Podcasts about black blood

Bienvenue à tous dans l'épisode 26 des Aventures d'un Otaku ! Cette semaine, on vous propose un programme aussi diversifié qu'explosif avec nos chroniqueurs prêts à déballer leurs coups de cœur et leurs coups de gueule.Pour commencer, Manga Lover nous plonge dans l'univers haletant d'Instinct, un manga qui promet de faire monter l'adrénaline ! Ensuite, je prendrai le relais pour vous parler de Tank Chair 03, une œuvre qui ne manque pas de caractère.Notre cher Kinh vous présentera ensuite Firefighter Daigo: Rescuer in Orange, une série captivante qui met en lumière le courage et la dévotion des pompiers. Trash Talker enchaînera avec Yuyu Hakusho - Star Edition 11, l'occasion de replonger dans ce classique indémodable.Bichromanga viendra ensuite nous présenter Black Blood, un titre qui risque bien de vous surprendre ! Et pour conclure en beauté, je reviendrai avec une chronique sur les tomes 4 et 5 de No Longer Allowed in Another World, une série qui définit bien le mot "décalé". Un immense merci à notre partenaire, la microbrasserie À la Dérive, pour leur soutien et leurs délicieuses bières qui accompagnent nos sessions d'enregistrement ! N'oubliez pas de nous suivre sur les réseaux sociaux avec les hashtags : #AventuresDunOtaku #PodcastAnime #FirefighterDaigo #YuyuHakusho #BlackBlood #NoLongerAllowedInAnotherWorld #MicrobrasserieALaDeriveInstallez-vous confortablement, mettez vos écouteurs et laissez-vous emporter dans cet épisode riche en passions et en découvertes. C'est parti ! ‐-------‐‐-----------------------------------------Site Web ⬇️www.gpourgeek.caBalado Quebec ⬇️https://baladoquebec.ca/g-pour-geek/les-aventures-dun-otaku-tome-26Spotify ⬇️https://open.spotify.com/show/1u1BuLjlLfSSOLq8YuAEa0Linktree ⬇️https://linktr.ee/gpourgeekYoutube ⬇️https://youtu.be/pDaELL_frT8

UK extreme metallers Abduction will release their highly anticipated new album, Existentialismus, on 21st February 2025, via Candlelight. Following their explosive 2022 album, ‘Black Blood', which showcased the band's fiercely expansive sound, Abduction are now poised to push their musical boundaries even further. On the face of it, Existentialismus is actually a return to more stripped-down mechanics, and yet it is arguably the band's most electrifying, emotionally complex and personal recording to date. Extreme music has never sounded so appealing as it does on this new Abduction record. A band synonymous with bleak and black brutality, they continue to push the boundaries of metal with Existentialismus. Not only finding deeper and darker depths to explore but showcasing a more introspective soundscape. This is Abduction at their most personal, stripped back in grisly style, but retaining all the fire and fury that long term fans have come to expect. We spoke to vocalist and founder A|V, finding out a bit more about the new release and how it has come about. Delving into some of the themes and feelings behind the record, how pivotal a moment this is Abduction, working as more cohesive unit, and so much more. Find out more here: https://abduction616.bandcamp.com/album/existentialismus Website: https://gbhbl.com/ LinkTree: https://linktr.ee/gbhbl Ko-Fi (Buy us a coffee): https://ko-fi.com/gbhbl Facebook: https://www.facebook.com/GBHBL Instagram: https://www.instagram.com/gbhbl/ Bluesky: https://bsky.app/profile/gbhbl.com Threads: https://www.threads.net/@gbhbl Twitter: https://twitter.com/GBHBL_Official Contact: gbhblofficial@gmail.com Soundcloud: https://soundcloud.com/gbhbl Spotify: https://open.spotify.com/show/5A4toGR0qap5zfoR4cIIBo Apple Podcasts: https://podcasts.apple.com/hr/podcast/the-gbhbl-podcasts/id1350465865 Intro/Outro music created by HexedRiffsStudios YouTube: https://www.youtube.com/channel/UCKSpZ6roX36WaFWwQ73Cbbg Instagram: https://www.instagram.com/hexedriffsstudio

