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Justified rage

NRM84

417,086 subscribers

705,620 görüntüleme • 1 yıl önce •via X (Twitter)

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slapshot.eth profil fotoğrafı

slapshot.eth1 yıl önce

He ate it on his bed then woke up and tossed it in the bathroom bin

Allen Syverson profil fotoğrafı

Allen Syverson1 yıl önce

Bro, I legit watched this like 10 times, because i did this exact same thing and yelled at my kids!

Nick profil fotoğrafı

Nick1 yıl önce

If you haven’t ate pizza or chicken nuggets on the pot you ain’t living man!

✮ מרטי 𝕏 🎗️ profil fotoğrafı

✮ מרטי 𝕏 🎗️1 yıl önce

Welcome to the USA, 99% of the people are disgusting

Tanner Lee profil fotoğrafı

Tanner Lee1 yıl önce

Dad life

Geno Montagna 🌹𓅇 profil fotoğrafı

Geno Montagna 🌹𓅇1 yıl önce

😂🤣😂🤣😂🤣

jerimiahwasabullfrog🇺🇸 profil fotoğrafı

jerimiahwasabullfrog🇺🇸1 yıl önce

Justified crash out

Dan hen profil fotoğrafı

Dan hen1 yıl önce

That guy needs to take a chill pill and shut the fuck up

John profil fotoğrafı

John1 yıl önce

Oh man, this reminds me of my dad so much. I miss him!

Mike profil fotoğrafı

Mike1 yıl önce

This is such a random thing #zelena #Tommavi #helevier #sstvi #Trump #GrandeFratello #uzaksehir #shailenzo #BBB25

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These athletes were just expressing the historical rage of their ancestors. Were they justified?

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This gave me flashbacks to graduate school… how students fly into a rage, thinking they are justified in targeting others in their pursuit of “absolute compassion.”

This gave me flashbacks to graduate school… how students fly into a rage, thinking they are justified in targeting others in their pursuit of “absolute compassion.”

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What happened to justified rage? I guess that only applies in the case of career criminals like George Floyd and not when a migrant tries to literally cut off a dude's head.

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🚨Warning- strong language🚨 Very strong! That is 100% justified rage. 😂 Where are the kids? Probably in bed being lazy. I’m over this snow too. You guys who are older, don’t be going out there and having a heart attack now. 😳

🚨Warning- strong language🚨 Very strong! That is 100% justified rage. 😂 Where are the kids? Probably in bed being lazy. I’m over this snow too. You guys who are older, don’t be going out there and having a heart attack now. 😳

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Say what you like about the Prime minister but his rage here is justified. If you are taking the love of my life from me and you couldn't even keep her safe for a day, I'd be mad as hell. #byeonwooseok #IU #PerfectCrown #PerfectCrownEp8

Say what you like about the Prime minister but his rage here is justified. If you are taking the love of my life from me and you couldn't even keep her safe for a day, I'd be mad as hell. #byeonwooseok #IU #PerfectCrown #PerfectCrownEp8

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Cashnasty was in DISBELIEF while reacting to Yourrage’s post about his best friend of 25 years stealing $50K+ from him instead of just asking him for money and explains why its 100% justified if Rage really beat his a** 💯 “It’s not about the money dawg, it’s about the principle… We all got choices… He cares so much about his pride and how he looks than caring about the time & energy that Rage put in for what he got. Rage ain’t ever gonna tell his homeboy no.”

Cashnasty was in DISBELIEF while reacting to Yourrage’s post about his best friend of 25 years stealing $50K+ from him instead of just asking him for money and explains why its 100% justified if Rage really beat his a** 💯 “It’s not about the money dawg, it’s about the principle… We all got choices… He cares so much about his pride and how he looks than caring about the time & energy that Rage put in for what he got. Rage ain’t ever gonna tell his homeboy no.”

