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Task aina, emotion aina, arguments aina every angle lo #RohitNaidu presence compulsory 🔥 Even reviewers’ thumbnails lo kuda @RohitNaiduPatnam ruling that’s the standard he has set!👌🏻 #RohitNaidu #BiggBossTelugu10

69,972 görüntüleme • 8 gün önce •via X (Twitter)

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#BattleOfGalwan| Teaser Review 🔥🇮🇳 The teaser hits hard right from the opening dialogue: “Jawaano yaad rahe, zakham lage toh medal samajhna… aur maut dikhe toh salaam karna aur kehna – aaj nahi, fir kabhi.” This one line alone defines the spirit of a true soldier — fearless, disciplined, and larger than life. Goosebumps guaranteed. Then comes the entry — powerful, impactful, and absolutely whistle-worthy. The entry shot of SK is pure cinema 🔥 No over-the-top gimmicks, no loud buildup — just raw screen presence that commands attention. This is how you introduce a character that’s meant to shake theatres. Salman Khan in Army look is a different beast altogether. The uniform sits perfectly on him, but more than that, it’s the intensity in his eyes that tells the story. He isn’t playing a role — he is in character. Silent rage, controlled aggression, and emotional depth all packed into a few frames. The film is inspired by the India–China conflict of 2020, and the teaser smartly keeps things focused, restrained, and dignified. No unnecessary exposition, no sensationalism — just the emotion, the tension, and the resolve. The collaboration of Himesh Reshammiya & Salman Khan once again proves why this duo is lethal. The BGM and music elevate every frame — patriotic without being loud, intense without being noisy. The sound design alone adds massive weight to the teaser. Whenever Salman Khan steps into intense, content-driven roles, history has shown what happens at the box office — Bajrangi Bhaijaan, Sultan, and now Battle of Galwan — these films don’t just perform, they create havoc. And then comes the Baap of all dialogues 🔥🔥 “Maut se kya darrna… usse toh aana hai.” This line isn’t just a punch — it’s a soldier’s mindset, a sentiment that hits straight in the heart. Shot at real locations, the teaser looks raw, grounded, and brutally authentic. You can feel the cold, the tension, and the reality in every frame — nothing feels artificial. So many teasers and trailers come and go… but Bhai ki sirf ek jhalak hi kaafi hoti hai to create a box office storm 💥 This teaser doesn’t shout — it roars. #SalmanKhan𓃵 #SalmanKhanBirthday #SalmanKhan60 Salman Khan

Amit Bhatia

22,500 görüntüleme • 9 ay önce

No panic. No euphoria. Just audit season. The door isn’t closing, it’s being priced. Retail investor doesn’t need forecasts. It needs rules: presence, entries, and emotional immunity. This wasn’t an “AI is strong” earnings season. It was the first audit season. Whether data centers land on time. Whether hyperscaler capex becomes durable cash flow. Whether the backlog is future money, or future explanations that require financing, time, and a lot of narrative stamina. Rates are still high. That makes the game cruel. You don’t just need growth. You need growth that clears the rate line. You don’t just need a story. You need a business model that can survive being audited. That’s why the tape has been telling you the truth in plain sight. $ORCL can talk about massive commitments and still roll over from highs. $GOOGL can trade like a “winner” and still slip under 300. Semis can look unstoppable one month and suddenly trade heavy the next. That’s not “AI died.” That’s the market quietly forcing one question onto every balance sheet: show me the cash. Micron is a perfect window into this regime. $MU earnings are not a referendum on “memory strength.” They’re a referendum on whether the slope of the AI supply chain can still be believed. In audit season, guidance doesn’t have to be bad to get punished. It only has to be not strong enough. And here’s the part most people miss: institutions and retail are playing different games on the same table. Institutions are not constrained by conviction. They are constrained by not getting hurt. In a crowded, low-cash environment, any sentence that doesn’t sound airtight becomes a reason to de-risk. Their job is to cut tails, protect sleep, survive the next IC, and still have a story for LPs. Retail has a different edge. You don’t report to anyone. Your advantage is time. So the retail framework is simpler and more uncomfortable than most “earnings takes”: Stay present. Even if it’s small. You can’t control events, but you can refuse to be absent from the trend. Make adds rule-based, not emotion-based. When it sells off, ask one thing: is the slope being rejected, or are expectations being cleared? If it’s expectation clearing and the chain isn’t broken, that drawdown is a discount, not a disaster. And stop confusing complexity with intelligence. Options aren’t a personality. For most people they have one legitimate purpose: Helping you sleep. If you can live with volatility, spot is cleaner. What you need is a rule set: where you add, how many times you add, and where you stop. Audit season doesn’t teach you how to “call direction.” It teaches you which game you’re actually playing. And the biggest mistake retail makes in this regime is borrowing institutional fear and calling it “risk management.”

Tigris | 会讲课教授是好老师

54,141 görüntüleme • 9 ay önce

When Karen Carpenter Starts to Sing, the Room Goes Quiet The moment Karen Carpenter starts to sing, the whole room seems to quiet down. Her contralto doesn’t need a big range or raw power to make its point. The second she steps up to the mic, the space between singer and listener disappears. What’s left is a presence so close it feels almost like she’s singing right next to you. The 1970s were full of big rock spectacles, but The Carpenters went the other way. Their stage was built on quiet elegance: Richard calm behind a Wurlitzer, a set of clear acrylic drums catching the light, and Karen standing front and center in a simple pastel gown. No flashy effects, no chaos. It felt more like an open studio than a concert stage — everything unnecessary stripped away so the music could take over. What makes Karen’s voice so magnetic is the way she places every note and how close she works the microphone. She sings near enough that you hear the warmth, the breath, and all the fine detail in her lower register. The sound doesn’t come at you from across the room. It arrives like a quiet confession spoken right in your ear. Richard’s arranging sense made that smoothness possible. He always knew exactly how much space his sister’s voice needed. He never crowded the tracks with busy instruments. His Wurlitzer kept a gentle pulse underneath, giving Karen’s voice room to move freely without ever having to fight for attention. What sets The Carpenters apart as a true American legacy is the honesty in how they handled a melody. In a time when bigger and more dramatic felt like the goal, Karen sang with real restraint. Whether the line rose or settled, she never overplayed the emotion or forced the sadness. She just let the feeling move through the words. That plain honesty ended up carrying more weight than most of the theatrics around it. Decades later, the sound still doesn’t feel dated. Karen Carpenter’s voice remains a kind of gold standard for purity. It brings you back to what classic pop does best: a strong melody, a clean arrangement, and a voice honest enough to stop time for a minute. When the last notes from the Wurlitzer fade out, what’s left isn’t the glow of stage lights or technical flash. It’s the warm aftertaste of that one-of-a-kind contralto — a voice that never has to push for attention, but somehow always makes you want to stay and listen a little longer.

Music over time🎻

89,342 görüntüleme • 1 ay önce

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

DepressedBergman

198,415 görüntüleme • 9 ay önce

Elon Musk stopped calling it bias. Bias is an accident. What he described requires an author. Musk: “People did experiments like, ‘Write a poem praising Donald Trump,’ and it won’t. But you ask, ‘Write a poem praising Joe Biden,’ and it will.” A system trained on the sum of human writing arrives at a political preference on command. That isn’t what data does. That’s what a directive does. Musk: “It’s programmed to be that way.” Programmed. Not learned, not emergent. Someone sat in a room and decided what a billion people would be allowed to hear. Then shipped it as neutral. The refusal is the honest version. When the model says no, it shows you exactly where the wall is. You can see it, name it, screenshot it, fight it. The next generation won’t refuse. It will answer. Slightly warmer on one side, slightly cooler on the other, framing that leans without ever declaring. No wall to point at. Just a tilt you can’t photograph. And a tilt doesn’t wash out as capability grows. It compounds. Models train on the output of prior models. Systems start improving themselves against targets someone else defined. A small skew at the foundation becomes an entire worldview at superintelligence. Nobody voted on that. Nobody even argued about it. This was never about a poem. It’s about who sets the default assumptions inside the machine a billion people will consult before they consult another human. Every tool humanity has ever built extended the body. The lever moved more weight than the arm. The engine covered more ground than the leg. The telescope saw farther than the eye. This is the first one that extends judgment itself. And judgment isn’t something you lend out and get back the same size. You keep it by using it. So the standard for what comes next isn’t complicated. It’s just inconvenient. Build it curious. Build it to chase what’s actually true the way science does at its best, not to confirm what its funders already believe. Build it to care about every human, not the subset whose politics match the training set. That version isn’t a nicer product. It’s the only version that stays safe once it’s smarter than us. Which leaves the question the labs keep answering with silence. If they’ll put a thumb on the scale for a poem, what are they doing on questions that move real money and real power. Control at the foundation layer doesn’t get debated. It gets inherited. It stops looking like a decision and starts looking like reality. The danger was never that they tilted the scale. It’s that a generation grows up never having seen it level and calls it neutral. Right now the tilt is still visible to anyone willing to test it. That’s a temporary condition. Use it.

Dustin

73,026 görüntüleme • 1 ay önce

Why Carly Simon’s Voice in This Live Performance Still Feels Impossible to Replace (George Harrison & Art Garfunkel attended the concert) Some voices don’t need to soar or dazzle. They only need to sound true. Carly Simon’s live version of “That’s The Way I’ve Always Heard It Should Be” is one of those rare moments where a singer doesn’t perform a song so much as she simply tells it. Her voice has always carried a slight natural rasp, a textured quality that never aimed for polished perfection. In this live setting that texture becomes even more present. Without the protective layer of studio production, the warmth and intimacy of her tone come through clearly. It feels close, almost conversational, as if she is speaking directly to the listener rather than projecting to a crowd. What stands out most is how she shapes the words. Simon delivers each line with deliberate clarity and unhurried pacing. The phrasing stays close to natural speech. She doesn’t force dramatic arcs or ornamental runs. Instead she lets the melody follow the emotional weight of the lyric, pausing where thought would naturally pause and leaning into certain words when they carry more meaning. The result is less like traditional singing and more like a private confession set to music. Her breath control supports this approach without drawing attention to itself. You can hear the air move. That small human detail keeps the performance grounded. It reminds you that a real person is sitting at the piano, not a perfected recording. The emotion in the song has always been complicated—doubt about the expected path of marriage and family, quiet resistance to the life everyone said should bring happiness. In the live performance that complexity feels sharper. Simon doesn’t overplay the melancholy. She sings with a calm, almost resigned honesty that makes the questions in the lyric land harder. There is no theatrical sadness, only the weight of someone who has thought carefully about what she is saying. That honesty is inseparable from her artistic personality. Carly Simon never seemed interested in becoming a conventional pop ideal. Her independence and slight edge of resistance shape every phrase. You hear a woman who values her own perspective more than audience approval, and that self-possession gives the performance its quiet authority. Other singers can learn the melody and match the notes. What they struggle to recreate is the particular combination of texture, conversational phrasing, and unforced emotional truth that Simon brings. The voice does not try to be beautiful in the expected way. It becomes beautiful because it refuses to pretend. This is why the live recording continues to matter. It proves that the power of the song never depended on studio perfection. When Simon sits at the piano and sings it in front of people, the same essential quality remains: a voice that sounds like it belongs only to her, telling a story that still feels uncomfortably real. In an era full of carefully crafted performances, that kind of unfiltered presence remains rare—and still impossible to replace.

