angry letter to the BBC. Because the word meant something entirely different in Britain at the time. It was a meatball. A pork meatball. With gravy. One could scarcely be more innocent. Then language evolved, the Atlantic did what the Atlantic does, and suddenly a completely ordinary British food advert became one of the most gloriously accidental pieces of vintage comedy ever committed to television. Imagine being a perfectly respectable 1970s Birds Eye executive, spending your afternoon proudly approving a commercial about frozen meatballs, only to discover decades later that the internet has turned your earnest little culinary masterpiece into comedy gold. The man who wrote: “Hello faggot lovers everywhere!” probably went home that evening thinking he’d had a productive day. And, technically, he had. He had sold the faggots. Quite a lot of them, I imagine. Language is a marvellous thing. It changes. Meanings shift. Words acquire entirely new lives. And occasionally, a frozen meatball commercial survives long enough to become one of the funniest things on the internet. Which is why I shall never again complain that modern television has become ridiculous. 1978 Birds Eye was out there greeting faggot lovers on national television and nobody thought anything of it. We really have lost something…. Possibly our innocence. Certainly our ability to advertise meatballs without causing an international incident. 🇬🇧 🎩Laird of the Manor🎩 💜🎩

🎩Laird of the Manor🎩

16,729 görüntüleme • 14 gün önce

🔊 CHURCH: The Feast of Trumpets begins TOMORROW, FRIDAY 9/11–SUNDAY 9/13—and LOOK at the convergence surrounding it this year! Israel at the center. The nations focused on dividing the land. Iran and its bow bending, ready to break! War expanding. Earthquakes. Intense volcanic activity. Signs in the heavens. And all of it converging as the appointed time of the TRUMPET arrives this year on a Sabbath—A DAY OF REST! ALL THE SIGNS ARE NOT QUIETING DOWN—THEY ARE INTENSIFYING! KEEP LOOKING UP!!! 🎺QUICKLY FIRST — WHAT IS THE FEAST OF TRUMPETS? The Feast of Trumpets—Yom Teruahin the Bible—is one of the LORD's seven appointed feasts. It begins on 1 Tishrei, the first day of the seventh month, and God commanded it to be a day of rest, holy assembly, and trumpet blasts: 📖“In the seventh month, on the first day of the month, you shall have a sabbath-rest, a memorial of blowing of trumpets, a holy convocation.” Lev 23:24 👉🏼The trumpet was used in Scripture to call God's people together, announce movement of the camps, sound an alarm, and proclaim important occasions. And this year is extra special! 🎺Trumpets begins this Friday at sunset September 11, 2026, and 1 Tishrei falls on a Sabbath—God's day of REST. That isn't extremely rare, but the fact that the appointed time of the trumpet falls on the day of rest immediately makes me think of this verse, Isaiah 26:20: But look at what comes BEFORE: 📖 “Your dead shall live... Awake and sing, you who dwell in dust... And the earth shall cast out the dead.” Is 26:19 Then AFTER: 📖 “Come, my people, enter your chambers, and shut your doors behind you; hide yourself, as it were, for a little moment, until the indignation is past.” Is 26:20 And the next verse tells us why: 📖 “For behold, the LORD comes out of His place to punish the inhabitants of the earth for their iniquity...” Is 26:21 🔗So, look at the prophetic sequence here: FIRST, resurrection. THEN, “Come, My people”—enter the chambers, hide, and rest. And AFTER that comes the indignation upon the earth. THIS MAKES US THINK ABOUT PAUL: 📖 “For the Lord Himself will descend from heaven with a shout, with the voice of an archangel, and with the trumpet of God. And the dead in Christ will rise first. Then we who are alive and remain shall be caught up together with them in the clouds to meet the Lord in the air.” 1 Thes 4:16–17 Remember originally there were no chapter breaks—so after saying this Paul points directly to the Day of the Lord: 📖 “But concerning the times and the seasons, brethren... you yourselves know perfectly that the Day of the LORD so comes as a thief in the night.” 