O espetáculo Limbo está em cena até ao dia 8 de Fevereiro, no Teatro de la Colline, em Paris. A peça foi apresentada em Portugal em 2021, onde recebeu os prémios para Melhor Espectáculo de Teatro e Melhor Texto Português Representado pela Sociedade Portuguesa de Autores (SPA). O encenador e actor Victor de Oliveira nasceu em Moçambique, cresceu em Portugal e vive em França. "Não sabemos quem somos, e fechamo-nos num limbo. Não somos nem somos portugueses, nem moçambicanos", afirma o encenador. RFI: Em palco, conta a sua história familiar, os conflitos entre gerações, o impacto da herança colonial. Menciona que foi "um acidente" nascer noutro lugar, porquê?Victor de Oliveira: Quando faço essa citação do Achille Mbembe, que diz que é um acidente nascer num dado lugar é apenas para dizer que todos nós nascemos num determinado espaço e depois temos toda a vida para criar algo, para criar uma vida e para ver como é que o facto de termos nascido numa época determinada, num país determinado, como é que essa história faz parte de nós e como é que nós nos construímos com essa história. E, obviamente, eu, tendo nascido numa colónia portuguesa durante o período colonial, sendo neto de colonos brancos portugueses e colonizadas negras moçambicanas, como é que eu cresço e como é que eu me defino e como é que eu avanço na minha vida, fazendo parte dessa história, e dessa história que é uma história extremamente complicada, extremamente difícil, que é a história da colonização portuguesa.Mas hoje já estamos em 2025. O ano passado, Portugal comemorou os 50 anos do 25 de Abril. Este ano, Moçambique vai comemorar os 50 anos da independência. Como é que avançamos, sabendo o que foi a colonização, sabendo o que houve de terrível, e como é que hoje nos definimos? Como é que hoje conseguimos criar algo para além do horror que foi a colonização, sem negar aquilo que aconteceu, mas dizendo: ok, aconteceu. Mas hoje, como é que nós fazemos para ir além dessa história e para construir algo que esteja ligado a essa história comum que é nossa e tentar avançar com tudo isso?Todas essas questões são questões que me acompanham, para as quais não tenho respostas precisas, digamos assim. Mas, as questões em si já são suficientemente interessantes para que elas me acompanhem e para que eu tente, no palco, com o limbo, por exemplo, dar algumas respostas ou, pelo menos, fazer com que as pessoas que estejam na plateia e que ouçam e que vejam o que está a acontecer se possam questionar também. E, eventualmente, que essas histórias possam ecoar na própria história de cada um, de cada uma delas.Em palco, durante 1h15 compartilha episódios traumáticos da infância; como o desejo de se esconder do próprio pai, e reflecte sobre a procura de um sentimento de pertença. Pensar no passado é uma forma de sair deste limbo?Sim, é uma forma de voltar a olhar para esse limbo de que eu falo com um pouco mais de distância. Também tem a ver com a idade que eu tenho hoje e com o facto de, há um tempo, todas essas questões andarem à minha volta. E tem a ver com essa distância e com essa maneira de dizer: "Ok, isto aconteceu assim, assim, assim. E por que é que aconteceu assim? Por que é que houve esta reação? Por que é que isto aconteceu?" Não para tentar encontrar respostas, mas porque eu tenho a impressão de que essas situações, digamos, de que eu falo durante o espetáculo, fazem parte dessa dramaturgia, que essas situações são representativas de toda uma parte da história portuguesa e colonial. No meu caso, com Moçambique, mas podia ser com Angola, com Cabo Verde, Guiné-Bissau, São Tomé e Príncipe.Mas tem a ver com essa relação com as ex-colónias portuguesas. Sim, é uma maneira de olhar para essas situações, de tentar compreendê-las hoje, com a idade que eu tenho e com o trabalho que tentei fazer de dramaturgia e de compreensão enquanto artista, para dizer: "Ok, isto aconteceu assim, porque isto, isto, isto". E, obviamente, há menos sofrimento, um certo apaziguamento, digamos assim, que vai surgindo pouco a pouco, porque a história mesmo se conta a partir de mim. Ela não é apenas a minha história.Quando eu fiz em Lisboa e fiz em Guimarães, e no dia 28 de Março, vou fazê-la no Teatro Circo de Braga, enquadrado no Dia Mundial do Teatro. E toda essa relação é para que as pessoas que venham ver. Cada um faz o seu caminho, mas as questões que estão lá são partilhadas, e cada um de nós pode encontrar as suas respostas.Você recua até 1977 para falar de uma viagem de carro onde viu brancos a serem queimados num Fiat vermelha. Nunca se esquece o que se vê?Quer dizer, quando são coisas tão traumatizantes, é difícil esquecer. E depois tem a ver com o que se passou depois. Porque havia esse período, depois da independência, havia, como eu digo, uma raiva extremamente forte contra os brancos portugueses, contra os mestiços. É por isso que eu conto que, num autocarro em Maputo, de repente, eu estava com os meus pais e com o meu irmão, e as pessoas começaram a gritar: "Abaixo o mulato! Mulato não tem bandeira! Abaixo o mulato!"Tudo isso, obviamente, são coisas que, quando somos crianças, não percebemos muito bem o que se passa, mas percebemos que há uma agressividade extremamente forte e que as pessoas nos têm como responsáveis de algo. Enquanto criança, não percebia muito bem, mas depois consegui compreender. Tinha tudo a ver com o tipo de colonização portuguesa, com o facto de que os mestiços, obviamente, tinham mais direitos que os negros e menos direitos que os brancos. E essa hierarquia das raças, que foi instaurada pela colonização portuguesa, fez com que, de repente, os mestiços estivessem entre dois lados e fossem insultados. De um lado e do outro.Para uma criança da minha idade, nessa altura, era extremamente traumatizante, porque, de repente, não sabemos quem somos, e aí fechamo-nos num limbo, fechamo-nos em algo. Não temos identidade, não sabemos quem somos, e estamos no entre-dois, entre o paraíso e o inferno, que é uma das definições religiosas do que é o limbo. Mas no entre-dois racial também: não somos nem brancos, nem negros. Estamos no entre-dois. Nem somos portugueses, nem moçambicanos. Não somos nada. E esse "não sermos nada" que nos é imputado, que nos é dado, que nos é mostrado, quer seja pelos brancos, quer seja pelos negros, foi, não apenas para mim, mas também para milhares de outras pessoas, extremamente difícil durante anos e anos e anos, mesmo depois, quando chegamos a Portugal, pelas mesmas razões.Em palco, interpreta também Francisco, o seu pai. Foi importante trazê-lo para a peça?Sim, sim, era extremamente importante, porque o espetáculo começou a ser pensado a partir de uma conversa que tive com ele. Uma das conversas, das discussões que tive durante uma parte da minha adolescência e mesmo durante a minha vida de adulto com o meu pai. Conversas extremamente difíceis, como acontece com muitos pais e filhos. Conflitos de gerações, mas não apenas isso, também sobre o olhar que cada um de nós tinha sobre a colonização e sobre o que se tinha passado em Moçambique.E, de repente, a partir de uma dessas conversas, eu disse: "Não, eu tenho que fazer algo no palco. Eu sou um artista, tenho que tentar encontrar uma maneira de contar tudo isto, porque nunca vi um espetáculo sobre este assunto em palco em Portugal". E a voz, o percurso de todos estes milhares de mestiços, mulatos, como éramos chamados, é importante. E eu penso que há muita gente que se vai identificar, que vai reconhecer e que será tocada pelo facto de estarmos a falar disso. E foi exactamente o que aconteceu em Lisboa, no Porto. Fizemos também no FITEI, no Porto, e em Guimarães. Espero que o mesmo aconteça em Braga, em Março.Essa relação traz toda uma história. E é verdade que, de repente, o pai existe. O meu pai fala assim ainda hoje. É um homem que viveu metade da sua vida em Portugal, mas que continua a ter um sotaque moçambicano, continua a falar com uma musicalidade, com um ritmo próprio que é o dele. Com o seu sotaque moçambicano. Ainda hoje, em Portugal, quando eu o imito, as pessoas percebem logo que ele é moçambicano. E há palavras que só ele diz. E há palavras que os portugueses reconhecem como típicas dos moçambicanos ou angolanos.Houve, no entanto, um trabalho de tradução e de adaptação para que isso pudesse ser ouvido hoje aqui por um público francês. Como é que eu consigo dar um sotaque? Eu não podia, por exemplo, tentar criar um sotaque francófono, quer dizer, um sotaque do Congo ou dos Camarões, ou de outra antiga colónia francesa, porque não é exactamente a mesma coisa. Eu tinha muito receio de cair num clichê. Tive que encontrar uma maneira de dar um ritmo à voz dele, dar um ritmo à sua maneira de falar, para que as pessoas percebessem que tem muito a ver com ele.E, ao mesmo tempo, há pequenas expressões que têm a ver, obviamente, com o facto de ser um africano que fala. Tudo isso, sim, era extremamente importante para que as pessoas pudessem ver que é um homem já de uma certa idade e, sobretudo, um homem que é representativo. Mais uma vez, representativo de pessoas da geração dele, mesmo um pouco mais novas, que continuam a interrogar-se e a olhar de uma certa maneira para aquilo que foi o colonialismo português. E como isso é importante de ser ouvido.Na peça fala também sobre o facto de ter crescido a admirar os brothers americanos e a força do Black Power e dos Black Panthers. De onde vem essa identificação?Tem muito a ver, porque está relacionado com toda a segregação racial. A história da segregação racial americana é uma história que, na Europa, conhecemos relativamente bem. Mas a verdade é que nasci numa colónia portuguesa, numa colónia que enviou bastantes escravos para o Brasil e para os Estados Unidos. Aliás, eu falo disso no espectáculo: digo que a minha avó nasceu em 1910 e que o último barco negreiro clandestino que saiu do porto de Lourenço Marques, na altura, foi em 1920. Quer dizer, a minha avó tinha dez anos. Isso significa que é algo que está presente, que está lá.Essa relação com os americanos é importante. E depois, falo de outra questão: quando nós chegámos a Portugal, nos anos 80, como as séries americanas tratavam esse tema. Falo, por exemplo, de Raízes, que era uma série daquela altura. De repente, víamo-nos nós próprios, víamos os nossos antepassados. E depois há a música americana: Havia uma identificação que era extremamente importante, algo que não existia em Portugal. Não havia, na época, algo semelhante em relação aos negros moçambicanos, porque nessa altura não havia muita produção cultural visível — nem na televisão, nem na rádio, nem na música.Eu falo da música negra americana, que me acompanhou e que acompanhou toda a minha família. Essa identificação era extremamente importante. Como para os americanos, o mestiço é negro — one drop of Black Blood, como eles dizem —, para mim, de repente, veio a conclusão: "Ok, afinal, eu sou negro mesmo". Mesmo que antes já não soubesse muito bem o que era. Toda essa indefinição era extremamente difícil. Mas, quando me conectava à música negra americana, havia algo que trazia orgulho nos meus antepassados, orgulho na minha cor de pele, orgulho na minha história.Os americanos tinham - e ainda têm hoje - uma relação muito forte com esse orgulho. E, ao olhar para a história da colonização moçambicana, eu sentia dificuldade em encontrar essa mesma relação. Era difícil sentir orgulho daquilo que sou e das minhas raízes.Portugal demorou muito a falar abertamente sobre as antigas colónias...Não, não havia. Não havia muita abertura. Não se falava da guerra colonial, nem dos moçambicanos que chegaram a Portugal. Porque, como eu digo no espetáculo, nós obviamente não éramos pessoas escravizadas - isso já tinha acabado há muito tempo. Não éramos retornados, que eram os colonos que tinham voltado para Portugal. E não éramos, como diziam em Portugal, "portugueses de gema". O que significa que não éramos nada disso. Então, o que éramos? Essa indefinição tornava extremamente complicado e difícil encontrar uma identificação própria, ter orgulho naquilo que eu era.A cultura negra americana era uma bóia de salvação, porque havia algo lá, algo muito claro e forte naquilo que eles diziam. Quando eu falo de James Brown e da música I'm Black and I'm Proud, por exemplo, era isso - uma música incrível, Black and Proud. E os meus primos e eu ouvíamos isso e dizíamos: “Sim, sim, sim!” Mesmo naquela época, quando estávamos no Norte, numa aldeia, fosse em São Pedro do Sul ou depois na Serra do Caramulo, ou no Barreiro, ou mais tarde em Sintra. Tudo isso, mesmo que o que estava à nossa volta não fosse aquilo, fazia-nos ver quem éramos, apesar dos insultos que nos rodeavam.Havia os insultos com os quais eu e os meus primos crescemos: "preto" e todas essas coisas terríveis. Crescemos com isso, mas, pouco a pouco, surgiu uma vontade de ir além disso, de nos construirmos enquanto homens, enquanto adultos, e de dizermos: “Ok, tudo bem, nós somos isso tudo. Mas isso tudo é importante, porque tem a ver com a minha história”.Essa história está ligada à história das minhas avós, ao facto de eu ter nascido numa colónia. Mas, ao mesmo tempo, não posso esquecer que há outra parte de mim - a história dos meus avós, que eram brancos, colonos do Norte de Portugal, do centro de Portugal. Isso também faz parte da minha história. É necessário encontrar um equilíbrio, um equilíbrio que me permita caminhar com serenidade e deixar o limbo para trás.Na peça, fala de agressões que sofreu e menciona a morte de Bruno Candé. Apesar de avanços, ainda há muito trabalho pela frente em Portugal?Ainda há muito trabalho, como mencionou António de Almeida Mendes, o historiador, porque, embora em Portugal se tenha feito um grande esforço, especialmente nos últimos 20 anos, para olhar para a colonização e questionar a história comum enquanto sociedade, ainda persistem velhos hábitos. Há ainda uma forma de olhar para as pessoas que vieram das ex-colónias e para os seus descendentes, os afrodescendentes, que vivem e nasceram em Portugal, de uma maneira que perpetua preconceitos. E isso é extremamente difícil de superar.Quando menciono o Bruno Candé, faço-o porque, antes, falei de Alcindo Monteiro, que morreu em 1995, três anos após eu próprio ter sido agredido por skinheads no Porto. Tudo isso serve para reflectir sobre como a sociedade portuguesa lida com estas questões. A morte do Bruno Candé, que ocorreu em 2020, é algo que eu trago à tona porque foi muito recente. 2020 foi ontem. E, ainda hoje, vemos episódios chocantes, como o que aconteceu recentemente em Lisboa, onde pessoas foram encostadas à parede numa rua do centro da cidade. São situações que, para mim, são incompreensíveis e me deixam em estado de choque. Não sou o único - felizmente, muitos ficaram igualmente chocados, porque é algo que não conseguimos aceitar.Não consigo entender como, em pleno 2025, a sociedade portuguesa e o Estado português ainda possam justificar acções que são absolutamente horríveis, absolutamente terríveis. Que algo assim possa acontecer... É como se estivéssemos a recuar no tempo, para períodos de segregação racial. Falávamos antes sobre os Estados Unidos nos anos 40 e 50, mas agora estamos em 2025. Não é admissível que, hoje, em Portugal, ainda haja formas de menosprezar, rotular e rebaixar o outro de maneira tão flagrante. Isso deixa-me completamente desamparado.Sei que houve uma grande manifestação em Lisboa, onde as pessoas saíram às ruas para dizer: "Não nos encostem à parede". Este tipo de resposta é essencial, porque não é possível que, num país como Portugal, que faz parte da União Europeia há tantos anos, ainda hoje estejamos presos a uma mentalidade que menospreza o outro, que rebaixa, e que mantém uma relação racista tão profundamente enraizada. Não é possível. Não é aceitável.Imagino que acompanhe a actualidade moçambicana. Como é que observa os recentes protestos e agitações políticas?Olho com grande preocupação, porque é uma outra história que, embora não tenha directamente a ver com esta peça, de certa maneira tem, já que está ligada ao período da colonização. Quer dizer, Moçambique é um país extremamente jovem. Este ano, Moçambique festeja 50 anos de independência. Desde 1975, o mesmo partido tem gerido todo o país. Até 1992, sob um regime marxista-leninista, e, a partir de 1992, deixou de ser a República Popular de Moçambique para se tornar a República de Moçambique. Portanto, é uma democracia em que há eleições. Durante muitos anos, essas eleições eram fraudulentas. As pessoas sabiam, mais ou menos, que eram fraudulentas. Mas tudo isso era feito com o aval, digamos assim, quer de portugueses, quer de outros países, porque era necessário que o país continuasse num caminho para a democracia.E isso não é apenas a história de Moçambique; está ligado a muitas outras democracias no continente africano pós-independência. Mas a verdade é que, 50 anos depois, estamos num caminho que, infelizmente, vejo como um beco sem saída. Não apenas porque houve outra pessoa que ganhou as eleições - e está provado, não sou só eu que digo isto, está provado que Venâncio Mondlane ganhou as eleições - mas, por outro lado, também porque há uma juventude que já não quer absolutamente continuar da mesma maneira. E o que estamos a assistir é a uma juventude extremamente forte, que diz "Basta, basta! Não podemos continuar assim".Essa forma de os jovens, essencialmente jovens, irem para a rua e serem mortos - com mais de 200 mortos - é absolutamente terrível. Mas há uma vontade extremamente grande de fazer com que isso mude, porque um país com uma riqueza natural tão grande, como é que ainda hoje pode ser um dos países mais pobres do mundo? Obviamente, isso também está relacionado com a forma como a descolonização foi feita e como os países europeus e o Ocidente olharam para a descolonização feita pelos países africanos. Tudo isso está ligado à história.Estou bastante preocupado porque não consigo prever o que poderá acontecer. Sei que houve uma tomada de posse com os deputados do partido Podemos e, ao mesmo tempo, Venâncio, que foi quem realmente ganhou, diz que "Não, isto não é possível". As pessoas voltam novamente para a rua e, novamente, são baleadas. O que é que poderá acontecer para que tudo isso termine e para que haja algo em que as pessoas aceitem que o país tem que mudar? Por enquanto, confesso que não sei muito bem o que poderá acontecer. Estou bastante inquieto.