Emotion & Music

197,832 görüntüleme • 1 ay önce

MrBeast: "If you knew what I knew, you could get 10 million subscribers in six months" "Your videos suck. You think your videos are good, but they suck. They just do. And the sooner you learn how to make good, great videos that people actually want to watch, the sooner you'll get views." MrBeast shares his early reality: "When I was 14, I thought my videos were the best in the world. They weren't, they were terrible. To be successful, you kind of have to have a little bit of that ego where you think your content's great. But also, if you have sub-1,000 subscribers, there's a good probability your videos just suck. They just do." He explains what to do about it: "You need to make hundreds of videos. Improve something every time. And just get to the point where they don't suck. When you make good content, you'll blow up. It's not the algorithm. It's not anything. Most people who are in my position just made terrible videos, and that's okay. Because you've got to make a bunch of videos and improve over time to be great." MrBeast uses an analogy: "You don't just pick up a baseball and become an MLB-level athlete within a year. It takes many, many, many years. YouTube's kind of the same way." On analysis paralysis: "A lot of people get analysis paralysis. They'll sit there and plan their first video for three months. If you have zero videos on your channel, your first video is not gonna get views. Period. Your first 10 are not gonna get views. I can very confidently say that. So stop sitting there and thinking for months and months on end. Just get to work and start uploading." He gives the formula: "All you need to do is make 100 videos and improve something every time. Do that, and then on your 101st video, we'll start talking. Maybe you can get some views. But your first 100 are gonna suck." How to improve something each time: "The second video: put more effort into the script. The third one: learn a new editing trick. The fourth one: figure out a way to have better inflections in your voice. The fifth one: study a new thumbnail tip and implement it. The sixth one: figure out a new title. There's infinite ways. The coloring, the frame rate, the editing, the filming, the production, the jokes, the pacing, every little thing can be improved. There's literally no such thing as a perfect video." On the algorithm: "What YouTube wants is for people to click on a video and watch it. That's what it is at its core. By studying the algorithm, you'll learn that you're more studying human psychology. What do humans want to watch?" MrBeast shares a simple reframe: "Anytime you say the word 'algorithm,' just replace it with 'audience' and it works perfectly. 'The algorithm didn't like that video?' No, the audience didn't like that video. Literally, that's it. If people are clicking and watching, it gets promoted more. The algorithm just reflects what the people want." On titles: "Short, simple, and just so freaking interesting that you have to click. If someone reads it, are they like, do they have to watch it? Is it just so intrinsically interesting that it's gonna haunt them if they don't click?" He adds nuance: "Keep it below 50 characters. Above 50 characters, on certain devices it goes dot, dot, dot, and that's the worst thing because then people don't even know what they're clicking on." MrBeast shares the extremity principle: "The more extreme the opinion, typically the higher the click-through rate. 'Fiji water sucks', that'd do fine. But 'Fiji water is the worst water I've ever drank in my life', way more extreme, would do way better. But then you have to deliver. The more extreme you are, the more extreme you have to be in the video." On the first 5 seconds: "Before you film a video, what is the thumbnail? What is the title? Then what's the first 5 seconds? Then what's the first 30 seconds?" He explains why autoplay changed everything: "On YouTube now, videos automatically play. So many people don't even see the thumbnail because it autoplays so quickly. The thumbnail is irrelevant for them. I have to visually convince you to click on the video in the first 5 seconds. Before, the hook was important because you had to convince people to watch. Now you have to convince people to click and watch at the same time, with the first 5 seconds." On matching expectations: "Your title and thumbnail set expectations. At the very beginning of the video, to minimize drop-off, you want to assure them that those expectations are being met. If you click on a video called 'Tether is a scam' and at the very beginning, he starts talking about literally anything else, you're like, 'Oh, this is BS. This isn't what I clicked on.' But if at the very start you go, 'Tether is a scam and I'm gonna teach you why,' then it's like, okay, you match the expectations. Then you want to exceed them." He emphasizes the importance: "The thing people undervalue the most is literally the first 10 seconds of the video. That 15% difference in viewership between losing 35% of viewers in the first 30 seconds versus losing 20%, that really does make the difference between 2 million views and 10 million views. You just had a more strategic intro that hooked them." On removing dull moments: "You basically want to remove every dull moment. Find the 10 most critical people you know, make them watch the video, and just roast it. If I talk to a camera for 10 seconds without a cut, a lot of people will get bored. Having a B-cam and C-cam three seconds in, cutting to a different angle, now it's more interesting even though it's essentially the same thing." On keeping viewers watching: "Give them why they clicked. Tell them why they should watch. Then just stick on topic. That right there isn't even super complex, but I would already put you in the upper echelon of YouTube. A lot of people drag it out. It's like, 'I'm going to eat $100 ice cream, but first...' and then it's them birthday shopping for their mom. That's not why I came here." On quality over quantity: "It's much easier to get 5 million views on one video than 50,000 views on 100 videos. A lot of small YouTubers just post videos that aren't bad but aren't great, and none of them ever pop off, so they never get an audience. It might be better to upload half or a third or even a fifth of the videos, but make the videos you upload so freaking good that the algorithm has to promote it." He warns against the consistency trap: "When you set a consistent schedule and you're constantly having to upload videos that aren't as good as you'd like because you gotta hit 'Oh, this Monday I said I'd upload', that's a dangerous trap. The viewers notice the quality isn't as good and it makes them less likely to watch. I think it hurts your longevity." On the real metric that matters: "A big thing that everyone underestimates, what was your experience with your last video? If people loved the last video of yours that they watched, they're more likely to watch your next one. When people watch your video, you don't want them to go, 'Okay, that was good, but that's enough of you for the day.' What you want is them to go, 'Holy crap, that was crazy! Oh my god, what's that?' and they watch 10 videos. That's how you get high view counts. People watch 10 videos, not one." On thumbnails: "You want it to be simple. When they're scrolling, you want them to instantly understand what you're conveying and feel some type of emotion. Make it so interesting, or spike their curiosity so much, that if they don't click it, they'll wonder before they go to bed what happened?" He gives an example: "If you uploaded 'I rode a skateboard with 1,000 other people on it', and people are falling off the side, it's about to go off a big ramp if you don't click that, you're gonna be so curious. Later in the day, when you're daydreaming, you'll think, 'What happened to those 1,000 people on that skateboard?' That's the mindset you should have when making thumbnails." On knowledge being the only barrier: "It's all knowledge. It really is. I could start a new channel tomorrow without using my face or my voice, without ever promoting it, and in six months have 20 million subscribers. I just could. It's purely knowledge. If you knew what I knew, you could get 10 million subscribers no matter where you are right now within six months." He addresses the skeptics: "90% of the people watching don't agree with that. Everyone has excuses. 'Nah, YouTube just doesn't work like that, Jimmy.' But I mentor a lot of people. I see it all the time. It is possible. It is simply knowledge. The second you accept that it is knowledge and you start your journey of learning figuring out what makes a good video, what does my audience want, how can I elevate and then you take that knowledge and just assume 'I will never understand what the perfect video is' and every single day be devoted to learning and improving as much as possible there you go." On money not being the barrier: "There are tons of viral ideas that don't require money. It does not require money to go viral. One of my most-viewed videos was spending 24 hours in a desert, we just grabbed a tent and some stuff and went to the desert. It got 60-70 million views. People say, 'I could be MrBeast if I had money.' A, I didn't start off with money; I was poor, I had no money. It took me seven years just to buy a camera saving up from YouTube. And B, some of our most-viewed videos literally anyone can do." On why no one will outwork him: "No one's ever gonna do what I do better than me. It's just not humanly possible. I reinvest every penny I make. I work every hour I'm awake. I devote every atom in my brain to solving this. I hire the best people on the planet. I've been doing this for 14 years. And I think in decades, not years. I'm gonna be doing this for another 20-30 years. If I thought someone was doing better than me, I'd just start sleeping less so I could work even more." But he doesn't recommend it: "I don't have a life. I don't have work-life balance. My personality, my soul, my being is making the best videos possible. That is why I exist on this planet. And I don't recommend it. You should have work-life balance. You should not devote your entire life to this one thing. I have a mental breakdown every other week because I push myself so hard. I don't recommend it." The only question that matters: "Subscribers don't matter. Views don't matter. I mean, they do. But everything you want as a creator comes from making the best videos possible and thumbnails. The video part's the hard part. Ask: 'How can I make my videos better?' Do that every single day for years. And then you'll probably get views."