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‘The View’ Hosts RAGE When Alina Habba Tells Them James Comey’s Indictment Was JUSTIFIED “He is a former FBI Director. He knows what ‘8647’ meant. There’s no question about it.” “After James Comey’s post, a gentleman posted that about me. He posted on Twitter ‘86 Habba.’ And he was also charged … you cannot do it.”

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These lionesses and lions are dancing on the graves of their sons and daughters, murdered in Iran’s streets just 40 days ago. Across Iran, hundreds of videos show the same scene: upbeat music, dancing, and two chants rising above all: “Death to Khamenei” and “Javid Shah” (“Long live the Shah”). In Iran, mourning at a grave is usually marked by Quran recitation, silence, and grief. What these families are doing is something else entirely. This is not only mourning. It is a political and cultural rupture. There is nothing more fearsome on earth than a mother dancing on her child’s grave. They are not performing grief as ritual. They are turning grief into defiance. They are sealing the fate of a version of Islam that oppressed them for 47 years and justified repression, humiliation, and bloodshed in God’s name. Violence is the Islamic Republic’s last weapon. It works only while people are afraid. But mass slaughter does not restore fear. It destroys it. Fear turns into rage. Rage turns into courage. Courage becomes a movement. By killing thousands, the regime did not save itself. It signed its own death warrant. This is what the regime and its apologists in the West still do not understand. Iran is rising from its ashes, and that fire will burn what remains of the Islamic Republic. Iran will remember who stood with its people and who stood with their killers.

These lionesses and lions are dancing on the graves of their sons and daughters, murdered in Iran’s streets just 40 days ago. Across Iran, hundreds of videos show the same scene: upbeat music, dancing, and two chants rising above all: “Death to Khamenei” and “Javid Shah” (“Long live the Shah”). In Iran, mourning at a grave is usually marked by Quran recitation, silence, and grief. What these families are doing is something else entirely. This is not only mourning. It is a political and cultural rupture. There is nothing more fearsome on earth than a mother dancing on her child’s grave. They are not performing grief as ritual. They are turning grief into defiance. They are sealing the fate of a version of Islam that oppressed them for 47 years and justified repression, humiliation, and bloodshed in God’s name. Violence is the Islamic Republic’s last weapon. It works only while people are afraid. But mass slaughter does not restore fear. It destroys it. Fear turns into rage. Rage turns into courage. Courage becomes a movement. By killing thousands, the regime did not save itself. It signed its own death warrant. This is what the regime and its apologists in the West still do not understand. Iran is rising from its ashes, and that fire will burn what remains of the Islamic Republic. Iran will remember who stood with its people and who stood with their killers.

