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It makes her ride the black rooster and jumps violently at it until everything hits her. the. Rissa May💕 Rissa May💕 #rissamay @ANALBBC ANALBBC Damn 💋 💋 i love Brickzilla Dredd BBC♠️ BBC Anal Clips 🎥 Anal ♠️BBCAnalWhore♠️ 10.2K ♠️ #BBCONLY #BigBlackCock #BNWO #Anal

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33,028 просмотров • 28 дней назад •via X (Twitter)

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Riley Reid says her ex-partner's growing insecurities over her career spiraled into him trying to control and end her entire livelihood: "I almost quit porn when I was with him because I thought I hated porn, but then I realized I just hated him." "It wasn't until my career started to pop off in the anal department that that was where his super-mega insecurities in our relationship started to get on the rocks..." "It was now starting to affect our at-home life, because when you're doing anal, you can't eat certain foods." "When she's not eating normal, that means she has anal the next day. And then it just was emotionally draining and exhausting." "I ended up quitting doing gangbangs for him... That was the one choice that I did, and I think back that that was already a mistake, because I gave him power." "And then he was like, 'Well, will you just quit doing boy-girl?' And he wanted me to quit my job and everything. And I was like, 'Okay, well then can I move in with you? Because how am I going to fucking pay my rent?'"

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Riley Reid says her ex-partner's growing insecurities over her career spiraled into him trying to control and end her entire livelihood: "I almost quit porn when I was with him because I thought I hated porn, but then I realized I just hated him." "It wasn't until my career started to pop off in the anal department that that was where his super-mega insecurities in our relationship started to get on the rocks..." "It was now starting to affect our at-home life, because when you're doing anal, you can't eat certain foods." "When she's not eating normal, that means she has anal the next day. And then it just was emotionally draining and exhausting." "I ended up quitting doing gangbangs for him... That was the one choice that I did, and I think back that that was already a mistake, because I gave him power." "And then he was like, 'Well, will you just quit doing boy-girl?' And he wanted me to quit my job and everything. And I was like, 'Okay, well then can I move in with you? Because how am I going to fucking pay my rent?'"

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11 years ago today @GoldieBabu came to Minnesota from a high kill shelter in Missouri. She was out of time after spending 3 months there. I was determined to just foster her until she was adopted…as I had just started my company and had no time or money for a dog. Of course, it was love at 1st sight. Goldie laid it on THICK. Constantly nudging me for pets, laying ON TOP of me, and just begging for love. I’ve now realized she wasn’t acting, that’s just the loving girl she was and all she wanted was a home to feel safe in. I was a foster parent fail within 5 minutes of meeting her. I always celebrate her birthday (she’ll be 14) on the day I adopted her which is 2/23. I hope she makes it another month…but until then, this old lady will get all the things. Today, she got her 1st McDonald’s cheeseburger. I cut it in half so she could at least get 2 bites. Poor girl can’t walk very well and you can see her shaking at the end…but she certainly loved her anniversary meal 😂💕.

11 years ago today @GoldieBabu came to Minnesota from a high kill shelter in Missouri. She was out of time after spending 3 months there. I was determined to just foster her until she was adopted…as I had just started my company and had no time or money for a dog. Of course, it was love at 1st sight. Goldie laid it on THICK. Constantly nudging me for pets, laying ON TOP of me, and just begging for love. I’ve now realized she wasn’t acting, that’s just the loving girl she was and all she wanted was a home to feel safe in. I was a foster parent fail within 5 minutes of meeting her. I always celebrate her birthday (she’ll be 14) on the day I adopted her which is 2/23. I hope she makes it another month…but until then, this old lady will get all the things. Today, she got her 1st McDonald’s cheeseburger. I cut it in half so she could at least get 2 bites. Poor girl can’t walk very well and you can see her shaking at the end…but she certainly loved her anniversary meal 😂💕.

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This is Maegan. "When the winter storm hit, what was supposed to be a business trip to Philly turned into several members of my team hunkering down at our house for the weekend. Maegan has lived her entire life in Florida, and this was her first time seeing and touching and hearing and smelling and experiencing snow. It was something I will never forget. At a time when people are so angry and the news is so horrifying and everything feels so heavy, we have to remember that there is still joy. There are people falling in love, babies being born, the sound of children’s laughter, dog (and cat) snuggles, the perfect chocolate chip cookie, and dreams coming true. Like seeing snow for the first time. My wish for you is to experience this kind of pure joy. I didn’t realize how much I needed it, and who would’ve thought I’d find it in the middle of a snowstorm. May we all be a little like Maegan. ❤️" (🎥:Thekingstonhome)

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Trending Explained

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Maybe “Downtown” Doesn’t Make Us Miss the Past—Maybe It Makes Us Miss the Feeling of Being Happy I’ve watched this performance a few times now, and what keeps me watching isn’t one particular lyric. It’s Petula Clark’s smile. She stands onstage in a yellow polka-dot dress, with her short hair and a sparkling necklace catching the stage lights. Behind her, dancers dressed in black move across a backdrop suggesting a busy city. Petula sings while moving with the rhythm, turning from time to time and gesturing naturally. It’s pretty simple. And that’s exactly what I like about it. “Downtown” was released in 1964, and from the opening notes, the song has a kind of energy that is hard to resist. Not the kind that overwhelms you. It feels more like opening the door on a beautiful evening, stepping outside, and suddenly wanting to go somewhere. What’s interesting is that the lyrics actually begin with an unhappy feeling: loneliness, sadness, the sense of being stuck by yourself. But Petula doesn’t sing it like a song about sadness. She sings it as if simply leaving the room might make everything feel different. That may be why “Downtown” remains so easy to enjoy more than 60 years later. I especially like the way Petula performs it. She doesn’t stand behind a microphone trying to prove that she is a great singer. She moves around, interacts with the space and the dancers behind her. Some of the movements may look unmistakably “1960s” today, but that is exactly what gives the performance its character. And then there’s the music. The orchestra behind her sounds full, bright, and alive. When the chorus arrives, everything seems to open up. Petula’s voice remains clear in the middle of it all, making the song feel more like an invitation than a performance. I think that’s why people still share clips like this. Not simply because “Downtown” is a famous song. But because it lets us glimpse a time when joy in music felt very direct. A yellow dress, a few dance steps, a band playing behind her, and a singer who genuinely seems to be enjoying her own song. It doesn’t need much more than that. And honestly, after watching it, I don’t think I miss the 1960s as much as I miss the feeling of a song being able to make people happy almost immediately. Maybe that’s what “Downtown” has managed to preserve after all these years. Not the 1960s. Just a little bit of the simple joy of being human.

