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The White House

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73% Of Suspected Child Trafficking Reports Involved Backpage And The Trump Administration Shut Them Down By Susan Duclos - All News PipeLine On April 8, 2018 ANP reported that the ad listing service Backpage, a site which facilitated sex trafficking as well as sexual exploitation and trafficking of minors,  had been seized by the U.S....

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Tuxedo Junction (the original) Foxtrot Erskine Hawkins and his Orchestra Instrumental Writers: Erskine Hawkins, Julian Dash, William Johnson Instrumentation: 4 trumpets, 4 saxophones, 2 trombones, clarinet, guitar, piano, string bass and drums Erskine Hawkins (director, trumpet) Wilbur "Dud" Bascomb (trumpet) Marcellus Green (trumpet) Sammy Lowe (trumpet) Julian Dash (tenor saxophone) Haywood Henry (baritone saxophone, clarinet) William "Bill" Johnson (alto saxophone) Jimmy Mitchell (alto saxophone) Robert Range (trombone) Edward Sims (trombone) William McLemore (guitar) Avery Parrish (piano) Lemire "Leemie" Stanfield (string bass) James Morrison (drums) Catalog Number: Bluebird B-10409-B Matrix Number: Victor BS-038421 (Master, 10", 78 RPM) Place and Take Date: New York NY, RCA Studio 3, 155 East 24th Street, 1939-07-18 Reverse Side: Gin Mill Special "Tuxedo Junction was named for a street-car terminal near a dance pavilion where young Erskine Hawkins had made one of his first public appearances on trumpet. Put together in an oral arrangement by Hawkins and saxophonists Julian Dash and Bill Johnson, it was a big hit with dancers -and an even bigger hit when Glenn Miller came out with his copycat version the following year. After it was adopted as the Hawkins band's theme, it became an anthem at their home ballroom comparable to Chick Webb's celebrated Stompin' at the Savoy. Introduced and concluded by the leaders horn, Tuxedo Junction features Bill Johnson on alto, Heywood Henry on clarinet, and Dud Bascomb in a memorable chorus..." Stanley Dance Gene Krupa's slower version: https://www.youtube.com/watch?v=i9sJ1k98GOg

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Before Trump made America great again, Bavaria made sure another Trump couldn’t make Germany anything at all. Sunday Roast is a digital media for people who want to know. ???? FOLLOW US! Facebook: https: www.facebook.com/sunday.roast.media #shorts #news #bavaria

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What exactly does Trump need to do before Republicans finally do something?

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(PLEASE SCROLL DOWN FOR ENGLISH) En 1968, Charlebois, géant de la chanson québécoise a entrepris un voyage de trois mois en Californie où il a subi l'influence de la contre-culture et a fait la connaissance des meilleurs musiciens rock d'Amérique. Sa musique a commencé à s'électrifier et ses textes, qui empruntaient le langage populaire, exprimaient une poésie toute urbaine. Ses chansons, Lindberg et California défrisent le public venu écouter de la belle chansonnette. De retour de son voyage décoiffant en Californie, il a bouleversé la conception musicale et scénique en présentant (avec Mouffe, Louise Forestier et Yvon Deschamps) "L'osstidcho", un antispectacle qui allait transgresser les règles, créer un précédent, et devenir une oeuvre de référence. C'est ici qu'il a fait remarquer au grand public son anticonformisme. Félix Leclerc disait, "Robert Charlebois c'est le néon, Gilles Vigneault, l'ampoule électrique, et moi la lampe à l'huile". Dans les deux chansons, Lindberg et California, on entend la qualité d'interprétation du duo Charlebois-Forestier. Les deux chansons se trouvent dans son quatrième album, "Lindberg" (1968) en pleine période psychédélique. In 1968, Robert Charlebois, a giant in the Québécois song, went to California for three months where he experienced the inlfuences of the counterculture and got to know the best American rock musicians. His music became explosive and the lyrics, which were taken from the popular language, expressed a very urban poetry. His songs, Lindberg and California unglued the public audiences who had come to hear the usual little songs. Upon returning from his trip to California, he completely turned around the musical and stage presentations by performing (with Mouffe, Louise Forestier and Yvon DesChamps) the "Osstidcho" ( the damned show) an anti-performance which went beyond the appropriate rules (of music and behavior), created a precedent and became a work of reference. It was here that he got the public audiences to notice his non-conformity. Félix Leclerc used to say, "Robert Charlebois is the neon sign, Gilles Vigneault is the electric bulb and I'm the oil lamp." In the two songs, Lindberg and California, we can hear the quality performance of the Charlebois-Forestier duo. The two songs can be found in his fourth album, "Lindberg" (1968) as a perfect reflection of the psychedelic era. Lyrics translation: The plough is passing through the sky (clouds look like they've been plowed...i.e. "plough skies") And I'm coming down slowly The plane's red and white staircase Which brings me, every night.. To California, to California, to California. Is it the money in the sun (the bright, golden sun) The yellow of taxis or that of the orange ones Which scatter in the night To light up life? In California, in California, in California A gray motor (engine) in the fog Pushes me to the end of nowhere in the midst of angels in the night Pints of golden milk Are pasteurized in the headlights In California, in California, in California Little ten and a half year-old blacks (reference to Miles Davis) Play the electric trumpet better than my friends All along the Pacific Their purple guitars complement each other In California, in California, in California I looked for you when I woke up Where were you? The wind was blowing in my ears I will buy the white truck (the acid) Which will bring us back to Springtime In California, in California, in California

