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🔪🥩 Sharing Facts and a Snack ❤️🩸 Bob has met another individual with interesting facts to sink his teeth into~ Art: 🔞 EwGrossDani 🔞 Additional Voice: 🎨🎙🔞 prima but NSFW A/V Editing: Jellyfish (Transmasc VA) #spookymonth #SpookyMonthBob #bobvelseb #bobvelsebnsfw #spookymonthnsfw

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Beyond a simple ‘comeback,’ it’s an ‘evolution’” V’s voice has grown deeper and stronger - A look into Taehyung’s Rolling Stone interview 👩🏻 We’ve prepared a time to look into the very deep and sincere inner thoughts of BTS V, an artist loved all over the world. Recently, through an interview with the American music magazine Rolling Stone, he opened up about his music, acting, and the reflections he had during military service. It was filled with another side of Kim Taehyung as a person, different from the glamorous image seen on stage. In this interview, V clearly revealed his own philosophy toward acting and music. What was interesting is that he does not see acting and music as separate fields. V said that he approaches both acting and music with the same mindset, showing his determination not to be confined to just one genre. In fact, many of us still strongly remember his appearance in the drama Hwarang, but he shared his ambition to experience more diverse genres and roles in the future. Rather than settling into one fixed image, just as he shows different colors through music, he wants to take on a variety of characters in acting as well. It is a part that highlights V’s artistic perspective, as he sees acting too as an extension of music, a way of expressing his emotions. We also cannot leave out the story of military life, which many fans were curious about. V said that he viewed his military service not simply as time standing still, but as an opportunity to reorganize himself. He recalled it as a time to once again sort out what kind of person he ultimately wanted to become. At the center of that reflection were books. In this interview, V also surprisingly revealed his reading list. He shared that he immersed himself in Japanese mystery novels, especially works by Keigo Higashino, and also read books by author Han Kang after receiving recommendations. What was especially impressive was his mention of philosopher Choi Jin-seok’s book The Eleven Steps. He said that while reading this book, he reflected on his own life, and through those words, we could feel how deeply he had been strengthening his inner self during that time. Although his body was in the military, it seems his heart was traveling through a wider world through books and music. These experiences of reading and reflection naturally led into his own music work. Regarding his first solo album Layover, V said that he needed the experience of looking back on the moments he had walked through as BTS V, defining the album as the result that explains himself. He showed even more special affection when talking about the mentioned Arirang album. He said, “This album was truly the color and genre I wanted and pursued,” emphasizing how sincerely he approached every step of the process. Because so much affection was poured into it, it is evaluated as containing the musical direction V has long envisioned for himself. Not as a member of a group, but as a solo artist, it was an interview that conveyed his confidence in presenting the genre he does best and loves the most to the public. A healthy body strengthened through exercise, a deeper mind through reading, and a firmer artistic perspective, this interview showed that what V will present in the future will not simply be a comeback, but an evolution. V, who is unafraid of any genre or any role and intends to move forward at his own pace, we are already looking forward to what kind of emotion his deeper and stronger voice will bring us. (🔗 (🔗 #V #뷔 #BTSV #Taehyung #KimTaehyung
3:31

Beyond a simple ‘comeback,’ it’s an ‘evolution’” V’s voice has grown deeper and stronger - A look into Taehyung’s Rolling Stone interview 👩🏻 We’ve prepared a time to look into the very deep and sincere inner thoughts of BTS V, an artist loved all over the world. Recently, through an interview with the American music magazine Rolling Stone, he opened up about his music, acting, and the reflections he had during military service. It was filled with another side of Kim Taehyung as a person, different from the glamorous image seen on stage. In this interview, V clearly revealed his own philosophy toward acting and music. What was interesting is that he does not see acting and music as separate fields. V said that he approaches both acting and music with the same mindset, showing his determination not to be confined to just one genre. In fact, many of us still strongly remember his appearance in the drama Hwarang, but he shared his ambition to experience more diverse genres and roles in the future. Rather than settling into one fixed image, just as he shows different colors through music, he wants to take on a variety of characters in acting as well. It is a part that highlights V’s artistic perspective, as he sees acting too as an extension of music, a way of expressing his emotions. We also cannot leave out the story of military life, which many fans were curious about. V said that he viewed his military service not simply as time standing still, but as an opportunity to reorganize himself. He recalled it as a time to once again sort out what kind of person he ultimately wanted to become. At the center of that reflection were books. In this interview, V also surprisingly revealed his reading list. He shared that he immersed himself in Japanese mystery novels, especially works by Keigo Higashino, and also read books by author Han Kang after receiving recommendations. What was especially impressive was his mention of philosopher Choi Jin-seok’s book The Eleven Steps. He said that while reading this book, he reflected on his own life, and through those words, we could feel how deeply he had been strengthening his inner self during that time. Although his body was in the military, it seems his heart was traveling through a wider world through books and music. These experiences of reading and reflection naturally led into his own music work. Regarding his first solo album Layover, V said that he needed the experience of looking back on the moments he had walked through as BTS V, defining the album as the result that explains himself. He showed even more special affection when talking about the mentioned Arirang album. He said, “This album was truly the color and genre I wanted and pursued,” emphasizing how sincerely he approached every step of the process. Because so much affection was poured into it, it is evaluated as containing the musical direction V has long envisioned for himself. Not as a member of a group, but as a solo artist, it was an interview that conveyed his confidence in presenting the genre he does best and loves the most to the public. A healthy body strengthened through exercise, a deeper mind through reading, and a firmer artistic perspective, this interview showed that what V will present in the future will not simply be a comeback, but an evolution. V, who is unafraid of any genre or any role and intends to move forward at his own pace, we are already looking forward to what kind of emotion his deeper and stronger voice will bring us. (🔗 (🔗 #V #뷔 #BTSV #Taehyung #KimTaehyung

Taehyung Naver

30,260 views • 4 months ago

🚨BREAKING NEWS: Young Man Mistakenly Assumes He Has Rights Under Albanese Government — Promptly Shrugged Into Oblivion CANBERRA — In a tragic display of outdated thinking, a young straight white male made the laughable error of believing he had the right to ask his government a question. He spoke passionately — foolishly — about unaffordable housing, mass immigration, generational despair, and the fact that he and his peers are being systematically stripped of a future in the country their ancestors built. The response from the Prime Minister was swift and devastating: a dismissive shrug, delivered with the icy precision of a man who knows he’ll never be held accountable by the people he’s actively ignoring. This young man, clearly confused about his place in the Albanese hierarchy of needs, tried to express that “everyone [his] age is stressed out” and “this is our land.” Adorable. But until he identifies as a pansexual eco-feminist dolphin trapped in a colonialist human body, his voice is invalid, his concerns irrelevant, and his existence borderline offensive. In modern Australia, victimhood is currency — and this guy walked in broke. No oppression points. No media sympathy. Just the unbearable burden of self-reliance and the wrong skin tone. The message from the top is loud and clear: If you’re not a checkbox on a diversity form, you’re a non-person. Vote wisely. Or don’t. He won’t notice either way. Albo draws lewds 🔞🏳️‍🌈 #Election2025 #auspol #auspol25
0:56

🚨BREAKING NEWS: Young Man Mistakenly Assumes He Has Rights Under Albanese Government — Promptly Shrugged Into Oblivion CANBERRA — In a tragic display of outdated thinking, a young straight white male made the laughable error of believing he had the right to ask his government a question. He spoke passionately — foolishly — about unaffordable housing, mass immigration, generational despair, and the fact that he and his peers are being systematically stripped of a future in the country their ancestors built. The response from the Prime Minister was swift and devastating: a dismissive shrug, delivered with the icy precision of a man who knows he’ll never be held accountable by the people he’s actively ignoring. This young man, clearly confused about his place in the Albanese hierarchy of needs, tried to express that “everyone [his] age is stressed out” and “this is our land.” Adorable. But until he identifies as a pansexual eco-feminist dolphin trapped in a colonialist human body, his voice is invalid, his concerns irrelevant, and his existence borderline offensive. In modern Australia, victimhood is currency — and this guy walked in broke. No oppression points. No media sympathy. Just the unbearable burden of self-reliance and the wrong skin tone. The message from the top is loud and clear: If you’re not a checkbox on a diversity form, you’re a non-person. Vote wisely. Or don’t. He won’t notice either way. Albo draws lewds 🔞🏳️‍🌈 #Election2025 #auspol #auspol25

mdtlion

140,259 views • 1 year ago

It’s fascinating to me how the average fan can watch MLB catchers and say they are better from the #1Knee🗑️ stance. They clearly aren’t. Why would all the MLB teams be doing it if it wasn’t the best way? Answer… They have been brainwashed into thinking that stealing strikes is more important than controlling the running game or blocking. Shea Langeliers was the best catcher in the country coming out of college. He has a great arm and no one even tried running on him in college. In the Minor League Baseball he threw out 34% of potential base stealers. He got to Athletics and they put him on a knee to steal strikes. In 2025 he is throwing out 7%. Jonah Heim is another example. Jonah also has a great arm and threw out 36% of base stealers in the Minor League Baseball but he got to Texas Rangers and they put him on a knee, against his will, to steal strikes. In 2024 he allowed 98 SB with only 14 CS or 13%. MLB catchers aren’t catching on 1 knee because it’s the best way. They are catching on 1 knee because they have been forced to by their organizations who believe that stealing strikes outweighs controlling the running game and blocking. These are the facts! #shegone Not Gaetti Bob File Tony Wuench Bill Dubs Slider Domination Randy Johnson ROX ARROYO 𓂀 إسرافيل Matt Stark Mike Piazza Gary Bennett Todd Pratt Ivan Pudge Rodriguez Roger Clemens The Real Voices of the Game Productions Kevin Kernan Sal Marinello
2:51

It’s fascinating to me how the average fan can watch MLB catchers and say they are better from the #1Knee🗑️ stance. They clearly aren’t. Why would all the MLB teams be doing it if it wasn’t the best way? Answer… They have been brainwashed into thinking that stealing strikes is more important than controlling the running game or blocking. Shea Langeliers was the best catcher in the country coming out of college. He has a great arm and no one even tried running on him in college. In the Minor League Baseball he threw out 34% of potential base stealers. He got to Athletics and they put him on a knee to steal strikes. In 2025 he is throwing out 7%. Jonah Heim is another example. Jonah also has a great arm and threw out 36% of base stealers in the Minor League Baseball but he got to Texas Rangers and they put him on a knee, against his will, to steal strikes. In 2024 he allowed 98 SB with only 14 CS or 13%. MLB catchers aren’t catching on 1 knee because it’s the best way. They are catching on 1 knee because they have been forced to by their organizations who believe that stealing strikes outweighs controlling the running game and blocking. These are the facts! #shegone Not Gaetti Bob File Tony Wuench Bill Dubs Slider Domination Randy Johnson ROX ARROYO 𓂀 إسرافيل Matt Stark Mike Piazza Gary Bennett Todd Pratt Ivan Pudge Rodriguez Roger Clemens The Real Voices of the Game Productions Kevin Kernan Sal Marinello

Fryedaddy/Frito

331,228 views • 1 year ago

Exploring Bach’s BWV 1065: When a Musical Machine Begins to Beat with Life Some creations inspire awe not because they contain countless details, but because every detail within them works according to a precise order. A finely crafted mechanical clock is one such example. From the outside, we see only the hands moving quietly through time. Inside, however, an entire world is at work. Tiny gears transmit energy to one another. Different components perform different tasks. Some generate motion. Some regulate the rhythm. Some keep the entire mechanism in balance. The beauty of the clock does not lie in any single part. It lies in the way all of those small movements come together to create one continuous pulse. Johann Sebastian Bach’s BWV 1065 possesses a similar kind of beauty. From its very first notes, listeners sense more than the beginning of a melody. They sense a musical mechanism coming to life. Four harpsichords enter the conversation. Lines of music emerge, answer one another, and pass ideas seamlessly from one voice to the next. Each instrument resembles a moving gear within a larger system, where every motion contributes to a single, unified current. The Invisible Blueprint Behind the Music A finely made clock cannot function simply by placing many parts side by side. Its true secret lies in the design. The clockmaker must understand the distance between every component. The speed of every movement. The path by which energy travels from one part to another. These underlying principles transform separate pieces into one living mechanism. In BWV 1065, Bach builds his music according to the same kind of logic. He does not allow the four harpsichords to move in separate directions. Every voice has a role within the larger musical flow. An idea may first appear in one instrument. It is then taken up by another. From there it is developed, expanded, and carried forward in a new direction. What listeners hear is not simply four instruments performing together. They hear a conversation organized with astonishing precision. Behind the constant movement lies an invisible architecture, where Bach carefully determines how every musical voice meets, supports, and completes the others. Four Voices Moving with a Single Pulse One of BWV 1065’s greatest achievements is the balance it creates between independence and unity. Each harpsichord possesses its own personality. When listening closely, each musical line reveals its own distinct character. Yet when stepping back to hear the entire work, everything merges into one continuous flow of energy. It is much like watching a group of dancers on stage. Each performer moves differently. One steps forward. Another turns behind. A third quietly maintains the rhythm of the entire performance. The audience does not perceive four separate dances. They see one living form in motion. This is the essence of Bach’s contrapuntal art. Its richness does not come from adding countless unrelated ideas. It comes from allowing many independent voices to exist together within a perfectly ordered whole. When Brief Plucked Sounds Become a Continuous Stream of Energy The harpsichord possesses a unique character. Its notes speak with remarkable clarity, yet they fade almost immediately. Each sound resembles a brief flash of light before disappearing into silence. Bach transforms this very limitation into one of the instrument's greatest strengths. He does not rely on sustained tones. Instead, he creates momentum by placing every note at precisely the right moment. Imagine a wheel spinning at great speed. The eye no longer distinguishes each individual spoke. It perceives only one smooth and continuous rotation. The harpsichord works in much the same way. Every note exists for only an instant. Yet when hundreds of those fleeting moments are linked together, they become something greater than the individual sounds themselves—a powerful, uninterrupted stream of musical energy. This is one of the most beautiful paradoxes in Bach’s music: The smallest musical events create the strongest sense of life and motion. Netherlands Bach Society and Revealing the Music's Inner Architecture In the Netherlands Bach Society's performance, the beauty of BWV 1065 emerges through the remarkable clarity of its individual voices. The four harpsichords never dissolve into a single block of sound. Each instrument preserves its own distinct color, allowing listeners to follow every layer of movement unfolding within the music. This approach reveals one of Bach’s most remarkable artistic achievements: Every individual part has its own purpose, yet every part serves something greater than itself. Rather than simply enjoying the brilliance on the surface, listeners are invited to hear how the entire work has been constructed from within. When Precision Gives Birth to Life BWV 1065 may first astonish listeners with its speed and technical brilliance. Yet those qualities are only the surface. Its deeper achievement lies in Bach's ability to transform an exceptionally disciplined structure into something vividly alive. A masterfully crafted mechanical clock is not extraordinary simply because it contains many intricate parts. It becomes extraordinary because every tiny movement contributes to one unified pulse. Bach's music follows the same principle. Order does not suppress freedom. On the contrary, it is the precision of the structure that allows the music to move with complete naturalness. BWV 1065 is therefore far more than a concerto for four harpsichords. It stands as a testament to an art in which every detail, when placed exactly where it belongs, helps create a world of sound that is at once precise and profoundly alive. A musical machine. Yet within it, a living heartbeat never ceases.
9:31