Music over time🎻

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Passing Tests and Making Love This clip from We Were Soldiers (2002) captures beautiful sexual chemistry in a loving but high-intensity marriage. She tests him psychologically, he tests her physically, and they both pass with flying colors. First, she tests him. The religious difference is likely a potential sore spot. Being respected by his children is important to him. He's being a good father overall. And so the jab: "I'm marveling that you can see stubbornness from your children and see it comes from anybody but you." He makes it clear that he enjoys the banter, and welcomes her probing his weakness as an invitation for serious flirtation! He's unthreatened. Now he tests her. "I'll give you something to marvel at! He's a wild man!" He knocks the book out of her hands and jumps on her. If there isn't a huge amount of trust in a marriage, this sort of thing can end very badly. A wife can feel unsafe, even assaulted. But instead, she squeals like she's being taken on a rollercoaster ride, and smirks and playfights with him. She's signaling that she's unthreatened. And then we cut and give the couple some privacy. What follows is for them alone. The moral of the story for men? It may be tempting to want her to pull her psychological punches. He could have gotten sullen and angry, and argued the point. "Honey, I'm trying to do the best I can here - a little encouragement would be nice!" Enough responses like that, and she WILL pull her punches over time. But that's not where the relational prizes are! Instead, learn to welcome these tests. Invite them. Do whatever work you need to do in your own soul so that you're not looking to her for validation but are confident in your own dignity. And then display generous joyful strength.

Passing Tests and Making Love This clip from We Were Soldiers (2002) captures beautiful sexual chemistry in a loving but high-intensity marriage. She tests him psychologically, he tests her physically, and they both pass with flying colors. First, she tests him. The religious difference is likely a potential sore spot. Being respected by his children is important to him. He's being a good father overall. And so the jab: "I'm marveling that you can see stubbornness from your children and see it comes from anybody but you." He makes it clear that he enjoys the banter, and welcomes her probing his weakness as an invitation for serious flirtation! He's unthreatened. Now he tests her. "I'll give you something to marvel at! He's a wild man!" He knocks the book out of her hands and jumps on her. If there isn't a huge amount of trust in a marriage, this sort of thing can end very badly. A wife can feel unsafe, even assaulted. But instead, she squeals like she's being taken on a rollercoaster ride, and smirks and playfights with him. She's signaling that she's unthreatened. And then we cut and give the couple some privacy. What follows is for them alone. The moral of the story for men? It may be tempting to want her to pull her psychological punches. He could have gotten sullen and angry, and argued the point. "Honey, I'm trying to do the best I can here - a little encouragement would be nice!" Enough responses like that, and she WILL pull her punches over time. But that's not where the relational prizes are! Instead, learn to welcome these tests. Invite them. Do whatever work you need to do in your own soul so that you're not looking to her for validation but are confident in your own dignity. And then display generous joyful strength.

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“I love big black cck” The Ozemi/Nanatty Controversy | up-to-date summary (as of mid-August 2026): Kick IRL streamers Ozemi (A black American travel creator) and Nanatty (Japanese streamer) clashed in Japan. On August 11 in Osaka, during a group stream at a plus-size maid bar, Nanatty directed the N-word at Ozemi and repeated it when he asked why. She later apologized on social media, saying she was still learning English and didn’t fully grasp how offensive the term was. Two days later the pair crossed paths again on the street. After she allegedly used the slur once more and refused to apologize, Ozemi poured beer over her head, called it content/revenge for the disrespect, and ran off. Nanatty reported the incident to Japanese police (pouring liquid can count as assault under local law). Separate clips also showed Ozemi briefly taking an unattended bicycle, which he later called a scripted bit with a local. Current status: Police looked into the beer-pouring report, but no confirmed arrest, charges, or detention has been announced. Ozemi remains free, continues streaming and posting from Japan, and has said he isn’t leaving soon. Both creators’ channels stay active, and online debate continues over the slur versus the physical response. In a new video, Ozemi said the following: “I love big black cck” “F*ck me Ozemi” While on another streamers live broadcast. They asked her to stop and calm down, warning she may receive a suspension from Kick. Here is the clip:

SuperSisi

12,406 просмотров • 1 месяц назад

REMEMBERING MY LATE DAD’S FUNERAL AND THE IMPORTANCE OF HAVING MONEY Today makes it exactly one year and five days since my late dad was buried. Making your own money is a very good thing. It saves you from unnecessary delays, arguments, traditional expectations, and the complications that often come with depending on people financially. When my dad died last year, I invited his siblings and told them we had to bury him the following week. They disagreed. They said it was too sudden and that they needed time to plan, contribute money, and make arrangements. I told them that if money was the reason for the delay, then I did not want anyone to contribute anything. I asked them to go back, prepare a full list of everything needed for the burial, and bring me the total budget. When they returned with the list, I told them again that none of them should contribute. They should simply tell me who to transfer the money to so preparations could begin the next morning. They were shocked. They asked me to send the money to my uncle, my dad’s younger brother, and I did. I also told them not to buy any meat. I called my big brother and business partner, Charles Ogbu, and said, “Please bring me the biggest male cow at Ohanaeze Farm.” The next morning, he brought the cow, and I handed it over to my uncle. They started discussing how they would kill it, share it, and handle everything else. I simply told them, “Handle it.” Then I went back upstairs to continue mourning my dad. I paid the caterers and told the family not to worry about cooking. On July 18, we buried my dad according to Igbo tradition. Many people who attended the funeral gave me money as the first son after I hosted them in my home. That night, I gathered all the money in bundles and took it to my stepmother’s side of the compound. I asked her to keep it. She shouted and said the money belonged to me as the first son, especially considering everything I had spent. She also explained that people had already given her some money separately. I told her, “No. I do not want it. Please keep everything.” Later, my younger brother told me how some families, especially stepchildren and their father’s wife, sometimes fight over the money received during funerals. That same day, I told everyone that the burial would officially end and the compound would be cleared by 5 p.m. By 4:30 p.m., the cleaners had cleaned everywhere. You could hardly tell that a funeral had taken place there. Today, I remembered the entire experience, and it reminded me again why it is important to have money. Money may not remove the pain of losing someone you love, but it can remove unnecessary stress, delays, arguments, and humiliation during one of the most difficult moments of your life. The video attached was taken the next morning. My uncles brought some of the goat meat from the burial to my house, and we all sat together to eat, laugh, and make merry. Looking back today, I am simply grateful that I was able to give my dad the peaceful and dignified farewell I believed he deserved.