RADIO PROGRAM ISSUED LIVE, RECORDED IN VIP BOILER STUDIO, AND WILL BE BROADCASTED INTEGRALLY FROM RADIO ABRERA FM (BARCELONA) MIXED BY JOHN C. BRAVE, BARCELONA ON SATURDAY, DECEMBER 21, 2024 - HOUSE, NU-DISCO, SOULFUL HOUSE, DEEP HOUSE, JACKIN HOUSE, TRIBAL HOUSE, PROGRESSIVE HOUSE & TECH-HOUSE. EVERYTHING MIXED WITH RELOOP RP-8000-MK2 PLATES, TIME CODE VINYLS, PIONEER DDJ-1000SRT. LONG LIFE AT THE HOUSE MUSIC. ENCOURAGE AND ENJOY THE SESSION !!! ¡¡¡¡¡¡¡¡¡¡¡¡PROMOTIONAL USE ONLY !!!!!!!!!!!!! 1) Random Soul, Laura Vane - Sway Me (Extended) 2) B. B. & Q. Band - Ricochet (Dr Packer & Michael Gray Remix) 3) MF Productions, Maurizio Basilotta - We Got The Groove (Original Mix) 4) DJ Kone & Marc Palacios, Michelle Weeks - Follow You (Extended Mix) 5) Dave Leatherman, Bruce Nolan - Papayapa (Original Mix) 6) Cerrone - Je Suis Music (Armand Van Helden Remix Edit) 7) Livin Joy, Block & Crown, Spolverato - Dreamer (Block & Crown Spolverato Mix) 8) Black Blood, Crazibiza - Chain Chain (Original Mix) 9) Kyle Watson, Sam Divine, Tristan Henry - Too Hot (Extended Mix) 10) FDF (Italy) - Go Back (Original Mix) 11) Steve Bug, Denney, Mikey V - That Beat (Original Mix) 12) Calussa, KeeQ - Don't Be Afraid (Original Mix) 13) Piero, Ruva - Losing Control (Original Mix) 14) Stretch - Why Did You Do It (Bob Shepherd X Da Clubbmaster Remix) (Bob Shepherd X Da Clubb 15) Risk Assessment, Hannah Khemoh - The Party (Original Mix) 16) New Order - True Faith (Jet Boot Jack Remix) 17) SAVAGE Clueless - Don't Cry Tonight (Block & Crown Rimini 1985 Club Mix)