Exploring Bach’s BWV 1065: When a Musical Machine Begins to Beat with Life Some creations inspire awe not because they contain countless details, but because every detail within them works according to a precise order. A finely crafted mechanical clock is one such example. From the outside, we see only the hands moving quietly through time. Inside, however, an entire world is at work. Tiny gears transmit energy to one another. Different components perform different tasks. Some generate motion. Some regulate the rhythm. Some keep the entire mechanism in balance. The beauty of the clock does not lie in any single part. It lies in the way all of those small movements come together to create one continuous pulse. Johann Sebastian Bach’s BWV 1065 possesses a similar kind of beauty. From its very first notes, listeners sense more than the beginning of a melody. They sense a musical mechanism coming to life. Four harpsichords enter the conversation. Lines of music emerge, answer one another, and pass ideas seamlessly from one voice to the next. Each instrument resembles a moving gear within a larger system, where every motion contributes to a single, unified current. The Invisible Blueprint Behind the Music A finely made clock cannot function simply by placing many parts side by side. Its true secret lies in the design. The clockmaker must understand the distance between every component. The speed of every movement. The path by which energy travels from one part to another. These underlying principles transform separate pieces into one living mechanism. In BWV 1065, Bach builds his music according to the same kind of logic. He does not allow the four harpsichords to move in separate directions. Every voice has a role within the larger musical flow. An idea may first appear in one instrument. It is then taken up by another. From there it is developed, expanded, and carried forward in a new direction. What listeners hear is not simply four instruments performing together. They hear a conversation organized with astonishing precision. Behind the constant movement lies an invisible architecture, where Bach carefully determines how every musical voice meets, supports, and completes the others. Four Voices Moving with a Single Pulse One of BWV 1065’s greatest achievements is the balance it creates between independence and unity. Each harpsichord possesses its own personality. When listening closely, each musical line reveals its own distinct character. Yet when stepping back to hear the entire work, everything merges into one continuous flow of energy. It is much like watching a group of dancers on stage. Each performer moves differently. One steps forward. Another turns behind. A third quietly maintains the rhythm of the entire performance. The audience does not perceive four separate dances. They see one living form in motion. This is the essence of Bach’s contrapuntal art. Its richness does not come from adding countless unrelated ideas. It comes from allowing many independent voices to exist together within a perfectly ordered whole. When Brief Plucked Sounds Become a Continuous Stream of Energy The harpsichord possesses a unique character. Its notes speak with remarkable clarity, yet they fade almost immediately. Each sound resembles a brief flash of light before disappearing into silence. Bach transforms this very limitation into one of the instrument's greatest strengths. He does not rely on sustained tones. Instead, he creates momentum by placing every note at precisely the right moment. Imagine a wheel spinning at great speed. The eye no longer distinguishes each individual spoke. It perceives only one smooth and continuous rotation. The harpsichord works in much the same way. Every note exists for only an instant. Yet when hundreds of those fleeting moments are linked together, they become something greater than the individual sounds themselves—a powerful, uninterrupted stream of musical energy. This is one of the most beautiful paradoxes in Bach’s music: The smallest musical events create the strongest sense of life and motion. Netherlands Bach Society and Revealing the Music's Inner Architecture In the Netherlands Bach Society's performance, the beauty of BWV 1065 emerges through the remarkable clarity of its individual voices. The four harpsichords never dissolve into a single block of sound. Each instrument preserves its own distinct color, allowing listeners to follow every layer of movement unfolding within the music. This approach reveals one of Bach’s most remarkable artistic achievements: Every individual part has its own purpose, yet every part serves something greater than itself. Rather than simply enjoying the brilliance on the surface, listeners are invited to hear how the entire work has been constructed from within. When Precision Gives Birth to Life BWV 1065 may first astonish listeners with its speed and technical brilliance. Yet those qualities are only the surface. Its deeper achievement lies in Bach's ability to transform an exceptionally disciplined structure into something vividly alive. A masterfully crafted mechanical clock is not extraordinary simply because it contains many intricate parts. It becomes extraordinary because every tiny movement contributes to one unified pulse. Bach's music follows the same principle. Order does not suppress freedom. On the contrary, it is the precision of the structure that allows the music to move with complete naturalness. BWV 1065 is therefore far more than a concerto for four harpsichords. It stands as a testament to an art in which every detail, when placed exactly where it belongs, helps create a world of sound that is at once precise and profoundly alive. A musical machine. Yet within it, a living heartbeat never ceases.

🎼🌺Music Love♥️

13,852 views • 1 month ago

🚨Trump just announced that NASA will be a national intelligence and security agency going forward, not just a civilian space effort. In light of that, we’ve compiled the most mind-bending facts about the American Space Program including its past involvement with Mind-Matter Experiments, UFOs, Classified Science & Pagan and Polytheistic Mythology & Rituals (Full Episode in Reply). This Gets Wild!🚨 We Cover: 1. Buzz Aldrin bringing a Scottish Rite Freemasonry Flag to The Moon; NASA mission patches depicting Egyptian gods & Masonic symbols. Occult rituals performed before launches. 2. The fact that J. Alan Hynek, Operation Bluebook’s Chief Astronomer, running the OFFICIAL Air Force UFO investigation program in the 50’s/60’s, was approached by none other than Neil Armstrong to create a new UFO research outfit (according to his Hynek’s son, Paul, - this was on Chris Ramsay's excellent pod Area52) 3. Jack Parsons, founder of JPL and American Rocketry, invoking Babalon and singing Aleister Crowley’s version of the “Hymn to Pan” while launching rockets. He believed he was in touch with non-human entities helping him get off the ground. He even told his wife he met a “tall white” alien woman in the desert. 4. Wernher von Braun, SS officer turned NASA chief, builds Saturn V but also has a background steeped in Nazi occultism. His space mentor Herman Oberth regularly speculated about UFOs and believed non-human intelligence helped establish the German Space Program. Von Braun goes onto to work closely with Walt Disney. 5. Soviet cosmists believed rocket equations came as transmissions from “ethereal beings”. Tsiolovsky and Fedorov believed in immortality, time travel and colonization of the stars. 6. Astronauts like Edgar Mitchell ran mind-matter experiments in space; experiments which claimed support from Von Braun himself. 7. SkunkWorks directors studied levitation, consciousness, and UFOs behind closed doors. 8. NASA Mission Controllers claiming to get divine downloads, engage in “protocols” to help rockets launch and engage in TIME TRAVEL. The space age was never just about physics. It was a fusion of mysticism, secret orders, gnostic ideas and contact with the unknown woven, into our ascent to the stars. Full Video Below! Enjoy this episode of American Alchemy
0:41

🚨Trump just announced that NASA will be a national intelligence and security agency going forward, not just a civilian space effort. In light of that, we’ve compiled the most mind-bending facts about the American Space Program including its past involvement with Mind-Matter Experiments, UFOs, Classified Science & Pagan and Polytheistic Mythology & Rituals (Full Episode in Reply). This Gets Wild!🚨 We Cover: 1. Buzz Aldrin bringing a Scottish Rite Freemasonry Flag to The Moon; NASA mission patches depicting Egyptian gods & Masonic symbols. Occult rituals performed before launches. 2. The fact that J. Alan Hynek, Operation Bluebook’s Chief Astronomer, running the OFFICIAL Air Force UFO investigation program in the 50’s/60’s, was approached by none other than Neil Armstrong to create a new UFO research outfit (according to his Hynek’s son, Paul, - this was on Chris Ramsay's excellent pod Area52) 3. Jack Parsons, founder of JPL and American Rocketry, invoking Babalon and singing Aleister Crowley’s version of the “Hymn to Pan” while launching rockets. He believed he was in touch with non-human entities helping him get off the ground. He even told his wife he met a “tall white” alien woman in the desert. 4. Wernher von Braun, SS officer turned NASA chief, builds Saturn V but also has a background steeped in Nazi occultism. His space mentor Herman Oberth regularly speculated about UFOs and believed non-human intelligence helped establish the German Space Program. Von Braun goes onto to work closely with Walt Disney. 5. Soviet cosmists believed rocket equations came as transmissions from “ethereal beings”. Tsiolovsky and Fedorov believed in immortality, time travel and colonization of the stars. 6. Astronauts like Edgar Mitchell ran mind-matter experiments in space; experiments which claimed support from Von Braun himself. 7. SkunkWorks directors studied levitation, consciousness, and UFOs behind closed doors. 8. NASA Mission Controllers claiming to get divine downloads, engage in “protocols” to help rockets launch and engage in TIME TRAVEL. The space age was never just about physics. It was a fusion of mysticism, secret orders, gnostic ideas and contact with the unknown woven, into our ascent to the stars. Full Video Below! Enjoy this episode of American Alchemy

Jesse Michels

157,157 views • 11 months ago

💥🛸 Bigelow: I met with Trump in February for 75 minutes and suggested he tell the world this: "A non-human intelligent presence has been on Earth for a very long time, using spacecraft and with performances completely beyond our capabilities, and our human physics." Knapp says a disclosure speech has been written for Trump. But will he ever read it? 🤷🏼‍♂️ ~ Anchor: "Bigelow, a longtime supporter of President Trump, recently met in the Oval Office and advised the commander in chief what he might want to say to the country." Knapp: "[Bigelow] thinks the time has come for some sort of formal disclosure, and that Trump is the guy to do it. Coincidentally or not, in the five months since their White House meeting, the government has started releasing piles of UFO-related information." Bigelow: "And disclosure was one of the topics. And so, when I was ready, I asked to see him. And so February the 6th, I was in the Oval Office with the president." (Bigelow says he had 75 minutes with Trump, and one topic was Disclosure.) Knapp Voiceover: "Bigelow says a presidential aide cleared off the resolute desk, Bigelow plopped down seven reports on seven subjects and jumped right into UFO disclosure." Bigelow: "I was emphasizing that the disclosure process, starting with confirmation, is a big deal. You know, that really is important for somebody like the president of the United States to say, 'Yeah, they're real. They're here,' and eliminate all the other nonsense, all the noise that's been going on for 80 years." Knapp: "You go into it with an idea of not just things in the sky, floating around, some mystery. We've got the goods. Somewhere, there are crashes. Do you tell them that there are bodies, that there are crash retrieval vehicles of unknown origin, or how specific do you get on that?" Bigelow: "Basically, I focused on him and how to prepare himself if he's not already prepared." Knapp Voiceover: "Bigelow declines to repeat anything the president said in response, not even gestures or facial expressions. The report he wrote for Trump included recaps of some notable, well-documented UFO incidents and cases, along with specific comments that could be shared with the public, including a suggestion that he be delivered in one of the quick exchanges the president has with reporters aboard Air Force One." Bigelow: "And this is what I want you to say, Mr. President: 'A non-human intelligent presence has been on Earth for a very long time, using spacecraft and with performances completely beyond our capabilities and our human physics.' And that's it. To say nothing else. That's it. That's all, because what this is, is disclosure, and it's actually confirmation." Knapp Voiceover: "A primary angle in Bigelow's proposal to the president was a preemptive pardon, amnesty for the private contractors who've helped the government hide the truth for 80 years. Bigelow says he has direct knowledge of aerospace companies which have stashed and analyzed materials and craft of unknown origin. Their expertise will be vital in educating and reassuring the public, he says." Bigelow: "And if it's handled right, it can be done successfully." Knapp: "If you were president, would you announce that yes, we've got crash retrievals, yes, we have reverse engineering programs, and yes, we've got bodies?" Bigelow: "Yeah, because the rest of the world already knows that. The people that count in Russia and China already know." Knapp Voiceover: "In the months since their February meeting, the White House has authorized an ongoing release of UFO files and videos, some of which were already in the public arena, with promises of more releases in the months ahead. "Bigelow isn't the only Trump whisperer interested in the subject. Secretary of State Marco Rubio was one of the most vocal members of Congress urging UFO transparency back when he was a senator. Donald Trump Jr. has raised the subject with his dad. Vice President J.D. Vance says he's fascinated too, but thinks UFOs might be demons. "Bigelow won't say whether he made a dent in Trump's opinion about UFOs and ETs. The president's previous comments have been largely noncommittal, although he has authorized the release of government files. "The strongest part of the pitch might have been Bigelow's suggestion that UFO disclosure would cement Trump's place in history." Bigelow: "The world goes so fast, but the president that took on the challenge of disclosure and of confirmation, and actually built a satisfactory conclusion of a relationship between human beings and that subject, is going to go down in history as having really accomplished something." Knapp in Studio: "With Mr. Bigelow, this started a couple of months ago. A conversation about, let's do some interviews. He wants to get some things off his chest. I'm the guy to do it, and then it turned into a podcast. So he's built his own studio, we recorded a podcast. It's now up on our Mystery Wire site. "A lot of really interesting stuff about his encounter with RFK Jr. Crazy story, and we will be sharing more of that, and then more to come, here, we're going to be recording additional things about what he wants to get off his chest. " Anchor: Well, there's been sort of like these whispers that there's actually a speech prepared for the president, if and when he ever decides to address the nation about this. You think that's some validity?" Knapp: "I've heard those stories. The answer is yes. There's at least one speech that has been written for him now. Whether he's read it or not, I don't know. But if he gets in the mood, it should be sitting right there somewhere in the desk."
6:13