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Phony racially-motivated attacks and Democrats being caught in blackface were just some of the controversies that liberal journalists and celerities actually blamed on Donald Trump and his Wall-endorsing, red hat-wearing, supporters this past month.

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In February, Donald Trump pardoned Michael Milken, the notorious financial criminal who in the early ’90s served less than two years of a ten-year sentence after pleading guilty to federal securities-fraud and conspiracy charges. So what is Milken up to now that he’s no longer a felon? Opening a DC museum. Plans are under way

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The judge dismissed the lawsuit that asked for Georgia's election results to be overturned in favor of President Trump. https://www.11alive.com/article/news/politics/elections/sidney-powell-kraken-georgia-election-lawsuit-hearing-today/85-338163f4-ac47-4bdb-8c3b-982b8d174659 Subscribe to to this channel for more Georgia election live streams and videos: http://bit.ly/11AliveSubscribe 11Alive is Where Atlanta Speaks. We believe that news shouldn’t be a one-way conversation, but a dialogue with you. Join in, share your thoughts and connect with new perspectives. Follow 11Alive on Social: Facebook: https://www.facebook.com/11Alive/ Twitter: https://twitter.com/11AliveNews Instagram: https://www.instagram.com/11Alive/ Visit Site: https://www.11Alive.com/

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Postagem foi publicada na conta do Departamento de Estado dos EUA.