The Zodiac System (She/They) - Storyteller; William/Shani (Any/All) - Kallisto Osborn (She/Her) Gurahl; Drevian (They/Them) - Connor McLaughlin (He/Him) Bastet; Jeremy (He/Him) - Crystal Arias (She/Her) Nuwisha; Katie (She/Her) - Carrie Nicholls (She/Her) Corax; Siobhan (She/They) - Dr. Clover McKey (She/Her) Corax-----Thanks to all of our supporters at patreon.com/fsfilms for making this possible!Especially our $25+ Donors:Drevian AlexanderKat WaterflameLSamantha Bates ★ Support this podcast on Patreon ★

Make sure to check the rest of the description for all of our social media links, including our Patreon (patreon.com/DoNotRelent)!  Slidewhistle, Immunization, and Aaron return, official show notes in hand. The era of wide-eyed wonder has ended: it's time to go to work! These notes include theories on the origin of Khaz Algar, a brief foray into the October Trading Post, raid updates, and a host of classic DNR segments! Please send all your love mail, hate mail, and sleep (give me some'a yours because I ain't gettin' none over here...) to @DoNotRelentPod (Twitter) or on gmail at DoNotRelentPod@gmail.com! We will respond to literally anything and read it on the pod. Find us at: Patreon: patreon.com/DoNotRelent Linktree: donotrelent.com YouTube: @donotrelent on YouTube (the link is long and ugly) Instagram: www.instagram.com/donotrelent Twitter: twitter.com/DoNotRelentPod Livejournal: donotrelentpod.livejournal.com E-Mail: DoNotRelentPod@gmail.com Finally, if you feel so inclined, please rate us on iTunes and bonusroll.gg. We will take a shot on air in your honor! Every rating helps! :D

The crew checks out Dan Curtis' 1970 movie, "House of Dark Shadows", the first of two big screen versions of his "Dark Shadows"  TV soap opera.Mary learns all about the Dark Shadows series, and the conversation runs far and wide, helped along by Dave's thinly-veiled Rum and Coke cocktail."Barnabas' Black Blood" cocktail2 oz. DARK Rum1 oz. Cherry LiqueurIn ice-filled low ball glass/ rocks glass, top with Coke, garnish with orange twist.Enjoy this thinly disguised Rum and Coke!Visit our website:http://www.monstermoviehappyhour.com/Chat with us on Facebook:https://www.facebook.com/monstersndri...Our Twitter:https://twitter.com/monstersndrinksMusic created by Kevin MacLeod.You can hear more of his work at:https://incompetech.com/wordpress/author/kevin/

Brief discussion of my Paw Paw President Abraham Lincoln and the United States' ..ONE DROP OF BLACK BLOOD RULE ....

This week sees the continuation of my in-person series of podcasts recorded at Reaper Fest on July 28th/29th. My good friend A|V of black metal outfit, Abduction, returns to the podcast to discuss the band's most recent record, last year's critically acclaimed “Black Blood”. We also talk about his philosophy toward performing live, future plans for the band, the cultural decline of the UK and much more. Then, I review “My Enemies Look & Sound Like Me” by Werewolves and on my weekly news rant I share my first impression of new cuts by Cannibal Corpse, Shining, Sulphur Aeon and others. PLUS - my picks for the most underrated metal albums of the 2000s. ▶️SUPPORT THE BANDS FEATURED ON THIS EPISODETombstonehttps://tombstone666.bandcamp.com/ Abductionhttps://abduction616.bandcamp.com/ Werewolveshttps://werewolvesdeathmetal.bandcamp.com/Akercockehttps://peaceville.bandcamp.com/album/decades-of-devil-worship ▶️SUBSCRIBE TO THE PODCAST https://youtube.com/c/IntoTheNecrosphere ▶️STREAM & DOWNLOADAmazon Musichttps://amzn.to/3epNJ4KSpotifyhttps://spoti.fi/3iKqbIPApple Podcastshttps://apple.co/38wDYhi ▶️SOCIAL MEDIAFacebookhttps://www.facebook.com/intothenecrosphere Instagramhttps://www.instagram.com/intothenecrosphere Twitterhttps://twitter.com/inecrosphere ▶️INTO THE NECROSPHERE MERCHhttps://into-the-necrosphere.creator-spring.com▶️THE HORSEMEN OF THE PODCASTING APOCALYPSE Horrorwolf666https://thehorrorwolf666podcast.buzzsprout.com/ Everything Went Blackhttps://everythingwentblack.podbean.com/ Necromaniacshttps://thehorrorwolf666podcast.buzzsprout.com/ Sol Noxhttps://www.solnoxpodcast.podbean.com/ Iblis Manifestationshttps://linktr.ee/iblismanifestationspodcast

Welcome back metal heads to another episode of The Great Metal Debate podcast. It's Xander once again with another album review. Today I will be looking at the Gr1m and kvlt Norwegian black metal band called ... Tiss-juder? Nah, I'm just joking. The bands name is pronounced like "Shoo-der" And this is their 6th full-length studio album titled Helvegr. This kreig outing was released on June 23rd through Season of Mist records. I feel like the best way to describe this band would be like what would happen if a raw black metal band or to receive a good studio mixing from a professional sound engineer. I was first introduced to this band way back in 2015 when someone recommended that I check out their 2004 album Desert Northern Hell. Later on I got my hands on a copy of their 2002 record Demonic Possession. A few months ago while I was working one of the football games at my job, I wanted to tune out the fucking annoying college marching band so I started blaring the Kill For Satan album in my noise canceling ear buds. To be honest, I have never been fully blown away by this band musically but enjoyed the very raspy vocals. To me they are the closest to Pest era Gorgoroth that we're going to get despite the less desirable production. Tsjuder has always been a stand out among all the others in the genre because they don't sound like their music was recorded with a potato or an old Nokia phone that you can play Snake on. If you're new to this band, most of the black metal elitists would point you in the direction of their older material but I on the other hand would strongly suggest introducing potential new fans to this album. I feel like showing the younger generation the raw side of this band might be a turn off but this album manages to keep the raw feel while still having some standout guitar riffs. A great example of this would be the hit new track titled "Prestehammeren". Another one would be for their song "Gods of Black Blood" and it even has a nice corny music video to go with it. Sometimes cheesy black metal videos work and other times they don't, in this case it does. It has everything you could ever want in a black metal music video from: burning inverted crosses, to skulls to the band members carrying torches and screaming into the camera in full corpse paint. "Iron Beast" is a great way to begin this record but "Surtr" is one of my favorites. If we're being completely honest, this album is good at maintaining its prowess but at the same time it also lacks a lot of pizzazz. There isn't a whole lot of standout moments throughout this record but if you enjoy this particular style of black metal then I see their more loyal fans get a kick out of it. I could do more for this review like give shout outs to the band members or try to pronounce some of their foreign song titles, but I just don't see any real reason for me to put more effort into this. Again, this is a good album but at the same time it's not something that I want to rattle on and on about. In conclusion, I don't mean to be so lukewarm about a band that I like but I'm not going to give this a higher rating than a 7 out of 10. If you want to support them, you can get yourself a nice little patch for your battle vest like I did for mine, or you can buy their merch from their Bandcamp page.

Nocturnal Breed • NECROFIER • Inferion • Maniak • svrm • Rana • Silver Knife • CLOAK • Vortex • TSJUDER Music On This Mixtape: Nocturnal Breed: "Salt the Wounds" taken from the album "Carry The Beast" NECROFIER: "Whispers That Burn in the Dark" taken from the album "Burning Shadows in the Southern Night" Inferion: "Empty Heavens" taken from the album "Inequity" Maniak: "Nocturnal hellfire" taken from the album "Speed Metal Terrorist" svrm: "II" taken from the album "... а смерть ввійшла у тебе вже давно" Rana: "Lautern" taken from the album "Richtfeuer" Silver Knife: "Recalcitrant" taken from the album "Silver Knife" CLOAK: "Invictus" taken from the album "Black Flame Eternal" Vortex: "First Blood" taken from the album "The Future Remains In Oblivion" TSJUDER: "Gods of Black Blood" taken from the album "Helvegr" Thanks for listening! Interviews, reviews, and more at www.dreamsofconsciousness.com

EP310 is a special live episode from Grill 'Em All with The Warmaster Josh Barnett. We got together to release our collaboration beer "Black Blood of the Earth" we talk about the process of getting it done, the special Warmaster burg, Josh's future in the spirits world, metal bands, mma, pro wrestling and more! Cheers! Video: https://youtu.be/NRgXeYBMf5c Follow Josh Barnett: @joshlbarnett Watch Bloodsport on Fite.tv Follow Grill 'Em All: @grillemall Go to Grill 'Em All to purchase "Black Blood of the Earth"  PLEASE check out the Patreon page. Support the podcast and earn exclusive content like full audio interviews from Psycho Las Vegas from acts like Andrew WK, Red Fang, CKY and more. www.patreon.com/rrbg Sponsors! Saint Joints Check out our friends at Saints Joints providing the Pacific Northwest with carefully crafted Mixed Strain Joint packs. Featuring artwork from artists such as Skinner. Thunderking Coffee The best coffee in Southern California...period. Roasted in Costa Mesa, they are huge supporters of live music, collaborate with Violent Gentlemen, great people, family owned and seriously the most delicious coffee beans you can get. Pick some up now at: www.thunderkingcoffee.com

We buy the house in Solitude, Become Thane, Gain a new Housecarl, Take down the Black Blood Marauders, and become a VAMPIRE!