💥🛸 Bigelow: I met with Trump in February for 75 minutes and suggested he tell the world this: "A non-human intelligent presence has been on Earth for a very long time, using spacecraft and with performances completely beyond our capabilities, and our human physics." Knapp says a disclosure speech has been written for Trump. But will he ever read it? 🤷🏼‍♂️ ~ Anchor: "Bigelow, a longtime supporter of President Trump, recently met in the Oval Office and advised the commander in chief what he might want to say to the country." Knapp: "[Bigelow] thinks the time has come for some sort of formal disclosure, and that Trump is the guy to do it. Coincidentally or not, in the five months since their White House meeting, the government has started releasing piles of UFO-related information." Bigelow: "And disclosure was one of the topics. And so, when I was ready, I asked to see him. And so February the 6th, I was in the Oval Office with the president." (Bigelow says he had 75 minutes with Trump, and one topic was Disclosure.) Knapp Voiceover: "Bigelow says a presidential aide cleared off the resolute desk, Bigelow plopped down seven reports on seven subjects and jumped right into UFO disclosure." Bigelow: "I was emphasizing that the disclosure process, starting with confirmation, is a big deal. You know, that really is important for somebody like the president of the United States to say, 'Yeah, they're real. They're here,' and eliminate all the other nonsense, all the noise that's been going on for 80 years." Knapp: "You go into it with an idea of not just things in the sky, floating around, some mystery. We've got the goods. Somewhere, there are crashes. Do you tell them that there are bodies, that there are crash retrieval vehicles of unknown origin, or how specific do you get on that?" Bigelow: "Basically, I focused on him and how to prepare himself if he's not already prepared." Knapp Voiceover: "Bigelow declines to repeat anything the president said in response, not even gestures or facial expressions. The report he wrote for Trump included recaps of some notable, well-documented UFO incidents and cases, along with specific comments that could be shared with the public, including a suggestion that he be delivered in one of the quick exchanges the president has with reporters aboard Air Force One." Bigelow: "And this is what I want you to say, Mr. President: 'A non-human intelligent presence has been on Earth for a very long time, using spacecraft and with performances completely beyond our capabilities and our human physics.' And that's it. To say nothing else. That's it. That's all, because what this is, is disclosure, and it's actually confirmation." Knapp Voiceover: "A primary angle in Bigelow's proposal to the president was a preemptive pardon, amnesty for the private contractors who've helped the government hide the truth for 80 years. Bigelow says he has direct knowledge of aerospace companies which have stashed and analyzed materials and craft of unknown origin. Their expertise will be vital in educating and reassuring the public, he says." Bigelow: "And if it's handled right, it can be done successfully." Knapp: "If you were president, would you announce that yes, we've got crash retrievals, yes, we have reverse engineering programs, and yes, we've got bodies?" Bigelow: "Yeah, because the rest of the world already knows that. The people that count in Russia and China already know." Knapp Voiceover: "In the months since their February meeting, the White House has authorized an ongoing release of UFO files and videos, some of which were already in the public arena, with promises of more releases in the months ahead. "Bigelow isn't the only Trump whisperer interested in the subject. Secretary of State Marco Rubio was one of the most vocal members of Congress urging UFO transparency back when he was a senator. Donald Trump Jr. has raised the subject with his dad. Vice President J.D. Vance says he's fascinated too, but thinks UFOs might be demons. "Bigelow won't say whether he made a dent in Trump's opinion about UFOs and ETs. The president's previous comments have been largely noncommittal, although he has authorized the release of government files. "The strongest part of the pitch might have been Bigelow's suggestion that UFO disclosure would cement Trump's place in history." Bigelow: "The world goes so fast, but the president that took on the challenge of disclosure and of confirmation, and actually built a satisfactory conclusion of a relationship between human beings and that subject, is going to go down in history as having really accomplished something." Knapp in Studio: "With Mr. Bigelow, this started a couple of months ago. A conversation about, let's do some interviews. He wants to get some things off his chest. I'm the guy to do it, and then it turned into a podcast. So he's built his own studio, we recorded a podcast. It's now up on our Mystery Wire site. "A lot of really interesting stuff about his encounter with RFK Jr. Crazy story, and we will be sharing more of that, and then more to come, here, we're going to be recording additional things about what he wants to get off his chest. " Anchor: Well, there's been sort of like these whispers that there's actually a speech prepared for the president, if and when he ever decides to address the nation about this. You think that's some validity?" Knapp: "I've heard those stories. The answer is yes. There's at least one speech that has been written for him now. Whether he's read it or not, I don't know. But if he gets in the mood, it should be sitting right there somewhere in the desk."

Joe Murgia

34,753 views • 26 days ago

During my month in Europe, I made it a point to talk to everyone, from financial professionals to priests and ordinary people in cafes. I would sit at a cafe, order a coffee and start random political conversations with strangers. Europeans actually love this. They are curious, open and engaged in political life. You can’t do that in America. Most Americans will avoid the topic, change the subject, know nothing about it, or walk away. What I noticed is this: Europeans are misinformed. Americans are indoctrinated. Europeans are generally more sophisticated and educated, but their problem is a lack of independent media and misplaced trust in mainstream sources. Americans, on the other hand, are deeply indoctrinated. In the U.S. you’re expected to be something - ist, capitalist, socialist, communist, Trump-ist, Democrat, republican etc. Ideology becomes an identity. People identify with it instead of just pursuing it and leaving the room for critical thinking. This comes from a society of lonely, medicated individuals searching for meaning and finding it in the wrong places. As a result, they cling to ideas or leaders even when those leaders directly contradict their values and betray them. Take Trump supporters as a clear example. Who were Trump supporters before he got into the office? Many were originally anti-war, anti-regime change, religious and ‘America First’ people. Yet now they support a man who started wars, raised the military budget, supported regime change, killed people for it and flirted with economic collapse and even made genocidal threats on social media during eastern. Before he even reversed his actions/statements from today, these Trump-ists defended his genocide statements viemently. That is what indoctrination looks like. Facts do not matter at all. On the other side, Biden-aligned Democrats are just as indoctrinated, only in the opposite direction. The U.S. is not a misinformed nation, there is plenty of independent media around, it is a fully indoctrinated and uneducated nation. That’s the real problem. Europe, by contrast, is misinformed but educated, not indoctrinated (leaders maybe, but not the people). Let me give you an example. In Germany, I struck up a conversation with a young couple at a cafe about Russia and Ukraine. They supported Ukraine but understood Russia’s grievances. They said they understand Russian position but Russia should not have invaded. I asked: 'What would you do if you were Putin after repeated failed negotiations and lies from the West? What would you have done to help your people in Donbas?' At first he shrugged. He knew about the Minsk agreements, failed deals and lies. He knew about the coup and Victoria Nuland. Then surprisingly, Max admitted he might have conducted a military operation. Which took me by surprise. So I said: You would have started a conflict? He replayed- No, I would have conducted an operation. I said that is exactly what Russia did. So why are you criticizing them? He insisted Russia started a war. So I challenged him: “Do you really think Putin would attack with only 70- 80k troops? No-one starts a war with these numbers not even the dumbest guy on earth. Hitler invaded Poland with 1.25 million. Putin isn’t stupid to start a war with just 70k and hope for the best. It's idiotic. Max paused. Thought about it checked the numbers and said: Ok, well that still does mean that he will stop, he wants to recreate the soviet union. I asked why he believed Russia wanted to recreate the Soviet Union. Where did he hear that from? His answer? - He heard it in the news! I dared him to find an actual quote from Putin stating this. I told him I had all the time in the world and he was welcome to search wherever he wanted. After 20-25 minutes of research and testing multiple sources including ChatGPT, he discovered no such quote exists, that Putin never said anything like that. It was pure propaganda. He was shocked. “How is this possible? This was everywhere in the news,” he said. After clearing up that piece of misinformation, I asked Max whether he still had an issue with Russia and if so, what specifically bothered him. He said it wasn’t anything personal, but rather Russia’s history with the Soviet Union that troubled him, and he wouldn’t feel comfortable having Russia as a partner. I looked at him and reminded him that we were literally sitting in a country that had been fully Nazi just two generations ago and if that’s the logic we were going to use, then Germany his own country, should be completely isolated and never trusted again. He burst out laughing, realizing his mistake and his own stupidity. By the time we finished our breakfast and coffee, he was already following all the independent YouTube channels I suggested and the X profiles I recommended. This is the difference between being misinformed and being indoctrinated. Misinformed people are flexible, they can think, indoctrinated people are not. Europe suffers from misinformation, which can be corrected. The U.S. on the other hand, suffers from indoctrination, which is much harder perhaps impossible to fix. Every morning in cafes across Greece, Germany and elsewhere, I would sit down and start conversations about politics. Europeans are comfortable with this, they seem to enjoy it. I learned a lot myself, even some interesting details about Hitler that I never knew. Americans, by contrast, often seem unable to escape indoctrination, regardless of the facts. The same pattern appears in American religion. Europe, by comparison is largely atheist now. The only religion left there is a kind of cultural Christianity, people may believe and maybe pray at home, but they rarely go to church. Most churches are empty. Which is not good, the US is way more religious but that faith has problem. In my opinion, most American Christians today, not all, but most are fanatics. They aren’t truly religious they just like the idea of being religious and it turns into a strange, performative fanaticism. It's like a circus of fanatics who had turned the church into a theater or a political tool. Things like dancing, misplaced behavior and sermons that use the Bible to indoctrinate people into one political belief or another, nothing about actually teaching Jesus Christ or his message. Bible verses are twisted to support political ideology and this is what most American Christians seem to follow today. It’s very sad. Priests themselves go viral for completely out-of-control, ridiculous behavior like weird dance etc. These are people who call themselves Christians. There is nothing Christian about that. Faith is supposed to be about quiet selfless good, humility and genuine belief, not a clown show in the church. It’s disgusting! If you want to escape indoctrination, follow Tucker Carlson, Candace Owens, Glenn Greenwald Megyn Kelly George Galloway Russell Brand Glenn Diesen Clayton Morris Natali Morris
1:30