1 Thes 5:1–2 Look at Paul's train of thought: 👉🏼Trumpet of God 👉🏼 Dead in Christ rise 👉🏼Church caught up 👉🏼Then Paul immediately turns to the Day of the LORD And centuries before Paul, look again at Isaiah's picture: 👉🏼The dead arise 👉🏼“Come, My people” 👉🏼Enter your chambers 👉🏼 Hide until the indignation passes 👉🏼 The LORD comes to punish the inhabitants of the earth THE PARALLEL IS AMAZING! And this year—coincidentally— 1 Tishrei, the first full day of Trumpets—falls on the Sabbath, which is THE DAY OF REST!! I LOVE IT!! NOW — LOOK AT THE WORLD INTO WHICH THIS FEAST IS ARRIVING. This is where things get really interesting!! Because Trumpets 2026 is not arriving in a quiet world by any stretch of the imagination. It is arriving while the convergence we have already been watching seems to be getting LOUDER! 🗓️I posted last week about Joel already, so I'm gonna try to not repeat my self. But remember what Peter said in his inaugural message to the Church at Pentecost, when he pointed directly back to Joel: 📖 “And I will show wonders in heaven above and signs in the earth beneath: blood and fire and vapor of smoke. The sun shall be turned into darkness, and the moon into blood, BEFORE the coming of the great and awesome day of the LORD.” Acts 2:19–20 🔔A QUICK NOTE HERE: Some understand the Day of the LORD as referring only to Armageddon at the end of the Tribulation. I understand it as the 7 year tribulation period of judgment associated with Daniel’s 70th Week—not only its final battle. 👉🏼Paul says the Day of the LORD comes “as a thief in the night,” when people are saying “Peace and safety!” and then “sudden destruction” comes upon them (1 Thes 5:2–3). After seven years of catastrophic judgment, nobody will be saying "peace and safety" as preparing for Armageddon. Back to what I was saying: since I wrote that post last week, the signs haven’t gotten quieter… THEY JUST KEEP PILING ON!!! ⚠️We’re not looking at one volcano and saying, “THIS IS JOEL.” We’re not looking at one earthquake, one war, one eclipse, or one column of smoke and saying, “PROPHECY FULFILLED.” WE’RE JUST LOOKING AT THE CLUSTER. WE ARE LOOKING AT THE CONVERGENCE AND THE PROPHETIC RESEMBLANCE! And look at what has been added to that picture just as we approach Trumpets: 🌋 ANAK KRAKATAU — INDONESIA A continuous eruptive episode lasting approximately 25 hours. Ash sent 50,000 feet into the atmosphere. Jakarta's international airport was forced to close. Nearly 3,000 flights disrupted. 341,000 passengers stranded. When I saw those towering plumes rising, I immediately thought of Joel’s language: “Pillars of smoke.” Fire. Ash. Towering plumes—so massive they were captured from space in NASA satellite imagery. 🔥 AND LOOK AT WHAT IS HAPPENING IN INDONESIA AT THE SAME TIME. From September 1–7 alone, Indonesia's wildfire emissions reached 19.7 MILLION metric tons of CO₂—more than ONE-THIRD of the entire world's wildfire emissions during that period and 273% ABOVE the seasonal average. Authorities are calling this Indonesia's most intense wildfire season in 11 years, with massive haze now affecting millions of people. THE MIDDLE EAST IS NOT CALMING DOWN EITHER: ISRAEL — IRAN — AND NOW THE CONFLICT IS WIDENING: Last Thursday Prime Minister Netanyahu said: 🎙️“The achievements are immense, but there is still more to complete. I mean, first and foremost, the toppling of the regime. This regime in Iran — its end is near. It is weak, it is fighting for its life, it is faltering.” 