The ICARE interfaith coalition plans its annual Nehemiah Assembly; blood donations are needed for patients with sickle cell disease; the FSCJ Artist Series includes "Frozen"; What's Good Wednesday.

Hey, fellow lushes! When Eddy Torres, host of the RRBG podcast and The Comedy Store Wrestling Podcast, asks if he can come on to promote his new beer you, of course, say yes! He collaborated with MMA legend "The Warmaster" Josh Barnett to create Black Blood of the Earth, a Barleywine with an 11.5% abv, for Josh Barnett's Bloodsport 9 on March 30th. We also talked about a couple of Comedy Store Wrestling events coming up - NotSam-A-Mania on March 29th and Hunk-A-Mania on March 30th. It was a pleasure to talk with Eddy, and we hope you enjoy! Check out RRBG Podcast - Instagram: https://www.instagram.com/rrbgpodcast/ Check out Comedy Store Wrestling - Instagram: https://www.instagram.com/comedystorewrestling/ Watch Bloodsport 9 here - Fite TV: https://www.fite.tv/watch/josh-barnetts-bloodsport-9/2pcoi/ Check us out - YouTube: https://www.youtube.com/channel/UCbo2frUM03BMQ5zf6qbQvww Instagram: https://www.instagram.com/dimplesandthebeard/ Facebook: https://www.facebook.com/CocktailswithDimplesandTheBeard Twitter: https://twitter.com/dimplesthebeard Tiktok: https://www.tiktok.com/@cocktailsdimplesthebeard Thanks for watching! Please subscribe to our channel. Learn more about your ad choices. Visit megaphone.fm/adchoices

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2023.03.18.533300v1?rss=1 Authors: Sarabi, M. S., Ma, S., Jann, K., Ringman, J., Wang, D. J., Shi, Y. Abstract: Cerebral small vessels are largely inaccessible to existing clinical in vivo imaging technologies. This study aims to present a novel analysis pipeline for vessel density mapping of cerebral small vessels from high-resolution 3D black-blood MRI at 3T. Twenty-eight subjects (10 under 35 years old, 18 over 60 years old) were imaged with the T1-weighted turbo spin-echo with variable flip angles (T1w TSE-VFA) sequence optimized for black-blood small vessel imaging with iso-0.5mm spatial resolution at 3T. Hessian-based vessel segmentation methods (Jerman, Frangi and Sato filter) were evaluated by vessel landmarks and manual annotation of lenticulostriate arteries (LSAs). Using optimized vessel segmentation, large vessel pruning and non-linear registration, a semiautomatic pipeline was proposed for quantification of small vessel density across brain regions and further for localized detection of small vessel changes across populations. Voxel-level statistics was performed to compare vessel density between two age groups. Additionally, local vessel density of aged subjects was correlated with their corresponding gross cognitive and executive function (EF) scores using Montreal Cognitive Assessment (MoCA) and EF composite scores compiled with Item Response Theory (IRT). Jerman filter showed better performance for vessel segmentation than Frangi and Sato filter which was employed in our pipeline. Cerebral small vessels on the order of a few hundred microns can be delineated using the proposed analysis pipeline on 3D black-blood MRI at 3T. The mean vessel density across brain regions was significantly higher in young subjects compared to aged subjects. In the aged subjects, localized vessel density was positively correlated with MoCA and IRT EF scores. The proposed pipeline is able to segment, quantify, and detect localized differences in vessel density of cerebral small vessels based on 3D high-resolution black-blood MRI. This framework may serve as a tool for localized detection of small vessel density changes in normal aging and cerebral small vessel disease. Copy rights belong to original authors. Visit the link for more info Podcast created by Paper Player, LLC

In this episode of STBYM's The Artifact, Robert discusses connections between rotting wood and the supernatural… (originally published 01/26/2022)See omnystudio.com/listener for privacy information.

I talk about the "Black Blood of the Earth" Scene from John Carpenters Big Trouble in Little China. Kurt Russell, Kim Cattrall, Dennis Dun. Please rate, review and leave 5 stars. www.patreon.com/biggertrouble biggertroublepodcasts@yahoo.com --- Send in a voice message: https://anchor.fm/itsallinthereflexes/message

Welcome back to another installment of Casual Anime Discussion. Today, Brandon, Noah and Trent are talking about an anime where two vampire brothers travel to a secret city called the Special Zone where other vampires live. Today, we are discussing Black Blood Brothers. Casual Anime Discussion is an extension of the Casual Anime Guys YouTube channel. Links: Check us out on YouTube: https://www.youtube.com/CasualAnimeGuys Trent's Twitter: https://www.twitter.com/ItsOneOne Brandon's YouTube: https://www.youtube.com/channel/UCNqco9VfxHpB-lM3m8_LZLg intro/outro by prod. AdamBeChill

The Drunk Guys drink an even more outlandish amount of beer this week when they read Dragonfly in Amber by Diana Gabaldon. They go to Versailles to drink: Three Kings by Bronx Brewery, Fields of Fall by Timber Ales, Santa's Black Blood by Abomination Brewing, Alpha Klaus by 3 Floyds,

Rob and Drew are once again summoned to save Christmas from getting cancelled. Satan is about to unleash Santa's 10 year old tweets! Can they rise to the occasion again through improv? Maybe.  This season's brews are Abominations Brewing Company's Wandering Into the Snow, Santa's Black Blood, and Fat Orange Cat Brew Co's Santa Claws. 

On this episode some members of the cast of a new television series "Sangre Negra Black Blood" Antonio McKay, Danny Arroyo and Gabrielle Tuite speak about this new series which debuts on November 22, 2022 on multiple streaming platforms including Amazon, Apple and Roku just to name a few. Located in Los Angeles, "Sangre Negra" aka "Black Blood' is the cross-generational saga of the wealthy Santos family. It blends the style of classic TV series like "Dallas", The Sopranos" and "Dynasty", with the contemporary Latin feel of TV series "Queen of the South", "Narcos", and "Power ". Led by patriarch Guillermo Santos Sr. (Erik Estrada), and his sons; the slick defense attorney Guillermo Santos Jr., (Ricardo Herranz), the decorated police detective Christian Santos (Danny Arroyo), and the illegitimate son and gangster "Pretty" Ricky Santos (Antonio McKay). Ricky infuriates his "law and order" blood family by joining the notorious Sabatini crime mob family, led by Guillermo Sr.'s long time nemesis, Vinnie Sabatini (Robert Miano). Christian is engaged to beauty queen Francesca Natal (Arianna Gomez), the mother of Ricky Santos' daughter, Natalya. Laura Santos (Sandra Santiago) is the glamorous, but vindictive 2nd wife of Guillermo Sr. College student Miguel Santos (Angel Garet), nephew to the Santos brothers, finds himself drawn into Ricky's flamboyant underworld lifestyle, that includes disgraced former Navy Seal Ike Rollins (Billy R. Smith), and career criminal Cimarron Squalley (Stoney Jackson). Political struggle and volatile romance form the explosive backdrop to this epic series. "Sangre Negra" is the cross-generational saga of the Santos Family which is told Telenovela style and combines the family drama of "Dallas" with the underworld intrigue of the "Sopranos". Set in modern day Los Angeles, the Santos family consist of Guillermo Santos Sr. , the wealthy patriarch of La Familia de Santos, his glamorous but vindictive wife Laura, the eldest son Guillermo Jr. a slick and ambitious criminal defense attorney, Ricardo "Ricky" Santos, the half black, half Hispanic illegitimate son of Guillermo Sr. The charismatic Ricky is an upcoming star in world of organized crime, Christian Santos the youngest of the Santos brothers, is a decorated policeman dedicated to cleaning up the streets of Los Angeles, even if it means putting his half brother Ricky in jail. Christian is engaged to Francesca Natal, a former beauty queen, who is also the mother of Ricky's daughter Natalya. Finally, there is Miguel De La Cruz , the 18 yr old college student and nephew of the Santos brother who is seduced into the underworld by his Uncle Ricky. This series will feature the constant battle between good and evil, and how the choices made will determine the path each character will take to achieve the American dream.   For more info visit: https://sangrenegratheseries.com/ https://www.imdb.com/title/tt13765230/    