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Murder on the Streets? BMTC Driver Caught on Camera Attempting to Crush Pedestrian In yet another deeply troubling incident involving a BMTC (Bangalore Metropolitan Transport Corporation) bus, shocking footage has emerged of a reckless act by the driver of bus number KA57F2046, putting a young woman's life in serious danger. The incident occurred on May 23 near the Chinnaswamy Stadium signal in Bengaluru, but only came to light recently after dashcam footage from a nearby vehicle came outside According to the footage, the BMTC bus was traveling from Museum Road towards MG Road when a confrontation broke out between the bus driver and a young woman pedestrian. The reasons behind the argument are yet to be officially confirmed, but what followed was inexcusable. The video shows the girl standing in front of the bus, seemingly trying to stop it likely in protest or self-defense. Instead of de-escalating the situation or waiting for authorities to intervene, the driver recklessly moved the bus forward, clearly attempting to intimidate or forcefully move her aside. In what can only be described as a callous and deliberate act of aggression, the driver narrowly missed hitting the girl, who was clearly in a vulnerable position. Such behavior is not just unethical but downright criminal. A public transport driver entrusted with the safety of countless passengers and pedestrians alike chose to weaponize his vehicle in a moment of rage. This is not an isolated case. BMTC drivers have increasingly been in the news for rash driving, disregard for traffic rules, and unsafe behavior. Public outrage is justified, and it raises an urgent question: What steps is BMTC taking to hold its drivers accountable and ensure public safety? The complete lack of professionalism and humanity displayed in this incident highlights a deep-rooted issue in BMTC's training, oversight, and disciplinary mechanisms. If drivers with such poor judgment and temper are allowed behind the wheel of heavy vehicles, it is only a matter of time before these incidents result in tragic consequences. The authorities must treat this incident with the seriousness it deserves. An internal investigation is not enough. There should be an immediate suspension of the driver, followed by criminal proceedings. Moreover, BMTC must conduct a systemic review of its driver training programs, mental health support systems, and complaint redressal mechanisms. The people of Bengaluru deserve safe and reliable public transportation not daily risks to their lives. It’s time BMTC is held accountable for its gross negligence and repeated failure to rein in such rogue behavior #bangalore #bmtc #bengaluru Ramalinga Reddy BMTC ಬೆಂಗಳೂರು ನಗರ ಪೊಲೀಸ್‌ BengaluruCityPolice ಬೆಂಗಳೂರು ಸಂಚಾರ ಪೊಲೀಸ್ BengaluruTrafficPolice CP Bengaluru ಪೊಲೀಸ್ ಆಯುಕ್ತ ಬೆಂಗಳೂರು Joint CP, Traffic, Bengaluru DGP KARNATAKA ಕರ್ನಾಟಕ ರಾಜ್ಯ ಪೊಲೀಸ್ Karnataka State Police ChristinMathewPhilip