🔔Remember what we're watching and waiting for. We're watching for that Jeremiah 49 “bow of Elam” to be broken, potentially opening a window of peace and security for Israel that could set the stage for Ezekiel 38. And as of September 10, the conflict is spreading even further. Iran reports attacks on ships near the Strait of Hormuz, while Houthi advances and attacks are putting the chokepoint Bab el-Mandeb at risk. Think about the geography: ⚠️ STRAIT OF HORMUZ — The world’s #1 oil chokepoint: DISRUPTED ⚠️ BAB EL-MANDEB — A critical global shipping chokepoint: AT RISK ⚠️ IRAN — ISRAEL — U.S. — HOUTHIS — SAUDI ARABIA THE WAR IS NOT CONTRACTING, IT IS WIDENING! AND THERE IS SOMETHING EVEN BIGGER HAPPENING AROUND ISRAEL RIGHT NOW. 🗡️As we approach Trumpets, two days ago, Sep 8th. international pressure for a TWO-STATE SOLUTION is intensifying again. The UK, France and Canada have announced new measures to protect that outcome—and they plan to take that effort directly to the UNITED NATIONS GENERAL ASSEMBLY later this month. And THAT immediately brings us back to Joel once again. Because Joel doesn't only speak about blood, fire, pillars of smoke and signs in the heavens. He also tells us what happens when the NATIONS gather concerning ISRAEL: 📖 “I will also gather all nations… on account of My people, My heritage Israel… THEY HAVE ALSO DIVIDED UP MY LAND.” Joel 3:2 👉🏼THAT is the part of the convergence I don't want us to miss. Israel is not somewhere on the sidelines of this picture—ISRAEL IS AT THE CENTER. What makes this Trumpets season so extraordinary is THESE PARTICULAR PIECES coming together clearly at the same time. And THEN, on top of that geopolitical picture, look at what has been happening in the earth and the heavens. LET'S ZOOM OUT FOR A SECOND HERE. In just the last four weeks we have watched: 🌎 Major earthquakes — Colombia, Indonesia and Peru ⚫August 12 — Total solar eclipse 🔴August 27–28 — Deep partial lunar eclipse 🔥 September 1–7 — Indonesia wildfire emissions running 273% above the seasonal average 🌋 September 4–6 — Anak Krakatau’s extraordinary 25-hour eruptive episode 🇮🇱 September 8th: Growing international pressure for a TWO-STATE SOLUTION involving Israel’s land ⚔️ September 10th: Israel-Iran conflict continuing to widen across the region THIS IS THE VERY TIGHT CLUSTER WE’RE LOOKING AT!! And now, right as we arrive at TRUMPETS, listen to what Joel says: 📖“Blow the trumpet in Zion, and sound an alarm in My holy mountain! Let all the inhabitants of the land tremble; for the day of the LORD is coming, for it is at hand.” Joel 2:1 📜THE SAME PROPHET who spoke of blood, fire, pillars of smoke, the darkened sun and the blood moon ALSO CRIES: BLOW THE TRUMPET AND SOUND THE ALARM!! 👉🏼 Again—earthquakes happen, volcanoes erupt, fires burn, wars happen… ONE EVENT IS NOT OUR POINT—THE CONVERGENCE IS! We are not declaring Joel fulfilled. We are WATCHING, just as Scripture tells us to watch. We are watching the birth pains Jesus described while also seeing striking echoes of Joel’s prophetic language—and THAT is INCREDIBLY fascinating and worth paying attention to!!! 🔊Church: The Feast of Trumpets is here! Trumpets CALLED THE ASSEMBLY. Trumpets SIGNALED THE CAMP TO MOVE. Trumpets SOUNDED THE ALARM. And now the appointed time of the TRUMPET has arrived while the convergence we have been watching is not getting quieter… IT IS GETTING LOUDER! Earthquakes. Fire. Bloodshed. Pillars of smoke. Signs in the heavens. THE PRESSURE OF NATIONS WANTING TO DIVIDE ISRAEL. And the “bow of Elam” looking closer than ever to breaking! Scripture never told us to sleep through the signs—it told us to WATCH!!! So let’s KEEP WATCHING, KEEP PRAYING, KEEP PREACHING THE GOSPEL!! SOON WE WILL HEAR THE TRUMPET OF GOD, ENTER OUR CHAMBERS, AND FINALLY ENTER OUR DAY OF REST!! KEEP LOOKING UP!! Maranatha! 🤍 Come, Lord Jesus, COME!!!