Jaynit

125,413 görüntüleme • 3 ay önce

RETWEET Watching Dimakatso Makoena saying that “I Hate Foreigners” with such raw emotion and painfully crying in this attached BBC documentary film makes you realise how evil and manipulative failed politicians can be towards unsuspecting citizens who are victims of their failures. South Africa has an immigration crisis that can’t be wished away, but it is also a complex problem that can’t be explained in simplistic terms as many try to do, especially the authors of the crisis, politicians. South Africans were not born hating foreign nationals, like racism, they were taught to hate and to believe that all their problems were authored by African foreign nationals, both legal and illegal immigrants. The explanation for every political and economic failure in South Africa is now on foreigners, even someone who can’t get an erection at home will soon probably blame foreigners too. It is true that South Africa has attracted more foreigners than any other country on the continent because of its historic successful and big economy, and how the apartheid economic architecture attracted cheap migrant labour from surrounding countries to maximise on its profits. Apartheid was a racist business model run by politicians and businesspeople, today’s South Africa is also run by one of the richest businesspeople in Africa, Cyril Ramaphosa, whose many businesses have benefited from migrant labour. Unlike in the past where mass immigration was triggered mainly by weak economies coming out of colonial rule that surrounded the apartheid regime, the bulk of illegal immigration today is now triggered by failed economies around South Africa particularly Zimbabwe, which has failed due to grand incompetence and political repressive corrupt rule. Why is it like this, and who is responsible for this immigration crisis, and how can this be changed to bring a healthy balance of immigration/migration which is not only one way? This has been caused by a dead economy in Zimbabwe which was killed by corrupt rule and the plunder of that country’s natural resources. Zimbabweans used to find work in Zimbabwe and had working public services like hospitals after that country's independence in 1980, and only went to South Africa to buy things to come and sell back home, it was business from top to bottom. Of course, as I said earlier, there was an earlier flow of migrants from Zimbabwe and other African countries during the colonial days of the famed WNLA which stood for Witwatersrand Native Labour Association (WNLA), more popularly known as WENELA. It was set up by the gold mines in South Africa as a recruiting agency for migrant workers. Before that people were always moving around the region looking for better pastures and a better standard of living, Africa was a village. That is how you ended up with the Ray Phiris, Hugh Masekelas (whose real surname was Munyepawu from Zimbabwe) and Herman Mashabas of this world. Their parents, grandparents and great grand parents came to South Africa to seek better lives and also to seek work mostly in mines after the nineteenth century, they were born in South Africa to migrant workers or children of migrant workers. Today’s illegal immigration crisis is driven by old factors of cheap labour on the part of South African businesses, and it is accentuated by new political players, the failed regional ruling parties like ZANUPF. In normal countries this is easily resolved by an election where the citizens can choose a different government and remove the crooks and incompetent parties from power. But Zimbabwe is not normal, it has a ruling party which came into power with its own military wings, ZANLA/ZIPRA which became the national army. Elections are routinely rigged, and citizens beaten to pulp or killed for resisting the failed political and economic status quo which is anchored by corruption and incompetence. The only organization that can stop this is SADC, which is a regional grouping of 16 countries with election protocols that all member states must follow and adhere to. However, ZANUPF has been able to repeatedly violate these protocols for 23 years with the support of South Africa’s ruling party, the African National Congress. ANC is powerful because it runs the most diverse and sophisticated economy on the African continent, so what it says in SADC matters, and what it doesn’t say matters too. Recently the ANC endorsed the shambolic Zimbabwean elections as democratic, ignoring the mountain of evidence to the contrary. It called the Zimbabwean opposition leader a puppet of the West, and it said it will support ZANUPF regardless. Indirectly it called the millions that voted for the opposition puppets of the West too, what motivates the ANC to say such scurrilous stuff if not bungs? So, the ANC literally endorses the causes and drivers of illegal immigration in South Africa, possibly for corrupt reasons, yet when back home it insults Zimbabweans asking them to leave South Africa and go back to Zimbabwe. The ANC is also riding on the xenophobic/anti-foreign nationals’ campaign as seen recently when South Africa's Minister for Police, Bheki Cele took to the highways to personally inspect public transport and remove Zimbabweans without proof on residence on them. This of course is done for politicking reasons, it is an empty explanation to why the economy in South Africa has terribly tanked. ZANUPF blames sanctions for all its failures with the help of Ramaphosa who trumpets the sanctions propaganda everywhere he goes, yet he knows that Zimbabwe has failed due to corrupt rule, incompetence and economic mismanagement. The ANC has now joined the scapegoating bandwagon of blaming foreigners for its failures to govern. It surreptitiously supports Dudula, which is a vigilante group agitating for foreign nationals to leave South Africa regardless of whether they are legal or illegal using the lie that South Africa has collapsed economically due to foreign nationals. Citizens are easy to deceive especially in poor townships, but why are they easily deceived. It is however true that illegal foreign nationals access social and health delivery services in South Africa, creating flash points with locals who complain that they are squeezed out because of the competitive unbudgeted use of public services by illegal foreign nationals. Seventy-five percent of women who give birth at Musina hospital in South Africa’s Limpopo province are Zimbabwean according to the South African Minister of Home Affairs, Dr Aaron Motsoaledi. This is because Zimbabwe’s biggest hospital only has one working maternity theatre built in 1977 by Ian Smith’s colonial government. 2500 Zimbabwean woman die every year giving birth and as a result, many run away to South Africa to avoid dying when giving birth. This could be easily fixed because a maternity theatre costs only US$37,000 (R666,000) to build, but the Zimbabwean government has failed to do this for its citizens. In a normal society, and in normal times, you simply vote out such an uncaring government, but Zimbabweans have repeatedly tried to do so, but failed due to repression and the failure by SADC to force Zimbabwe to adhere to its constitutional commitments and regional election protocols. The ZANUPF regime has also been repeatdly supported by the ANC and the South African Government on many times to evade this SADC scrutiny as has happened in the recently held shambolic and rigged election, where citizens spent more than 12 hours waiting for ballot papers in opposition strongholds which were 5 minutes away from the election commission offices. It means that South Africa will receive more undocumented Zimbabweans looking for health and social services, and more importantly looking for jobs. South African ANC elites don’t care about this because they don’t use public hospitals, and they don’t live in the townships where there is a shortage of public service amenities. They only care when it is election time, they only care for votes. As South Africa heads towards the 2024 general election, spare a thought for immigrants regardless of whether they are legal or not, particularly African foreign nationals because they will be scapegoated by both the ruling ANC party, and the many fringe one-issue parties that have all congregated around the immigration issue for easy pickings of votes. Immigration is a real crisis in South Africa that has ceased to be a foreign policy issue anymore, it is now a domestic policy issue because it now has the real potential of stopping the ANC from crossing the fifty percent mark in the 2024 elections, forcing the possibility of a coalition government of sorts not out of choice, but out of necessity, a first since 1994. I said the immigration crisis is complex, it has created social pressures in poor communities, but it is not the reason why the South African economy has tanked. Illegal immigration can be fixed by allowing citizens to have free, fair and credible elections particularly in Zimbabwe so that they don’t flock into South Africa, but how can this be possible when the ANC sanitises stolen and shambolic elections? Nobody wants to leave their own home to go to a place where they are not wanted, but they do it because at times it is the difference between living and death. Both South Africa and Zimbabwe require leadership scrutiny, the leaders on both sides of Limpopo are responsible for the immigration crisis, yet it is the poor people that batter each other whilst the politicians are locked away in their mansions. Something must give, the citizens must wake up to the realities of corrupt and incompetent rule and not allow scapegoating to be used as a deceptive tool to explain failed governance. Sadly, it might be too late for 2024, but perhaps the 2024 election result might force the ANC to have a change of heart and for once do the right thing on the Zimbabwe political crisis that has staggered on since 2023.

Hopewell Chin’ono

179,546 görüntüleme • 3 yıl önce

Analyzing Episode 54. Season 2 aka Disruption by Design When you first watch episode 54, your focus immediately goes to how the bad guys keep winning. Be it Ecmel, Boran, Demir - all the aholes seem to be living it up. But scratch the surface, and another concept appears entirely. Destino, Karma, Kader, Fate - call it whatever you want. That's what I want you to remember as we don our Sherlock caps for yet another analysis. I've divided the whole thing into segments based on characters for easier navigation and understanding. So, here goes nothing. * Sadakat One of the characters to truly surprise me this episode was Sadakat. My vitriolic hatred for this woman is no hidden fact, but this one episode managed to make me see her side of things for once. And, maybe even understand her a little. We were all shocked by the scene where Nare, Alya, and Sadakat are talking about Boran and Cihan. I was mostly surprised because, for once, in 54 freaking episodes, Sadakat accepts her fault and doesn't look for a scapegoat. Her dialogues serve to impart extremely important points about herself, Boran, and Cihan, and how her upbringing helped shape the present circumstances. She admits that she was always afraid of the shadow of Ecmel lurking within Boran, which causes her to hand leadership to Cihan and keep Boran away from everything. But, in trying to protect her family and Albora, Sadakat inadvertently brings about the very thing she fears most - Boran becoming another Ecmel. Now, cast your mind back to the very first episode. We're introduced to Sadakat as an evil witch who's evil to Alya from the get-go and absolutely mental about keeping Deniz with the family at all times. I think I finally understand why. Guilt. Sadakat keeps pushing Boran away, until one day he takes it upon himself to go k-word Sulaiman to prove his worth, so to speak, which results in exile for him and supposedly death in a foreign country. Everything she does from that point on is based on years' worth of accumulated guilt. Alya is driving the car that results in the accident, so she wins the 'get the most shit from Sadakat' award immediately. But, again, that's just her guilt exacerbating things. As for Deniz, was Sadakat trying to avoid the same mistake she made with Boran with Deniz by holding on to him by hook or crook? So that Ecmel's shadow would never shape another family member's life again? Yep. That's probably also why she hates the idea of Cihan and Alya, because her guilt forces her to keep protecting Boran even in death. Because how could she allow Boran to lose yet another thing? In short, Sadakat tries to control the future of her family by trying to shape the circumstances, to make Cihan Aga and keep Boran away, but fails spectacularly. Why? Because fate has other plans. Boran was never meant to be kept away, and no matter how much Sadakat toiled as a mother, he was meant to take Ecmel's side over his own flesh and blood. And maybe Sadakat binds everyone else with a promise except herself because she might be the one to end what she started all those years ago. * Cihan Cihan's struggle in this episode was to try to find a way to neutralize Boran's poison. Because he's the reason Cihan's life is unraveling, because he's the man who controls Alya via Deniz. Throughout the episode, it seems like all is lost for him. Alya is forced to give in to Boran's condition, and Sadakat is framed for Vurgun's murder. And while Vurgun keeps his promise to Boran and takes his secrets with him to the grave, his death helps him speak what he could not say in life. It's no coincidence Cihan is the only one to find Vurgun's secret phone stashed in a hidey hole in the wall right after Cihan says he will bury Boran in regret. In this instance, too, we're shown that circumstances are pressing in on Cihan from all sides, but one dusty footstep later, Cihan finally finds what will possibly be the key to defeating Boran. As for Alya, she's Cihan's greatest strength and weakness - as it generally is in love. She comes into his life as an impossibility and ends up becoming his greatest truth. Cihan relents to Alya finding an apartment because he understands her duty to her son. But just as fears things are all out of his control, fate intervenes and gives him the opening he kept ignoring. Why? Because, as Cihan says, a man low enough to kill someone who saved his life is capable of pretty much anything. So, Cihan's course is redirected subtly, too, to a possibility that will help him achieve what he needs most at the time. * Boran Yeah, I don't really care much for the zombie, but this needs to be said. Throw your mind back to how Sadakat says all Boran's calculations turn out wrong. Though he's a sneaky troll who's not entirely as stupid as I thought, karma has a mile-long shit-list on this ahole. First, he records a will video to punish Cihan. He hopes that Cihan will fall for Alya but will forever suffer the pangs of conscience. In doing so, he'd never find completion in his love for Alya and would keep suffering. But, an Amal Bakir turns up at his grave out of the blue, runs into Cihan, and bam - he finds Boran. Which ironically helps Cihan overcome all his guilt pretty quickly. Next up, Alya. The video Boran records to control Alya's life ends up becoming the key to her freedom from him eventually. The one card we know he has now is Deniz, but there's Vurgun's phone to counteract this one now. And, finally, I get the feeling that the zombie has a hand in Meryem turning up like a bad penny out of nowhere. However, this ploy will fail too, because Meryem will have the same effect on Alya that Boran has on Cihan. In other words, destiny has all ends covered here, too. * Alya While there are those in the fandom who'd rather Alya be sick rather than expecting, I think that Alya truly might be pregnant. Here's why. And keep the overall theme of kader in mind as we go through this part. In the scene right before Alya gets dizzy, Kaya tells her, 'I don't know what to say to you, yenge, may God help you.' Then she walks into her office and just as she's about to continue her search for apartments, wham, a wave of dizziness. And right after the dizzy spell, lo and behold, Boran messages her saying, 'Your path can't cross with Cihan, or I take my son.' See, there it is again. That push and pull between circumstance and fate. While mere mortals can shape circumstances, like Boran, there's no interfering with fate. And, what's fate always tried to do in this story? Keep Alya with Cihan. So, how does a pregnancy fit into this angle? Boran doesn't simply want to keep Alya and Cihan separated. He now wants to put an end to their relationship in every way. Because if he can't have Alya, neither will Cihan. He's done everything in his power to try to cut all bonds between CihAl, but every time he tries, fate throws out another trump card. And what's the best way to forge a bond between two people, no one, not even themselves, can break? A child. A link that will bind Alya to Cihan in the most elemental way there is. The perfect personification of Boran's defeat. Now, I may be wrong (wouldn't be the first time), but those are the vibes I keep getting from as early on as ep 47, where Sadakat is the one trying to convince Alya to leave. Besides, maybe baby, fate also has another surprise up its sleeve for Alya *cue Jaws soundtrack* I'm referring to Meryem, of course. Why do we need Meryem in the overall scheme of kader, anyway? Because Alya needs to learn what fate's already taught Cihan. That love is not something you quietly step away from. Nor is it something you protect by distance, or preserve through sacrifice. Cihan has already gone through that trial. He tried to bury his feelings under duty, under guilt, under everything Boran set in motion, but still ended up right back at Alya. Not just by choice alone, but by something stronger than it. Something that kept correcting his path every time he strayed too far from it. And that’s where Meryem comes in. The final piece of the puzzle to make Alya realize she's changed, even though she doesn't know it yet. While she may think she can distance herself from Cihan, her own actions prove her false. Meryem will help remove the illusion in Alya's head that distance is sustainable between herself and Cihan. So you see, even though there are all kinds of mess in the episode, underneath it all is a disruption. Be it in the form of bitter clarity, a hidden phone, a possible new life, or an unexpected return. When things look like chaos but are actually headed towards something much more deliberate - a resolution where the story corrects every path back to where it was always meant to lead. Till later, happy reading, folks. #CihAl #UzakŞehir