REMEMBERING MY LATE DAD’S FUNERAL AND THE IMPORTANCE OF HAVING MONEY Today makes it exactly one year and five days since my late dad was buried. Making your own money is a very good thing. It saves you from unnecessary delays, arguments, traditional expectations, and the complications that often come with depending on people financially. When my dad died last year, I invited his siblings and told them we had to bury him the following week. They disagreed. They said it was too sudden and that they needed time to plan, contribute money, and make arrangements. I told them that if money was the reason for the delay, then I did not want anyone to contribute anything. I asked them to go back, prepare a full list of everything needed for the burial, and bring me the total budget. When they returned with the list, I told them again that none of them should contribute. They should simply tell me who to transfer the money to so preparations could begin the next morning. They were shocked. They asked me to send the money to my uncle, my dad’s younger brother, and I did. I also told them not to buy any meat. I called my big brother and business partner, Charles Ogbu, and said, “Please bring me the biggest male cow at Ohanaeze Farm.” The next morning, he brought the cow, and I handed it over to my uncle. They started discussing how they would kill it, share it, and handle everything else. I simply told them, “Handle it.” Then I went back upstairs to continue mourning my dad. I paid the caterers and told the family not to worry about cooking. On July 18, we buried my dad according to Igbo tradition. Many people who attended the funeral gave me money as the first son after I hosted them in my home. That night, I gathered all the money in bundles and took it to my stepmother’s side of the compound. I asked her to keep it. She shouted and said the money belonged to me as the first son, especially considering everything I had spent. She also explained that people had already given her some money separately. I told her, “No. I do not want it. Please keep everything.” Later, my younger brother told me how some families, especially stepchildren and their father’s wife, sometimes fight over the money received during funerals. That same day, I told everyone that the burial would officially end and the compound would be cleared by 5 p.m. By 4:30 p.m., the cleaners had cleaned everywhere. You could hardly tell that a funeral had taken place there. Today, I remembered the entire experience, and it reminded me again why it is important to have money. Money may not remove the pain of losing someone you love, but it can remove unnecessary stress, delays, arguments, and humiliation during one of the most difficult moments of your life. The video attached was taken the next morning. My uncles brought some of the goat meat from the burial to my house, and we all sat together to eat, laugh, and make merry. Looking back today, I am simply grateful that I was able to give my dad the peaceful and dignified farewell I believed he deserved.

BITCOIN CHIEF (AKA OMA JI EGO)

14,287 просмотров • 2 месяцев назад

Hey Baron I’ll answer for Erika. As a mom that has kids and a husband who travels during the week and has kids in the bed occasionally…..my husband gets up early to get on flights. 2 or 3 am. I may hear my husband when he gets up but usually I just go back to sleep. With or without the kids in the bed. I don’t get up with him. As a matter of fact he hates it when I do. He says it makes it harder to leave because I tell him I wish he didn’t have to go and I’ll miss him and it breaks his heart to leave. Yea I admit it I do make it hard for him to leave. But then he texts me when he gets to the airport and when he lands and all during the day. And at night we FaceTime. Do you know that Erika and Charlie didn’t have this kind of relationship? No you don’t. Because you weren’t there. How do you know that this doesn’t destroy her that she didn’t get up with him that morning? Do you have cameras on her 24/7? You are truly an unbelievable asshole. But anything to keep the hate going right? And of course since you are a failed attorney you need as many clicks as you can get to pay your bills. Gotta pay those bills. Money over morals. I can’t wait until trial when all your BS lies are debunked. Your fall will be epic and well deserved. I don’t know how you sleep at night knowing one day you’ll have to answer for everything you’ve done to this woman by God. Hope you have a good excuse ready. But if I were you I’d be a little worried about my soul.

Hey Baron I’ll answer for Erika. As a mom that has kids and a husband who travels during the week and has kids in the bed occasionally…..my husband gets up early to get on flights. 2 or 3 am. I may hear my husband when he gets up but usually I just go back to sleep. With or without the kids in the bed. I don’t get up with him. As a matter of fact he hates it when I do. He says it makes it harder to leave because I tell him I wish he didn’t have to go and I’ll miss him and it breaks his heart to leave. Yea I admit it I do make it hard for him to leave. But then he texts me when he gets to the airport and when he lands and all during the day. And at night we FaceTime. Do you know that Erika and Charlie didn’t have this kind of relationship? No you don’t. Because you weren’t there. How do you know that this doesn’t destroy her that she didn’t get up with him that morning? Do you have cameras on her 24/7? You are truly an unbelievable asshole. But anything to keep the hate going right? And of course since you are a failed attorney you need as many clicks as you can get to pay your bills. Gotta pay those bills. Money over morals. I can’t wait until trial when all your BS lies are debunked. Your fall will be epic and well deserved. I don’t know how you sleep at night knowing one day you’ll have to answer for everything you’ve done to this woman by God. Hope you have a good excuse ready. But if I were you I’d be a little worried about my soul.