0:27

🔊 CHURCH: The Feast of Trumpets begins TOMORROW, FRIDAY 9/11–SUNDAY 9/13—and LOOK at the convergence surrounding it this year! Israel at the center. The nations focused on dividing the land. Iran and its bow bending, ready to break! War expanding. Earthquakes. Intense volcanic activity. Signs in the heavens. And all of it converging as the appointed time of the TRUMPET arrives this year on a Sabbath—A DAY OF REST! ALL THE SIGNS ARE NOT QUIETING DOWN—THEY ARE INTENSIFYING! KEEP LOOKING UP!!! 🎺QUICKLY FIRST — WHAT IS THE FEAST OF TRUMPETS? The Feast of Trumpets—Yom Teruahin the Bible—is one of the LORD's seven appointed feasts. It begins on 1 Tishrei, the first day of the seventh month, and God commanded it to be a day of rest, holy assembly, and trumpet blasts: 📖“In the seventh month, on the first day of the month, you shall have a sabbath-rest, a memorial of blowing of trumpets, a holy convocation.” Lev 23:24 👉🏼The trumpet was used in Scripture to call God's people together, announce movement of the camps, sound an alarm, and proclaim important occasions. And this year is extra special! 🎺Trumpets begins this Friday at sunset September 11, 2026, and 1 Tishrei falls on a Sabbath—God's day of REST. That isn't extremely rare, but the fact that the appointed time of the trumpet falls on the day of rest immediately makes me think of this verse, Isaiah 26:20: But look at what comes BEFORE: 📖 “Your dead shall live... Awake and sing, you who dwell in dust... And the earth shall cast out the dead.” Is 26:19 Then AFTER: 📖 “Come, my people, enter your chambers, and shut your doors behind you; hide yourself, as it were, for a little moment, until the indignation is past.” Is 26:20 And the next verse tells us why: 📖 “For behold, the LORD comes out of His place to punish the inhabitants of the earth for their iniquity...” Is 26:21 🔗So, look at the prophetic sequence here: FIRST, resurrection. THEN, “Come, My people”—enter the chambers, hide, and rest. And AFTER that comes the indignation upon the earth. THIS MAKES US THINK ABOUT PAUL: 📖 “For the Lord Himself will descend from heaven with a shout, with the voice of an archangel, and with the trumpet of God. And the dead in Christ will rise first. Then we who are alive and remain shall be caught up together with them in the clouds to meet the Lord in the air.” 1 Thes 4:16–17 Remember originally there were no chapter breaks—so after saying this Paul points directly to the Day of the Lord: 📖 “But concerning the times and the seasons, brethren... you yourselves know perfectly that the Day of the LORD so comes as a thief in the night.” 1 Thes 5:1–2 Look at Paul's train of thought: 👉🏼Trumpet of God 👉🏼 Dead in Christ rise 👉🏼Church caught up 👉🏼Then Paul immediately turns to the Day of the LORD And centuries before Paul, look again at Isaiah's picture: 👉🏼The dead arise 👉🏼“Come, My people” 👉🏼Enter your chambers 👉🏼 Hide until the indignation passes 👉🏼 The LORD comes to punish the inhabitants of the earth THE PARALLEL IS AMAZING! And this year—coincidentally— 1 Tishrei, the first full day of Trumpets—falls on the Sabbath, which is THE DAY OF REST!! I LOVE IT!! NOW — LOOK AT THE WORLD INTO WHICH THIS FEAST IS ARRIVING. This is where things get really interesting!! Because Trumpets 2026 is not arriving in a quiet world by any stretch of the imagination. It is arriving while the convergence we have already been watching seems to be getting LOUDER! 🗓️I posted last week about Joel already, so I'm gonna try to not repeat my self. But remember what Peter said in his inaugural message to the Church at Pentecost, when he pointed directly back to Joel: 📖 “And I will show wonders in heaven above and signs in the earth beneath: blood and fire and vapor of smoke. The sun shall be turned into darkness, and the moon into blood, BEFORE the coming of the great and awesome day of the LORD.” Acts 2:19–20 🔔A QUICK NOTE HERE: Some understand the Day of the LORD as referring only to Armageddon at the end of the Tribulation. I understand it as the 7 year tribulation period of judgment associated with Daniel’s 70th Week—not only its final battle. 👉🏼Paul says the Day of the LORD comes “as a thief in the night,” when people are saying “Peace and safety!” and then “sudden destruction” comes upon them (1 Thes 5:2–3). After seven years of catastrophic judgment, nobody will be saying "peace and safety" as preparing for Armageddon. Back to what I was saying: since I wrote that post last week, the signs haven’t gotten quieter… THEY JUST KEEP PILING ON!!! ⚠️We’re not looking at one volcano and saying, “THIS IS JOEL.” We’re not looking at one earthquake, one war, one eclipse, or one column of smoke and saying, “PROPHECY FULFILLED.” WE’RE JUST LOOKING AT THE CLUSTER. WE ARE LOOKING AT THE CONVERGENCE AND THE PROPHETIC RESEMBLANCE! And look at what has been added to that picture just as we approach Trumpets: 🌋 ANAK KRAKATAU — INDONESIA A continuous eruptive episode lasting approximately 25 hours. Ash sent 50,000 feet into the atmosphere. Jakarta's international airport was forced to close. Nearly 3,000 flights disrupted. 