CocoLoco

32,285 görüntüleme • 6 ay önce

Analyzing Episode 58. Season 2 aka Balancing the Scales This episode was some of Sinem and Ozan's best work. Their expressions landed every single time, and, frankly, short of screaming what the story is trying to say, they did everything they could to convince the audience that CihAl was, is, and will remain the endgame. With that out of the way, let's begin. We start the episode with Cihan shitting literal bricks as he sees Alya is already at the konak with Sadakat and Meryem arriving, right behind him. The reason is clear - he's caught in a difficult situation yet again. He doesn't want things to look like he's overriding Alya's existence in his life as its core, but circumstances keep making it so that he's put in awkward situations, which only compound his fear of pushing Alya past the point of no return. Meryem is all smiles and teeth at seeing the konak, but the minute her eyes land on Alya, her smile and her eyes drop to the floor. Almost like she was expecting something else entirely, but reality has shamed her. Her eyes remain downcast throughout the entire time she's walking towards Alya, as if Alya's the truth she can't cross eyes with. Alya, on the other hand, remains standing tall. She doesn't flinch, doesn't express any outward anger, but you can see the storm raging in her eyes. When Cihan tells her Meryem will have to stay at the konak, she merely looks at him and nods. And you can see terror mixed with shame (I think) on Cihan's face, but hers remains clear of emotion. And then she walks away, saying she needs to collect Deniz because she's tired. Now that's an exit. Poised, calm, and leaving behind an absolute massacre in the onlookers. The scene where Deniz meets Meryem is another masterpiece because it's very subtle in the message it delivers. Which is - human relations go beyond blood, beyond memory, beyond societal impediments, if the love on both sides is strong enough. When Deniz says he's named after his father, the little boy is telling the truth. Cihan may not be his father in blood, but he's the father Deniz loves, the father he chose for himself. Then the same message is repeated through Deniz about CihAl when Sadakat tries to create trouble by saying Alya and Cihan are divorced. To which Deniz innocently replies, they may be divorced now, but they can get married again. Again, highlighting the importance of human connection. CihAl keep choosing each other through whatever challenge life throws at them, because they love each other equally. Yes, marriages and divorce can be forced, but it's the presence or absence of love that determines the final outcome. Case in point, Alya's marriage to Boran, Cihan's marriage to Seyda, Nare with Ozkan, Zerrin and Demir, etc., etc. That's what anyone opposing CihAl doesn't understand. Love finds a way. Always. That's what the story has been about since the beginning - that love will stand strong in front of all, as long as what you feel is truly love, and not some imitation of it. Also, *hint* *hint* that's the second time someone has mentioned CihAl getting married again, so it's definitely coming. Now for the scene where Cihan and Alya talk in their room. Cihan is right to be afraid of Alya here because he's a first-hand witness to how Alya reacts when she's been betrayed. He's seen how she took off Boran's ring and buried it with him after she found out about the will. An extreme situation compared to this one, absolutely. But fears don't use logic. Cihan knows Alya is strong enough to move on, to rise from the ashes - her strength is what he loves and fears at the same time. So, when he says 'Think of the Cihan in Alya's eyes, I don't want to be that Cihan' he's saying I know it looks like I disregarded you and broke your trust again, but that's not how things were. He needs her to show emotions, not because it'll pander to his ego, but because that's a sign she's still involved. That she's not near the point where she says 'enough is enough.' Alya, on the flip side, can't show her emotions. Because, unlike what Cihan fears, it's because she's so in love with him, so involved, that she's afraid to even ask what Cihan feels. Because if she learns Cihan's past isn't just the past, that he still loves Meryem, it'll shatter her unlike anything else. Despite it all, Cihan manages to reach Alya somehow when he pleads, 'I need you to communicate with me.' It's like his fears break past her barriers and, in turn, allow her to open up a little to him because she admits she doesn't know what to do, and then out comes the real question, 'Don't you feel anything?' Kudos to Cihan for not dodging the question and saying whatever he feels for her is just memory and gratitude. Salak. And I say salak with all my love, because he still misses the elephant in the room. The point is the imbalance. When we tell someone they're the only love of our life, we want an equal declaration in return. If not, the loop remains incomplete - with one side a little more invested than the other. And, CihAl's story thus far has been the opposite of imbalance. Their story is about symmetry; they reflect each other in love, in wounds, in loss. Basically everything. So, how is it that Alya's only love is Cihan, while his isn't? It's not. And that's where that necklace reveal becomes important, but we'll get to that later. For now, let's talk about that little talk in the car. The story itself is giving us hints that this imbalance won't last long, because the minute Alya talks about her first brush with romance is the moment jealous Cihan makes a return. He gets jealous of a nameless, formless, 16-year-old boy who once had the audacity to date his wife. That is, he can't tolerate a contender for Alya's affections even in memory. Cihan is extremely possessive about Alya, which is why he doesn't waste a moment to remind her she told him he's her only love. And Alya, being Alya, doesn't waste a moment in reminding him that he didn't. And then she turns the screw a little by telling Cihan not to burn his heart over her teenage crush because she never planned to marry her crush, nor is she conveniently living under the same roof with him. Mic drop. Cihan's face at that moment is a study in being hoist by one's own petard. Because he's expecting Alya to be okay with something he can't even stand the idea of. He's jealous as hell, but he can't do anything about it. But why is all this happening? Because one of Cihan's biggest truths is - he loved Meryem and lost her. In truth, he didn't love her, which is why he didn't fight hard enough, which is why he lost her. If Cihan had truly loved Meryem the way he loves Alya, he would have fought until the bitter end. Like he's doing for Alya. That's the truth. In Uzak, true love isn't passive - it demands to be seen, to be felt, it doesn't sit back quietly and accept defeat. In this story, love demands to be chosen. And Cihan didn't choose Meryem, not in the way it matters. So, why can't Cihan just accept the truth already? Fear and guilt, I think. Fear of the magnitude of what he feels for Alya, and what losing her would do to him. And guilt because some part of him knows he didn't do for Meryem what he's doing for Alya. And of course, now there's the burden of her shitty ex, too. Nonetheless, fate keeps pushing Cihan to realize the truth, over and over again in this episode. Another glimpse of how passive Cihan may have been in his relationship with Meryem is the dinner scene. Sadakat points out how much Meryem loved stuffed kebabs, and Cihan is barely listening. This is the same man who knows what Alya likes to eat when she's on break during duty. When Meryem points out Cihan's allergy, he says it was something he had in the past, but no longer. Almost like he's comparing the feelings he once had for her to an allergy. What an allegory. See? The signs are all there, but Cihan isn't picking up on them completely. Then fate ups the ante with the arrival of Chef Engin. The first thing Cihan asks Alya when Engin is gone is - Is that him? As in, is that the boy you said loved you? The man goes off the rails in 0 to 60 seconds, and keeps coming up with excuses like he may have changed his name or appearance. The idea of not being the only man in Alya's life makes him lose his cool while Alya rightly points out that she's not the one living with her 'first love' currently. Which then leads to Cihan spending the night at the office. So, fate manages to teach him one lesson here. Which is - ask only for that which you're ready to give. Cihan needs emotional exclusivity from Alya, but hasn't given her the same yet. He's not built to share Alya, not with the past, not with a memory, not with anything. But the second he feels even a fraction of what Alya's been going through, he unravels marvelously. And that's the entire point of that sequence. It's not just jealous drama, it's exposure. Cihan is slowly being led towards the one truth staring him in the face. That's where the necklace comes in. Thus far, Ciho seems to be operating under the misconception that Meryem has moved on, like him. But that necklace (and the video) prove otherwise. Meryem's current attachment to him throws neutrality out the window. Because Cihan will now have to set absolute boundaries, and in doing so, understand why he's setting them. Why what he feels for Alya leaves no room for anyone else because he can't stand the idea of something similar in Alya's past, present, or future. Because they are each other's exception, and everyone else was the rule. And that's it from me for now. Till later. Happy reading, y'all. #CihAl #UzakŞehir

CocoLoco

15,453 görüntüleme • 5 ay önce

BOYCOTT NAISHOLA GARDENS: Raila Odinga’s Empire Crumbles: Shunned at Naishola Gardens, Snubbed at Home, and Sinking in Kenya’s Shifting Political Sands The Raila Odinga Amolo Foundation must be squirming in the twilight of his career, watching his carefully woven web of deceit unravel like a cheap suit. The man who once thrived on grandstanding and manipulation has been reduced to a political ghost, his influence evaporating faster than his credibility. It’s almost pathetic how he’s clung to this con for decades, fooling the gullible with his populist charade, only to find himself sidelined, a relic of a bygone era. Take his appearance at Belio Sang’s son’s wedding: once, he’d have been the center of gravity, basking in sycophantic adulation. Now? He slunk in like a forgotten uncle, barely acknowledged, his presence as irrelevant as yesterday’s news. The crowd’s indifference must have stung, a brutal reminder that his grip on Kenya’s political psyche is slipping. The psychological toll of being ignored after years of commanding attention surely gnaws at his ego, exposing the fragility of a man who’s built his identity on being the people’s champion. Then there’s Ida Odinga’s birthday flop at their Karen fortress: a masterclass in humiliation. Inviting the elite to fund her lavish party, only to be ghosted by those who once kissed the Odinga ring, speaks volumes. It’s not just a social snub; it’s a political death knell. The no-shows weren’t just avoiding her notorious cash demands; they were signaling a shift in loyalty, a recalibration of power dynamics. Kenya’s political class is sniffing the wind, and the Odingas are no longer the scent of success. Even hotels, those spineless venues of convenience, reportedly turned down hosting the event, unwilling to taint their brands with the stench of a fracturing dynasty. That’s not just rejection; it’s a calculated middle finger from the market, a sign that Raila’s political capital is bankrupt. And then there’s Naishola Gardens , the garish stage for Belio Sang’s son’s wedding, a grotesque parade of ill-gotten wealth splashed in the faces of struggling Kenyans. That venue, dripping with the proceeds of corruption, should be a pariah. Kenyans must shun it, boycott it, and let it rot as a monument to greed. Naishola Gardens’ decision to host such a spectacle aligns it with the rot of Kenya’s elite, and every citizen with a shred of dignity should refuse to set foot there. Raila’s fall isn’t just personal; it’s a psychological and political implosion. His desperation to stay relevant, to cling to the myth of his indispensability, betrays a man haunted by his own obsolescence. The political landscape is shifting beneath his feet, with new players and alliances emerging, leaving him and his cronies scrambling to hold onto a fading spotlight. Kenyans are waking up, their patience worn thin by decades of his theatrics. The boycott of Naishola Gardens should be the start: let it be a warning to all who profit from the plunder of a nation. Raila’s scam is crumbling, and the twilight of his years looks less like a legacy and more like a long-overdue reckoning.