Day 29 October 29,2022 jayybone and Kyle finish up the Hannibal series summarizing and discussion Season 3 Episode 13 The Wrath of the Lamb. * podcast cover art provided by Damien he will gladly do commissions if you hit him up here are his links below to contact you can also hear him in my season 4 episode 4 NO CUT. https://pico.link/nocut Introduction music and outro provided to us by Justyy check his sound cloud out. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/jpbc369/message Support this podcast: https://anchor.fm/jpbc369/support

A|V of UK Black Metal outfit Abduction joins FANTASM to talk all things, "Black Blood' with Dr. West. Order "Black Blood": https://Abduction.lnk.to/BlackBloodID FB: https://www.facebook.com/abduction616 IG: https://www.instagram.com/abduction616/ Bandcamp: https://abduction616.bandcamp.com

Hello and welcome to my Podcast,  A new mix every Sunday.This week, Funky, Vocal House, 1, Stomp, New York, Detroit (Original Mix), Crazibiza, House of Prayers2, House Music is my Drug (Original Mix), Miguel Picasso3, Take it easy (Original Mix), Black Blood, Crazibiza4, Faqr Beyond (Original Mix), Realcycles5, I Can't Dance (Sharapov Remix), Natema, Andrew Exx6, Good for Me (Original Mix), Antoine Clamaran, Aqua Sin Gas7, For U (Original Mix), Dcp, Fellous8, Is it Right (Original Mix), Charles J9, Boom Boom Boom (Original Mix), Dcp, Fellous10, Shake your body (Club Mix), Block & Crown11, Movin on up (Original Mix), Block & Crown12, Risin (Original Mix), Block & Crown, Chris Marina13, Satellite (Radio Mix), No Hopes, Kinspin14, My Lovin (Mike Newman 2K 18 Mix), Mike Newman15, 123 Get Loose Now (Original Mix), Block & Crown, Jose16, Finally (Crazibiza Remix), Nicola Fasano, Kate Wild17, Push it Good (Original Mix), Block & Crown18, Like an Egyptian (Original Mix), VASSA19, Ride the Horse (Original Mix), Luca Debonaire20, Of Love (Original Mix), F.Physical21, Music Hypnotize (Original Mix), Crazibiza22, Feel the vibe (Original Mix), Crazibiza23, Dance (Crazibiza Mia Mix), Crazibiza, Luca DebonaireDirect download link belowhttps://www.buzzsprout.com/1993414/11014690-season-15-episode-4-special-1-hour-40-mins-funky-vocal-house-tracks-mixed.mp3?download=trueOther Season 15 PodcastEpisode 2,  https://www.buzzsprout.com/1993414/11014660-season-15-episode-2-deep-funky-house-tracks-mixed.mp3?download=trueEpisode 3, https://www.buzzsprout.com/1993414/11014674-season-15-episode-3-funky-future-house-tracks-mixed.mp3?download=trueEpisode 1, https://www.buzzsprout.com/1993414/11014642-season-15-episode-1-special-1-hour-41-min-mix.mp3?download=true

In this episode I dive into the reasons why many Latinos/Hispanics are not aware of their native and Black ancestry. References Bennett, Herman L. 2010. Colonial Blackness: A History of Afro-Mexico. N.p.: Indiana University Press. Diaz del Castillo, Bernal. 2020. The Conquest of New Spain. Translated by John M. Cohen. N.p.: Martino Fine Books. Greenleaf, Richard E. 1965. “The Inquisition and the Indians of New Spain: A Study in Jurisdictional Confusion.” The Americas 22, no. 2 (October): 138-166. https://www.jstor.org/stable/979238. Lokken, Paul. 2001. “Marriage as Slave Emancipation in Seventeenth-Century Rural Guatemala.” The Americas 58, no. 2 (October): 175-200. https://www.jstor.org/stable/1007964. Martinez, Maria E. 2004. “The Black Blood of New Spain: Limpieza de Sangre, Racial Violence, and Gendered Power in Early Colonial Mexico.” The William and Mary Quarterly 61, no. 3 (July): 479-520. https://www.jstor.org/stable/3491806. Yeagar, Timothy J. 1995. “Encomienda or Slavery? The Spanish Crown's Choice of Labor Organization in Sixteenth-Century Spanish America.” The Journal of Economic History 55, no. 4 (December): 842-859. https://www.jstor.org/stable/2123819.

On this week's episode, A|V of the British black metal band, Abduction, makes his long overdue return to the show to discuss “Black Blood”, signing to Candelight Records, the state of the scene and much more. I also review “Blood & Bonemeal”, the debut by New Jersey doom/death collective, Reeking Aura, and give you my first impressions of new tracks by Bloodbath, Revocation, Trial and others. PLUS - my take on the attempt by a member of the Woke Taliban to cancel Metallica.Support the bands featured on this episode:ABDUCTIONhttps://abduction616.bandcamp.com/ REEKING AURAhttps://reekingaura.bandcamp.com/ THE ANTICHRIST IMPERIUMhttps://apocalypticwitchcraft.bandcamp.com/ ▶️SUBSCRIBE TO THE PODCAST https://youtube.com/c/IntoTheNecrosphere ▶️STREAM & DOWNLOADAmazon Musichttps://amzn.to/3epNJ4K Spotifyhttps://spoti.fi/3iKqbIP Apple Podcastshttps://apple.co/38wDYhi ▶️SOCIAL MEDIAFacebookhttps://www.facebook.com/intothenecrosphere Instagramhttps://www.instagram.com/intothenecrosphere Twitterhttps://twitter.com/inecrosphere ▶️INTO THE NECROSPHERE MERCH:https://into-the-necrosphere.creator-spring.com

Apologies in advance for our next Game of the Quarter Learn more about your ad choices. Visit podcastchoices.com/adchoices

The incomparable Ashley Erwin joins us to discuss the art and importance of oral storytelling, Kentucky politics of the 1930s-1990s, many tangents, and hatred of red pens. Ashley Erwin writes Southern Pulp. Sometimes, she does it well. Mostly, she peddles bourbon until the day comes that she doesn't. Living in sunny Los Angeles with the Man and her cat, who started out with a name and ended up Motherfucking BooBoo. All other things undecided. She has a Forthcoming novel about a bunch of Bad'ns from Kentucky coming from Shotgun Honey November 2022! Be on the lookout and follow Ashley on Twitter. Want to submit your writing or be a guest editor? Email darkwaterspodcast@gmail.com Intro/Outro music: www.bensound.com Disclaimer: Any and all opinions expressed are the opinions of the participants and not of the organizations or institutions with which they are affiliated. --- Support this podcast: https://anchor.fm/darkwaters/support

Various Pop, Nu Disco & House edits for an Old School Mixture with ym© Featuring : Lou Reed (ymc private edit) Mister Gavin (edit) Kiki Gyan (ymc private) Black Blood (les bisous) Jungle (edit) America (ymc private) Brokenears & Robert Owens (Supernova) Kristof Tigran Kronan & Nyaruach Polo & Pan (The Magician) Bob Sinclar (Vintage Culture & Dubdogz) Crazibiza & House of Prayers Purple Disco Machine Doja Cat (edit) Robin Thicke (Mousse T) Dua Lipa vs Michael Jackson (ymc private) Breakbot Bob Marley (Kungs) Aaron Smith (Krono) Master KG (edit) Afro B (edit) Gregor Salto Trinidad Cardona (ymc private)

Have you ever considered donating blood? Does the thought of it scare you?Georgelene Elliott, the founder of Black Blood Matters UK (@blackbloodmattersuk) joins Nina (@missninamalone) to dispel the myths around blood donations. To join The Dope Black Mums safe space, check out our website for more information www.dopeblackmums.co.uk Hosted on Acast. See acast.com/privacy for more information.