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Im neuen Podcast Nur eine Frage stellt ZEIT-Chefredakteur Jochen Wegner einfache, aber grundlegende Fragen, auf die eine klare Antwort schwer zu finden ist. Er befragt die bestmögliche Expertin, den bestmöglichen Experten, den wir für das jeweilige Thema finden können – und versucht, eine klare Antwort zu bekommen. In dieser Folge fragt er die Sicherheitsexpertin Claudia Major, ob Deutschland eigene Atomwaffen anschaffen sollte. Major ist eine der profiliertesten deutschen Sicherheitsexpertinnen. Sie ist Vizepräsidentin für transatlantische Sicherheitsinitiativen beim German Marshall Fund und berät die Bundesregierung in Sicherheitsfragen. Ihr Spezialgebiet sind die Auswirkungen des russischen Angriffskriegs auf die transatlantischen Beziehungen, die nukleare Ordnung und wie man die EU und die Ukraine langfristig sichern kann. Major erklärt, warum sie eine deutsche Atombombe nicht nur für unnötig, sondern sogar für einen schweren Fehler hält: Ein atomarer Alleingang Deutschlands würde die Welt unsicherer machen, weil es andere Länder ermutigte, ebenfalls nuklear aufzurüsten. Major plädiert dafür, dass Deutschland und andere europäische Staaten erst einmal konventionell stark aufrüsten müssen. Der Aufbau eines eigenen europäischen Nukleararsenals wäre dann ein weiterer möglicher Schritt, den man gehen könne. "Atomwaffen sind eigentlich keine Kriegsführungs-, sondern zutiefst politische Waffen", sagt Major und meint damit die abschreckende Wirkung, die ihr möglicher Einsatz entfaltet. Es gelte, potenziellen Angreifern zu vermitteln, dass die Kosten eines Angriffs viel höher wären als der Nutzen. Auf dieser Annahme beruhe die riskante Ordnung in einer Welt mit Atomwaffen. Doch diese Ordnung wackelt: Laut Major funktioniert die atomare Abschreckung durch US-amerikanische Atombomben gegenüber Russland zwar noch. Aber die Verlässlichkeit der USA unter Präsident Donald Trump stehe infrage, und Europa müsse mittelfristig eine eigene Abwehrstrategie entwickeln. Für eine atomare Neuausrichtung in Europa sieht Major drei Szenarien: eine gemeinsame europäische Bombe, nationale Alleingänge einzelner Staaten oder ein Modell, das auf Frankreichs und Großbritanniens vorhandenen Atomarsenalen aufbaut. Die Sicherheitsexpertin hält nur Letzteres für realistisch, wenn auch nicht für perfekt. Denn weder Frankreich noch Großbritannien verstehen ihre Atomwaffen als Schutzschild für ganz Europa. Es müsse eine neue europäische Nuklearstrategie entwickelt werden. Eines bleibe in jedem Fall klar: "Jegliche Veränderung der nuklearen Ordnung, egal wie wir daran herumdoktern, bedeutet für alle Betroffenen, für die Europäer, aber auch für die anderen, für Russland, für China: Instabilität." Auch dürften die Europäer die Amerikaner bei einer Neuausrichtung ihrer Sicherheitsstrategie nicht vor den Kopf stoßen, sagt Major. Für sie ist die Frage nach der Atombombe ohnehin nicht die entscheidende. Viel grundlegender fragt sie: Wie können Deutschland und Europa sich wirksam schützen? Im Podcast spricht sie über glaubwürdige Abschreckung durch weitreichende Waffen, Flug- und Raketenabwehr, ausreichende Truppenstärke und Verteidigung gegen hybride Kriegsführung wie Cyberattacken, Propaganda und Sabotage. Majors Antwort auf unsere eine Frage in dieser Folge: "Deutschland braucht nukleare Abschreckung, aber keine eigenen Atombomben." Produktion: Pool Artists Redaktion: Jens Lubbadeh Videoproduktion: Claudius Dobs Animation: Axel Rudolph Alle Folgen unseres Podcasts finden Sie hier: https://t1p.de/ncx2p Fragen, Kritik, Anregungen? Schreiben Sie eine Mail an n1f@zeit.de [ANZEIGE] Mehr hören? Dann testen Sie unser Podcastabo mit Zugriff auf alle Dokupodcasts und unser Podcastarchiv. Jetzt 4 Wochen kostenlos testen: https://t1p.de/iikdn

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Politics THE INTERCEPTOR PROBLEM: Why Washington Really Paused July 26, 2026 0 THE INTERCEPTOR PROBLEM: Why Washington Really PausedForty-five minutes ago I reported what Axios had disclosed — that Trump had... Politics Four Pakistani Spaza Shop Owners Gunned Down in Kempton Park July 26, 2026 0 Four Pakistani Spaza Shop Owners Gunned Down in Kempton - Page 1325

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Trump Injects Self With Ebola So He Can Defeat That Next https://t.co/uOCWtX22d9

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Zeithistoriker Dirk Rupnow über Museum und Demokratie angesichts der Eingriffe ins Smithsonian Institute der Trump-Regierung im August 2025.