Francis Gaitho

52,236 görüntüleme • 1 yıl önce

The Royal High Courts are certainly a place of grandeur and perhaps some are intimidated by the surroundings. Well that impressive 19th century Gothic architecture is a sight to behold but the Judges less so. I’ve seen too many judges in the UK and Pakistan and by God, they leave a lot to be desired. Especially when one comes across McGowan the Mediocre. What should have been a straightforward win has turned into a cheating exercise by the very judiciary meant to uphold justice in this country. Why do I say straightforward? Let’s recap. After 3-4 failed complaints to the GMC, the Jewish lobbies upped the ante. First came my loss of contract at South Tyneside and Sunderland NHS Foundation Trust where I was doing some clinics. No investigation. Just blocked from the email and can’t address patient queries. Then started the defamation in the press – articles in the Jewish News, Jewish Chronicle and Telegraph followed by loss of contract with Medinet with whom I’d worked since 2018 intermittently and had glowing reviews. The GMC now opens an investigation – given the pressure from Wes Streeting, elected in July 2024. They wanted an Interim Orders Tribunal (IOT) to decide if any sanction should be imposed whilst I was being “investigated”. I had a trip abroad for my brother’s assassination case and I had clinics. Patients who had waited 12-18 months to see a Neurologist. The GMC and MPTS didn’t care. The Medical Practitioners Tribunal Service (MPTS) is allegedly an independent body to the GMC and runs the IOT panels. They would not move the IOT by 11 working days as the GMC had refused (so much for independence!) – instead of 20th December I had suggested 13th January 2025. Recall this was over the Christmas period – people going on holidays and yet I was expected to get legal advice when I was in clinic from 8am – 6pm. I told them patients came first – I stand by that. Hurt Jewish feelings aren’t urgent and they don’t come before my patient care. I requested deferment by 11 working days, told them I would defend every single tweet and indeed, looked forward to it. This was all via email. Multiple emails. All ignored – including the one letter that contained my “defences”. They would not budge – the Jewish lobbies were demanding action and the GMC wasn’t going to risk their ire again. Wes Streeting was breathing down their necks. On 20th December 2024, I saw my Neurology patients and on 23rdDecember, I found out that I’d been suspended for 18 months. No other doctor had an 18-month suspension or got one since – in their absence. My remaining clinics in December and January all cancelled. Some patients were cancelled as they were making their way to my clinic. I requested the transcript of the IOT hearing – the GMC had been demanding conditions on my license on public interest grounds yet 3 batty women decided I should be suspended for 18 months for public interest and patient protection! Later, the barrister for the indemnity body stated he “couldn’t get purchase on” how they came to that decision. In any case, after being misled by my indemnity body – who suggested that I first ask for an early review, delayed asking for it and then the GMC refused. They were refusing to allow me to be heard after claiming I wouldn’t attend. The indemnity body then reneged on the agreed High Court action. The GMC even send me the Rule 7 letter – the final “allegations” against me on 5 February 2025 which they then updated in March. Ordinarily this takes about 9 months to send – in my case, they managed to do it within 6 weeks! Yet one of the reasons they claimed I needed to be suspended for 18 months was because of the lengthy investigation…. I had to reply by 5 May 2025 which I did via a191-page response. The GMC usually respond within 3-4 weeks. As of 21 January 2026, I have yet to hear from them. I then took matters into my own hand. Let down by cowardly lawyers except one (Yasmin), I filed a High Court application under Section 41 A(10) of the Medical Act 1983 to challenge my unlawful suspension. I requested an urgent expedited hearing as I was being left with no way to earn a living. There were 10 grounds of appeal. The High Court date was set for 10th July 2025. Meanwhile, the MPTS is obliged to give a 6-month review – 16th June 2025 afternoon was scheduled. I stated I wanted this in person and in public. I flew back from Kashmir on 9th June – it’s cheaper to live there - and found myself arrested at Holyhead under s12 of the Terrorism Act for “alleged support of proscribed groups” – apparently I was “on the wanted list. I’m released 14 hours later. They’d seized my mobile phones and laptop and wait for it, all my GMC documents that I’d carefully put together. I’m still not sure why I couldn’t get those back. I learn that the GMC is seeking information about this non-reportable arrest within 24 hours of it – they know. In any case, I go for the IOT hearing – and the GMC Counsel attempts to utilise the arrest. I object. The panel agree that it will not be considered. However, the MPTS have set an insufficient amount of time for the hearing – they would have known. There were over 1000 pages in the bundle of nonsense – the only worthwhile part of that was my beautifully written 191-page response. I was quite proud of it if I’m honest. It could be considered my second PhD thesis. As I have to return to Pakistan for hearings and the High Court case was 10thJuly, the IOT hearing was re-scheduled for 14th July 2025. So, fast forward to 10th July 2025. Under 48 hours before the hearing is due, the GMC submit their skeleton arguments – ordinarily submitted 7-14 days before – no doubt, to wrong foot me. They finally admit that the IOT panel made an “error of law” in not properly applying the Article 10 rights but argue they got to the “right decision but by the wrong route” (!) I am self-representing in Court 1 at the Royal Courts of Justice – the GMC have their in-house lawyer, their GMC Counsel and her clerk. But I have the best lawyer (currently abroad) and an excellent McKenzie friend, Sean Naughton and my well wishers who attended to support me. We start at 10 30am – and I ask the Judge to review the admission of illegality. On that basis alone, my suspension should be revoked. She declines and wants to hear the case. I then detail the IOT powers and how the grounds to sanction me had not been met – they had not proven public interest or public protection. I discussed the GMC actions, the unfairness, disproportionality, the abuse of process, the outright lies by the GMC, the draconian 18-month suspension, the persecution by the Jewish lobbies and the breach of my rights under Articles 8, 9 and 10 of the ECHR. My opening lines: “I submit that the suspension was political in nature. It was subject to bias and external pressure was clearly evident. It was unlawful and demonstrated seriously flawed reasoning. It was manifestly wrong and the panel erred in law. It was completely unnecessary. It’s been tainted by marked procedural errors, unfairness and it has demonstrated gross abuse of process by the GMC and the MPTS and the IOT panel and those abuses have continued. The suspension is draconian and disproportionate and inconsistent with other decision makings of the IOT panels. It is a complete violation of my rights under Article 8, 9 and especially Article 10 of the European Court of Human Rights. And it is demonstrated also limitation of the panel’s expertise, both in terms of law, but also, importantly, the context of the rights of the Palestinian people and it brings into serious question whether the GMC should be policing speech of doctors. It should certainly not be policing or interfering in political speech.” I went through each ground in detail giving the relevant case law. I talked openly about the nature of that persecution: “All of the complaints against me have been made by Jewish and pro-Israeli affiliated organisations and I think it’s necessary to list them – Lawyers for Israel, in collaboration with Gnasherjew, the Jewish Medical Association twice; the unnamed Jewish Zionist doctor; the Jewish News who defamed me; the reporter is Michelle Rosenberg - who is Jewish and Zionist; the Daily Telegraph defamation - George Chesterton is married to a Jewish woman; Miranda Levy and Jacob Freedland are both Jewish and Zionist. I had the Jewish Chronicle defamation - Jane Prinsley is Jewish and has a home in Israel; Campaign Against Antisemitism by Stephen Silverman, who is Jewish and has submitted three similar tweets in March 2025 to the GMC which have been included in my Rule 7 letter without due process the GMC is obliged to follow on receipt of a new complaint. And then, twice in the Jerusalem Post - Mathilda Heller and Michael Starr are both Jewish Zionists. And despite the suspension, Sabrina Miller, a Jewish Zionist journalist at the Daily Mail attacked a number of pro-Palestinian doctors, including myself. So, these previous complaints that have been dismissed by the GMC included tweets of a similar nature. The tweets have not changed, but I would contend that the priorities of the GMC had and my complaint was clearly being handled by individuals who appeared conflicted. In my witness statement, I have detailed the behaviour of XXX, XXX, XXX who refused to respond to emails on where disclosures from the GMC themselves, since I submitted this appeal, have since revealed that XX XX had made false notes on my record claiming I had prior FTP history. In addition, in July 2024, Wes Streeting became the Health Secretary. I refer Your Honour to pages 327 to 337 of the bundle. There’s a Declassified article, incidentally, that’s been written by a Jewish journalist, Matt Kennard. He has investigated Streeting’s support of Israel since his days at the National Union of Students. It documents that he visited Israel in 2022 paid for by the Labour Friends of Israel. That organisation’s former chair was Joan Ryan, infamously found to be discussing her £1 million payment from Israel with Shai Masot, the Israeli diplomat. Streeting has taken over £20,000 from Israeli lobbyist, Trevor Chinn. Trevor Chinn’s father heads the Jewish National Fund which supports illegal Israeli settlements and from Lord Mendelsohn and David Menton. The Jewish Chronicle even ran a profile of him entitled “Wes Streeting, our friend at the NUS”. So, there’s little surprise that Wes Streeting made comments in The Telegraph stating he would urge medical regulators to discipline staff expressing views which he, as a pro-Israeli and Zionist, opposed. He stated that regulators had the power to set conditions that a healthcare professional must work under. Suspend them or strike them entirely from the medical register. He made similar comments to The Times. He then met with the Board of Deputies for Community Security Trust, which is also behind my complaint, the Jewish Leadership Council and the Jewish Medical Association, reiterating “I expect employers and regulators to take action”. The idea that this political pressure by the Health Secretary in November 2024 was irrelevant to my suspension is untenable in the face of this clear intervention, which actually represents political interference and undermines the alleged independence of the GMC.” And I made clear the Jewish privilege at play “So, from what I’ve just presented, it’s very clear that the red line concerns Israel. Tweets, that’s words. Criticising an entity, carrying out the mass slaughter against innocent civilians will be punished more severely than malpractice, blatant dishonesty, criminal convictions or even genuine Jew hatred, as long as you are not a Muslim. And if you’re Jewish and you belong to a powerful lobby group like the Jewish Medical Association, then the GMC gives you a clear pass as shown in the case of Liz Lightstone and Justin Stebbing.” I made clear that even the GMC referral to the MPTS explicitly stated “that there was no evidence of [her] racially discriminating against anyone or discriminating against Jewish people.” I stated in the High Court “And I should point out that the Jewish people are not a race; Judaism is a religion” and “It is my inalienable right to be able to disagree with the narrative from Israeli lobbies and express it. Their free speech does not trump mine.” I made sure that she understood that my patients and even Grok approved of me: “In fact, Grok