During my month in Europe, I made it a point to talk to everyone, from financial professionals to priests and ordinary people in cafes. I would sit at a cafe, order a coffee and start random political conversations with strangers. Europeans actually love this. They are curious, open and engaged in political life. You can’t do that in America. Most Americans will avoid the topic, change the subject, know nothing about it, or walk away. What I noticed is this: Europeans are misinformed. Americans are indoctrinated. Europeans are generally more sophisticated and educated, but their problem is a lack of independent media and misplaced trust in mainstream sources. Americans, on the other hand, are deeply indoctrinated. In the U.S. you’re expected to be something - ist, capitalist, socialist, communist, Trump-ist, Democrat, republican etc. Ideology becomes an identity. People identify with it instead of just pursuing it and leaving the room for critical thinking. This comes from a society of lonely, medicated individuals searching for meaning and finding it in the wrong places. As a result, they cling to ideas or leaders even when those leaders directly contradict their values and betray them. Take Trump supporters as a clear example. Who were Trump supporters before he got into the office? Many were originally anti-war, anti-regime change, religious and ‘America First’ people. Yet now they support a man who started wars, raised the military budget, supported regime change, killed people for it and flirted with economic collapse and even made genocidal threats on social media during eastern. Before he even reversed his actions/statements from today, these Trump-ists defended his genocide statements viemently. That is what indoctrination looks like. Facts do not matter at all. On the other side, Biden-aligned Democrats are just as indoctrinated, only in the opposite direction. The U.S. is not a misinformed nation, there is plenty of independent media around, it is a fully indoctrinated and uneducated nation. That’s the real problem. Europe, by contrast, is misinformed but educated, not indoctrinated (leaders maybe, but not the people). Let me give you an example. In Germany, I struck up a conversation with a young couple at a cafe about Russia and Ukraine. They supported Ukraine but understood Russia’s grievances. They said they understand Russian position but Russia should not have invaded. I asked: 'What would you do if you were Putin after repeated failed negotiations and lies from the West? What would you have done to help your people in Donbas?' At first he shrugged. He knew about the Minsk agreements, failed deals and lies. He knew about the coup and Victoria Nuland. Then surprisingly, Max admitted he might have conducted a military operation. Which took me by surprise. So I said: You would have started a conflict? He replayed- No, I would have conducted an operation. I said that is exactly what Russia did. So why are you criticizing them? He insisted Russia started a war. So I challenged him: “Do you really think Putin would attack with only 70- 80k troops? No-one starts a war with these numbers not even the dumbest guy on earth. Hitler invaded Poland with 1.25 million. Putin isn’t stupid to start a war with just 70k and hope for the best. It's idiotic. Max paused. Thought about it checked the numbers and said: Ok, well that still does mean that he will stop, he wants to recreate the soviet union. I asked why he believed Russia wanted to recreate the Soviet Union. Where did he hear that from? His answer? - He heard it in the news! I dared him to find an actual quote from Putin stating this. I told him I had all the time in the world and he was welcome to search wherever he wanted. After 20-25 minutes of research and testing multiple sources including ChatGPT, he discovered no such quote exists, that Putin never said anything like that. It was pure propaganda. He was shocked. “How is this possible? This was everywhere in the news,” he said. After clearing up that piece of misinformation, I asked Max whether he still had an issue with Russia and if so, what specifically bothered him. He said it wasn’t anything personal, but rather Russia’s history with the Soviet Union that troubled him, and he wouldn’t feel comfortable having Russia as a partner. I looked at him and reminded him that we were literally sitting in a country that had been fully Nazi just two generations ago and if that’s the logic we were going to use, then Germany his own country, should be completely isolated and never trusted again. He burst out laughing, realizing his mistake and his own stupidity. By the time we finished our breakfast and coffee, he was already following all the independent YouTube channels I suggested and the X profiles I recommended. This is the difference between being misinformed and being indoctrinated. Misinformed people are flexible, they can think, indoctrinated people are not. Europe suffers from misinformation, which can be corrected. The U.S. on the other hand, suffers from indoctrination, which is much harder perhaps impossible to fix. Every morning in cafes across Greece, Germany and elsewhere, I would sit down and start conversations about politics. Europeans are comfortable with this, they seem to enjoy it. I learned a lot myself, even some interesting details about Hitler that I never knew. Americans, by contrast, often seem unable to escape indoctrination, regardless of the facts. The same pattern appears in American religion. Europe, by comparison is largely atheist now. The only religion left there is a kind of cultural Christianity, people may believe and maybe pray at home, but they rarely go to church. Most churches are empty. Which is not good, the US is way more religious but that faith has problem. In my opinion, most American Christians today, not all, but most are fanatics. They aren’t truly religious they just like the idea of being religious and it turns into a strange, performative fanaticism. It's like a circus of fanatics who had turned the church into a theater or a political tool. Things like dancing, misplaced behavior and sermons that use the Bible to indoctrinate people into one political belief or another, nothing about actually teaching Jesus Christ or his message. Bible verses are twisted to support political ideology and this is what most American Christians seem to follow today. It’s very sad. Priests themselves go viral for completely out-of-control, ridiculous behavior like weird dance etc. These are people who call themselves Christians. There is nothing Christian about that. Faith is supposed to be about quiet selfless good, humility and genuine belief, not a clown show in the church. It’s disgusting! If you want to escape indoctrination, follow Tucker Carlson, Candace Owens, Glenn Greenwald Megyn Kelly George Galloway Russell Brand Glenn Diesen Clayton Morris Natali Morris

ELIZABETH LANE

11,781 views • 4 months ago

Analyzing Episode 55. Season 2 aka The Violence of Alignment If I visualize CihAl's journey for this season, a spiral tightening its rings comes to mind. There's always one problem after another, spiking in intensity and reaction. And, the weight of it is reflected in both Alya's increasingly somber demeanor. But, here's the thing. In every new problem, there's an echo of the old one, which leaves one with an inevitable feeling of deja vu - for the audience and the characters. We'll get to why towards the end of this analysis. For now, on we go. We kick off epi 55 with Cihan being introduced to Meryem *cough* dishrag *cough* by Sadakat. And what follows is a breakdown of her story with Cihan listening. However, when Meryem recounted her past woes, I focused less on her words and more on Cihan's words and expression. And what follows is a masterclass in the difference between sympathy and empathy. Kudos to Ozan Akbaba for portraying the difference. I couldn't help but compare the situation to when Cihan is listening to Alya's account of her past. With Alya, Cihan leans forward, barely moving. He listens, but his face tends to reflect his own emotion and mirrors Alya's at times - in other words, he's living those events with her. When he talks, his voice drops lower, but more importantly, there's a gentle softness meant to soothe. With Meryem, Cihan's body language is a tad more detached. When he's leaning forward in the seat, his hands are extended in front of him, clasped together, creating space. Then he leans back, one arm extended on the table, the other on his thigh. Again, there's this feel of distance. His voice remains soft, but there's no tenderness. He's not trying to alleviate, rather he's simply listening. Don't get me wrong, it's not like the guy doesn't feel bad for her, because what she relates shouldn't be experienced by anyone. But empathy goes beyond sympathy. Empathy is when you hurt with the one who's hurting. And that difference, to me, is clear between the two scenes. Long story short, when he's heard what Meryem's gone through, he offers to help get her out of prison because he feels responsible in part for her misfortunes. He says it's his 'duty' to help her. Here's what's interesting: when Meryem says his kindness and heart haven't changed, he gets uncomfortable. And after that, he's the one to get up from the chair, signaling the end of the conversation. Like he wants to get out of there, because some part of him that's not stupidly male understands Meryem's still attached to him, but he has no interest in that whatsoever. His method of saying goodbye is a handshake, again, a testament to his aloofness. And when Meryem hugs him, his hands remain at their sides; the man could have been a pillar. So, while he speaks not of Alya, the one time he takes her name, he drives the message across that 'she's no one ordinary' and 'tread carefully'. Honestly, I don't think he wants to talk about Alya to Meryem. Not because Alya's not important, but because Alya is too important. The part of his life that Alya represents is his alone, and he's very possessive about sharing that with anyone. To him, Meryem is a past that exists, but one that he would erase if he had the choice, because it hurts Alya. And that's pretty much the whole feel of this conversation. He wants to help Meryem, but he also wants her gone because her presence is a source of discomfort to Alya. Speaking of discomforts, the next scene I want to talk about is when the massive turd, who happens to be Alya's ex-husband, goes to the hospital to threaten her some more. Seriously, this character is a step short of absolute psycho. He's incapable of true emotion, just like his mother. Anyway, when Alya is explaining why she hasn't moved out yet, the zombie's eyes zero in on her wedding band. And, of course, being who he is, he absolutely ignores the topic of Deniz, his own flesh and blood, and instead, wants the ring gone because it symbolizes Alya's love and attachment to Cihan. Thankfully, Cihan arrives in time to push away the zombie and to hear Alya proclaim that while Boran has the power to use her son and distance her from Cihan physically, he has no power over her heart and who reigns over it. Now, think back to that conversation where Deniz wants her to pick between Cihan and himself. And Cihan says Deniz's throne (or place) in her heart is so secure, he's happy to live in the shadow of that throne. While Alya smiles at Cihan's response, she also looks miserable later at the thought of not being able to tell Cihan that things aren't exactly so. However, I think she manages to get her point across in this scene without even realizing it. Because while she may make sacrifices for her son, no amount of blackmail, pain, or hurt can remove Cihan's love from her heart. Now, I don't know about you, but that sounds almost like an equal footing. The only difference is that she's bound to protect her son, because, unlike Cihan, he can't protect himself. And that's what leads Cihan to later tell Alya that her words are etched across his heart, and that he's never felt that loved by anyone. Curiously enough, this scene also brings the spotlight on two other details: Alya's 'anka' side and the wedding ring. Both of which will feature rather greatly, in the coming episodes, I think. Now, there's a rumor going around that Alya will take off her wedding ring. And, I don't know, the fact that Cihan's almost preening at Alya, still wearing the ring, and Alya saying 'I couldn't take it off' tells me that's not what's going to happen. For some reason, I'm beginning to get the vibes of a showdown of trust in the same vein as episode 27. Now you may argue that Cihan actually tells Alya about Mine's pregnancy in that episode, but CihAl have had a long journey since then. Alya has seen Cihan choose her over Boran with her own eyes. She's seen the lengths the man has gone to for her and Deniz. So, yes, she might be pissed about something or the other related to Meryem in future episodes, but her taking off the ring seems not within her character somehow. But hey, that's just me, and I could be wrong. Anyway, the final scene I want to talk about is, of course, the ending. Everyone kept focusing on why Cihan allowed Meryem to hold his hands, but I focused on his words. Because he very clearly tells Meryem that he's no longer in love with her, that he's moved on, and that she should not hang about in the hopes of that ever changing. In his own way, Cihan is quite ruthless here. He draws a line, but his words are designed not to hurt, because he's not an ahole. He just wants dishrag to understand that even the thought of Alya being hurt pains him more now than anything else. And, he's not very kind to people who try to hurt Alya. It's a disclosure and warning, but in the form of steel wrapped in satin. Now, let's go back to the beginning for a bit, where I mentioned spiraling events. See, I somehow thought that those vows Cihal took 'savaşta, bedelde, kararda, kaderde, aşkta' were linear levels. That they'd clear them one by one and get to love. But when you see the overall structure of their journey in this season, it's not linear at all. Because all those things have existed in one form or another since ep 29. There's always an element of all of these conditions in every episode. Which is why we keep thinking, wait a minute, we've been here before. But as I said, the spiral is tightening itself. With every episode, the stakes are raised higher, and CihAl are pushed a little bit closer to the edge. Almost like the deep breath before the plunge. And here’s where things get interesting. Because what feels like repetition is not actually stagnation, it’s confrontation deferred, coming back sharper each time. Every cycle brings them back to the same point. Their love deepens, fear follows, a decision is made in the name of protection, and that decision creates distance instead of resolution. Which brings me back to the vows - savaşta, bedelde, kararda, kaderde, aşkta. I was wrong to think of them as steps. They’re not something Cihan and Alya are moving towards; they’re something CihAl are already inside of. Every episode is them living those vows in real time. But with every new episode, the pressure mounts, like music builds to a crescendo. And yet, within all of that, aşk remains. Not as a reward at the end of the journey. But as the one thing that refuses to disappear, no matter how many times everything else goes wrong. And maybe that's why episode 55 feels the way it does. It creates the illusion that everything is falling apart, yet again, when in reality, everything is being forced into alignment. Something is moving all the pieces on the chessboard for an ultimate showdown. And the process gets more violent by the minute. Cihan hides the truth because he thinks love needs protection. Alya experiences that same act as distance, almost betrayal. Meanwhile, Boran and Sadakat keep pushing, and Meryem drops like a freaking bomb at the worst possible moment. Suddenly, everything that could have remained unsaid, unresolved, or postponed is dragged into the open. This has all the hallmarks of a breaking point. Note, I said breaking point, not breakdown. Because, unlike breakdowns, breaking points are used for revelations. I guess what I'm trying to say is things are headed towards alignment, not just for the overall story, but also CihAl's journey individually. Because Cihan and Alya also keep repeating their mistakes. Their growth requires something along the lines of a push, too. So, we have war, sacrifice, decisions, fate, and love, all coming to a head. And while there are plenty of reasons to feel ominous, I personally don't. The story is no longer about them loving each other - we're well past that. It’s about whether they can finally stand in that love openly and without any fear. Because everything is pushing them toward a breaking point, not to destroy them, I think, but to shape them into who they need to be. And if there’s one thing CihAl have proven since day one, it’s this - they don’t fall apart under pressure, they grow stronger, and they survive the impossible. #CihAl #UzakŞehir
2:51