341,000 passengers stranded. When I saw those towering plumes rising, I immediately thought of Joel’s language: “Pillars of smoke.” Fire. Ash. Towering plumes—so massive they were captured from space in NASA satellite imagery. 🔥 AND LOOK AT WHAT IS HAPPENING IN INDONESIA AT THE SAME TIME. From September 1–7 alone, Indonesia's wildfire emissions reached 19.7 MILLION metric tons of CO₂—more than ONE-THIRD of the entire world's wildfire emissions during that period and 273% ABOVE the seasonal average. Authorities are calling this Indonesia's most intense wildfire season in 11 years, with massive haze now affecting millions of people. THE MIDDLE EAST IS NOT CALMING DOWN EITHER: ISRAEL — IRAN — AND NOW THE CONFLICT IS WIDENING: Last Thursday Prime Minister Netanyahu said: 🎙️“The achievements are immense, but there is still more to complete. I mean, first and foremost, the toppling of the regime. This regime in Iran — its end is near. It is weak, it is fighting for its life, it is faltering.” 🔔Remember what we're watching and waiting for. We're watching for that Jeremiah 49 “bow of Elam” to be broken, potentially opening a window of peace and security for Israel that could set the stage for Ezekiel 38. And as of September 10, the conflict is spreading even further. Iran reports attacks on ships near the Strait of Hormuz, while Houthi advances and attacks are putting the chokepoint Bab el-Mandeb at risk. Think about the geography: ⚠️ STRAIT OF HORMUZ — The world’s #1 oil chokepoint: DISRUPTED ⚠️ BAB EL-MANDEB — A critical global shipping chokepoint: AT RISK ⚠️ IRAN — ISRAEL — U.S. — HOUTHIS — SAUDI ARABIA THE WAR IS NOT CONTRACTING, IT IS WIDENING! AND THERE IS SOMETHING EVEN BIGGER HAPPENING AROUND ISRAEL RIGHT NOW. 🗡️As we approach Trumpets, two days ago, Sep 8th. international pressure for a TWO-STATE SOLUTION is intensifying again. The UK, France and Canada have announced new measures to protect that outcome—and they plan to take that effort directly to the UNITED NATIONS GENERAL ASSEMBLY later this month. And THAT immediately brings us back to Joel once again. Because Joel doesn't only speak about blood, fire, pillars of smoke and signs in the heavens. He also tells us what happens when the NATIONS gather concerning ISRAEL: 📖 “I will also gather all nations… on account of My people, My heritage Israel… THEY HAVE ALSO DIVIDED UP MY LAND.” Joel 3:2 👉🏼THAT is the part of the convergence I don't want us to miss. Israel is not somewhere on the sidelines of this picture—ISRAEL IS AT THE CENTER. What makes this Trumpets season so extraordinary is THESE PARTICULAR PIECES coming together clearly at the same time. And THEN, on top of that geopolitical picture, look at what has been happening in the earth and the heavens. LET'S ZOOM OUT FOR A SECOND HERE. In just the last four weeks we have watched: 🌎 Major earthquakes — Colombia, Indonesia and Peru ⚫August 12 — Total solar eclipse 🔴August 27–28 — Deep partial lunar eclipse 🔥 September 1–7 — Indonesia wildfire emissions running 273% above the seasonal average 🌋 September 4–6 — Anak Krakatau’s extraordinary 25-hour eruptive episode 🇮🇱 September 8th: Growing international pressure for a TWO-STATE SOLUTION involving Israel’s land ⚔️ September 10th: Israel-Iran conflict continuing to widen across the region THIS IS THE VERY TIGHT CLUSTER WE’RE LOOKING AT!! And now, right as we arrive at TRUMPETS, listen to what Joel says: 📖“Blow the trumpet in Zion, and sound an alarm in My holy mountain! Let all the inhabitants of the land tremble; for the day of the LORD is coming, for it is at hand.” Joel 2:1 📜THE SAME PROPHET who spoke of blood, fire, pillars of smoke, the darkened sun and the blood moon ALSO CRIES: BLOW THE TRUMPET AND SOUND THE ALARM!! 👉🏼 Again—earthquakes happen, volcanoes erupt, fires burn, wars happen… ONE EVENT IS NOT OUR POINT—THE CONVERGENCE IS! We are not declaring Joel fulfilled. We are WATCHING, just as Scripture tells us to watch. We are watching the birth pains Jesus described while also seeing striking echoes of Joel’s prophetic language—and THAT is INCREDIBLY fascinating and worth paying attention to!!! 🔊Church: The Feast of Trumpets is here! Trumpets CALLED THE ASSEMBLY. Trumpets SIGNALED THE CAMP TO MOVE. Trumpets SOUNDED THE ALARM. And now the appointed time of the TRUMPET has arrived while the convergence we have been watching is not getting quieter… IT IS GETTING LOUDER! Earthquakes. Fire. Bloodshed. Pillars of smoke. Signs in the heavens. THE PRESSURE OF NATIONS WANTING TO DIVIDE ISRAEL. And the “bow of Elam” looking closer than ever to breaking! Scripture never told us to sleep through the signs—it told us to WATCH!!! So let’s KEEP WATCHING, KEEP PRAYING, KEEP PREACHING THE GOSPEL!! SOON WE WILL HEAR THE TRUMPET OF GOD, ENTER OUR CHAMBERS, AND FINALLY ENTER OUR DAY OF REST!! KEEP LOOKING UP!! Maranatha! 🤍 Come, Lord Jesus, COME!!!