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Richard Strauss: Parergon on Symphonia Domestica for Piano "Left Hand" and Orchestra, Op.73 (1925) Piano: Paul Wittgenstein (1887-1961) Austrian-​American Orchestra: The Boston Records Orchestra Conductor: Eric Simon Released: Boston Records 1959 Label: Boston Records – BST-1011 Format: Vinyl, LP, Album, Stereo Recorded At – Symphony Hall, Boston Matrix / Runout (Label Side A): K8OY-7883 Parergon (the Greek word means ‟addendum” or ‟supplement”), which, as Strauss’ sketches attest, was based on the ideas of ("Illness and Recovery"). Score: 1. (Langsam und schleppend) 00:01 F1 Introduction Orchestra (Slow and dragging) 00:19 "Elements of the child’s theme F14, from Sinfonia Domestica". 02:07 F2 Piano (in freiem, sehr leidenschaftlichem Vortag) - (in a free, very passionate) 03:26 F4 04:31 F6 05:25 F7 child theme 2. (Lebhafter) 06:45 F9 +5 (più vivace) Soaring, energetic theme 07:23 F11 08:53 F15 3. (Wieder langsam - Zeitmaß des Anfangs) 09:47 F17 +4 (Slowly again) dissonant 10:53 F20 (Etwas bewegter) Un poco piú allegro 11:34 F22 12:00 F23 (Orchestra) Yet this material is abruptly cut off and the uncertainties return with some more agitated and dissonant music. 13:21 F25 13:54 F26 (A meditative interlude culminating in a cadenza) 4. (Fröhlich bewegt) 15:34 F28 -8 Piano Solo (Fröhlich bewegt) 17:04 F28 -8 Woodwinds (Fröhlich bewegt) - (Happily moved) - Allegramente commosso The woodwinds intone a peaceful song which symbolizes the simple world of the child. This hymn-like tune turns out to be a variant of the soaring theme we heard before; it returns in its original form and is given a dazzling development. 18:11 F30 -2 18:22 F30 +5 Sehr lebhaft 18:41 F32 19:41 F36 (Ruhig) Calma 20:09 F38 (Wieder ruhig) Di nuovo tranquillo 20:27 F39 21:29 F44 -8 (Sehr lebhaft) Molto vivace 22:14 F47 (Orchestra) Lyrical and Peaceful. The peaceful version of the theme reappears, now sounding more lyrical in a richer orchestration. 22:48 F50 23:01 F51 23:29 F53 -5 (Fröhlich bewegt) espressivo cantando 5. (Sehr Schnell) 24:42 F56 -4 Molto veloce 25:14 F58 25:30 F59 Child theme 25:45 F60 (Etwas lebhafter) più vivace Child theme (Sinfonia domestica) 26:30 F63 +4 (Noch Schneller) Ancora più veloce Grandiose & Triumphant ending. F = Rehearsal number in the ‎full orchestral score. ********************** Composed from 1924–25 Premiered on June 10, 1925 in Dresden by Paul Wittgenstein with the Berlin Philharmonic Instruments: 2 flutes, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 5 French horns, 2 trumpets, 3 trombones, 1 tuba, timpani, harp, 24 violins, 9 violas, 8 cellos, 6 double basses, & Solo Piano (Left Hand). History: In 1924, Richard Strauss received a commission from Paul Wittgenstein, a pianist who lost his right arm in World War I, to compose a work for piano left hand & orchestra. The pianist, older brother of the philosopher Ludwig Wittgenstein, came from a prominent Viennese family; their father, Karl, was a steel magnate, arts patron, and host of a salon where many of the greatest luminaries of the time, including Brahms, were regular guests. Strauss had known the Wittgenstein family before the war, and he used to play piano duets with Paul when the latter was a child. The commission reached Strauss at a time when he had just finished his autobiographical opera Intermezzo. In the opera, Kapellmeister Storch & his wife had a young son named Franz, just as the Strausses did in real life. But the opera captures a much earlier moment in the Strausses’ lives; by 1924, Franz Strauss was a grown man. Recently married, he contracted typhus on his honeymoon in Egypt & for a while his life was in danger. Under these circumstances, Strauss’ thoughts naturally turned to his Symphonia Domestica, written two decades earlier, also inspired by his family life. Franz was a child then, and he was given a lyrical theme that, along with the themes of his parents, formed the basis of much of the work. Elements of the child’s theme, now ‟grown up,” inform the Parergon (the Greek word means ‟addendum” or ‟supplement”), which, as Strauss’ sketches attest, was based on the ideas of illness and recovery. Structure: The conflict between those two opposite emotional poles generates the entire structure of the work, as an extensive, brooding, and chromatically complex introduction gives way to a more upbeat, faster section with a soaring, energetic theme. Yet this material is abruptly cut off and the uncertainties return with some more agitated & dissonant music. After a meditative interlude culminating in a cadenza, the woodwinds intone a peaceful song which symbolizes the simple world of the child. This hymn-like tune turns out to be a variant of the soaring theme we heard before; it returns in its original form & is given a dazzling development. The peaceful version of the theme reappears, now sounding more lyrical in a richer orchestration, before the grandiose & triumphant ending.