Sickle Cell has become topical in many ways, so in this episode, we hear from Naomi Simpson, mother to two gorgeous girls living with Sickle Cell Disorder. We hear how patients & their loved ones aren't really listened to. We then have a gem, from Blood Donors, Campaigners & Allies on why Black Blood donation is so important.  We end the whole series with the voice of Juliet Iswan, a Sickle Cell Warrior by her own description. She talks about living with the condition before ending with her sheer gratitude to blood donors.

“Black Blood” will methodically break down sayings in the black community like “Black don't crack” and “Black women are the strongest women”. On this episode host James Allen carefully inserts genetic theories and concrete research, while examining the future life expectancy of the black race.

In this episode of STBYM's The Artifact, Robert discusses connections between rotting wood and the supernatural… Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

To support this ministry financially, visit: https://www.oneplace.com/donate/640/29 We live in a fallen world where racism, sexism, prejudice and other sins are commonplace, yet God calls us to take of the lens of the world and see each person equally. We may have different responsibilities, but every one of us was created in God's image and has value given to us by Him.

Racism, sexism, and all manner of prejudice are more alive than ever in the world today. But God calls us to take OFF the lens of the world and to put ON the lens of a Christ-follower instead. We're equal in His eyes, created in His image, and filled with a heavenly value that's been given to us by Him.

It's been a heavy week if you're Black in America. We're discussing some of unfortunate events that have taken place this week. Da Baby and his drama (8:49), Ashanti recording her hits (24:08) Travis Scott being sued (31:32), Britany Spears finally free (37:05), Ahmaud Arbery unfair coverage (41:17), "Black on black crime" (48:00), Judge sentenced rapist to probation (53:02), The untimely death of Young Dolph (1:00:00), Thankful Thursday (1:18:02) and much more!

In order to access the entire archived shows/podcasts, you must sign up on our secured server at aftermath.media/ If you want access to the entire online Ground Zero library, which includes videos, audio clips, e-books, e-magazines, documents, a news aggregator, a social media platform, plus the archived shows/podcasts, it's $10 a month. Check out the yearly specials!

Joe Lipsett, The PikeCast's first guest from way back in episode one, returns to discuss another return, that of Christopher Pike's Last Vampire Alisa Perne / Sita. The ‘Cast is thrilled that this sequel provides a far better follow-up than the last episode, and continues Sequel September in style.

Transcript and Rating https://audiodramareviews.com/audiobook/the-realm-of-the-black-widow-audiobook Sponsor getamazonmusic.com/audiodramanews Social Media https://Twitter.com/AudioDramaNews https://Facebook.com/AudioDramaDigest Donations https://Ko-Fi.com/AudioDramaReviews or https://Paypal.me/MikeBergonzi Other Podcasts http://AudioDramaReviews.com/Media --- Support this podcast: https://anchor.fm/audio-drama-reviews/support

On Season 2 of Sick Empire we are focusing on the healing practices and journeys of Black folx in New York and across the country to share the diverse paths of healing that we can explore after the coronavirus has left so many of us in sick in more ways than one. You'll hear our host Branden Janese interview an eclectic group of modern day healing practitioners, from a Reiki Master and yoga teacher in West L.A, to a holistic advocate in Atlanta, to a New York based Black femminist professor, scholar and mental health therapist. 

OverTime w/ The Flight Room #39(Struggle rappers, I, Sniper, AI spouses, Babe Ruth black blood)

The news doesn’t tell you what to think, it tells you what to think about. This distinction is important because if we go by what we see on photos and mainstream media, it looks like the police are killing Black people more than White people all the time. However, the reality is that 3 times as many as White people are “shoot to kill” victims by police, but we NEVER SEE WHITE PEOPLE murdered in cold blood by cops. With 64% of the population in America being White and 13% being Black, why wouldn’t they also show the White police murders on the news? And when they do show victims such as Ma’khia Bryant or George Floyd, they show them as violent and angry people that deserve to be killed, while White people are just having issues with their mental health.   First, we must understand how the Black body has always been a commodity in White America. Whether we are picking cotton or making a touchdown, it’s always been money for Whiteness. That’s the fabric of American culture. Next, we must understand how Black trauma still equals in entertainment for White Supremacy, and to turn it around we must create a whole new structure instead of fighting with the existing one. Let’s talk about it.   Key Takeaways: [5:49] Do not diminish your brilliance and drain your energy by fighting with the haters. Dr. Venus is focused on engaging in constructive conservations and creating a safe space. You aren’t their emotional puppet. [6:58] 64% of the population in America are White People, while 13% are Black. More White people are killed by the police than Blacks, so why does the TV only show the Black bodies, and never the White ones? [8:28] If you ever want to have a conversation with someone that doesn’t agree with you, read what they are reading. It’s important to understand where their information comes from. Ignore the tone, get the knowledge. [11:12] If you aren’t educating yourself, you will be stuck in a power dynamic that keeps you in bondage. Here in Dr. Venus’s tribe, we are truth-tellers. We think, we strategize, and we win. [12:23] There’s often no progress without struggle, but we are built for this historical moment. Yes, it’s heartbreaking and exhausting sometimes to see the laws they are trying to pass in terms of protesting and voter suppression, but do not get discouraged by the pain. If it wasn’t working, we wouldn’t have this resistance. [16:31] When White Men who murder are in the news, it’s positioned as a mental breakdown, and they are given empathy and understanding, but the statistics show that police are also killing a high number of poor White people too. [18:47] Dr. Venus walks it back to explain why. In the early 1900s-1950s, lynching was a norm in North America. The term “picnic” was even coined by White people picking a Black Man or Woman out to get lynched and watching it as a form of entertainment. Since Black people don’t own the media and it’s predominantly run by White older men, White Supremacy still shows this entertainment in a subversive way that makes it just seem like everyday news. Black trauma sells. It sells views, streams, and it sells because it feeds into the metanarrative of White superiority and the power it has over the Black body. White Supremacy believes they can do whatever they want to our bodies, whether it’s slave work or sexual exploitation, Black bodies are treated as though they are just a commodity. They view us as disposable. If it was a White cop on a White Man’s neck, it wouldn’t get any coverage because they protect Whiteness. [27:48] The images of Blacks in the news have trained the world to see us as dangerous and savage, so we get no empathy. Since 64% of America is White, that means they are catering to their needs and monetizing their entertainment. Also, they have an implicit bias in how they see themselves, and they don’t want to see their own kind be treated the way that Blacks are. [30:41] We are positioned to turn our pain into their profit. So, what is the answer? We need to control our own media channels and create our own highways, which is exactly what Dr. Venus is doing with her new app and her mission to birth 100 Black Women Billionaires. We need to create our own media channels so we are in control of our own image and not stuck in a model built to keep us “less than” and dead. [39:11] Until police are held accountable, they will keep killing White and Black people. We have to do our part and elect people into office that have our interest in place and also badger the Senate until they pass the right laws.   Quotes:   “Don’t get mad about it, get educated. Read. Check up on it.”   “If you ever want to have a conversation with someone that doesn’t agree with you, read what they are reading.” “If it was a White cop on a White Man’s neck, it wouldn’t get any coverage because they protect Whiteness.” “Black trauma sells. It sells views, streams, and it sells because it feeds into the metanarrative of White superiority and the power it has over the Black body.” “The Black body has always been a commodity, whether we are picking cotton or making a touchdown. It’s always been money for Whiteness.”   Mentioned: Dr. Venus Website | Facebook | Twitter | Instagram  “Hot Mess Millionaire” Amazon Pilot  ”Hot Mess Millionaire” Complete Series (https://www.youtube.com/c/DrVenusOpalReese) Join the conversation! Hot Mess Millionaire Facebook Group Free Gift When You Join The Truth Tribe The Black Woman Millionaire Hot Mess Edition   ATTENTION CONTENT CREATORS, INFLUENCERS, ENTERPRISING ENTREPRENEURS & TV/FILM WRITERS:   I'm starting a tech company that features YOUR VOICE front and center! If you want to be THE FIRST to know about ALL things Dr. Venus’ tech start-up, fill out the form below for updates, launch dates, AND opportunities to be a part of history in the making!! http://bit.ly/DrVenusAppInfo   RESOURCES   Black Lives Matter: Are Whites killed by police brutality more than Blacks? Stats show the shocking truth What about police violence against white people? Who’s killed by police more…Whites or Blacks… depends on what kind of math you do Social Media and Black Bodies as Entertainment: Although I refuse to watch the killing of George Floyd, I can’t escape it Blacks, Picnics and Lynchings - January 2004 Question Six Times White People Were Shot By Police And No One Cared When We See Photographs of Some Dead Bodies and Not Others    

When Dark Mofo put out a sickening call for the blood of First Nations people for an artwork it sparked outrage and condemnation. We talk to the Tasmanian Aboriginal artist who has tried to constructively engage with the festival and its parent institution MONA for the past seven years - and she tells us why she’s walking away. And former Queensland Police officer Ronnie Gorrie on her memoir Black and Blue.