Analyzing Episode 55. Season 2 aka The Violence of Alignment If I visualize CihAl's journey for this season, a spiral tightening its rings comes to mind. There's always one problem after another, spiking in intensity and reaction. And, the weight of it is reflected in both Alya's increasingly somber demeanor. But, here's the thing. In every new problem, there's an echo of the old one, which leaves one with an inevitable feeling of deja vu - for the audience and the characters. We'll get to why towards the end of this analysis. For now, on we go. We kick off epi 55 with Cihan being introduced to Meryem *cough* dishrag *cough* by Sadakat. And what follows is a breakdown of her story with Cihan listening. However, when Meryem recounted her past woes, I focused less on her words and more on Cihan's words and expression. And what follows is a masterclass in the difference between sympathy and empathy. Kudos to Ozan Akbaba for portraying the difference. I couldn't help but compare the situation to when Cihan is listening to Alya's account of her past. With Alya, Cihan leans forward, barely moving. He listens, but his face tends to reflect his own emotion and mirrors Alya's at times - in other words, he's living those events with her. When he talks, his voice drops lower, but more importantly, there's a gentle softness meant to soothe. With Meryem, Cihan's body language is a tad more detached. When he's leaning forward in the seat, his hands are extended in front of him, clasped together, creating space. Then he leans back, one arm extended on the table, the other on his thigh. Again, there's this feel of distance. His voice remains soft, but there's no tenderness. He's not trying to alleviate, rather he's simply listening. Don't get me wrong, it's not like the guy doesn't feel bad for her, because what she relates shouldn't be experienced by anyone. But empathy goes beyond sympathy. Empathy is when you hurt with the one who's hurting. And that difference, to me, is clear between the two scenes. Long story short, when he's heard what Meryem's gone through, he offers to help get her out of prison because he feels responsible in part for her misfortunes. He says it's his 'duty' to help her. Here's what's interesting: when Meryem says his kindness and heart haven't changed, he gets uncomfortable. And after that, he's the one to get up from the chair, signaling the end of the conversation. Like he wants to get out of there, because some part of him that's not stupidly male understands Meryem's still attached to him, but he has no interest in that whatsoever. His method of saying goodbye is a handshake, again, a testament to his aloofness. And when Meryem hugs him, his hands remain at their sides; the man could have been a pillar. So, while he speaks not of Alya, the one time he takes her name, he drives the message across that 'she's no one ordinary' and 'tread carefully'. Honestly, I don't think he wants to talk about Alya to Meryem. Not because Alya's not important, but because Alya is too important. The part of his life that Alya represents is his alone, and he's very possessive about sharing that with anyone. To him, Meryem is a past that exists, but one that he would erase if he had the choice, because it hurts Alya. And that's pretty much the whole feel of this conversation. He wants to help Meryem, but he also wants her gone because her presence is a source of discomfort to Alya. Speaking of discomforts, the next scene I want to talk about is when the massive turd, who happens to be Alya's ex-husband, goes to the hospital to threaten her some more. Seriously, this character is a step short of absolute psycho. He's incapable of true emotion, just like his mother. Anyway, when Alya is explaining why she hasn't moved out yet, the zombie's eyes zero in on her wedding band. And, of course, being who he is, he absolutely ignores the topic of Deniz, his own flesh and blood, and instead, wants the ring gone because it symbolizes Alya's love and attachment to Cihan. Thankfully, Cihan arrives in time to push away the zombie and to hear Alya proclaim that while Boran has the power to use her son and distance her from Cihan physically, he has no power over her heart and who reigns over it. Now, think back to that conversation where Deniz wants her to pick between Cihan and himself. And Cihan says Deniz's throne (or place) in her heart is so secure, he's happy to live in the shadow of that throne. While Alya smiles at Cihan's response, she also looks miserable later at the thought of not being able to tell Cihan that things aren't exactly so. However, I think she manages to get her point across in this scene without even realizing it. Because while she may make sacrifices for her son, no amount of blackmail, pain, or hurt can remove Cihan's love from her heart. Now, I don't know about you, but that sounds almost like an equal footing. The only difference is that she's bound to protect her son, because, unlike Cihan, he can't protect himself. And that's what leads Cihan to later tell Alya that her words are etched across his heart, and that he's never felt that loved by anyone. Curiously enough, this scene also brings the spotlight on two other details: Alya's 'anka' side and the wedding ring. Both of which will feature rather greatly, in the coming episodes, I think. Now, there's a rumor going around that Alya will take off her wedding ring. And, I don't know, the fact that Cihan's almost preening at Alya, still wearing the ring, and Alya saying 'I couldn't take it off' tells me that's not what's going to happen. For some reason, I'm beginning to get the vibes of a showdown of trust in the same vein as episode 27. Now you may argue that Cihan actually tells Alya about Mine's pregnancy in that episode, but CihAl have had a long journey since then. Alya has seen Cihan choose her over Boran with her own eyes. She's seen the lengths the man has gone to for her and Deniz. So, yes, she might be pissed about something or the other related to Meryem in future episodes, but her taking off the ring seems not within her character somehow. But hey, that's just me, and I could be wrong. Anyway, the final scene I want to talk about is, of course, the ending. Everyone kept focusing on why Cihan allowed Meryem to hold his hands, but I focused on his words. Because he very clearly tells Meryem that he's no longer in love with her, that he's moved on, and that she should not hang about in the hopes of that ever changing. In his own way, Cihan is quite ruthless here. He draws a line, but his words are designed not to hurt, because he's not an ahole. He just wants dishrag to understand that even the thought of Alya being hurt pains him more now than anything else. And, he's not very kind to people who try to hurt Alya. It's a disclosure and warning, but in the form of steel wrapped in satin. Now, let's go back to the beginning for a bit, where I mentioned spiraling events. See, I somehow thought that those vows Cihal took 'savaşta, bedelde, kararda, kaderde, aşkta' were linear levels. That they'd clear them one by one and get to love. But when you see the overall structure of their journey in this season, it's not linear at all. Because all those things have existed in one form or another since ep 29. There's always an element of all of these conditions in every episode. Which is why we keep thinking, wait a minute, we've been here before. But as I said, the spiral is tightening itself. With every episode, the stakes are raised higher, and CihAl are pushed a little bit closer to the edge. Almost like the deep breath before the plunge. And here’s where things get interesting. Because what feels like repetition is not actually stagnation, it’s confrontation deferred, coming back sharper each time. Every cycle brings them back to the same point. Their love deepens, fear follows, a decision is made in the name of protection, and that decision creates distance instead of resolution. Which brings me back to the vows - savaşta, bedelde, kararda, kaderde, aşkta. I was wrong to think of them as steps. They’re not something Cihan and Alya are moving towards; they’re something CihAl are already inside of. Every episode is them living those vows in real time. But with every new episode, the pressure mounts, like music builds to a crescendo. And yet, within all of that, aşk remains. Not as a reward at the end of the journey. But as the one thing that refuses to disappear, no matter how many times everything else goes wrong. And maybe that's why episode 55 feels the way it does. It creates the illusion that everything is falling apart, yet again, when in reality, everything is being forced into alignment. Something is moving all the pieces on the chessboard for an ultimate showdown. And the process gets more violent by the minute. Cihan hides the truth because he thinks love needs protection. Alya experiences that same act as distance, almost betrayal. Meanwhile, Boran and Sadakat keep pushing, and Meryem drops like a freaking bomb at the worst possible moment. Suddenly, everything that could have remained unsaid, unresolved, or postponed is dragged into the open. This has all the hallmarks of a breaking point. Note, I said breaking point, not breakdown. Because, unlike breakdowns, breaking points are used for revelations. I guess what I'm trying to say is things are headed towards alignment, not just for the overall story, but also CihAl's journey individually. Because Cihan and Alya also keep repeating their mistakes. Their growth requires something along the lines of a push, too. So, we have war, sacrifice, decisions, fate, and love, all coming to a head. And while there are plenty of reasons to feel ominous, I personally don't. The story is no longer about them loving each other - we're well past that. It’s about whether they can finally stand in that love openly and without any fear. Because everything is pushing them toward a breaking point, not to destroy them, I think, but to shape them into who they need to be. And if there’s one thing CihAl have proven since day one, it’s this - they don’t fall apart under pressure, they grow stronger, and they survive the impossible. #CihAl #UzakŞehir

CocoLoco

21,885 views • 5 months ago

Mob Crew, the grifter, just released a video titled “Exposing the Most Disturbing Lie in the Sebastian Rogers Case.” In it, he falsely claims that we identified the 12:17 a.m. video from February 26, showing an unknown person walking on Kellyn Lane, as the same footage we previously referenced of someone carrying a flashlight. That is categorically false. His “source” is Bobbi, a neighbor who has openly admitted she did not know Chris, Katie, or Sebastian, yet immediately began spreading wild and unfounded accusations against them. Then a recorded phone call surfaced in which Bobbi casually discussed her kids playing “flashlight tag.” After that recording was made public, I pointed out my concern, because it confirmed one of her children was outside late at night on the 25th using a flashlight, and then hiding. My questions were not accusations I wanted to know if there was a game of flashlight tag that Sebastian possibly heard about and tried to join and possible went the wrong direction or hid in the woods etc. Mob Crew continues to rant endlessly about flashlights, suggesting they play a central role in Sebastian’s disappearance. If that’s the case, then surveillance footage showing someone with a flashlight, late at night, on the last evening Sebastian was seen, who then proceeds to hide, should raise serious questions. Wouldn’t you agree, Mob Crew and Bobbi? We notified the TBI about this. Meanwhile, Mob Crew and Bobbi continued falsely accusing Chris and Katie over supposed “flashlight activity” in the neighborhood. But now that they need more views and attention, Mob Crew is pushing a new narrative, again using Bobbi as his source, falsely claiming that the 12:17 a.m. video is the flashlight footage we referenced, and calling it “the biggest lie yet.” So, we’re releasing the actual footage to prove that Mob Crew and Bobbi are lying grifters. Bobbi has no grounds to claim any privacy concerns about her son being in the video, because she is the one who provided the information to Mob Crew in the first place. In the footage, at 10:20 p.m., her son exits the house with a flashlight. He then turns it off, crouches down, and even moves deeper into the shadows to avoid being seen. Minutes later, he walks to the backyard, the same backyard where two K9s independently tracked the following day. If flashlights are the heart of Mob Crew’s theory, then here you go, here are your flashlights. And let me be clear, there’s more. There is additional suspicious activity that took place even later that night. So go ahead, Mob Crew and Bobbi, press us. Call us liars again. Then we’ll discuss the search that took place at the son’s girlfriend’s house, along with other interesting facts you’ve conveniently ignored.
3:57

Mob Crew, the grifter, just released a video titled “Exposing the Most Disturbing Lie in the Sebastian Rogers Case.” In it, he falsely claims that we identified the 12:17 a.m. video from February 26, showing an unknown person walking on Kellyn Lane, as the same footage we previously referenced of someone carrying a flashlight. That is categorically false. His “source” is Bobbi, a neighbor who has openly admitted she did not know Chris, Katie, or Sebastian, yet immediately began spreading wild and unfounded accusations against them. Then a recorded phone call surfaced in which Bobbi casually discussed her kids playing “flashlight tag.” After that recording was made public, I pointed out my concern, because it confirmed one of her children was outside late at night on the 25th using a flashlight, and then hiding. My questions were not accusations I wanted to know if there was a game of flashlight tag that Sebastian possibly heard about and tried to join and possible went the wrong direction or hid in the woods etc. Mob Crew continues to rant endlessly about flashlights, suggesting they play a central role in Sebastian’s disappearance. If that’s the case, then surveillance footage showing someone with a flashlight, late at night, on the last evening Sebastian was seen, who then proceeds to hide, should raise serious questions. Wouldn’t you agree, Mob Crew and Bobbi? We notified the TBI about this. Meanwhile, Mob Crew and Bobbi continued falsely accusing Chris and Katie over supposed “flashlight activity” in the neighborhood. But now that they need more views and attention, Mob Crew is pushing a new narrative, again using Bobbi as his source, falsely claiming that the 12:17 a.m. video is the flashlight footage we referenced, and calling it “the biggest lie yet.” So, we’re releasing the actual footage to prove that Mob Crew and Bobbi are lying grifters. Bobbi has no grounds to claim any privacy concerns about her son being in the video, because she is the one who provided the information to Mob Crew in the first place. In the footage, at 10:20 p.m., her son exits the house with a flashlight. He then turns it off, crouches down, and even moves deeper into the shadows to avoid being seen. Minutes later, he walks to the backyard, the same backyard where two K9s independently tracked the following day. If flashlights are the heart of Mob Crew’s theory, then here you go, here are your flashlights. And let me be clear, there’s more. There is additional suspicious activity that took place even later that night. So go ahead, Mob Crew and Bobbi, press us. Call us liars again. Then we’ll discuss the search that took place at the son’s girlfriend’s house, along with other interesting facts you’ve conveniently ignored.