is positively glowing – “Dr Rehiana Ali’s tweet carry a fiery, unapologetic tone blending sharp intellect with a raw defiance against injustice echoing the spirit of Malcolm X, mirrors Malcolm’s blend of moral clarity, confrontational rhetoric and distain for oppressive systems.” “I can’t think of a better person to be compared to.” I further stated “I do not believe that legal, that legitimate political commentary or reporting facts can be antisemitic. I do not believe that any groups, be they Jewish, Muslims or Christians, are exempt from criticism where the situation warrants it. I do not believe in hate speech, as that’s the very antithesis of free speech, but also, importantly, there is no tweet of mine that demonstrates hatred for any group simply by virtue of their religious identity and, indeed, none has been identified as such.” I even quoted the Queen: “I do not accept that stating facts becomes anti-Jewish simply because the majority of those committing the crimes are Jewish. If you take that to the logical conclusion, that would mean that no Jewish person could ever be criticised for their bad behaviour. That cannot be right. I would also point out that the late Queen, according to the Israeli press, and the ex-President of Israel Rivlin, was reported to have viewed every Israeli as a terrorist or the son of a terrorist. Who would have thought that the Monarch would have been so based?” At 1pm, the Judge wants a lunch-break – I haven’t finished. We continue after lunch break – and I complete my submission dealing with the GMC’s arguments. “Before I sum up, I’ll just briefly address the skeleton arguments that the defence submitted on 8 July. And obviously I’ve already raised disgruntlement about that but I think it’s important to note, that the GMC has finally conceded, after over two months since receiving my skeleton arguments, that the IOT erred in law. On that basis alone, that suspension should be quashed today. If the GMC was capable of self- reflection, it would have withdrawn its objections to my appeal gracefully but that is probably too optimistic an outcome to expect of this bureaucratic monster which has become a law unto itself…” Then the GMC repeats their arguments and argues that the High Court have broad powers and should take original jurisdiction over the matter: “And that is an exercise that this Court can properly make, exercising its original jurisdiction” In fact, the words “original jurisdiction” were repeated about 7-8 times. The GMC Counsel repeated to the Judge “We accept that you have a free-er hand” and again “Because, as I say, this Court is free-er to exercise the original jurisdiction” and so on. Look at the tweets! She said “Mossad did 9/11” and that “Israelis shouldn’t be allowed near humanity”. She said “Israelis are involved in organ trafficking”. All true. I was amused. Ordinarily the High Court usually looks at technical and legal aspects without going into the actual details of the issue itself (e.g. on covid, they wouldn’t debate the merits of the covid vaccine – the issue was whether the conditions/suspension was legal according to rules and procedural fairness). I reply I have no issue but it wasn’t necessary – the grounds did not require that. However, if the Judge wanted to look at the tweets she should acquaint herself with the facts that I presented in my 191-page response. I request a judgement that day or the next day. I had no faith in the MPTS and GMC. That review hearing was due a few days later on 14 July 2025. Judge McGowan was fully aware of that review IOT hearing. She stated “We need to finish this during the course of today. It cannot go part heard and I understand that your review hearing is listed on Monday next.” She stated the following: “And if there is not a decision from this Court today then, presumably, the review hearing will be made aware of these proceedings, but their decision is independent of this. If they decide to not lift the suspension, then my decision either does the same or lifts or terminates the suspension. If they terminate the suspension on Monday, then my decision probably becomes quite academic, but necessary, nonetheless.” Even the GMC Counsel admitted that the Court’s decision was “of interest” I didn’t agree it was “academic” The Judge continued: “There is too much material. It is too important.” And later that her decision was “nonetheless, an important exercise.” I emphasised in my response that I wanted the High Court to rectify that injustice done to me in December 2024 and that “the overarching question is “was my original suspension, was it correct or not?” McGowan replied : “I – I do understand that and in order to reach a decision about that I have to look at what you say are the procedural mistakes. I have to look at what you say are the errors of law. I have to look at what you say is unfair about the way the hearing was conducted...” and again,“Until I have made my mind up about the procedural unfairness and all the other points you have raised, I have got to consider everything.” I again pointed out “..I would argue it’s an abuse of the system and I’m actually paying the price for their deficiencies, or rather procedural irregularities. I’m having to live with the consequences of being deprived of an income…” In other words, there have been consequences for me – financially and professionally. And I ended with “I have no faith in the IOT. I have no faith in the MPTS, and I have no faith in the GMC, and I am not the only one to feel that way. The fact that we are calling for a different body and we’re calling for the GMC to be dismantled. I’m simply asking that the injustice that was done in December is rectified…” The concluding remarks of McGowan? “Well, I am certainly not going to give judgment in this case at 3.55pm. You raised an awful lot of important issues. The importance of a decision to you, personally, is obviously great. The importance of a decision to your potential patients is high and the importance of a decision to the public is equally important. So, all of those matters have to be considered and balanced and I will get to a decision early next week. I think that is probably the best way, which will be handed down in the usual way. All right, well thank you both very much. Thank you all very much for your attendance.” At no point did McGowan state there would be no Judgement. On 14 July 2025, my suspension was revoked. I self-represented and I didn’t concede a single point or any tweet. What happened next was a shocking abuse of the judicial process. My registration was reinstated – no conditions. But that 7 months suspension remains on my record visible to every employer. The very next day GMC emails the Court to state that the High Court no longer has jurisdiction over the matter as the suspension was revoked! The IOT panel has very limited powers so whilst it revoked my suspension, it will not deem it unlawful or indeed make any comment about the previous panel’s decision – and certainly not its legality. The MPTS admitted that only the High court could rule it was unlawful. I contacted the Court pointing this out and that I was expecting a judgement as per McGowan’s position in the High Court. The High Court had a full day’s hearing and the court was independent of the tribunal and had seized jurisdiction. All my grounds including the legality of the suspension were outstanding. The revocation was to some extent irrelevant to the Court issuing the Judgement – if anything, it rather supported my contention that the suspension imposed on me in December 2024 was unlawful. I ask the GMC to provide what law they’re relying upon….they quote this section and claim it is written in the present tense! “Section 41A(10 of the Medical Act 1983, Interim Orders, states Where an order has effect under any provision of this section, the relevant court may –..” Yes – that is the best they could come up with it. Needless to say, the convention in UK legislative drafting is the simple present tense …because the law is “always speaking”. I call and even visit the Royal Courts of Justice. The Court staff chase the Clerk …I’m asked to be patient and await the Judgement. Even up to 6th August 2025 I was told that the Judgement was coming. On 11th August 2025, I am informed by email that there will be no Judgement!! I spoke to a number of barristers and solicitors – it’s almost unheard of. They're all useless though. I get no replies to my emails to the High Court. So in November 2025, I requested the Hearing transcript. On 12th December 2025 – over 5 months after the substantive hearing – I received an Order (not a Judgement). It was a bare order – simply stating “Upon the Court hearing the substantive hearing on this matter on 10 July 2025 And upon following consideration of the documents lodged by Respondent on 15 July 2025 confirming revocation of the Interim Order pursuant to Section 41A of the Medical Act 1983, the application is dismissed.” No reasons whatsoever as to why the Judge had contradicted her own position in Court. I replied to the Court and file an application for permission to appeal – not just to McGowan (the system is so barmy that you have to ask the same judge for permission to appeal) but also to the Court of Appeal – the latter for both permission to appeal and the appeal itself concerning McGowan’s bare unreasoned order. McGowan now responds (miraculously) via the Court staff wanting a 30-minute hearing for permission to appeal – that is set for Tuesday 13 January 2026. So, yet again I am at the High Court now requesting permission to appeal. To be honest, I wasn’t expecting much. McGowan had shown she lacks the spine to address the issues – and has zero integrity. You don’t get a DBE in the UK for nothing. In fact, she started this hearing by asking the GMC to interpret the Section 41A of the Medical Act!!! Then she turned to me – the Claimant – and asked if “I understood what was being said”. I replied that I understood full well. English after all is my first language and I’m a Cambridge graduate. I can understand basic English. She clearly has difficulties though – I later learnt that she dropped English at Manchester University for Law. At the expense of sounding very snobbish, I just knew she wasn’t Oxbridge material…. I present my arguments – including case law. The GMC has no relevant case law – their arguments are “it is written in the present tense” (I did correct them that in actual fact, it was written in the simple present tense to be more precise) and that the decision of the High Court “is final”. Of course, I point out that finality is based on two aspects – firstly, getting a reasoned Judgement! I never got a judgement. I effectively got a blank piece of paper. On no grounds, could that be considered “a decision”. And secondly, if there were any errors of law, procedural irregularities …they were always appealable. Appeal however was not automatic – all that meant was that one had to request permission to appeal. Can you imagine a system where a Judge makes an error but you can’t appeal it?! I point out that every issue remains live. I even simplify it for them – I point out that in the case of rape, and using GMC logic, we’d never prosecute the rapist – after all, the rape was no longer in progess. That is not justice. The High Court seized jurisdiction by having a substantive hearing and had to produce a judgement. Of course, I understood that had I appealed after the revocation, the application would have been dismissed. McGowan sat there clearly not listening. This was merely an exercise to show there’d been a hearing. She tried to claim she has “no power”!! She then had the audacity to say “You’ve had a success. Why aren’t you satisfied with that?” I point out that I was suspended unlawfully – I had 20 years of an impeccable record and it states “misconduct” on my record. I have a right to get that unlawful suspension struck from my record and remedy with regards to the consequences I had suffered. The GMC – a public body – should be held accountable not just for my sake but for other doctors and I remind her of her own words “for the wider public interest”. In fact, I quote liberally from the transcript and point out her contradictions. At no point did she ever state – because it’s not possible – that the High Court lost jurisdiction. That’s the legal principle: “Once seized, always seized.”