Raven Grace 🇺🇸🇺🇸🇺🇸

49,709 просмотров • 3 месяцев назад

a xiaohongshu entertainment account with 1.5m followers posted this video, and it has already surpassed 90k+ likes. i hope more people get to know sun fanqing's story. behind all the headlines, there's a person who has faced many difficult moments along the way. i hope more people take the time to hear her story with an open heart 🥹 🎙️: her name isn't actually song zu'er. her real name is sun fanqing. (🦢: hello everyone, i'm sun fanqing) 🎙️: it wasn't until she introduced herself at an event that people learned the name song zu'er had actually been forced on her. her childhood manager forced her to change her name and even used false identity information for her. as a result, she couldn't take her middle school and high school entrance examinations normally. in the end, she had no choice but to study abroad. at the same time, her manager took almost all of her acting income, leaving her with only a small allowance for living expenses. after the halo of being a child star faded, life overseas was far from easy. she lived in a basement and had to face cultural differences and loneliness all by herself. (🦢:when i went to the united states, i didn't have an agent. i got myself there on my own. the agency fee was 100,000 yuan. i still remember spending 40 yuan to buy skype credit, sleeping during the day, and staying up every night to call american schools one by one. in the end, i managed to save myself.) after returning to china, she balanced an intense acting schedule with preparing for the college entrance examination. it was a time filled with constant anxiety. what remained in her memory were countless red-eye flights, film sets, early-morning airports, and even during her favorite meals, she kept her head down solving practice questions. fortunately, all of her hard work paid off, and she was admitted to the beijing film academy with outstanding grades. she thought everything would finally go smoothly from then on, but luck still wasn't on her side. first, she became the target of online ridicule. later, she was falsely accused of tax-related issues by a former employee. she fully cooperated with the investigation and eventually returned to the public eye through her work. but the price was two precious years during the prime of her acting career. just when everything had finally settled down, people maliciously edited photos to make her look alarmingly thin. negative hashtags and online attacks followed one after another, even though she had only lost weight for a role. at one point people criticized her for gaining weight, so she quietly worked on her fitness. later, when people said she was too thin, she reassured her fans that she was already taking care of her health and recovering. after returning to the entertainment industry, at her first wrap party after filming, she heard her fans cheering for her. she responded with tears in her eyes– "thank you... thank you. with all of you here, i feel like i've been saved." unable to hold back her emotions, she said to her fans–"this is something i never even dared to dream of." she also said–"i think being loved by people is an incredibly fortunate thing. their encouragement makes me feel so cherished, because they support you unconditionally and like you unconditionally. to me, that's something i'm truly lucky to have." 🎙️: sun fanqing– true to her name, clear and sincere. those who understand her know she has always remained true to herself. sun fanqing, we all like you very much. may you always be happy 😭

a xiaohongshu entertainment account with 1.5m followers posted this video, and it has already surpassed 90k+ likes. i hope more people get to know sun fanqing's story. behind all the headlines, there's a person who has faced many difficult moments along the way. i hope more people take the time to hear her story with an open heart 🥹 🎙️: her name isn't actually song zu'er. her real name is sun fanqing. (🦢: hello everyone, i'm sun fanqing) 🎙️: it wasn't until she introduced herself at an event that people learned the name song zu'er had actually been forced on her. her childhood manager forced her to change her name and even used false identity information for her. as a result, she couldn't take her middle school and high school entrance examinations normally. in the end, she had no choice but to study abroad. at the same time, her manager took almost all of her acting income, leaving her with only a small allowance for living expenses. after the halo of being a child star faded, life overseas was far from easy. she lived in a basement and had to face cultural differences and loneliness all by herself. (🦢:when i went to the united states, i didn't have an agent. i got myself there on my own. the agency fee was 100,000 yuan. i still remember spending 40 yuan to buy skype credit, sleeping during the day, and staying up every night to call american schools one by one. in the end, i managed to save myself.) after returning to china, she balanced an intense acting schedule with preparing for the college entrance examination. it was a time filled with constant anxiety. what remained in her memory were countless red-eye flights, film sets, early-morning airports, and even during her favorite meals, she kept her head down solving practice questions. fortunately, all of her hard work paid off, and she was admitted to the beijing film academy with outstanding grades. she thought everything would finally go smoothly from then on, but luck still wasn't on her side. first, she became the target of online ridicule. later, she was falsely accused of tax-related issues by a former employee. she fully cooperated with the investigation and eventually returned to the public eye through her work. but the price was two precious years during the prime of her acting career. just when everything had finally settled down, people maliciously edited photos to make her look alarmingly thin. negative hashtags and online attacks followed one after another, even though she had only lost weight for a role. at one point people criticized her for gaining weight, so she quietly worked on her fitness. later, when people said she was too thin, she reassured her fans that she was already taking care of her health and recovering. after returning to the entertainment industry, at her first wrap party after filming, she heard her fans cheering for her. she responded with tears in her eyes– "thank you... thank you. with all of you here, i feel like i've been saved." unable to hold back her emotions, she said to her fans–"this is something i never even dared to dream of." she also said–"i think being loved by people is an incredibly fortunate thing. their encouragement makes me feel so cherished, because they support you unconditionally and like you unconditionally. to me, that's something i'm truly lucky to have." 🎙️: sun fanqing– true to her name, clear and sincere. those who understand her know she has always remained true to herself. sun fanqing, we all like you very much. may you always be happy 😭

𝕻

23,616 просмотров • 2 месяцев назад

On May 8th, 2006, the BBC delivered one of the most memorable moments in live television history. A man named Guy Goma walked into BBC Television Centre that morning expecting a job interview for an IT position. Instead, he ended up live on BBC News 24, being introduced to millions of viewers as a technology expert. The story unfolded because of a legal battle that had finally reached a verdict. The interviewer set the scene: "That ongoing round between Apple Computer, the company behind the iPod, and Apple Corps, the Beatles' record label, has just been resolved. It all centered on the Apple logo, which both companies use. Now the businesses reached a deal in 1991 whereby Apple Computer was allowed to use the trademark as long as it didn't enter the music business, but then it launched iTunes, the online music store, which is when the row started." The judge had just ruled in favour of Apple Corps, the Beatles' record label. The BBC needed an expert on air, fast. They had booked Guy Kewney, editor of the technology website News Wireless, to comment on the verdict. But somewhere between reception and the studio, wires got crossed. A producer collected the wrong Guy. The interviewer turned to camera and introduced her guest: "Guy Cuny is the editor of the technology website News Wireless. Hello, good morning to you." What followed has become legendary. The moment Guy Goma realised he was live on television rather than sitting in a job interview was captured on his face for the world to see. When asked if he was surprised by the verdict, his response was unintentionally honest: "I'm very surprised to see this verdict to come on me because I was not expecting that. When I came, they told me something else and I'm coming… you got an idea of your life, so it's really a big surprise anyway." The interviewer, either missing the cue or committed to pressing on, took his answer at face value and continued with her next question about whether more people would now be downloading music online. What makes the moment remarkable is that Goma did not freeze or run. He answered. He gave it everything he had: "Actually, if you can go everywhere you're gonna see a lot of people downloading to the internet and their website, everything they want. But I think is much better for the development and to improve people what they want and to get on the easy way and so fast everything they're looking for." The interviewer pressed on with one more question about the music industry moving online. Goma kept going: "You can go everywhere on the cyber cafe and you can check, you can go easy. It's going to be very easy way for everyone to get something to venture on it." Then the interviewer thanked him and cut away to a correspondent at the court. The clip became one of the earliest viral videos of the YouTube era. Guy Goma never got the IT job, but his accidental 90 seconds on air made him more famous than the expert the BBC actually meant to interview, and in 2026, he co-authored a book about it.