SF INVESTIGATES • STEVE FISCHER

16,021 views • 1 year ago

🔥A Pagan Has The Floor🔥 Full Translated Official Hitler Youth Magazine 'Will & Power' Article on Pagan Rebirth. Assorted Excerpts: 🔺"Those who are ideologically unsteady and spineless, who wander from one idea to the next and are constantly being “newly inspired,” are better off under the discipline of a church than in the open air of paganism." 🔺"...Thus the First of May, too, has received its pagan consecration—not as a day of praying and pleading, but of awakening, of the surging of strength, of work. And with this, its public reintroduction into the circle of festivals was also an outward victory of paganism." 🔺"..Our youth storms forth again and again in the same rhythm. Look into its fresh soul, come to know its poets… true, sturdy pagans they were and still are today." 🔺"For the Christian, “prayer” may be synonymous with “begging.” The pagan, however, does not beg for help from on high and then fold his hands in his lap and wait." ________________________ FULL ARTICLE: A Pagan Has the Floor. "From the “Reichswart” we reproduce the following letter, which seems to us typical of a part of the young activist generation: Outwardly, Germany celebrated its rebirth in the Garrison Church at Potsdam beside the sarcophagus of its great Prussian king. He is and lives on, immortal: the spirit of Prussia and of paganism. It is the eternal German, in whom will-to-action, creative power, and inner experience seek one another in Faustian fashion and unite in harmony and form. Impetuously he reaches up toward the stars; the divine awakens, shapes itself for its own sake, stands exalted above every form, indeed shattering them, as a mighty confession to the divine in itself: Bach, Beethoven, Goethe, Kant… the Gothic! And just as the eternal German carried the vastness of his forests, the roar of his northern sea, the clarity of his starry heavens into his deepest experience—into religion, into music, into his poetry and striving, into philosophy, into the art of building, into all his lofty creations—so once again he is driven out into the immediate creations of Nature, to rediscover there the fructification of the soul, inner peace in harmony and dialogue, above all in struggle with her. Thus our youth storms forth again and again in the same rhythm. Look into its fresh soul, come to know its poets… true, sturdy pagans they were and still are today: “Going to church means crawling into the devil’s arse. May God preserve me!” “Either I serve God through my life—and then my whole life is divine service and I need no church; or I do not serve God and do not seek him—and then going to church would be utterly superfluous.” “Are you still a pagan? Remain one and do not let yourself be baptised!” (From Gorch Fock’s diary pages “Stars above the Sea”.) “We always had religion, but a this-worldly religion; we saved the next world for later. With both feet we stood on the dear earth, lived our life in joy and custom, did not intoxicate ourselves with lust and cruelty, and therefore, unlike the Asiatics, needed no opiates such as remorse and penance. We stood toward our gods as toward our princes; we paid them their dues punctually, came to attention, let them pass by—and that was that! They were not allowed to interfere in our personal lives. More than once I have looked death in the eye, yet never once did it occur to me that I should first put on a clean shirt in case I suddenly found myself standing before someone who would inspect my laundry before opening the door for me. We say we are Christians, but we are not; nor can we be. Christianity and tribal consciousness are simply incompatible. “But the ascetic on the cross is a god for old men and the sick. And we others? When will a temple finally be erected for the modern, strong, scientifically thinking man, for the roaring of psalms and the tone of eternity in his heart?” (Johan Bojer.) But “prayer” must not be misused in the Christian sense and confused with church attendance. For the Christian, “prayer” may be synonymous with “begging.” The pagan, however, does not beg for help from on high and then fold his hands in his lap and wait. “Help yourself, and God will help you” is certainly not an oriental-fatalistic Bible verse; it sprang from genuine German experience. If the Christian clergy, especially the non-Catholic, has lost contact with youth, the fault does not lie with the “godless” people or even with the “godless movement,” as they would so dearly love to claim. With such (to put it mildly) excuses a clergyman steals his way into his dear Lord’s kingdom of heaven! The fault lies in the inner cramping of the church officials themselves, in their stubborn clinging to the man-made book called the Bible. They transfigure and worship God, interpret and misinterpret, quarrel and excommunicate, instead of being trailblazers for a higher experience in all its manifestations. And because Protestantism cannot find its fulfilment in this, its gradual dying away in favour of Catholicism, and the awakening paganism is both explicable and to be welcomed. Rotten wood belongs in the fire, and the clarification of fronts is what the present age demands. For a long time the dividing lines have no longer been seriously Protestantism versus Catholicism; they are increasingly and clearly becoming dogma-free religious paganism on the one hand and Catholic Christianity on the other. In the Protestant camp there are many who show more conviction for the insights of non-Christian philosophers than for the promises of the Bible. On the other side, convinced Christians will draw all the closer to Catholicism, especially as the latter, for reasons of power-politics and historical development, loosens its orthodox rigidity; here the vastly superior worldly shrewdness of the Church of Rome and its this-worldly security measures offer the best preconditions for a comprehensive breakthrough. Many facts already indicate today that Protestantism, still deliberating at the “green table,” is quietly being outflanked. We stand in an age of a Renaissance of world-historical significance. I deliberately quoted no “big-name authorities” for the awakening of paganism. Just as it arose from the nature-bound German soul and continually draws new strength from it, so too the uncomplicated poets of nature and homeland will remain its most successful proclaimers, whether consciously or unconsciously. The inner success that is not forced by propaganda or, as one must expect, by fiscal-technical coercion is the infallible measure of the vibrations of the folk-soul. Called leaders are watching over the new becoming. Our youth has grown more religious; it is searching; and like it, so are many others, more than ever before. May Heaven preserve us, however, from the jealous quarrels of sects. Our youth is pagan-religious because it is German. In this it is more inward-turned than many a nominal Christian and churchgoer. But if you reject it as godless and shallow, then you slander and profane the homeland-seeking of your own German, Nordic-feeling soul. The recent reports that re-entries into the churches are piling up do not change the basic situation in the least. Convinced pagans will keep themselves free from the opportunists who today think a church exit is the right thing and tomorrow think re-entry is. Those who are ideologically unsteady and spineless, who wander from one idea to the next and are constantly being “newly inspired,” are better off under the discipline of a church than in the open air of paganism. This experience will have taught General Ludendorff to transform his originally more ambitious “Deutschvolk” into a mere ideological recruiting depot and to give it the philosophical works of his wife as its foundation. His worst enemy, the Church of Rome, set him an example with its own educational methods; one can only wish and hope that these methods do not, as unfortunately seems to be the case, grow completely beyond his control. History furnishes proof that Christianity, and especially in this regard and especially in this regard the Roman Church in particular, with its worldly shrewdness, is accustomed to carrying out its mission in such a way that paganism (Heidentum), precisely because of the attitude that rightly rejects, for the most part, the systematic soul-snaring that is called mission, simply cannot measure up to it. But as long as the old customs and traditions have not disappeared, as long as at the high festivals of paganism; the mountain fires blaze across the land, as long as we all accompany the solstices with the quiet opening of the time of need (Notwende), so long will the glow of paganism be stirred and nourished. In doing so, the Church will again and again attempt in vain to give a Christian stamp to this new becoming. But it is under the sign of the swastika, the ancient-Nordic symbol of life, not under that of Golgotha, that Germany celebrates its rebirth. Thus the First of May, too, has received its pagan consecration—not as a day of praying and pleading, but of awakening, of the surging of strength, of work. And with this, its public reintroduction into the circle of festivals was also an outward victory of paganism." _________________________ Source: Wille und Macht 1.1933, Teil 2, Pgs 32-34
0:56

🔥A Pagan Has The Floor🔥 Full Translated Official Hitler Youth Magazine 'Will & Power' Article on Pagan Rebirth. Assorted Excerpts: 🔺"Those who are ideologically unsteady and spineless, who wander from one idea to the next and are constantly being “newly inspired,” are better off under the discipline of a church than in the open air of paganism." 🔺"...Thus the First of May, too, has received its pagan consecration—not as a day of praying and pleading, but of awakening, of the surging of strength, of work. And with this, its public reintroduction into the circle of festivals was also an outward victory of paganism." 🔺"..Our youth storms forth again and again in the same rhythm. Look into its fresh soul, come to know its poets… true, sturdy pagans they were and still are today." 🔺"For the Christian, “prayer” may be synonymous with “begging.” The pagan, however, does not beg for help from on high and then fold his hands in his lap and wait." ________________________ FULL ARTICLE: A Pagan Has the Floor. "From the “Reichswart” we reproduce the following letter, which seems to us typical of a part of the young activist generation: Outwardly, Germany celebrated its rebirth in the Garrison Church at Potsdam beside the sarcophagus of its great Prussian king. He is and lives on, immortal: the spirit of Prussia and of paganism. It is the eternal German, in whom will-to-action, creative power, and inner experience seek one another in Faustian fashion and unite in harmony and form. Impetuously he reaches up toward the stars; the divine awakens, shapes itself for its own sake, stands exalted above every form, indeed shattering them, as a mighty confession to the divine in itself: Bach, Beethoven, Goethe, Kant… the Gothic! And just as the eternal German carried the vastness of his forests, the roar of his northern sea, the clarity of his starry heavens into his deepest experience—into religion, into music, into his poetry and striving, into philosophy, into the art of building, into all his lofty creations—so once again he is driven out into the immediate creations of Nature, to rediscover there the fructification of the soul, inner peace in harmony and dialogue, above all in struggle with her. Thus our youth storms forth again and again in the same rhythm. Look into its fresh soul, come to know its poets… true, sturdy pagans they were and still are today: “Going to church means crawling into the devil’s arse. May God preserve me!” “Either I serve God through my life—and then my whole life is divine service and I need no church; or I do not serve God and do not seek him—and then going to church would be utterly superfluous.” “Are you still a pagan? Remain one and do not let yourself be baptised!” (From Gorch Fock’s diary pages “Stars above the Sea”.) “We always had religion, but a this-worldly religion; we saved the next world for later. With both feet we stood on the dear earth, lived our life in joy and custom, did not intoxicate ourselves with lust and cruelty, and therefore, unlike the Asiatics, needed no opiates such as remorse and penance. We stood toward our gods as toward our princes; we paid them their dues punctually, came to attention, let them pass by—and that was that! They were not allowed to interfere in our personal lives. More than once I have looked death in the eye, yet never once did it occur to me that I should first put on a clean shirt in case I suddenly found myself standing before someone who would inspect my laundry before opening the door for me. We say we are Christians, but we are not; nor can we be. Christianity and tribal consciousness are simply incompatible. “But the ascetic on the cross is a god for old men and the sick. And we others? When will a temple finally be erected for the modern, strong, scientifically thinking man, for the roaring of psalms and the tone of eternity in his heart?” (Johan Bojer.) But “prayer” must not be misused in the Christian sense and confused with church attendance. For the Christian, “prayer” may be synonymous with “begging.” The pagan, however, does not beg for help from on high and then fold his hands in his lap and wait. “Help yourself, and God will help you” is certainly not an oriental-fatalistic Bible verse; it sprang from genuine German experience. If the Christian clergy, especially the non-Catholic, has lost contact with youth, the fault does not lie with the “godless” people or even with the “godless movement,” as they would so dearly love to claim. With such (to put it mildly) excuses a clergyman steals his way into his dear Lord’s kingdom of heaven! The fault lies in the inner cramping of the church officials themselves, in their stubborn clinging to the man-made book called the Bible. They transfigure and worship God, interpret and misinterpret, quarrel and excommunicate, instead of being trailblazers for a higher experience in all its manifestations. And because Protestantism cannot find its fulfilment in this, its gradual dying away in favour of Catholicism, and the awakening paganism is both explicable and to be welcomed. Rotten wood belongs in the fire, and the clarification of fronts is what the present age demands. For a long time the dividing lines have no longer been seriously Protestantism versus Catholicism; they are increasingly and clearly becoming dogma-free religious paganism on the one hand and Catholic Christianity on the other. In the Protestant camp there are many who show more conviction for the insights of non-Christian philosophers than for the promises of the Bible. On the other side, convinced Christians will draw all the closer to Catholicism, especially as the latter, for reasons of power-politics and historical development, loosens its orthodox rigidity; here the vastly superior worldly shrewdness of the Church of Rome and its this-worldly security measures offer the best preconditions for a comprehensive breakthrough. Many facts already indicate today that Protestantism, still deliberating at the “green table,” is quietly being outflanked. We stand in an age of a Renaissance of world-historical significance. I deliberately quoted no “big-name authorities” for the awakening of paganism. Just as it arose from the nature-bound German soul and continually draws new strength from it, so too the uncomplicated poets of nature and homeland will remain its most successful proclaimers, whether consciously or unconsciously. The inner success that is not forced by propaganda or, as one must expect, by fiscal-technical coercion is the infallible measure of the vibrations of the folk-soul. Called leaders are watching over the new becoming. Our youth has grown more religious; it is searching; and like it, so are many others, more than ever before. May Heaven preserve us, however, from the jealous quarrels of sects. Our youth is pagan-religious because it is German. In this it is more inward-turned than many a nominal Christian and churchgoer. But if you reject it as godless and shallow, then you slander and profane the homeland-seeking of your own German, Nordic-feeling soul. The recent reports that re-entries into the churches are piling up do not change the basic situation in the least. Convinced pagans will keep themselves free from the opportunists who today think a church exit is the right thing and tomorrow think re-entry is. Those who are ideologically unsteady and spineless, who wander from one idea to the next and are constantly being “newly inspired,” are better off under the discipline of a church than in the open air of paganism. This experience will have taught General Ludendorff to transform his originally more ambitious “Deutschvolk” into a mere ideological recruiting depot and to give it the philosophical works of his wife as its foundation. His worst enemy, the Church of Rome, set him an example with its own educational methods; one can only wish and hope that these methods do not, as unfortunately seems to be the case, grow completely beyond his control. History furnishes proof that Christianity, and especially in this regard and especially in this regard the Roman Church in particular, with its worldly shrewdness, is accustomed to carrying out its mission in such a way that paganism (Heidentum), precisely because of the attitude that rightly rejects, for the most part, the systematic soul-snaring that is called mission, simply cannot measure up to it. But as long as the old customs and traditions have not disappeared, as long as at the high festivals of paganism; the mountain fires blaze across the land, as long as we all accompany the solstices with the quiet opening of the time of need (Notwende), so long will the glow of paganism be stirred and nourished. In doing so, the Church will again and again attempt in vain to give a Christian stamp to this new becoming. But it is under the sign of the swastika, the ancient-Nordic symbol of life, not under that of Golgotha, that Germany celebrates its rebirth. Thus the First of May, too, has received its pagan consecration—not as a day of praying and pleading, but of awakening, of the surging of strength, of work. And with this, its public reintroduction into the circle of festivals was also an outward victory of paganism." _________________________ Source: Wille und Macht 1.1933, Teil 2, Pgs 32-34

Völkisch Spirit ᚾ

13,820 views • 8 months ago

PETER OBI MUST APOLOGISE TO AIRPORT STAFF AND PAY THE FINE FOR WRONG PARKING As the Minister of Aviation, I felt a moral duty to investigate and authenticate the claim made by opposition candidate, Mr. Peter Obi, a few days ago that the tyres of his car were ‘unjustly’ clamped at the airport, suggesting a ‘persecution agenda’ against him by the Federal Government. Politics aside, every Nigerian is entitled to fair treatment under the law. I therefore instituted an internal inquiry over the issue. Luckily enough, the entire Abuja airport is covered by CCTV cameras, real-time, 24/7. But apparently, this fact was unknown to Mr. Peter Obi. Otherwise, perhaps he would have been more circumspect before rushing to the media to cry ‘persecution’. From the recordings, these are the facts: 1. On Saturday, July 4th, 2026, Mr. Obi arrived at the domestic wing of the Nnamdi Azikiwe International Airport Abuja at exactly 20:28 pm, driven by a Policeman. He alighted with two other occupants and went into the terminal building. 2. The Police driver then parked the vehicle, almost blocking the entrance and came out himself and went into the terminal building too. The airport rule is that, apart from the fact that it is a drop-off zone, a driver must remain behind the wheels of the vehicle for it to be tolerated for some time within that zone. Still the vehicle tyres were not clamped. 3. The Policeman came back to the vehicle at about 20:32pm and collected something from the vehicle and went back into the building again, leaving the vehicle unattended to. 4. At this point, the dutiful airport security staff came over and clamped the tyres of the car. In doing this, contrary to the claims by Peter Obi, nobody was inside the car and so nobody knew whether it was his car (not that it should matter, anyway). 5. When the Policeman returned again and discovered the tyres were clamped, he was directed to an office and upon getting there, he called Mr. Peter Obi on his phone and gave the phone to the manager. Mr. Peter Obi then introduced himself and spoke with the manager, peddled his ‘influence’ and requested for the release of the vehicle. His vehicle was then released without him paying the necessary fine. 6. It is important to note that the time the vehicle was parked unattended to in that prohibited zone was about 30 minutes, which constitutes a security risk at an airport by global best practices. What has emerged from this is a clear case of an opposition candidate trying to whip up unnecessary sentiments for a wrong he committed with his driver. The excuse which Mr. Peter Obi gave that there were other offenders too on that day (which is completely false) cannot be an excuse for an individual aspiring to be President of Nigeria. He must live above board. This is a matter that was not even mentioned at all by the airport authorities and had been put to rest. But ever determined to milk any situation to score cheap political points, Mr. Peter Obi decided to go on air to render a false narrative. Therefore, he must also face the consequences of his actions. (I have attached the CCTV footages to this statement for the public to clearly see what transpired.) In the circumstances, consistent with the principle of equality before the law, as Minister of Aviation, I make the following demands on Mr. Peter Obi: 1. That he tenders an unreserved, public apology to those hardworking, ordinary Nigerian workers at the airport, just doing their jobs dutifully and whom he sought to blackmail as his ‘persecutors’. 2. That Mr. Peter Obi voluntarily goes back to the airport and pay the appropriate fine of N25,000 for wrongful parking at the airport for which he used ‘influence peddling’ to bully his way out on that day. He cannot be bigger than the law. If these demands are not met within one week, I will be giving the necessary directives to the Federal Airport Authority of Nigeria (FAAN) to take the next steps against him.
6:21