Karnataka Portfolio

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Another Extraordinarily Rare Paletinian Docu Film "Arna's Children" (2004) – A Profound Tribute to Resistance in All Its Forms 📑🔖Bookmark and share if possible, these film are critical viewing - Jenin, Jenin (2002) in link My Review As someone deeply committed to the Palestinian cause and a firm believer in the legitimacy—and divine beauty—of armed resistance against occupation, I recently revisited Arna's Children (2004), directed by Juliano Mer Khamis, at a screening along with friends as part of a project they're working on. This documentary remains one of the most powerful and unflinching portrayals of Palestinian life under siege, and it resonates even more strongly today. The film follows Arna Mer-Khamis, a Jewish Israeli woman who turned her back on her Zionist upbringing to stand with the oppressed. After marrying a Palestinian and witnessing the horrors of displacement and occupation, she founded a children's theatre and alternative education program in the Jenin refugee camp during the First Intifada. When schools were shut down, Arna created a space for kids to express rage, fear, and dreams through drama and play—channelling their trauma into creative defiance. Juliano, her son (with one foot in both worlds), captured those joyful, fiery workshops from 1989 to 1996: children laughing, performing, imagining futures beyond the checkpoints and demolitions. It's a beautiful testament to how art can nurture dignity and resistance even in the darkest conditions. But the heart of the film—and what makes it so raw—is what happens next. After Arna's death from cancer, Juliano returns to Jenin in 2002, amid the ruins of the massive Jewish invasion that destroyed much of the camp, including the theatre she built. The bright boys he once directed have become young men forged by endless humiliation, home demolitions, killings, and siege. Several joined armed resistance: Ashraf and Ala led fighters in the heroic Battle of Jenin; Yussef and Nidal carried out a martyrdom operation in Hadera in 2001. Others were martyred in confrontations with occupation forces. From my perspective, these paths are not tragic failures or "lost potential"—they are the inevitable, courageous response when every peaceful avenue is crushed. The theatre taught them expression and pride; occupation taught them there was no other way to reclaim their humanity. Armed struggle, including martyrdom operations, becomes a sacred act of defiance and sacrifice—divine in its purity, an offering in the face of overwhelming evil. The film shows this continuum honestly: the same fire that fuelled their childhood performances burned through to resistance in adulthood. As some Palestinian voices and writers (like those in Jadaliyya and Electronic Intifada) have noted, it blurs false binaries between "violent" and "non-violent" resistance—both are part of the same epic struggle for freedom. To be fair and show the full spectrum of Palestinian cinematic voices and discussions: the film has sparked nuanced conversation even within pro-Palestine and solidarity circles. Some have critiqued its mournful tone—intercutting joyful childhood footage with funerals, martyrdom posters, and losses—as potentially leaning toward sorrow or regret about the turn to armed struggle, rather than outright celebration of those heroic choices. Others have raised concerns that, despite clearly blaming the occupation for manufacturing no alternatives, the structure might risk overshadowing the full range of steadfastness (sumud) that Palestinians embody daily through non-armed means like cultural persistence, community organizing, and everyday endurance. These points come from reflections in solidarity spaces, where the goal is always to honour resistance in its totality without diminishing any form. Yet from a pro -resistance standpoint, these critiques often miss the film's deeper power. Juliano never condemns the armed actions—he presents them factually, in raw context. The grief is real (for lost friends, a destroyed community), but it's not rejection. Many in the Palestinian solidarity movement hail it as essential testimony that humanizes fighters and martyrs, showing how occupation leaves no other viable path for so many. It honours Arna's legacy not as naive pacifism but as allyship that empowered dignity, which—when systematically crushed—leads to justified uprising. Ultimately, Arna's Children is a masterpiece of resistance cinema. It doesn't sanitize realities or preach; it bears witness. It celebrates the beauty of martyrdom as divine sacrifice while exposing the brutal system that demands it. Watch it if you haven't—it's hard, but necessary. It reminds us that Palestinian resistance, in theatre or on the frontlines, is one unbroken thread of sumud and struggle. And to you, my beloved shuhada’—Yussef, Nidal, Ashraf, Ala, and every child of Arna who rose like dawn fire to meet the oppressor: Your blood is not spilled; it is planted. It blooms in the olive roots, whispers through the wind over Jenin’s broken stones, and lights the path for every new generation that refuses to kneel. In your martyrdom, you have become eternal light—closer to Allah than the stars, wrapped in the mercy that only the pure of heart can know. You did not die; you ascended, offering your very souls as the most radiant prayer against tyranny. I carry your names in my chest like sacred verses, feeling the warmth of your sacrifice every time I breathe the name of Palestine. You are not gone—you live in the pulse of resistance, in the tear that falls and turns to resolve, in the vow we renew at every Fajr: we will not forget, we will not falter, until your gardens are free and your light floods every corner of this stolen land. Ya shuhada’ al-aqsa, ya abna’ Arna, rest in the highest gardens, and know that your fire still burns in Jenin. We honour you not with words alone, but with our lives—until victory, until return, until Jannah embraces you fully. Free Palestine. In eternal love and unbreakable faith