History Nerd

18,948 просмотров • 4 месяцев назад

Cowboy Carter Tour Review (Spoilers, sorta kinda 😭) Where do I even begin?! NoBODY right now is doing what Beyoncé is doing, I’m sorry! I’ve been to many of the bigger-name shows y’all would mention off rip and while they were good, they weren’t GRAND. A lot of artists put on shows and simply perform. Beyoncé runs a finely tuned machine that’s powered by her raw talent. It’s magical. Every little detail is intentional. From the lighting that hits your skin and reacts to a hi-hat, a lyric, or a moment, it’s designed to make your senses feel seen. Your spiritual spotlight. Then there’s the visuals (and yes, the visuals are going to EAT). She’s not just entertaining you, she’s teaching you, alarming you and most importantly, sharing with you. From the aesthetics and diverse representation of her dancers, singers, and bands, it’s much deeper than you think. It felt like she took us through time: nods to MJ, James Brown, Tina, Prince, to modernized elements like Renaissance. I’ve never seen a stage that massive used so perfectly, in every detailed and intimate way. You feel like you’re inside her jukebox. The interludes? Not too long at all and stunning. The moment you go to sit (if you even try), she’s back up. A 3-hour show that somehow feels like an hour and a half. We stood the entire time, didn’t even leave for the bathroom, barely recorded anything. We were locked in, absorbing everything. She cares so deeply about her audience that even when she rides the car out to wave, it feels personal. Watching the smiles on the faces of all ages and backgrounds, just getting lost in gratitude as she waved over our heads? Whew. I was next to an older Southeast Asian couple in their 50s (they were HAVING a time last night, I tell you, cig in hand 🚬, I was like okk). She had grown married men screaming, fanning, glowing in joy beside their wives. All love. No judgment. We were just living. WITH THE CLIPS floating online, it might seem like this show is for her babies, Rumi and especially Blue. And yes, it may be for her personally, but let’s be clear: this is a Beyoncé show, PERIOD. She masterfully includes Blue in a way that feels complimentary and loving, not centered. If that makes sense. By the end, you forget Blue was even on stage that long because it feels like just 15 minutes. But Blue, wow! The talent that's emerging.. whew! 😩😤Both parents’ otherworldly talent and her own special gifts. Speechless. 🎁 Beyoncé is PERFORMING. Cut all that noise. She IS. And anyone who went to the show will tell you, age ain’t nothing but a number. Beyoncé is a beast at her craft and said, “Let me show y’all how this is done.” Knee surgery or not, this superhuman is unstoppable. 💡Like MJ, Prince, Tina, Whitney, her talent makes her one of the greatest musical superhumans of our time. You can’t buy or replicate this kind of gift. It’s in you, in her. Highlight: Now let’s talk VOCALS. BEYONCÉ… your VOICE? I have no words. Can we get a billion-dollar insurance policy on her throat?! 😭😩 We need scientists to study this woman’s voice! I’m not doing too much. When I say… her voice? I’m almost afraid to even speak on it because I cherish it so much. But what I will say is, thank you, God, for giving her that gift. Not just to heal herself but to help heal the world. And yes, she’s doing that. As someone who lost my sense of self nearly two years ago when my entire world shattered, when my Mom transitioned, Cowboy Carter healed a part of me I’d been searching for. It reminded me who the f**k I am. Thank you, Beyoncé. Ty. 🫡 Salud. This show MUST be seen in person. No livestream, no video is going to match this otherworldly experience. Maybe a concert film could come close because she’s a visionary genius but this is the kind of concert we’ll hear about in future documentaries. I’m not exaggerating. I promise you. Go see that damn concert! Beyoncé, you owe me nothing. Act III is about to devour. 😉 Y’all, Beyoncé is the GOAT.