PETER OBI MUST APOLOGISE TO AIRPORT STAFF AND PAY THE FINE FOR WRONG PARKING As the Minister of Aviation, I felt a moral duty to investigate and authenticate the claim made by opposition candidate, Mr. Peter Obi, a few days ago that the tyres of his car were ‘unjustly’ clamped at the airport, suggesting a ‘persecution agenda’ against him by the Federal Government. Politics aside, every Nigerian is entitled to fair treatment under the law. I therefore instituted an internal inquiry over the issue. Luckily enough, the entire Abuja airport is covered by CCTV cameras, real-time, 24/7. But apparently, this fact was unknown to Mr. Peter Obi. Otherwise, perhaps he would have been more circumspect before rushing to the media to cry ‘persecution’. From the recordings, these are the facts: 1. On Saturday, July 4th, 2026, Mr. Obi arrived at the domestic wing of the Nnamdi Azikiwe International Airport Abuja at exactly 20:28 pm, driven by a Policeman. He alighted with two other occupants and went into the terminal building. 2. The Police driver then parked the vehicle, almost blocking the entrance and came out himself and went into the terminal building too. The airport rule is that, apart from the fact that it is a drop-off zone, a driver must remain behind the wheels of the vehicle for it to be tolerated for some time within that zone. Still the vehicle tyres were not clamped. 3. The Policeman came back to the vehicle at about 20:32pm and collected something from the vehicle and went back into the building again, leaving the vehicle unattended to. 4. At this point, the dutiful airport security staff came over and clamped the tyres of the car. In doing this, contrary to the claims by Peter Obi, nobody was inside the car and so nobody knew whether it was his car (not that it should matter, anyway). 5. When the Policeman returned again and discovered the tyres were clamped, he was directed to an office and upon getting there, he called Mr. Peter Obi on his phone and gave the phone to the manager. Mr. Peter Obi then introduced himself and spoke with the manager, peddled his ‘influence’ and requested for the release of the vehicle. His vehicle was then released without him paying the necessary fine. 6. It is important to note that the time the vehicle was parked unattended to in that prohibited zone was about 30 minutes, which constitutes a security risk at an airport by global best practices. What has emerged from this is a clear case of an opposition candidate trying to whip up unnecessary sentiments for a wrong he committed with his driver. The excuse which Mr. Peter Obi gave that there were other offenders too on that day (which is completely false) cannot be an excuse for an individual aspiring to be President of Nigeria. He must live above board. This is a matter that was not even mentioned at all by the airport authorities and had been put to rest. But ever determined to milk any situation to score cheap political points, Mr. Peter Obi decided to go on air to render a false narrative. Therefore, he must also face the consequences of his actions. (I have attached the CCTV footages to this statement for the public to clearly see what transpired.) In the circumstances, consistent with the principle of equality before the law, as Minister of Aviation, I make the following demands on Mr. Peter Obi: 1. That he tenders an unreserved, public apology to those hardworking, ordinary Nigerian workers at the airport, just doing their jobs dutifully and whom he sought to blackmail as his ‘persecutors’. 2. That Mr. Peter Obi voluntarily goes back to the airport and pay the appropriate fine of N25,000 for wrongful parking at the airport for which he used ‘influence peddling’ to bully his way out on that day. He cannot be bigger than the law. If these demands are not met within one week, I will be giving the necessary directives to the Federal Airport Authority of Nigeria (FAAN) to take the next steps against him.

Festus Keyamo, SAN, CON, FCIArb (UK)

2,734,272 views • 1 month ago

Decoding Mozart's Horn Concerto No. 1: When Mozart Found Beauty Within the Horn's Limitations Listening to Horn Concerto No. 1 in D major, K.412, performed by Radek Baborák with the Berliner Philharmoniker under the baton of Daniel Barenboim, one is immediately drawn to the elegance so characteristic of Mozart: A bright, resonant horn. A perfectly balanced orchestra. A musical flow that is graceful, lively, and full of vitality. Yet the true fascination of this concerto lies beneath its surface beauty. A more important question is: How could Mozart create such a natural, complete, and expressive work with an eighteenth-century horn whose technical possibilities were still so limited? The answer lies in his profound understanding of the instrument and in the astonishing precision with which he organized every sound. 1. An Imperfect Horn—and Mozart's Deep Understanding In the eighteenth century, the horn had no valves. It was a natural horn, producing pitches primarily through the harmonic series of a long coiled tube. This created two distinct sound worlds. Open notes emerged directly from the instrument's natural acoustical design. They were broad, resonant, and effortlessly brilliant. Meanwhile, notes outside the natural harmonic series had to be produced by placing the hand inside the bell. These hand-stopped notes possessed a different character: Darker. Softer. Less resonant. If we imagine the horn as a human voice, it resembles a singer with a unique timbre whose entire range cannot be produced with equal ease. What makes Mozart remarkable is that he never tried to disguise these characteristics. He understood that an instrument's identity lies not only in what it does best, but also in the way it responds to its own limitations. 2. The Art of Placement: When Every Limitation Has Its Place Mozart's genius lies in his ability to guide the listener's attention. He reserves the horn's most naturally resonant sounds for the moments that matter most. As soon as the solo horn enters, we hear the opening sequence: D → A → D → F♯ It unfolds almost organically: A point of departure. An expansion into a wider space. A return to stability. Here Mozart allows the horn to reveal its most natural voice. When less resonant notes appear, however, he never lets them become weaknesses. Instead, he weaves them into the motion of the melody. They never stand alone as awkward interruptions. They become subtle shifts of color. Like a painter who uses both light and shadow to create depth, Mozart does not erase differences in tone. He places each color exactly where it belongs, allowing the entire musical landscape to remain balanced. 3. A Musical Seed: The Power of D – A – D – F♯ The concerto begins with only four seemingly simple notes. Yet that simplicity is one of Mozart's greatest strengths. The importance lies not in the individual notes themselves, but in how they relate to one another. D establishes a foundation. The leap to A opens the musical space. The return to D restores stability. F♯ adds the brightness that defines the major mode. With only a few notes, Mozart creates a complete musical arc: Beginning. Expansion. Return. This reflects one of the central principles of Classical art: Freedom flourishes within an ordered structure. Mozart never pursued complexity simply to impress. Instead, he discovered beauty in the simplest materials. 4. An Unusual Structure Among Mozart's Concertos One distinctive feature of K.412 is its form. Many Classical concertos follow a three-movement design: Fast – Slow – Fast. This concerto, however, contains only two movements: Allegro. Rondo: Allegro. Without a slow movement, the work maintains an uninterrupted sense of energy. Rather than leading listeners into deep introspection, it unfolds like an animated conversation between the soloist and the orchestra. This structure perfectly suits the personality of the horn: Natural. Flexible. Filled with life. 5. Why Did Mozart Choose D Major? Mozart chose D major for this concerto. This was not merely a theoretical decision. On the natural horn, each key offers different possibilities for resonance because the instrument's acoustical design naturally favors certain pitches over others. Mozart did not try to force the horn into becoming something it was not. Instead, he chose the environment in which its natural character could emerge most fully. As a result, D major does more than provide brightness and clarity. It allows the horn to speak in its own authentic voice. Here we encounter another principle often found in Classical art: Beauty does not arise by forcing something to abandon its nature. It emerges when each thing is placed in the setting where its true character can flourish. 6. Radek Baborák and the Spirit of Mozart In Radek Baborák's performance, what stands out is not merely technical mastery. He preserves Mozart's essential spirit. The horn never becomes a vehicle for personal display. Instead, it serves as a natural voice within the conversation of the orchestra. The Berliner Philharmoniker, under Daniel Barenboim's direction, embraces the same philosophy. The horn shines without separating itself from the ensemble. The orchestra supports without overwhelming its soloist. Every part contributes to a balanced whole. This is one of the enduring ideals of Classical art: An individual shines most beautifully when remaining in harmony with the whole. Conclusion: Mozart Did Not Overcome Limits—He Understood Them What makes Horn Concerto No. 1 extraordinary is not that Mozart possessed a perfect instrument. It is that he understood this imperfect horn so completely that he knew the place of every possibility, every color, and every limitation within it. From a handful of simple notes. From a natural horn without modern technology. From the immutable laws of acoustics. Mozart created a musical world in which every element finds its proper place. Perhaps this is why the concerto points toward a principle that reaches far beyond music. A great leader does not try to make every member of a team the same. A great architect does not require every stone to have the same shape. A healthy ecosystem does not thrive because every living thing is identical. Its strength comes from each element occupying the place where its own nature can contribute to the whole. Perhaps Mozart recognized this principle and allowed his music to unfold in accordance with it. That may be one reason why, more than two centuries later, Horn Concerto No. 1 still feels so effortlessly natural. Lasting beauty does not emerge when every limitation is erased. It emerges when every unique quality—and every limitation—is placed in its proper position within a harmonious order.
3:03

Decoding Mozart's Horn Concerto No. 1: When Mozart Found Beauty Within the Horn's Limitations Listening to Horn Concerto No. 1 in D major, K.412, performed by Radek Baborák with the Berliner Philharmoniker under the baton of Daniel Barenboim, one is immediately drawn to the elegance so characteristic of Mozart: A bright, resonant horn. A perfectly balanced orchestra. A musical flow that is graceful, lively, and full of vitality. Yet the true fascination of this concerto lies beneath its surface beauty. A more important question is: How could Mozart create such a natural, complete, and expressive work with an eighteenth-century horn whose technical possibilities were still so limited? The answer lies in his profound understanding of the instrument and in the astonishing precision with which he organized every sound. 1. An Imperfect Horn—and Mozart's Deep Understanding In the eighteenth century, the horn had no valves. It was a natural horn, producing pitches primarily through the harmonic series of a long coiled tube. This created two distinct sound worlds. Open notes emerged directly from the instrument's natural acoustical design. They were broad, resonant, and effortlessly brilliant. Meanwhile, notes outside the natural harmonic series had to be produced by placing the hand inside the bell. These hand-stopped notes possessed a different character: Darker. Softer. Less resonant. If we imagine the horn as a human voice, it resembles a singer with a unique timbre whose entire range cannot be produced with equal ease. What makes Mozart remarkable is that he never tried to disguise these characteristics. He understood that an instrument's identity lies not only in what it does best, but also in the way it responds to its own limitations. 2. The Art of Placement: When Every Limitation Has Its Place Mozart's genius lies in his ability to guide the listener's attention. He reserves the horn's most naturally resonant sounds for the moments that matter most. As soon as the solo horn enters, we hear the opening sequence: D → A → D → F♯ It unfolds almost organically: A point of departure. An expansion into a wider space. A return to stability. Here Mozart allows the horn to reveal its most natural voice. When less resonant notes appear, however, he never lets them become weaknesses. Instead, he weaves them into the motion of the melody. They never stand alone as awkward interruptions. They become subtle shifts of color. Like a painter who uses both light and shadow to create depth, Mozart does not erase differences in tone. He places each color exactly where it belongs, allowing the entire musical landscape to remain balanced. 3. A Musical Seed: The Power of D – A – D – F♯ The concerto begins with only four seemingly simple notes. Yet that simplicity is one of Mozart's greatest strengths. The importance lies not in the individual notes themselves, but in how they relate to one another. D establishes a foundation. The leap to A opens the musical space. The return to D restores stability. F♯ adds the brightness that defines the major mode. With only a few notes, Mozart creates a complete musical arc: Beginning. Expansion. Return. This reflects one of the central principles of Classical art: Freedom flourishes within an ordered structure. Mozart never pursued complexity simply to impress. Instead, he discovered beauty in the simplest materials. 4. An Unusual Structure Among Mozart's Concertos One distinctive feature of K.412 is its form. Many Classical concertos follow a three-movement design: Fast – Slow – Fast. This concerto, however, contains only two movements: Allegro. Rondo: Allegro. Without a slow movement, the work maintains an uninterrupted sense of energy. Rather than leading listeners into deep introspection, it unfolds like an animated conversation between the soloist and the orchestra. This structure perfectly suits the personality of the horn: Natural. Flexible. Filled with life. 5. Why Did Mozart Choose D Major? Mozart chose D major for this concerto. This was not merely a theoretical decision. On the natural horn, each key offers different possibilities for resonance because the instrument's acoustical design naturally favors certain pitches over others. Mozart did not try to force the horn into becoming something it was not. Instead, he chose the environment in which its natural character could emerge most fully. As a result, D major does more than provide brightness and clarity. It allows the horn to speak in its own authentic voice. Here we encounter another principle often found in Classical art: Beauty does not arise by forcing something to abandon its nature. It emerges when each thing is placed in the setting where its true character can flourish. 6. Radek Baborák and the Spirit of Mozart In Radek Baborák's performance, what stands out is not merely technical mastery. He preserves Mozart's essential spirit. The horn never becomes a vehicle for personal display. Instead, it serves as a natural voice within the conversation of the orchestra. The Berliner Philharmoniker, under Daniel Barenboim's direction, embraces the same philosophy. The horn shines without separating itself from the ensemble. The orchestra supports without overwhelming its soloist. Every part contributes to a balanced whole. This is one of the enduring ideals of Classical art: An individual shines most beautifully when remaining in harmony with the whole. Conclusion: Mozart Did Not Overcome Limits—He Understood Them What makes Horn Concerto No. 1 extraordinary is not that Mozart possessed a perfect instrument. It is that he understood this imperfect horn so completely that he knew the place of every possibility, every color, and every limitation within it. From a handful of simple notes. From a natural horn without modern technology. From the immutable laws of acoustics. Mozart created a musical world in which every element finds its proper place. Perhaps this is why the concerto points toward a principle that reaches far beyond music. A great leader does not try to make every member of a team the same. A great architect does not require every stone to have the same shape. A healthy ecosystem does not thrive because every living thing is identical. Its strength comes from each element occupying the place where its own nature can contribute to the whole. Perhaps Mozart recognized this principle and allowed his music to unfold in accordance with it. That may be one reason why, more than two centuries later, Horn Concerto No. 1 still feels so effortlessly natural. Lasting beauty does not emerge when every limitation is erased. It emerges when every unique quality—and every limitation—is placed in its proper position within a harmonious order.