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In 1944, Capt. Charlie Nelson (Errol Flynn) leads a platoon of paratroopers into Burma to blow up a Japanese radar station in advance of the allied invasion. They're accompanied on the mission by Mark William (Henry Hull), an American journalist who is there to write about their exploits. The mission goes off without a hitch and without the loss of any men. The plan was for them to be picked up by two transport airplanes at an old landing strip but a Japanese patrol prevents them from doing so. The men are now forced to march towards the front lines, however the closer they get, the greater the number of Japanese troops they will face. In creating his soundscape, Waxman composed five primary themes and a number of reoccurring motifs, including; the long-lined Main Theme, which is borne by surging strings and woodwinds dramatico. “Main Title” offers a powerful score highlight where Waxman introduces his primary themes and perfectly establishes the tone of the film. We open dramatically with gong strikes, then trumpets militare. Waxman sows tension atop dire chords and snare drums bellicoso, entwined within this martial passage, which creates a tense and powerful synergy. The musical narrative is grim as the planned mission is daunting and full of risk. The tremolo strings of flight and horns militare support the flight of an American Liberator reconnaissance plane scanning for Japanese troop movement below.

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https://t.co/HPiYe2Kcxz

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SiteDescription

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$7.59 gasoline in various parts in California—a record, and going higher. All over the Country gasoline is spiking. If the Trump Administration were in there, it would right now be $2 a gallon or less. – President Donald J. Trump Author: The Iowa Standard

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President Donald Trump has scoffed at the measurement even as the White House heralded the successes of his first 100 days in office.  In the final week before this key presidential marke…

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« Un type formidable », lance Donald Trump d’une voix tonitruante au téléphone. « C’est un vrai plaisir d’être en sa compagnie. » Photo : New York Magazine