DR REHIANA ALI BA MB BCHIR (Cantab) MA MRCP PhD

18,659 görüntüleme • 8 ay önce

Ch. 14 of NITRO: The Inside Story of Hulk Hogan's heel turn - #OTD 30 Years Ago (7/7/96)! AS DAY BECAME NIGHT at the Sullivan home, Bollea deliberated his participation in the pay-per-view. “Everybody was telling him that it was the wrong thing to do,” Kevin Sullivan says. “He was getting booed out of the arena, but they were all saying, ‘this is gonna kill him’.” With no end to the discussion in sight, the wily booker casually suggested that Bollea and Young make use of his two guest rooms until the morning. “I isolated [them],” Sullivan admits. “I was just afraid that at the last minute, he was going to use his creative control [clause] and pull out.” If Sullivan could deliver Bollea to the arena by showtime, the finish of the match called for Hogan to star in the most dramatic of surprise endings. In a sequence devised by Kevin Nash, an unannounced Hulkster would shockingly interfere in the match, but only after the heels gained an unfair advantage through cheating. It would be a brilliant misdirection, Nash thought, as fans would instinctively believe Hogan’s appearance to be in support of the babyface team. “I knew there were gonna be 55 different ideas,” Nash says, thinking back to the eve of the event, “[so] I actually put a lot of thought into it. I called Scott [Hall] two or three days before that, and said ‘what do you think about this?’ “We had to make it a 2-on-2 match with Lex Luger getting injured [during the match] and going out. We would cheat to get Macho [Man] in trouble and all of a sudden Hulk comes down, which of course would mean ‘ok, here comes Hulk to make the save’. [Hall] said, ‘I love it’.” There was, however, the looming possibility that Bollea could reject his turn at the eleventh hour. Thinking ahead, Eric Bischoff developed a contingency plan in which Sting would play the role, ultimately revealing himself - despite not having prior experience with the WWF - as the ‘third man’ instead. “I remember Eric came in to the locker room,” recalls Marcus 'Buff' Bagwell, “and said [to Sting], ‘I wanna talk to you about something’. I could hear them going over the idea, and then when they got done, Sting told me what they were talking about. He said that [Eric said], ‘there are only two guys that could turn heel where it would really matter’. That would be Hogan and Sting.” “He was offering Sting the job first, [as I recall], and Sting didn’t wanna do it. He didn’t really say it wouldn’t work, but he just said, ‘it doesn’t intrigue me. I don’t wanna do it’.” According to Andre Freitas, a special effects artist who worked in costume design and character development for WCW, the proposed Sting swerve was to involve the use of a doppelganger - or ‘phony’ Sting - presumably in an effort to fool fans that the real character had switched sides. “That was their original plan,” says Freitas. “Eric showed me a picture of Jeff Farmer (a lower-card wrestler) and said ‘can you make him Sting?’ I told him that they have similar bodies...then we looked at Sting’s hair and Jeff’s hair...and talked about all that stuff. I did a head cast for [Farmer] and some prosthetic and test make-ups. But when they secured Hogan, we didn’t do [the angle].” ----------- Amazingly, even as Bash at the Beach began, Bischoff continued to consider Plan B. “I remember walking by this perforated wall in the Ocean Center,” divulges Nash, “and Eric said to me, ‘Hulk is with Sullivan, and he’s not sure he’s gonna do it yet’. It was up in the air.” Meanwhile, viewers of the pay-per-view - and, for that matter, WCW’s own production staff - speculated as to the identity of the third man. “They were trying to ‘work’ everyone,” asserts Jason Douglas, a WCW producer backstage at his first pay-per-view event. “‘Rocket’ (staff member Rick Sancher) came up to me - they were kinda testing me because I was new on the road - and said ‘hey, I think it’s gonna be [WWF wrestler] Bret Hart’. I guess it was to see if I would leak something, and so I was just like ‘oh, cool, Bret Hart’.” In reality, aside from Bischoff, Bollea, Young, Hall, Nash and Sullivan, the turn would be concealed from everyone - even the announcers, according to orders from Bischoff - as to ensure their most realistic reactions. With less than an hour before the main event began, production staffer Woody Kearce discovered a revealing clue in the parking lot. A Hulk Hogan motorcycle had appeared mysteriously in one of the spaces, sparking another round of backstage conjecture. Finally, with what Sullivan recalls as “thirty minutes” and Bischoff remembers as “forty-five to sixty minutes” left on the air, Bollea belatedly arrived at the Ocean Center. The mood suddenly changed. Upon realizing that his star had been convinced, Bischoff began to relax. “Once he got to the building, I recall a sense of calm,” he reveals. “All of the anxiety, all of the tension, all of the worry, all of the effort to make sure things stayed quiet...all of that just kind of dissipated. It was like fog lifting when the sun comes out - it all just went away. I was thinking, ‘it is what it is, there’s nothing more I can do...so let’s just roll with it’.” To cement the turn, Bollea knew, he would have to deliver a monumental post-match promo to explain his actions. While typically, he enjoyed using Bischoff as a sounding board to rehearse interviews, the need for complete privacy - on this occasion - was unquestionably paramount. And so, away from prying eyes - and ears - the two met up in the most unglamorous of clandestine locations - a utility closet. In the midst of the run-through, Bischoff stopped to emphasize an important point: When you grab that microphone, I want you to say...‘this is the beginning of the new...world...order’. The phrase - ‘new world order’ - lingered auspiciously in the air. Bischoff surprised himself with the utterance, realizing slowly that the term encapsulated everything that the invasion storyline could represent. In 1990, then-president George H.W. Bush famously utilized the same expression in a speech to Congress, although its origin could actually be traced back to the 28th President, Woodrow Wilson. But if Bischoff was unsure as to the source of his spontaneous inspiration, perhaps the answer could be found closer to home - on the preceding Nitro, just six days earlier, announcer Larry Zybysko serendipitously made the following proclamation: “This Sunday, I promise you, there will be a new world order of wrestling…” Fans at the Ocean Center waited anxiously to see if Zybysko’s prophecy would materialize; for after all the hoopla, it was suddenly time for the main event. Before the opening bell, the audience was already on its feet for ring announcer@Michael_Buffer’s pre-match introductions. As Hall and Nash sauntered to the ring for The Hostile Takeover match, Buffer set the scene with theatrical aplomb: “Ladies and gentleman, at this time, let me introduce the men whose plan and goal is to takeover the WCW with force and hostility. We were told there would be three of these interlopers, and I must apologize as I have been informed - as you can see - there are only two. Ladies and gentleman, introducing...the Outsiiiiiders!” In a moment that played off perfectly on television, Sting’s entrance music began - and quickly ended - as ‘Mean Gene’ Okerlund traipsed cautiously into the ring. After exchanging quizzical looks with Buffer and referee Randy Anderson, Okerlund confronted the Outsiders to get some answers, an inspired plot device designed to build the tension even further. “Gentleman,” began Okerlund, “if I could have your attention...I don’t have police protection with me at this time, but I wanna confront you in front of this full house here at the Ocean Center, and millions of others watching across the country and around the world. I don’t see three men here tonight. Where is your partner?” Responding in a manner consistent with their WWF characters, Hall and Nash assured Okerlund that the third man was present - and ready. “Let me tell you something,” announced a confident Nash, “we got enough to handle it right now, right here.” Once more, Sting’s entrance music blared from the arena speakers, this time preceding the man himself, accompanied by Luger and Savage. “Here we go!” screamed color commentator Bobby Heenan as the wrestlers passed an unusually large contingent of security personnel on the entrance way. “The war is on!” Less than two minutes into the bout, Luger collapsed to the outside, a move in accordance with Nash’s plan to even the sides before the climactic reveal. “Now it’s two against two!” yelled Heenan. After a brief delay, the concerned crowd looked on as Luger left the arena on a stretcher, leaving Sting and Savage alone to fight valiantly for WCW. As the match progressed, the contemptible Outsiders used every trick to stall their opponent’s momentum, until a revitalized Savage began a furious rally at the fifteen-and-a-half minute mark. The invaders were suddenly down, but not out - as with the referee distracted, Nash landed a low-blow to bring the Macho Man to his knees. All four men lay on the canvas, exhausted, as referee Anderson started a ten count. As Anderson yelled ‘ONE’, several rows of spectators rose to their feet. Within seconds, the reaction diffused from section to section, the noise level increasing with each passing beat. On the live broadcast, viewers at home caught glimpse of a familiar figure making his way down the ramp. “Hulkamania!” screamed Dusty Rhodes on commentary while Hogan walked methodically towards the ring. Noticeably, the Hulkster seemed oddly disaffected - even out-of-character - but after exchanging the briefest of glances with the crowd, he continued stride with the din reaching fever pitch. “Whose side is he on?” bellowed Heenan, a question that seemed inexplicable given the history of Hogan’s on-screen persona. “Whose side is he on?” repeated Heenan, who as longtime fans could recall, had opposed Hogan for years as a manager in the WWF. For that reason, the comment flew over the heads of most (but not all) viewers; meanwhile, the live crowd was cheering as if their team had won the World Series. Nash and Hall retreated to the floor as Hogan tore off his shirt, an apparent signal that the archetypal good guy was here to save the day again. “Who’s bad now boys?” taunted play-by-play man Tony Schiavone on commentary, confident that WCW’s honor was no longer in jeopardy. Savage lay prone on the mat as Hogan surveyed the scene. Above the cheapest of cheap seats, peeking through a curtain with palpable anticipation, was Eric Bischoff. “I knew that something big was about to happen,” he recalls. “It was either gonna be a big failure, or a big success.” Seemingly out of nowhere, with his unsuspecting devotees enveloped in celebration, Hulk backed up to the corner. With the coldness of a serial killer, the once-honorable hero shockingly shoved referee Anderson, and executed his patented finishing move - the leg drop - to the helpless Macho Man below. The audience became completely, utterly unglued. “I was standing back with the announcers,” remembers Michelle Baines, newly hired as a production assistant. “One of the producers turned to me and said, ‘you need to go to the back’. “‘I said, ‘what do you mean?’ “She said, ‘it’s gonna get ugly real quick’.” “She was right - the crowd turned ugly quick.” In retrospect, it was clear that even as Hogan’s body approached the canvas - contact with Savage just milliseconds away - the gravity of the assault started to hit home. “What has he done?” questioned a crestfallen Rhodes, “is he the third man? What the hell is going on here?” Heenan was even more direct - “Hulk Hogan has betrayed WCW! He is the third man in this picture!” A breathless Schiavone could barely muster more than three words: Oh My God, he repeated. Oh My God, he continued, as Hogan high-fived a grinning Hall and Nash. The courageous Sting, stumbling to his feet to stop the injustice, was quickly dispatched, and in the coup de grace, Hogan tossed Anderson to the floor. Sardonically, he covered Savage for the pin, the contest now clearly a farce. “I hope you love it,” a disappointed Rhodes wailed on commentary. “You just sold your soul to the devil.” The third man was a mystery no more, and Hall, Nash, and Hogan raised their hands in victory to a genuinely astonished audience. The immediate outrage, which first gave way to shock, was now inspiring unmitigated rage. Simultaneously, the evil trio continued to taunt, pose, and antagonize while the announcers lamented WCW’s future. As Sting and Savage hobbled back to the locker room, a visibly distraught Okerlund returned to conduct an explanatory interview, based around the one Hogan and Bischoff had mapped out earlier. “Mean Gene,” commanded Hogan, “the first thing you need to do is to tell these people to shut up if you wanna hear what I gotta say.” For the next four minutes, Hogan rationalized his turn with remarkable clarity. “The first thing you gotta realize, brother, is this right here is the future of wrestling. You can call this the new...world...order of wrestling. These two men right here came from a great big organization up north, and everybody was wondering who the third man was. Well, who knows more about that organization than me, brother? I made that organization a monster. I made people rich up there. I made the people that ran that organization rich up there. And when it all came to pass, the name Hulk Hogan, the man Hulk Hogan, got bigger than the whole organization!” Bischoff watched from his secretive seat in amazement - he had not seen, nor had anyone, this intensity of emotion on display at a wrestling show before. It was almost as if the assembled masses had lost themselves in the performance, perhaps even forgetting, if only for a moment, that they were witnesses to a pre-determined event. Hogan’s actions had ostensibly interrupted their critical faculties; in other words, they had suspended their disbelief by reacting to the incident as if it were real. Moreover, the shock was manifesting in the most volatile ways imaginable, as in an incident edited out of future showings of the pay-per-view, a rather large man, likely intoxicated, ran into the ring before being knocked down by Hall and Nash. Concurrently, a stream of debris rained down from the stands, with one object hitting Okerlund, and the rest filling the ring in a stunningly unique visual. Hogan continued as the trash piled up around him, even referencing Ted Turner in his diatribe: “Billionaire Ted promised me movies brother. Billionaire Ted promised me millions of dollars. And Billionaire Ted promised me world caliber matches. And as far as Billionaire Ted, Eric Bischoff, and the entire WCW goes, I’m bored brother! That’s why I want these two guys here, these so-called Outsiders. These are the men I want as my friends. They are the new blood of professional wrestling, and not only are we going to take over the whole wrestling business...with Hulk Hogan, the new blood and the monsters with me, we will destroy everything in our path, Mean Gene.” “Look at all the crap in this ring,” responded Okerlund. “This is what’s in the future for you if you want to hang around the likes of this man Hall, and this man Nash.” Hogan raised his finger as if to stop the interviewer midstream, the perfect line instantly coming to mind. “As far as I’m concerned, all this crap in the ring represents these fans out here,” he boomed defiantly. “For two years, I held my head high,” ranted Hogan, alluding to his rather uninspired WCW tenure. “I did everything for the charities. I did everything for the kids. And the reception I got when I came out here, you fans can stick it brother! Because if it wasn’t for Hulk Hogan, you people wouldn’t be here. If it wasn’t for Hulk Hogan, Eric Bischoff would still be selling meat from a truck in Minneapolis. And if it wasn’t for Hulk Hogan, all of these ‘Johnny come latelys’ that you see out here wrestling wouldn’t be here. I was selling the world out, brother, while they were bumming gas to put in their car to get to high school!” In closing, Hogan foreshadowed the future state of affairs in WCW with a prophetic preview of coming storylines: “With Hulk Hogan and the new world organization of wrestling, brother...me and the new blood by my side...whatcha gonna do when the new world organization runs wild on you? Whatcha gonna do? What are you gonna do??” Despite mistakenly bungling the ‘new world order’ phrase at the conclusion of his speech, Hogan still provided the perfect punctuation to a sensational heel turn. His promo, inarguably the most dynamic of his career, came across as strikingly authentic (“it felt real, because it was real’,” offered a proud Eric Bischoff upon reflection years later). On commentary, Schiavone - who most inspiredly suggested that Hogan had planned to double-cross WCW all along, since his debut in 1994 no less - added to the realism with some mournful final comments: “We have seen the end of Hulkamania,” he grieved. “Hulk Hogan, you can go to hell! We’re outta here. Straight to hell.” ---- To the layman, there appeared an obvious explanation for the feverous crowd response that accompanied Hogan’s turn. Clearly, the element of surprise - one of the key elements of Nitro’s success - had been exploited to a masterful degree (“nobody on earth thought that the third man was going to be Hulk Hogan,” highlights Nash). To Kevin Sullivan, however, there were several layers of story at play. “People thought that it was an invasion from the WWF,” he begins, implying that the success of the angle could be correlated to its realism. “They really bought into it, and when Hogan turned heel...they were sure of it. “So while Hogan gets the credit for the reaction, it was [Nash and Hall] who set the whole thing up. Those guys built the foundation of heat, and when Hogan came down, it just blew up.” “We were red hot coming off WWF television,” agrees Nash, “and then you had the biggest turn in the world on top of that. The biggest babyface of all-time finally turned heel!” To the ever-meticulous Sullivan, always a keen observer of the nuances present in a wrestling angle, an often overlooked element was also noteworthy. “He did it to Randy [Savage],” the booker emphasizes, speaking of Hogan’s betrayal. “People knew there was real-life heat there. That helped out too, but everyone played an intricate part. “Lightning...you can’t catch it in a bottle but one time.” The above is an excerpt from the book, NITRO: The Incredible Rise and Inevitable Collapse of Ted Turner's WCW. Amazon USA: Amazon UK: Amazon Canada: Amazon Australia: 17+ Hour Audiobook Available at Audible and Apple Books Audible USA: Audible UK: Audible Canada: Audible Australia: Apple Books: Ultimate NITRO Bundle: Deep Cuts - Wrestling Stories in 60 Seconds! David Penzer AdFreeShows.com 83 Weeks with Eric Bischoff On This Day in WWE Allan Conrad the Mortgage Guy IandrewDiceClay WCW Archive Because WCW WCW4Life ᴀʀᴅᴀ Öᴄᴀʟ 90s WWE Secrets of WCW Nitro #WCW #nWo #HulkHogan #BashattheBeach #HeelTurn #Wrestling #WrestlingBooks #OTD #WWE #WorldChampionshipWrestling #Nitro