Som en motreaskjon til vår forrige rekord lange pod så svarer våre to kjære pønkere nå med en litt kortere en. Mine damer, herre og non-binær folk, vi vil gjerne introdusere dere til vår venn Ivel. Ikke bare er han en meget rutinert pønker, vokkis og konsertfotograf, men han er også en ivrig platesamler. I tiden framover vil han dukke opp her og der med innslaget "Ivel anmelder skiver han ikke husker å ha kjøpt". Vi starter med å introdusere han og kjører første innslag nå. God fornøyels!

Rock

Christian has the immense pleasure of getting to know Rosie Bones and Carmen Vandenberg of the hot new band BONES UK. For London-bred band BONES UK, every song is a chance to speak their minds with total freedom, to shed light on the extreme disconnect between the status quo and the far more glorious world inside their heads. On their self-titled debut album, vocalist Rosie Bones and guitarist Carmen Vandenberg confront everything from the beauty industrial complex to toxic masculinity to music-scene sexism, embedding each track with choruses primed for passionate shouting-along. With their galvanizing energy and relentless joie de vivre, BONES UK offer up an album that's both provocative and endlessly exhilarating, even in its most outraged moments.True to the l.a.-based band's anti-conformist spirit, bones uk unfolds with an entirely uncontainable sound, a riff-heavy collision of rock-and-roll and rough-edged electronic music. In forging that sound, Rosie and Carmen worked in close collaboration with producer Filippo Cimatti, who shaped the album's kinetic textures with lavish use of electronic bass. Matched by Carmen's masterful yet inventive guitar work and Rosie's magnetic voice—an instrument that seamlessly slips from menacing to stunningly tender—the result is a bold new sonic world, savage and frenetic and infinitely mesmerizing.On the album-opening “beautiful is boring”, BONES UK bring serpentine riffs and sinister grooves to a feverish statement against societal expectations of beauty. “We're living in an era when everyone's being airbrushed into looking all the same, when really it's imperfections that make you beautiful,” says Rosie. On “Filthy Freaks,” the band twists the narrative to an all-out celebration of the perfectly imperfect, the song's bright tempo and surf-rock rhythms backed by Rosie's brazen lyrics (e.g., “i like your leather/but i like it better on my floor”). Raw defiance also fuels tracks like “Pretty Waste”—a dizzying anti-anthem driven by blistering beats and Rosie's haunting vocal delivery. “It's about this idea that if you're a girl, you can't be both attractive and smart,” Rosie says. “We wanted to show that you can be feminine and strong and tough and angry all at the same time: you can be whatever you want to be.” Another moment of brilliant fury, “Leach” lashes out against all the creeps Bones UK have encountered in their wanderings around L.A., cleverly contrasting their venomous lyrics with swinging rhythms and flamenco-inspired strumming. And on “I'm Afraid of Americans,” Bones UK bring that sardonic mood to a divinely snarling cover of David Bowie's late-'90s hit, instilling the track with a wild new urgency.Elsewhere on the album, BONES UK shift from the restless reverie of “Souls” to the dreamy balladry of “Black Blood” to the swampy blues of “Girls Can't Play Guitar,” echoing the deliberate unpredictability of the album-making process. “We recorded everywhere—in bathrooms, in the backs of cars,” says Rosie, noting that most of bones came to life in their basement studio in laurel canyon. “We're together all the time and we love that freedom of being able to record whenever we want. We don't need that pressure of going into some big studio; we'd much rather just be instinctive about it.”https://www.bonesuk.com/https://open.spotify.com/artist/16kd5X3pBMOtXdLlX5LcAw?si=AijqDWOVTOmz00k_yzu4mQ

Christian has the immense pleasure of getting to know Rosie Bones and Carmen Vandenberg of the hot new band BONES UK. For London-bred band BONES UK, every song is a chance to speak their minds with total freedom, to shed light on the extreme disconnect between the status quo and the far more glorious world inside their heads. On their self-titled debut album, vocalist Rosie Bones and guitarist Carmen Vandenberg confront everything from the beauty industrial complex to toxic masculinity to music-scene sexism, embedding each track with choruses primed for passionate shouting-along. With their galvanizing energy and relentless joie de vivre, BONES UK offer up an album that's both provocative and endlessly exhilarating, even in its most outraged moments.True to the l.a.-based band's anti-conformist spirit, bones uk unfolds with an entirely uncontainable sound, a riff-heavy collision of rock-and-roll and rough-edged electronic music. In forging that sound, Rosie and Carmen worked in close collaboration with producer Filippo Cimatti, who shaped the album's kinetic textures with lavish use of electronic bass. Matched by Carmen's masterful yet inventive guitar work and Rosie's magnetic voice—an instrument that seamlessly slips from menacing to stunningly tender—the result is a bold new sonic world, savage and frenetic and infinitely mesmerizing.On the album-opening “beautiful is boring”, BONES UK bring serpentine riffs and sinister grooves to a feverish statement against societal expectations of beauty. “We're living in an era when everyone's being airbrushed into looking all the same, when really it's imperfections that make you beautiful,” says Rosie. On “Filthy Freaks,” the band twists the narrative to an all-out celebration of the perfectly imperfect, the song's bright tempo and surf-rock rhythms backed by Rosie's brazen lyrics (e.g., “i like your leather/but i like it better on my floor”). Raw defiance also fuels tracks like “Pretty Waste”—a dizzying anti-anthem driven by blistering beats and Rosie's haunting vocal delivery. “It's about this idea that if you're a girl, you can't be both attractive and smart,” Rosie says. “We wanted to show that you can be feminine and strong and tough and angry all at the same time: you can be whatever you want to be.” Another moment of brilliant fury, “Leach” lashes out against all the creeps Bones UK have encountered in their wanderings around L.A., cleverly contrasting their venomous lyrics with swinging rhythms and flamenco-inspired strumming. And on “I'm Afraid of Americans,” Bones UK bring that sardonic mood to a divinely snarling cover of David Bowie's late-'90s hit, instilling the track with a wild new urgency.Elsewhere on the album, BONES UK shift from the restless reverie of “Souls” to the dreamy balladry of “Black Blood” to the swampy blues of “Girls Can't Play Guitar,” echoing the deliberate unpredictability of the album-making process. “We recorded everywhere—in bathrooms, in the backs of cars,” says Rosie, noting that most of bones came to life in their basement studio in laurel canyon. “We're together all the time and we love that freedom of being able to record whenever we want. We don't need that pressure of going into some big studio; we'd much rather just be instinctive about it.”https://www.bonesuk.com/https://open.spotify.com/artist/16kd5X3pBMOtXdLlX5LcAw?si=AijqDWOVTOmz00k_yzu4mQ

Sister Hope Wrice drops some powerful jewels of knowledge and perspectives that I feel that we need to embrace when it comes to the Medical Industry and how it works hand in hand with Law Enforcement in order to profit from the killings of us as Black/Melanated people who haven't a clue as to how we are being set up to be sent to their Prison Camps. We are truly living in a deadly web of deception and the sad part about this fact is that some of truly feel as though we are free and making great progress as a people! Add in the so called Mainstream Media that distracts us from the true facts of what is happening to us and how they warp the perceptions of the masses through their propaganda to minimize how severe the conditions are out here for us to merely survive. --- Send in a voice message: https://anchor.fm/lancescurv/message Support this podcast: https://anchor.fm/lancescurv/support

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