Maranatha777

55,670 görüntüleme • 1 gün önce

The Dance Between Elizabeth and Darcy: A Swordfight Cloaked in Ceremony In the 1995 adaptation of “Pride and Prejudice”, the dance between Elizabeth Bennet and Fitzwilliam Darcy at the Netherfield ball is no romantic interlude. It is a confrontation carefully veiled beneath the forms of etiquette. Screenwriter Andrew Davies once described their exchange as “a swordfight set within a dance.” Indeed, every step forward or back obeys the courtesies of the ballroom, yet every word lands like a probing thrust. It is precisely this fusion of polished surface and underlying conflict that renders the scene one of the most charged moments in the series. In Regency society, dancing was among the few social rituals that allowed a man and a woman to remain near one another for an extended period. They might take hands, meet each other’s eyes, and converse without breaching decorum. At the same time, the rules bound them together until the music ended. The dance thus created a rare and charged circumstance: two people were required to sustain each other’s presence for the full length of the set, no matter how the conversation unfolded. The production exploits this circumstance with remarkable restraint. For much of the sequence, director Simon Langton keeps Elizabeth and Darcy together in medium shots and two-shots. Rather than cutting constantly between isolated close-ups, the camera often holds both speaker and listener within the same frame, allowing the audience to register dialogue, glances, and the smallest shifts of expression simultaneously. The choice ensures that every remark is immediately answered by the other’s reaction, rather than becoming two separate lines of speech. The blocking itself follows the architecture of a Regency dance. Elizabeth and Darcy continually change places, hands, and orientation, yet the movements always return them face to face. The rhythm of the dance supplies natural pauses in the conversation. Each time the partners separate and reunite, the two-shot continues to contain them both, so that every look, silence, and reply becomes part of the quiet contest taking place. The sound design preserves the atmosphere of a crowded ballroom. Carl Davis’s music mingles with the soft tread of feet, the rustle of other couples, and the low murmur of surrounding conversation. Against this continuous backdrop, Elizabeth and Darcy’s words remain clear yet never detach themselves from the larger space, so that their exchange feels like a natural strand within the evening rather than a private duet. Considered separately, the camera placement, blocking, and sound are all understated. Combined, they do not call attention to the dance itself; they transform the dance into the very arena for their dialogue. Within that arena, the film’s true interest lies not in the steps but in the shifting awareness of the two characters. For Elizabeth, this is the first moment when the opinions she has already formed about Darcy are tested against an immediate reality. From the opening lines she holds the initiative. She begins with perfectly proper remarks—“I believe we must have some conversation…” and “You should say something about the dance…”—yet her choice of words and tone carry a quiet irony more than any genuine wish for connection. As the exchange continues, she steers its tempo with pointed questions and sharp replies, gradually drawing the talk toward the subject that truly concerns her: George Wickham. This is not an open effort to understand Darcy; it is a verification of conclusions she has already reached. Yet that self-assurance is no longer entirely intact by the end of the dance. Jennifer Ehle conveys the slight fracture through the smallest of changes. Elizabeth’s voice remains intelligent and cutting, but her gaze is no longer purely interrogative. When she says, “I hear such different accounts of you as to puzzle me exceedingly,” she does not underline the line with sharp sarcasm. Her eyes flicker; a brief hesitation appears before the familiar sharpness returns. That nearly imperceptible moment reveals the first crack in a prejudice that had previously seemed airtight. If Ehle portrays a perception beginning to fracture, Colin Firth constructs Darcy as a man determined to preserve composure. From the outset he rarely initiates. He answers Elizabeth’s openings with brief questions, then attempts to steer the talk toward safer ground. As she continually returns the conversation to probing subjects, he grows more guarded, allowing longer pauses before he replies. Firth never expresses tension through dramatic gesture. A momentary stillness of the eyes, a measured