Cowboy Carter Tour Review (Spoilers, sorta kinda 😭) Where do I even begin?! NoBODY right now is doing what Beyoncé is doing, I’m sorry! I’ve been to many of the bigger-name shows y’all would mention off rip and while they were good, they weren’t GRAND. A lot of artists put on shows and simply perform. Beyoncé runs a finely tuned machine that’s powered by her raw talent. It’s magical. Every little detail is intentional. From the lighting that hits your skin and reacts to a hi-hat, a lyric, or a moment, it’s designed to make your senses feel seen. Your spiritual spotlight. Then there’s the visuals (and yes, the visuals are going to EAT). She’s not just entertaining you, she’s teaching you, alarming you and most importantly, sharing with you. From the aesthetics and diverse representation of her dancers, singers, and bands, it’s much deeper than you think. It felt like she took us through time: nods to MJ, James Brown, Tina, Prince, to modernized elements like Renaissance. I’ve never seen a stage that massive used so perfectly, in every detailed and intimate way. You feel like you’re inside her jukebox. The interludes? Not too long at all and stunning. The moment you go to sit (if you even try), she’s back up. A 3-hour show that somehow feels like an hour and a half. We stood the entire time, didn’t even leave for the bathroom, barely recorded anything. We were locked in, absorbing everything. She cares so deeply about her audience that even when she rides the car out to wave, it feels personal. Watching the smiles on the faces of all ages and backgrounds, just getting lost in gratitude as she waved over our heads? Whew. I was next to an older Southeast Asian couple in their 50s (they were HAVING a time last night, I tell you, cig in hand 🚬, I was like okk). She had grown married men screaming, fanning, glowing in joy beside their wives. All love. No judgment. We were just living. WITH THE CLIPS floating online, it might seem like this show is for her babies, Rumi and especially Blue. And yes, it may be for her personally, but let’s be clear: this is a Beyoncé show, PERIOD. She masterfully includes Blue in a way that feels complimentary and loving, not centered. If that makes sense. By the end, you forget Blue was even on stage that long because it feels like just 15 minutes. But Blue, wow! The talent that's emerging.. whew! 😩😤Both parents’ otherworldly talent and her own special gifts. Speechless. 🎁 Beyoncé is PERFORMING. Cut all that noise. She IS. And anyone who went to the show will tell you, age ain’t nothing but a number. Beyoncé is a beast at her craft and said, “Let me show y’all how this is done.” Knee surgery or not, this superhuman is unstoppable. 💡Like MJ, Prince, Tina, Whitney, her talent makes her one of the greatest musical superhumans of our time. You can’t buy or replicate this kind of gift. It’s in you, in her. Highlight: Now let’s talk VOCALS. BEYONCÉ… your VOICE? I have no words. Can we get a billion-dollar insurance policy on her throat?! 😭😩 We need scientists to study this woman’s voice! I’m not doing too much. When I say… her voice? I’m almost afraid to even speak on it because I cherish it so much. But what I will say is, thank you, God, for giving her that gift. Not just to heal herself but to help heal the world. And yes, she’s doing that. As someone who lost my sense of self nearly two years ago when my entire world shattered, when my Mom transitioned, Cowboy Carter healed a part of me I’d been searching for. It reminded me who the f**k I am. Thank you, Beyoncé. Ty. 🫡 Salud. This show MUST be seen in person. No livestream, no video is going to match this otherworldly experience. Maybe a concert film could come close because she’s a visionary genius but this is the kind of concert we’ll hear about in future documentaries. I’m not exaggerating. I promise you. Go see that damn concert! Beyoncé, you owe me nothing. Act III is about to devour. 😉 Y’all, Beyoncé is the GOAT.

Josh P. Jackson

137,743 просмотров • 1 год назад

She Never Sounds Like She’s Begging. That’s What Makes It Hurt. There is something almost strange about watching Sade sing “No Ordinary Love” live. The song is about wanting someone who has not given you the same kind of love in return. On paper, it could easily become dramatic. A bigger voice, more emotion, more pleading. But Sade goes in the opposite direction. She barely seems to chase the song at all. Her voice stays low, calm, and remarkably controlled. Even when the lyrics become more vulnerable, she doesn’t push them toward us. She lets them sit there. It feels less like someone asking to be loved and more like someone finally admitting how much they have already given. That changes the entire mood. Listen to the way she delivers the title, “No Ordinary Love.” There is no great vocal explosion behind it. The words almost sound like a private conclusion she has reached for herself. And that may be the most interesting thing about Sade as a performer. She understands that sadness does not always sound sad. Sometimes sadness sounds tired. Sometimes it sounds like someone who has repeated the same story so many times that there is no energy left to explain it. That restraint gives the performance a strange intimacy. You feel as if you are overhearing something rather than being performed to. The band helps create that feeling. Everything moves slowly, but nothing feels empty. The groove keeps pulling forward while the voice seems suspended above it. The result is almost hypnotic — beautiful on the surface, quietly painful underneath. And then there is the title itself. “No Ordinary Love” sounds romantic at first. But the longer you sit with the song, the phrase starts to feel less like a celebration and more like a defense. Maybe she is saying: What I gave you was not ordinary. And perhaps there is another thought hiding underneath: So why wasn't it enough? That is where the song becomes much more human than a simple love song. Most heartbreak songs want you to see the wound. Sade does something more difficult. She keeps the wound covered. You hear it anyway. Decades later, that may be why this performance still feels so modern. Nothing is exaggerated. Nothing is forced. She simply stands inside the song and lets the silence between the words do some of the work.

She Never Sounds Like She’s Begging. That’s What Makes It Hurt. There is something almost strange about watching Sade sing “No Ordinary Love” live. The song is about wanting someone who has not given you the same kind of love in return. On paper, it could easily become dramatic. A bigger voice, more emotion, more pleading. But Sade goes in the opposite direction. She barely seems to chase the song at all. Her voice stays low, calm, and remarkably controlled. Even when the lyrics become more vulnerable, she doesn’t push them toward us. She lets them sit there. It feels less like someone asking to be loved and more like someone finally admitting how much they have already given. That changes the entire mood. Listen to the way she delivers the title, “No Ordinary Love.” There is no great vocal explosion behind it. The words almost sound like a private conclusion she has reached for herself. And that may be the most interesting thing about Sade as a performer. She understands that sadness does not always sound sad. Sometimes sadness sounds tired. Sometimes it sounds like someone who has repeated the same story so many times that there is no energy left to explain it. That restraint gives the performance a strange intimacy. You feel as if you are overhearing something rather than being performed to. The band helps create that feeling. Everything moves slowly, but nothing feels empty. The groove keeps pulling forward while the voice seems suspended above it. The result is almost hypnotic — beautiful on the surface, quietly painful underneath. And then there is the title itself. “No Ordinary Love” sounds romantic at first. But the longer you sit with the song, the phrase starts to feel less like a celebration and more like a defense. Maybe she is saying: What I gave you was not ordinary. And perhaps there is another thought hiding underneath: So why wasn't it enough? That is where the song becomes much more human than a simple love song. Most heartbreak songs want you to see the wound. Sade does something more difficult. She keeps the wound covered. You hear it anyway. Decades later, that may be why this performance still feels so modern. Nothing is exaggerated. Nothing is forced. She simply stands inside the song and lets the silence between the words do some of the work.