Another Extraordinarily Rare Paletinian Docu Film "Arna's Children" (2004) – A Profound Tribute to Resistance in All Its Forms 📑🔖Bookmark and share if possible, these film are critical viewing - Jenin, Jenin (2002) in link My Review As someone deeply committed to the Palestinian cause and a firm believer in the legitimacy—and divine beauty—of armed resistance against occupation, I recently revisited Arna's Children (2004), directed by Juliano Mer Khamis, at a screening along with friends as part of a project they're working on. This documentary remains one of the most powerful and unflinching portrayals of Palestinian life under siege, and it resonates even more strongly today. The film follows Arna Mer-Khamis, a Jewish Israeli woman who turned her back on her Zionist upbringing to stand with the oppressed. After marrying a Palestinian and witnessing the horrors of displacement and occupation, she founded a children's theatre and alternative education program in the Jenin refugee camp during the First Intifada. When schools were shut down, Arna created a space for kids to express rage, fear, and dreams through drama and play—channelling their trauma into creative defiance. Juliano, her son (with one foot in both worlds), captured those joyful, fiery workshops from 1989 to 1996: children laughing, performing, imagining futures beyond the checkpoints and demolitions. It's a beautiful testament to how art can nurture dignity and resistance even in the darkest conditions. But the heart of the film—and what makes it so raw—is what happens next. After Arna's death from cancer, Juliano returns to Jenin in 2002, amid the ruins of the massive Jewish invasion that destroyed much of the camp, including the theatre she built. The bright boys he once directed have become young men forged by endless humiliation, home demolitions, killings, and siege. Several joined armed resistance: Ashraf and Ala led fighters in the heroic Battle of Jenin; Yussef and Nidal carried out a martyrdom operation in Hadera in 2001. Others were martyred in confrontations with occupation forces. From my perspective, these paths are not tragic failures or "lost potential"—they are the inevitable, courageous response when every peaceful avenue is crushed. The theatre taught them expression and pride; occupation taught them there was no other way to reclaim their humanity. Armed struggle, including martyrdom operations, becomes a sacred act of defiance and sacrifice—divine in its purity, an offering in the face of overwhelming evil. The film shows this continuum honestly: the same fire that fuelled their childhood performances burned through to resistance in adulthood. As some Palestinian voices and writers (like those in Jadaliyya and Electronic Intifada) have noted, it blurs false binaries between "violent" and "non-violent" resistance—both are part of the same epic struggle for freedom. To be fair and show the full spectrum of Palestinian cinematic voices and discussions: the film has sparked nuanced conversation even within pro-Palestine and solidarity circles. Some have critiqued its mournful tone—intercutting joyful childhood footage with funerals, martyrdom posters, and losses—as potentially leaning toward sorrow or regret about the turn to armed struggle, rather than outright celebration of those heroic choices. Others have raised concerns that, despite clearly blaming the occupation for manufacturing no alternatives, the structure might risk overshadowing the full range of steadfastness (sumud) that Palestinians embody daily through non-armed means like cultural persistence, community organizing, and everyday endurance. These points come from reflections in solidarity spaces, where the goal is always to honour resistance in its totality without diminishing any form. Yet from a pro -resistance standpoint, these critiques often miss the film's deeper power. Juliano never condemns the armed actions—he presents them factually, in raw context. The grief is real (for lost friends, a destroyed community), but it's not rejection. Many in the Palestinian solidarity movement hail it as essential testimony that humanizes fighters and martyrs, showing how occupation leaves no other viable path for so many. It honours Arna's legacy not as naive pacifism but as allyship that empowered dignity, which—when systematically crushed—leads to justified uprising. Ultimately, Arna's Children is a masterpiece of resistance cinema. It doesn't sanitize realities or preach; it bears witness. It celebrates the beauty of martyrdom as divine sacrifice while exposing the brutal system that demands it. Watch it if you haven't—it's hard, but necessary. It reminds us that Palestinian resistance, in theatre or on the frontlines, is one unbroken thread of sumud and struggle. And to you, my beloved shuhada’—Yussef, Nidal, Ashraf, Ala, and every child of Arna who rose like dawn fire to meet the oppressor: Your blood is not spilled; it is planted. It blooms in the olive roots, whispers through the wind over Jenin’s broken stones, and lights the path for every new generation that refuses to kneel. In your martyrdom, you have become eternal light—closer to Allah than the stars, wrapped in the mercy that only the pure of heart can know. You did not die; you ascended, offering your very souls as the most radiant prayer against tyranny. I carry your names in my chest like sacred verses, feeling the warmth of your sacrifice every time I breathe the name of Palestine. You are not gone—you live in the pulse of resistance, in the tear that falls and turns to resolve, in the vow we renew at every Fajr: we will not forget, we will not falter, until your gardens are free and your light floods every corner of this stolen land. Ya shuhada’ al-aqsa, ya abna’ Arna, rest in the highest gardens, and know that your fire still burns in Jenin. We honour you not with words alone, but with our lives—until victory, until return, until Jannah embraces you fully. Free Palestine. In eternal love and unbreakable faith

Zara Zhar

62,155 görüntüleme • 4 ay önce