hesitation before speaking, or a carefully controlled expression is enough to show that Darcy is weighing every word. By the time he says, “I wish, Miss Bennet, that you would not attempt to sketch my character at the present moment,” his voice remains level, yet it also reveals discomfort at the knowledge that she is trying to fix his character. Darcy never allows emotion to breach the bounds of civility, but the very effort of restraint exposes the pressure he feels. The dance does not cause him to abandon self-command; it forces him to recognize that Elizabeth judges him not by rank or reputation, but by what she believes to be true—and that his own dignity and reserve are insufficient to alter her view. Taken together, the restrained cinematic language and the psychological progression of both characters make plain that the sequence was never conceived as a romantic interlude. The entire scene directs attention to the dialogue itself. Within the strict framework of Regency etiquette, every question, every reply, and every silence becomes part of a contest of wits between two people intent on defending both their view of the other and the way they themselves are seen. The contest at Netherfield therefore ends without a victor. Elizabeth has not relinquished her prejudices, nor has Darcy succeeded in changing the way she regards him. Yet the encounter has already opened the first small fissure in the understanding of each. Elizabeth begins to doubt conclusions that once seemed certain; Darcy realizes for the first time that composure and dignity alone cannot secure the understanding of the woman he respects. That is what gives the image of “a swordfight set within a dance” its lasting force: the confrontation concludes not with a winner, but with the irreversible knowledge that neither can continue to see the other in quite the same way. The dance between Elizabeth and Darcy reflects a familiar paradox of human exchange: in many conversations, what people strive to protect is not merely their opinion, but the way they see another person and the way they wish to be seen in return. Thus a dialogue can easily become a struggle for the right to interpret, rather than an opportunity for genuine understanding. Perhaps that is the scene’s most enduring insight. Understanding rarely arrives fully formed within a single conversation. Yet conversation itself can be the place where the first cracks appear in settled prejudice. Only from those cracks can people begin, at last, to see one another truly.
5:00

The Dance Between Elizabeth and Darcy: A Swordfight Cloaked in Ceremony In the 1995 adaptation of “Pride and Prejudice”, the dance between Elizabeth Bennet and Fitzwilliam Darcy at the Netherfield ball is no romantic interlude. It is a confrontation carefully veiled beneath the forms of etiquette. Screenwriter Andrew Davies once described their exchange as “a swordfight set within a dance.” Indeed, every step forward or back obeys the courtesies of the ballroom, yet every word lands like a probing thrust. It is precisely this fusion of polished surface and underlying conflict that renders the scene one of the most charged moments in the series. In Regency society, dancing was among the few social rituals that allowed a man and a woman to remain near one another for an extended period. They might take hands, meet each other’s eyes, and converse without breaching decorum. At the same time, the rules bound them together until the music ended. The dance thus created a rare and charged circumstance: two people were required to sustain each other’s presence for the full length of the set, no matter how the conversation unfolded. The production exploits this circumstance with remarkable restraint. For much of the sequence, director Simon Langton keeps Elizabeth and Darcy together in medium shots and two-shots. Rather than cutting constantly between isolated close-ups, the camera often holds both speaker and listener within the same frame, allowing the audience to register dialogue, glances, and the smallest shifts of expression simultaneously. The choice ensures that every remark is immediately answered by the other’s reaction, rather than becoming two separate lines of speech. The blocking itself follows the architecture of a Regency dance. Elizabeth and Darcy continually change places, hands, and orientation, yet the movements always return them face to face. The rhythm of the dance supplies natural pauses in the conversation. Each time the partners separate and reunite, the two-shot continues to contain them both, so that every look, silence, and reply becomes part of the quiet contest taking place. The sound design preserves the atmosphere of a crowded ballroom. Carl Davis’s music mingles with the soft tread of feet, the rustle of other couples, and the low murmur of surrounding conversation. Against this continuous