Emotion & Music

16,628 просмотров • 19 дней назад

I say this with respect, because Dhirendra Shastri Maharaj ji has brought lakhs of people back towards Dharma. But he said this standing on Bengal’s soil, and Bengal has an answer he should hear. In Bengal, Ma is not an idea. She is a daughter. Durga Puja is Uma coming home to her father’s house after a year away, and Bengal receives her the way any mother receives a daughter who has been gone too long. The kitchen from Saptami morning, khichuri bhog on the veranda, mangsho on Nabami because that is what you cook when someone you love comes home. Birendra Krishna Bhadra’s voice at four in the morning on Mahalaya, half of Bengal weeping over a radio. The last touch on her face at Bijoya before she goes. This is a family reunion, not a moral examination. The Shakta path here has never separated devotion from blood. Kalighat, Tarapith, Dakshineswar, Sarbamangala at Bardhaman, bali on Ashtami and Nabami in courtyards across every district, all of it under the eyes of saints far greater than any of us. Sri Ramakrishna served Ma Kali at Dakshineswar and ate fish, and in a hundred and fifty years nobody has thought him a smaller saint for it. Bamakhepa lived at the Tarapith cremation ground on whatever was offered him. Vivekananda spent his life warning that we had shrunk religion into the kitchen, into what may be touched and what may not, until only the cooking pot remained. He said it as a Bengali, to Bengalis, because he loved them. And this is not Bengal alone. Stand at Kamakhya during Ambubachi and the same truth is carved into the hill. There Ma is worshipped as earth and blood and fertility, as the force that makes life continue at all, and Koch and Ahom kings protected and endowed that shrine for centuries. From Kalighat to Nilachal, the whole eastern Shakta belt rests on this understanding. To call it impure is to call the Peethas themselves impure. The egg row in mid day meals is fresh enough to remind us how such talk lands here. Poor children were being fed protein and it turned into a controversy. That anger was real, and it was entirely avoidable. Bengal did not give us its trust so that anyone could correct its Puja. It gave us that trust because we promised to protect what is hers. Sanatan Dharma has lasted a thousand years precisely because it never insisted on one plate, one calendar, one way of loving God. Maharaj ji would serve Dharma better by letting Bengal worship Ma as Bengal always has.

I say this with respect, because Dhirendra Shastri Maharaj ji has brought lakhs of people back towards Dharma. But he said this standing on Bengal’s soil, and Bengal has an answer he should hear. In Bengal, Ma is not an idea. She is a daughter. Durga Puja is Uma coming home to her father’s house after a year away, and Bengal receives her the way any mother receives a daughter who has been gone too long. The kitchen from Saptami morning, khichuri bhog on the veranda, mangsho on Nabami because that is what you cook when someone you love comes home. Birendra Krishna Bhadra’s voice at four in the morning on Mahalaya, half of Bengal weeping over a radio. The last touch on her face at Bijoya before she goes. This is a family reunion, not a moral examination. The Shakta path here has never separated devotion from blood. Kalighat, Tarapith, Dakshineswar, Sarbamangala at Bardhaman, bali on Ashtami and Nabami in courtyards across every district, all of it under the eyes of saints far greater than any of us. Sri Ramakrishna served Ma Kali at Dakshineswar and ate fish, and in a hundred and fifty years nobody has thought him a smaller saint for it. Bamakhepa lived at the Tarapith cremation ground on whatever was offered him. Vivekananda spent his life warning that we had shrunk religion into the kitchen, into what may be touched and what may not, until only the cooking pot remained. He said it as a Bengali, to Bengalis, because he loved them. And this is not Bengal alone. Stand at Kamakhya during Ambubachi and the same truth is carved into the hill. There Ma is worshipped as earth and blood and fertility, as the force that makes life continue at all, and Koch and Ahom kings protected and endowed that shrine for centuries. From Kalighat to Nilachal, the whole eastern Shakta belt rests on this understanding. To call it impure is to call the Peethas themselves impure. The egg row in mid day meals is fresh enough to remind us how such talk lands here. Poor children were being fed protein and it turned into a controversy. That anger was real, and it was entirely avoidable. Bengal did not give us its trust so that anyone could correct its Puja. It gave us that trust because we promised to protect what is hers. Sanatan Dharma has lasted a thousand years precisely because it never insisted on one plate, one calendar, one way of loving God. Maharaj ji would serve Dharma better by letting Bengal worship Ma as Bengal always has.

Oxomiya Jiyori 🇮🇳

11,453 просмотров • 14 дней назад

I Will Always Love You: When a Song Left Dolly Parton’s Hands There’s a small moment in the history of “I Will Always Love You” that I’ve always found more beautiful than any of the record-breaking numbers. Dolly Parton was driving when Whitney Houston’s version of her own song came on the radio. At one point the emotion hit so hard she had to pull over because she was afraid she’d crash. “I couldn’t believe how she did that,” Dolly later said. She wasn’t just hearing another singer cover her song. She was hearing something familiar become something she no longer fully recognized. What’s worth remembering is that “I Will Always Love You” was never written to be a pop power ballad. Dolly wrote it in the early 1970s, at the moment she decided to leave *The Porter Wagoner Show* and step out on her own. The song was a farewell to Wagoner—painful, but deliberately free of bitterness. Dolly’s own recording went to No. 1 on the country charts. And one detail shows how clearly Dolly already understood the song’s value. Elvis Presley wanted to record it. Dolly was thrilled at the thought of Elvis singing her song. Then Colonel Tom Parker demanded half the publishing. Dolly said no, even though the decision broke her heart. She knew she wasn’t just selling a song—she was giving away ownership of the most important copyright in her publishing company. Looking back, that may have been one of the most important decisions in the song’s history. Because nearly twenty years later, Whitney Houston arrived. Kevin Costner pushed for “I Will Always Love You” in *The Bodyguard*, and the most important idea turned out to be the one that looked like the least: letting Whitney begin almost alone, with no band behind her. David Foster initially wanted to cut the a cappella opening. After hearing Whitney sing it, he realized there was no other way to start the song. This is where the cover becomes a masterclass in arrangement. That opening silence doesn’t just spotlight Whitney’s voice. It strips away everything that could protect or cushion the singer. No drums. No strings. No piano to create a sense of safety. Only tone, breath, pitch, and space. Then the layers enter one by one. The vocal moves from restraint into power. A saxophone opens a different color. Then comes the key change near the end. According to analysis from Berklee, that modulation lifts the song a whole step, and it’s especially effective because Whitney’s voice almost leads the listener into the new key before the instruments fully follow. It’s a familiar pop device—but here it never feels like a cheap trick designed to get a reaction. It feels like the emotion has simply outgrown the old key. And that, more than anything, is the difference between Dolly and Whitney. Dolly sings the song like a goodbye someone might speak very quietly. Whitney sings it as if that same goodbye has been growing inside for years and can no longer stay contained. Same melody. Same story. Two completely different emotional rooms. Whitney didn’t erase Dolly from the song. She made listeners go back to Dolly. The more you hear Whitney’s version, the more you appreciate the strength of the original writing: a melody simple enough to survive a total rebirth, and lyrics precise enough to keep their meaning when carried from country into soul, pop, and gospel. In 1992, Whitney’s version spent 14 consecutive weeks at No. 1 on the Billboard Hot 100—a record at the time. But its success went far beyond the charts. It turned a song Dolly wrote as a professional goodbye into one of the definitive recordings of the person who sang it. Then the story returned to Nashville. Dolly has said that the money she made from Whitney’s version—estimated by Forbes at around $10 million in the 1990s—went toward buying a commercial complex in a predominantly Black neighborhood outside the familiar Music Row area. She gave it a name that almost summarizes the entire story: “the house that Whitney built.” I like how the story ends there. Not with a luxury car. Not with a mansion named after a hit. But with a piece of real estate in Nashville where Dolly said she wanted to be “with Whitney’s people,” people she also considered her own. A song begins when one woman says goodbye to the man who helped shape her career. Another woman takes it, changes the way the song breathes, expands its scale, and carries it to millions of listeners. And in the end, the rewards of that version circle back to the city where Dolly first wrote the song. Maybe that’s what makes “I Will Always Love You” special to me. A great songwriter knows how to write a song. A great artist knows how to make it her own. But sometimes the real miracle comes afterward: the song becomes large enough that the writer can stand outside it, listen to someone else sing it, and still find herself inside it. Dolly once said she wished she could have sung the song with Whitney. She also joked that Whitney would have outsung her for sure. That comment feels pure Dolly. No claim of ownership. No attempt to reclaim the spotlight. Just a quiet smile at a song that traveled farther than anyone could have planned—and the recognition that, somewhere, it was still her little song.