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???? ???????????????????? ????????????????, ????????????????????????????????????????, ????????????-???????????????? ???????????????????????????????????????????? ???????? "???? ????????????'???? ???????????????? ????????????????????????????" — ???????????????? ???????????????????????????? ???????????????? ???????? ???????????????????????????? ???????????????? ????????????, ????????????????. This stunning footage captures Phil Collins’ "Both Sides of the World Tour 1994" (later renamed "Far Side of the World Tour" in 1995), a massive run of 171 shows across five continents, during its stop at the Orlando Arena, Orlando, Florida. The video is taken from the original promo tape distributed to US TV stations to promote the concert coverage. ???????????????????????????? & ???????????????????????????????????????? When "Both Sides" was released on November 8, 1993, it initially received mixed reviews, especially from adult contemporary radio, which criticized its introspective tone and slower pace. Expectations were sky-high — this was, after all, the follow-up to "…But Seriously". Yet the album became Collins’ most personal and emotional work, written during the collapse of his marriage to Jill Tavelman. Reflecting on that period, Collins said: “???? ???????????????????????????? ???? ???????????????????? ???????????????????? ???????????????? ????????????????????????????????, ???????????????????????????? ???????????????????? ???????????????? ????????????????????????. ???? ???????????????????????????????? ???????????????? ???? ???????????? ???? ???????????? ???????? ????????????.” The result was an album that marked a return to the darker, more melancholic atmosphere of "Face Value" and "Hello, I Must Be Going!". Despite its moody nature, Both Sides sold over three million copies within months, reaching #1 in eight countries (including the UK) and #13 in the U.S. In a 2016 interview with "The Guardian", Collins described Both Sides as his favorite album from a songwriting and creative standpoint, explaining: “???????? ???????????? ???????????????? ???????????????? ???? ???????????????? ????????????????????. ???? ???????????????????????? ????????????????????????????????????????. ???????????? ???????????????????? ???????????????? ???????????????????????????????? ???????????? ???????? ????????… ???????? ???????????? ???????????? ???????????????? ????????????????????????????????????????????.” The album was recorded entirely by Collins himself — no Hugh Padgham, no Daryl Stuermer, no Leland Sklar, no Phenix Horns. After sketching demos at home, he finished the record in just six weeks at The Farm with engineer Paul Gomersall, playing every instrument. It was a bold experiment that reflected both his isolation and artistic independence. ???????????? ???????????????? Only a few months after the album’s release, Collins embarked on the "Both Sides of the World Tour," which opened in Utrecht and later visited Europe, North America, South America, Australia, and Japan. The stage design echoed the video for "We Wait and We Wonder": an urban, working-class backyard scene — corrugated metal walls, dented trash cans, flickering “HOTEL” signs, wooden boards, and even newspapers and coffee cups — turning the stage into a cinematic set. Compared to the previous "Serious Tour 1990", Collins reshaped almost his entire band. Only a few familiar faces remained: Arnold McCuller (backing vocals), Brad Cole (keyboards), and Daryl Stuermer (guitars). Amy Keys replaced Bridgette Bryant on backing vocals; Nathan East (of Eric Clapton fame and co-writer of Easy Lover) took over on bass; and the legendary Vine Street Horns replaced the Phenix Horns, led by ex-member Harry Kim. Replacing Chester Thompson behind the kit was Ricky Lawson, an accomplished drummer whose groove perfectly complemented Collins’ energy. When asked about the major lineup changes, Phil explained: “???????????????? ???????????????????? ???????????? ???? ???????????????????????????????????????? ???????????????????????????????????? ???????????????????? — ???? ???????????????????????? ???????????????? ???????????????????????????????????? ???????? ???????????????????? ???????? ????????????????.” The show was split into two halves: the first quiet and introspective, featuring six songs from Both Sides; the second brighter and more dynamic, with a powerful light show and fan favorites. Despite the lack of an official concert release, the "Both Sides Tour" remains one of Collins’ finest — his most theatrical, emotional, and musically daring production. The setlists featured deep cuts, rare tracks, unexpected covers, and the longest shows of his career, often surpassing three hours. This video — remixed and remastered in 16:9 4K, featuring a new audio mix by our dear friend Blukaos — offers a rare opportunity to experience one of Collins’ most powerful tours, taken from a tour long known for its scarcity of professional footage and official releases. Fun fact: ???????????????????????????????????????????????????? ???????????????????? ???????????????????????? ???????????? ???????????????????????????????????????? ???????????????????? ???????????? ???????????? ???????????????? ???????????? ???????????????????????? ???????????????? ???????????????????????? ???????????????????????????????????????? ???????????? ???????? ???????????????????????????????? ????????????????????????????????????????????. ???????????? ???????????????? Phil Collins – Drums / Vocals / Piano / Tambourine / Solo Hi-Hat during band introductions Brad Cole – Keyboards Nathan East – Electric Bass Guitar / Electric Upright Bass / Vocals Amy Keys – Backing Vocals Arnold McCuller – Backing Vocals Ricky Lawson – Acoustic Drums (Remo) / Electric Drums and Drum Triggering Daryl Stuermer – Electric / Acoustic Guitars ????ℎ???? ???????????????? ???????????????????????? ???????????????????? Daniel Fornero – Trumpet Harry Kim – Trumpet Arturo Velasco – Trombone Andrew Woolfolk – Saxophones #PhilCollins #BothSides #Orlando

Via: https://www.governing.com

President Trump continues to attack the vote-by-mail system, claiming it will increase fraud, but Washington state’s mail-in program that has worked well for years might be a perfect counterexample.

Via: https://www.newsbreak.com

President Donald Trump’s Forest Service chief, Tom Schultz, was exposed Saturday for having potentially lied during a congressional hearing earlier this we

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As Donald Trump's presidency comes to an end what will become of the two women who are closest to him - and why do the loathe each other

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From President Donald J. Trump: Democrats have no solutions to today’s crime surge. Here’s how they shrug off the mayhem. First: Deep denial. Through Sept. 27, New Orleans suffered 208 homicides, up 44% versus that period in 2021 and 141% in 2019. The Crescent City has become America’s Murder Capital. “I do not embrace that at all,” said Democratic Mayor […]

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CNN going on and on about % of Wisconsin GOPs "scared" of Trump. They should be scared -- we're moving the refugees to Wisconsin.

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Paul Ingrassia, who withdrew his nomination to lead the Office of Special Counsel last month, says in a farewell email that he’s moving to the General Services Administration.

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The White House

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Nineteen electors vote unanimously in tradition that began in Commonwealth in 1789