backdrop, Elizabeth and Darcy’s words remain clear yet never detach themselves from the larger space, so that their exchange feels like a natural strand within the evening rather than a private duet. Considered separately, the camera placement, blocking, and sound are all understated. Combined, they do not call attention to the dance itself; they transform the dance into the very arena for their dialogue. Within that arena, the film’s true interest lies not in the steps but in the shifting awareness of the two characters. For Elizabeth, this is the first moment when the opinions she has already formed about Darcy are tested against an immediate reality. From the opening lines she holds the initiative. She begins with perfectly proper remarks—“I believe we must have some conversation…” and “You should say something about the dance…”—yet her choice of words and tone carry a quiet irony more than any genuine wish for connection. As the exchange continues, she steers its tempo with pointed questions and sharp replies, gradually drawing the talk toward the subject that truly concerns her: George Wickham. This is not an open effort to understand Darcy; it is a verification of conclusions she has already reached. Yet that self-assurance is no longer entirely intact by the end of the dance. Jennifer Ehle conveys the slight fracture through the smallest of changes. Elizabeth’s voice remains intelligent and cutting, but her gaze is no longer purely interrogative. When she says, “I hear such different accounts of you as to puzzle me exceedingly,” she does not underline the line with sharp sarcasm. Her eyes flicker; a brief hesitation appears before the familiar sharpness returns. That nearly imperceptible moment reveals the first crack in a prejudice that had previously seemed airtight. If Ehle portrays a perception beginning to fracture, Colin Firth constructs Darcy as a man determined to preserve composure. From the outset he rarely initiates. He answers Elizabeth’s openings with brief questions, then attempts to steer the talk toward safer ground. As she continually returns the conversation to probing subjects, he grows more guarded, allowing longer pauses before he replies. Firth never expresses tension through dramatic gesture. A momentary stillness of the eyes, a measured hesitation before speaking, or a carefully controlled expression is enough to show that Darcy is weighing every word. By the time he says, “I wish, Miss Bennet, that you would not attempt to sketch my character at the present moment,” his voice remains level, yet it also reveals discomfort at the knowledge that she is trying to fix his character. Darcy never allows emotion to breach the bounds of civility, but the very effort of restraint exposes the pressure he feels. The dance does not cause him to abandon self-command; it forces him to recognize that Elizabeth judges him not by rank or reputation, but by what she believes to be true—and that his own dignity and reserve are insufficient to alter her view. Taken together, the restrained cinematic language and the psychological progression of both characters make plain that the sequence was never conceived as a romantic interlude. The entire scene directs attention to the dialogue itself. Within the strict framework of Regency etiquette, every question, every reply, and every silence becomes part of a contest of wits between two people intent on defending both their view of the other and the way they themselves are seen. The contest at Netherfield therefore ends without a victor. Elizabeth has not relinquished her prejudices, nor has Darcy succeeded in changing the way she regards him. Yet the encounter has already opened the first small fissure in the understanding of each. Elizabeth begins to doubt conclusions that once seemed certain; Darcy realizes for the first time that composure and dignity alone cannot secure the understanding of the woman he respects. That is what gives the image of “a swordfight set within a dance” its lasting force: the confrontation concludes not with a winner, but with the irreversible knowledge that neither can continue to see the other in quite the same way. The dance between Elizabeth and Darcy reflects a familiar paradox of human exchange: in many conversations, what people strive to protect is not merely their opinion, but the way they see another person and the way they wish to be seen in return. Thus a dialogue can easily become a struggle for the right to interpret, rather than an opportunity for genuine understanding. Perhaps that is the scene’s most enduring insight. Understanding rarely arrives fully formed within a single conversation. Yet conversation itself can be the place where the first cracks appear in settled prejudice. Only from those cracks can people begin, at last, to see one another truly.

🌸🎵 Beautiful Melody 🎶💖

30,626 görüntüleme • 1 ay önce