I Will Always Love You: When a Song Left Dolly Parton’s Hands There’s a small moment in the history of “I Will Always Love You” that I’ve always found more beautiful than any of the record-breaking numbers. Dolly Parton was driving when Whitney Houston’s version of her own song came on the radio. At one point the emotion hit so hard she had to pull over because she was afraid she’d crash. “I couldn’t believe how she did that,” Dolly later said. She wasn’t just hearing another singer cover her song. She was hearing something familiar become something she no longer fully recognized. What’s worth remembering is that “I Will Always Love You” was never written to be a pop power ballad. Dolly wrote it in the early 1970s, at the moment she decided to leave The Porter Wagoner Show and step out on her own. The song was a farewell to Wagoner—painful, but deliberately free of bitterness. Dolly’s own recording went to No. 1 on the country charts. And one detail shows how clearly Dolly already understood the song’s value. Elvis Presley wanted to record it. Dolly was thrilled at the thought of Elvis singing her song. Then Colonel Tom Parker demanded half the publishing. Dolly said no, even though the decision broke her heart. She knew she wasn’t just selling a song—she was giving away ownership of the most important copyright in her publishing company. Looking back, that may have been one of the most important decisions in the song’s history. Because nearly twenty years later, Whitney Houston arrived. Kevin Costner pushed for “I Will Always Love You” in The Bodyguard, and the most important idea turned out to be the one that looked like the least: letting Whitney begin almost alone, with no band behind her. David Foster initially wanted to cut the a cappella opening. After hearing Whitney sing it, he realized there was no other way to start the song. This is where the cover becomes a masterclass in arrangement. That opening silence doesn’t just spotlight Whitney’s voice. It strips away everything that could protect or cushion the singer. No drums. No strings. No piano to create a sense of safety. Only tone, breath, pitch, and space. Then the layers enter one by one. The vocal moves from restraint into power. A saxophone opens a different color. Then comes the key change near the end. According to analysis from Berklee, that modulation lifts the song a whole step, and it’s especially effective because Whitney’s voice almost leads the listener into the new key before the instruments fully follow. It’s a familiar pop device—but here it never feels like a cheap trick designed to get a reaction. It feels like the emotion has simply outgrown the old key. And that, more than anything, is the difference between Dolly and Whitney. Dolly sings the song like a goodbye someone might speak very quietly. Whitney sings it as if that same goodbye has been growing inside for years and can no longer stay contained. Same melody. Same story. Two completely different emotional rooms. Whitney didn’t erase Dolly from the song. She made listeners go back to Dolly. The more you hear Whitney’s version, the more you appreciate the strength of the original writing: a melody simple enough to survive a total rebirth, and lyrics precise enough to keep their meaning when carried from country into soul, pop, and gospel. In 1992, Whitney’s version spent 14 consecutive weeks at No. 1 on the Billboard Hot 100—a record at the time. But its success went far beyond the charts. It turned a song Dolly wrote as a professional goodbye into one of the definitive recordings of the person who sang it. Then the story returned to Nashville. Dolly has said that the money she made from Whitney’s version—estimated by Forbes at around $10 million in the 1990s—went toward buying a commercial complex in a predominantly Black neighborhood outside the familiar Music Row area. She gave it a name that almost summarizes the entire story: “the house that Whitney built.” I like how the story ends there. Not with a luxury car. Not with a mansion named after a hit. But with a piece of real estate in Nashville where Dolly said she wanted to be “with Whitney’s people,” people she also considered her own. A song begins when one woman says goodbye to the man who helped shape her career. Another woman takes it, changes the way the song breathes, expands its scale, and carries it to millions of listeners. And in the end, the rewards of that version circle back to the city where Dolly first wrote the song. Maybe that’s what makes “I Will Always Love You” special to me. A great songwriter knows how to write a song. A great artist knows how to make it her own. But sometimes the real miracle comes afterward: the song becomes large enough that the writer can stand outside it, listen to someone else sing it, and still find herself inside it. Dolly once said she wished she could have sung the song with Whitney. She also joked that Whitney would have outsung her for sure. That comment feels pure Dolly. No claim of ownership. No attempt to reclaim the spotlight. Just a quiet smile at a song that traveled farther than anyone could have planned—and the recognition that, somewhere, it was still her little song.

Music over time🎻

22,064 просмотров • 28 дней назад