🎼🌺Music Love♥️

14,794 views • 1 month ago

This is the recording that exposed Andy Burnham's role in the cover up of the Pakistani Rape Gangs. Listen to how his so-called “Assurance Review” was presented, then judge for yourself. Andy Burnham called it “painstaking” and “thorough.” His expert, Malcolm Newsom, read the findings, glossing over how from their sample of ten children, he failed to interview a single one of these survivors. Much of the evidence is hidden in confidential appendices, to this date, still hidden from the public. Nonetheless, what was admitted, buried in the small print, including confirmation that children were dragged off the streets in broad daylight into shisha bars where they were victims of gang rape. Oldham Police (GMP) knew. Oldham Council knew. Jim McMahon OBE MP knew. They all knew. And they chose 'community relations' over the safety of little girls. I’ve laid out the facts, the emails, and the failures. Watch the video. Share it. Tag someone who cares. If Andy Burnham wants to be Prime Minister, this is the scandal that will not only stop him, it will end his career. Name the place Andy Burnham. Bring your Pakistani bloc vote and your criminals from within Greater Manchester Police. I'll come on my own with a camera. We'll see who is telling the truth and who is a Rape Gang Protector. _________ I am Raja Miah. Seven years ago I began exposing how politicians protected the rape gangs. The truth can no longer be buried. The Pakistani rape gangs are real. Their victims number in the hundreds of thousands. And the cover up is still ongoing. Now the National Inquiry is about to begin. This is our one chance to stop another whitewash. But that will only happen if enough people know the truth and are willing to fight back. Despite the media blackout, Red Wall and the Rabble has grown to over 6,000 subscribers. I need your help to reach 10,000 before the inquiry begins. Every new subscriber makes it harder for them to bury this story. Every share makes it harder to dismiss the evidence. Every voice raised brings justice closer. 🔴 Subscribe for free or support the work for just 75p a week or £30 for the full year 👉 🔴 Prefer a one-off contribution? 👉 👉 This is the fight. This is the moment. There will not be another. – Raja Miah MBE
0:50

This is the recording that exposed Andy Burnham's role in the cover up of the Pakistani Rape Gangs. Listen to how his so-called “Assurance Review” was presented, then judge for yourself. Andy Burnham called it “painstaking” and “thorough.” His expert, Malcolm Newsom, read the findings, glossing over how from their sample of ten children, he failed to interview a single one of these survivors. Much of the evidence is hidden in confidential appendices, to this date, still hidden from the public. Nonetheless, what was admitted, buried in the small print, including confirmation that children were dragged off the streets in broad daylight into shisha bars where they were victims of gang rape. Oldham Police (GMP) knew. Oldham Council knew. Jim McMahon OBE MP knew. They all knew. And they chose 'community relations' over the safety of little girls. I’ve laid out the facts, the emails, and the failures. Watch the video. Share it. Tag someone who cares. If Andy Burnham wants to be Prime Minister, this is the scandal that will not only stop him, it will end his career. Name the place Andy Burnham. Bring your Pakistani bloc vote and your criminals from within Greater Manchester Police. I'll come on my own with a camera. We'll see who is telling the truth and who is a Rape Gang Protector. _________ I am Raja Miah. Seven years ago I began exposing how politicians protected the rape gangs. The truth can no longer be buried. The Pakistani rape gangs are real. Their victims number in the hundreds of thousands. And the cover up is still ongoing. Now the National Inquiry is about to begin. This is our one chance to stop another whitewash. But that will only happen if enough people know the truth and are willing to fight back. Despite the media blackout, Red Wall and the Rabble has grown to over 6,000 subscribers. I need your help to reach 10,000 before the inquiry begins. Every new subscriber makes it harder for them to bury this story. Every share makes it harder to dismiss the evidence. Every voice raised brings justice closer. 🔴 Subscribe for free or support the work for just 75p a week or £30 for the full year 👉 🔴 Prefer a one-off contribution? 👉 👉 This is the fight. This is the moment. There will not be another. – Raja Miah MBE

Raja Miah

73,186 views • 11 months ago

Not every memorable moment in cinema wins over audiences through cinematography, choreography, or music alone. Some moments endure because they touch something deeply rooted in human nature. Gene Kelly singing and dancing in the rain in Singin’ in the Rain (1952) is one such moment. At first glance, it is simply the image of a joyful man walking through the rain. He sings, spins his umbrella, steps through puddles, swings around a lamppost, and smiles in the middle of an empty street. But what allows this scene to remain in the memory of audiences is not only its visual beauty. Beneath the surface, it reflects a very special state of human existence: the moment when inner joy and outward expression become one unified whole. Perhaps this is the deepest source of beauty within this scene. From a Dance Scene to the Unity Between Inner Emotion and Outer Form What the audience first feels is a very simple sense of joy. Don Lockwood has just experienced a moment of happiness with Kathy. The emotion is so powerful that when he steps outside into the rain, he no longer sees the weather as an obstacle. He sings. He dances. He plays with the falling drops of water. The rain, which could normally be uncomfortable, becomes part of his happiness. But if we stop here, we are only seeing the surface of the scene. The deeper meaning lies in the way all elements come together in harmony. The music does not exist separately from the movement. The rhythm of the song becomes the rhythm of the body. Every step, every turn, every movement of the umbrella seems to come directly from the emotion within. The rain is no longer merely a background. The street is no longer just a setting. The entire world around him becomes part of his inner state. This reflects an idea often emphasized in Western aesthetics: beauty emerges when different elements achieve an organic unity. The outer form is no longer separated from the inner meaning. The Smallest Moment Can Contain the Greatest Spirit The entire scene can be condensed into one very small action: Gene Kelly steps into a puddle. This is not simply a humorous gesture. It is a symbol of the way human beings perceive the world. An ordinary person might avoid a puddle out of concern for dirty shoes, wet clothes, or losing a sense of neatness and control. But Don Lockwood deliberately steps into it. He transforms something that would normally be avoided into a source of happiness. In that moment, he is no longer controlled by hesitation or excessive awareness of himself. He is not trying to create the image of a happy person. He is simply living within that happiness. This is what makes the scene so special. The audience feels that they are not watching a performance about joy, but witnessing joy itself finding its own natural form of expression. Why Does This Touch the Human Heart? The deeper question is: Why does the unity between inner feeling and outer expression move us? Perhaps because, in everyday life, human beings often experience separation. We may think one thing but say another. We may feel something but have to hide it. We may want to act naturally but become limited by layers of worry and calculation. Yet sometimes, we encounter a moment when all those distances disappear. A child’s natural laughter is an example that closely reflects the spirit of Gene Kelly’s performance. When a child is truly happy, that happiness does not remain only within the mind. It appears through the whole person: The eyes brighten. The expression changes. The voice becomes clear and pure. The body moves together with the emotion. A child does not need to learn how to express happiness. Happiness naturally finds its way outward. This is exactly what Gene Kelly evokes in the rain. Although Don Lockwood is an adult, in that moment he returns to a very fundamental human state: when the soul and the body are no longer separated, when genuine emotion can freely express itself through every movement. This Principle Exists in Nature What is interesting is that this principle does not exist only in art. A similar pattern can be found in the natural world. A seed grows into a tree. The shape of the tree is not something added from the outside, but the expression of an inner process of life. A flower blooms not because it tries to become beautiful, but because the life within it has reached a form that naturally expresses itself. A river does not create beauty by resisting the landscape. It flows around rocks, adapts to the shape of the earth, and through this harmony creates its own unique form. The same is true within the human body. A genuine smile is not only found in the movement of the lips. It is the coordination of the eyes, facial expression, voice, and inner emotional state. A highly skilled athlete or artist often creates a similar impression: technique is no longer separated from emotion. The body becomes a natural instrument for expressing an idea from within. The Scene and the Beauty of Wholeness From an aesthetic perspective, what makes Singin’ in the Rain special is not simply that Gene Kelly dances beautifully. More importantly, the scene reveals a profound image of humanity: A person who is no longer divided between emotion and action. A person whose inner world and outer expression move toward the same direction. A person who encounters the world not as an obstacle, but as a part of life unfolding naturally. This is also why the scene continues to connect with generations of viewers. Regardless of the era, people can still recognize the beauty of a familiar state of being: the moment when a living being is able to exist in harmony with its own nature.
4:16

Not every memorable moment in cinema wins over audiences through cinematography, choreography, or music alone. Some moments endure because they touch something deeply rooted in human nature. Gene Kelly singing and dancing in the rain in Singin’ in the Rain (1952) is one such moment. At first glance, it is simply the image of a joyful man walking through the rain. He sings, spins his umbrella, steps through puddles, swings around a lamppost, and smiles in the middle of an empty street. But what allows this scene to remain in the memory of audiences is not only its visual beauty. Beneath the surface, it reflects a very special state of human existence: the moment when inner joy and outward expression become one unified whole. Perhaps this is the deepest source of beauty within this scene. From a Dance Scene to the Unity Between Inner Emotion and Outer Form What the audience first feels is a very simple sense of joy. Don Lockwood has just experienced a moment of happiness with Kathy. The emotion is so powerful that when he steps outside into the rain, he no longer sees the weather as an obstacle. He sings. He dances. He plays with the falling drops of water. The rain, which could normally be uncomfortable, becomes part of his happiness. But if we stop here, we are only seeing the surface of the scene. The deeper meaning lies in the way all elements come together in harmony. The music does not exist separately from the movement. The rhythm of the song becomes the rhythm of the body. Every step, every turn, every movement of the umbrella seems to come directly from the emotion within. The rain is no longer merely a background. The street is no longer just a setting. The entire world around him becomes part of his inner state. This reflects an idea often emphasized in Western aesthetics: beauty emerges when different elements achieve an organic unity. The outer form is no longer separated from the inner meaning. The Smallest Moment Can Contain the Greatest Spirit The entire scene can be condensed into one very small action: Gene Kelly steps into a puddle. This is not simply a humorous gesture. It is a symbol of the way human beings perceive the world. An ordinary person might avoid a puddle out of concern for dirty shoes, wet clothes, or losing a sense of neatness and control. But Don Lockwood deliberately steps into it. He transforms something that would normally be avoided into a source of happiness. In that moment, he is no longer controlled by hesitation or excessive awareness of himself. He is not trying to create the image of a happy person. He is simply living within that happiness. This is what makes the scene so special. The audience feels that they are not watching a performance about joy, but witnessing joy itself finding its own natural form of expression. Why Does This Touch the Human Heart? The deeper question is: Why does the unity between inner feeling and outer expression move us? Perhaps because, in everyday life, human beings often experience separation. We may think one thing but say another. We may feel something but have to hide it. We may want to act naturally but become limited by layers of worry and calculation. Yet sometimes, we encounter a moment when all those distances disappear. A child’s natural laughter is an example that closely reflects the spirit of Gene Kelly’s performance. When a child is truly happy, that happiness does not remain only within the mind. It appears through the whole person: The eyes brighten. The expression changes. The voice becomes clear and pure. The body moves together with the emotion. A child does not need to learn how to express happiness. Happiness naturally finds its way outward. This is exactly what Gene Kelly evokes in the rain. Although Don Lockwood is an adult, in that moment he returns to a very fundamental human state: when the soul and the body are no longer separated, when genuine emotion can freely express itself through every movement. This Principle Exists in Nature What is interesting is that this principle does not exist only in art. A similar pattern can be found in the natural world. A seed grows into a tree. The shape of the tree is not something added from the outside, but the expression of an inner process of life. A flower blooms not because it tries to become beautiful, but because the life within it has reached a form that naturally expresses itself. A river does not create beauty by resisting the landscape. It flows around rocks, adapts to the shape of the earth, and through this harmony creates its own unique form. The same is true within the human body. A genuine smile is not only found in the movement of the lips. It is the coordination of the eyes, facial expression, voice, and inner emotional state. A highly skilled athlete or artist often creates a similar impression: technique is no longer separated from emotion. The body becomes a natural instrument for expressing an idea from within. The Scene and the Beauty of Wholeness From an aesthetic perspective, what makes Singin’ in the Rain special is not simply that Gene Kelly dances beautifully. More importantly, the scene reveals a profound image of humanity: A person who is no longer divided between emotion and action. A person whose inner world and outer expression move toward the same direction. A person who encounters the world not as an obstacle, but as a part of life unfolding naturally. This is also why the scene continues to connect with generations of viewers. Regardless of the era, people can still recognize the beauty of a familiar state of being: the moment when a living being is able to exist in harmony with its own nature.

🎼🌺Music Love♥️

17,450 views • 1 month ago