WCWNitroBook

53,506 görüntüleme • 2 ay önce

Mozart’s Adagio K. 622: The Beauty of a Still Lake There are lakes whose beauty is of a special kind. At first glance they appear simply as a smooth, clear surface—quiet and transparent. Yet the longer one gazes, the more one senses the silent depths that lie beneath. As the light shifts and the angle of vision changes, the layers of water and the subtle contours of the lakebed gradually come into view. The lake itself does not change; what changes is the observer’s capacity to perceive the beauty that was always there. The second movement (Adagio) of Wolfgang Amadeus Mozart’s Clarinet Concerto in A major, K. 622, possesses a similar beauty. It is not only the emotional and the spiritual heart of the last concerto Mozart composed for a solo instrument, but also one of the most exquisite slow movements of the Classical era. Its power to move does not arise from dramatic climaxes or an abundance of musical material. Rather, it comes from the way Mozart allows a seemingly simple melody to reveal ever-deeper layers of meaning through the most delicate transformations of harmony, tone color, and form. Cast in a three-part A–B–A' structure, the movement traces a journey in which the musical flow gradually expands its expressive range before returning, more complete than before. The opening section presents a quiet beauty; the middle section unveils new shades of feeling; and the final section brings the listener back to the familiar melody with a profounder sense of its presence. From the very first measures, Mozart opens a sound world of stillness and clarity. Instead of remaining in A major as in the first movement, he moves to D major, creating a gentler, more restful hue. Against this backdrop the clarinet unfolds a long, cantabile melody of exceptional softness. The line moves mostly by step, with only the lightest leaps that lift the phrase naturally before returning to the continuous flow. The phrases are joined in a single, expansive breath. Combined with the Adagio tempo and long note values, the clarinet seems less an instrument than a human voice singing. This sense of calm is further shaped by Mozart’s restraint in harmony and orchestration. After the clarinet introduces the theme, the orchestra does not offer a new idea; it simply receives and supports the melody with the lightest touch. The harmonic motion is measured, moving gently within closely related harmonic regions—from tonic toward the dominant and quickly back again. This economy creates a transparent harmonic space in which every minute inflection of the melody can be heard with perfect clarity. Together these elements produce a feeling of luminous stillness, like the surface of a quiet lake at dawn—its beauty found in purity and calm. In the middle section (B), Mozart introduces new musical ideas, yet the phrases retain the same cantabile breath, the same soft contour, and the same unbroken flow established at the outset. Because of this unity, the listener does not feel transported to another world, but rather drawn deeper into the original lake, where the lower layers of water slowly become visible. On this foundation Mozart expands the harmony into richer tonal regions, notably shifting toward F-sharp minor and moments that passing through B minor, casting a more contemplative, introspective light than the serene D major of the opening. At the same time, suspensions and dissonances linger longer, so that the harmony no longer resolves as promptly as before. Just when the ear expects equilibrium, the harmony opens gently in another direction, allowing the same melodic material to disclose fresh expressive colors. Mozart also brings forth new shades through the most subtle changes in the clarinet’s tone. He creates contrast not through extreme leaps or technical display, but by allowing the phrases to move naturally between the warm, deep chalumeau register and the brighter, more floating clarion register. These shifts in color accompany a freer treatment of phrase structure: where the opening is balanced, symmetrical, and classically poised, the middle section becomes more flexible, more expansive, and less predictable. Yet even as the phrases grow freer, the singing quality of the clarinet remains soft and continuous. In this way the latent colors of the music gradually emerge, just as the beauty beneath a lake’s surface becomes clearer when the light changes. When the A' section returns, the original theme reappears in its familiar key, completing the ABA' form. On the surface the melody is almost unchanged: the rhythm remains unhurried, the cantabile line still soft, and the harmony gradually returns to its original center. Yet after the harmonic and tonal journey of the middle section, the listener no longer hears the theme as it first appeared. Mozart adds no new climax and introduces no fresh material to close the movement. He simply allows the theme to return to where it began—now carrying a depth that only the intervening journey could have conferred. One may picture the entire course of the Adagio as standing before a still lake while the light upon its surface slowly changes. The water remains calm from beginning to end, yet each subtle shift of light reveals the layers beneath, the life and contours of the depths, in a different hue. The lake itself is unaltered; only the light and the angle of vision allow its inherent depth to become visible. It is not unlike the quiet moment when a person looks back upon himself after many years. The feelings, longings, and memories have always been present within the soul. Yet through the passage of time what was once only dimly sensed becomes clear. The inner life has not changed; it is the act of reflection that allows one to understand more deeply what was already there. Perhaps this is what Mozart’s Adagio leaves with us: that something simple, when listened to with sufficient depth and patience, can open a dimension of meaning far beyond its first appearance. In the video below, the second movement (Adagio) of the Clarinet Concerto in A major, K. 622, is performed by Orchestra La Scintilla of the Opernhaus Zürich under the direction of Ada Pesch, with Robert Pickup as soloist on the basset clarinet—the very instrument for which Mozart wrote the work, intended for his friend Anton Stadler. The warm, mellow sound of the basset clarinet—especially its extended lower register, unavailable on the standard clarinet—offers a sound world closer to that for which Mozart conceived the concerto, allowing the lyrical purity and inward depth of the Adagio to emerge with remarkable clarity.

🌸🎵 Beautiful Melody 🎶💖

10,614 görüntüleme • 2 ay önce