I was wanting to carry over more Williams today. Poor Williams, he only got a day like Langston Hughes, but it's hard to give everybody their day.  Oh, good, as opposed to all these other people. She's difficult in a different way, and in some way, she doesn't seem difficult as you get started, but she's idiosyncratic. I'd like to give her a chance to get your attention and give you a chance to learn how to write a new chapter. It also strikes me that I haven't read a lot of women poets in this course, have we? We've read H.D., but that's really about it so far. The giants of modern poetry, they're men, Yeats, Eliot, and company. Moore has a claim to stature like theirs. I think she is a remarkable poet and one who, interestingly, I think has had as much or perhaps even more practical influence and effect over the development of poetry since modernism, is much or more than any of the poets we've been reading. The general question of the position of women and of women poets in modern poetry is interesting and important and important context for thinking about more. Women in the modernist literary culture that we've been studying are identified very frequently with popular and genteel forms of writing and taste. Think about Hart Crane complaining to Harriet Monroe, the editor of Poetry Magazine, as if she's just too square to get it. This is not an unusual attitude. Women are associated to a degree with political writing at the period, certain kinds of experimental writing, and also, above all, with the legacy of the nineteenth-century poetess. James Joyce said, the wasteland ended the idea of poetry for ladies. This is its achievement. Poor ladies. Well, you maybe get the idea in Joyce's comment that here was a poem that broke with a nineteenth-century culture of poetry that was in certain ways feminized, at least as imagined here by Joyce and certainly by other women. At the same time you can think about the very rich and complicated role of women in the wasteland in order to get some sense of the complexity of the position of women in modern poetry in general. Think of the ways in which Eliot as a poet draws on female speakers and female voices and you might say even aspires to sound like Isolde or Philamel or, well, one of his own inventions in the fire sermon. In general, you could say that the modern poets we've been reading aggressively and self-consciously masculinized poetry, in particular by trying to disassociate poetry from what is commercial, polite, soft, dreamy, ideal, leisureed, all qualities and attitudes gendered in their imagination, and instead to connect poetry to what is technically rigorous, advanced, learned, unsentimental, hard and often hard work terms that are again clearly gendered. HD, in her own distinctive way, is also doing this, taking part in this. Modern poetry wanted to make poetry culturally central and accessible, to reposition it, to achieve for it the power to define and describe culture, and this was very often, as I'm suggesting, played out in very gendered terms, trying to claim for poetry a kind of set of capacities that were strongly gendered in these poet's imaginations. At the same time, this desire, as I'm saying, is conflicted and complicated, and we need only think of Eliot's case, but you could look back to Yates' relationship to women's speakers, his own complicated set of identifications with them, and so on. How does Mary had more fit in this? What did it mean for her to be a modern poet and a woman? These are questions that I'll take up today. First of all, addressing this question specifically of, well, what did it mean to write from the position of a woman for more? Then I want to go on and talk about more as an American poet, which she was unconsciously, and then to begin to talk about more as a nature poet, which she also was. Let's get started by looking at, well, one of her earliest publications, a poem that, like many of the other important early poems by these poets, appeared in Poetry This time, I think in 1919, I'm not sure, I'll check the date. I'm talking about the poem called A Grave on page 440. It's a great poem, and it's a poem that announces a speaker that sounds like no one else and sounds like certainly no one we have been reading. Think about The Seafarer, another poem about the sea. How did that sound? Bitter breastcares have I abided, nigh in the night. You remember Pound's sonorous and even perhaps ponderous heroic Anglo-Saxon alliterative meter, which I talked about as, in Pound's case, a deliberate and interesting evasion of iambic pentameter norms, blank verse as a kind of model for heroic speech. Well, so is this, but it sounds nothing like that. It's on the other end of the spectrum, right? It sounds like what? Pros, in certain ways. A remarkable, elevated prose. But prose, prose that uses words like consciousness or volition, however. When was the last time you saw a poem that said, however? It really announces a speaker who is using a kind of expository language. There are Latinate words. There's obviously no meter and rhyme. At the same time, there is a developed and as almost always and more intricate formal design, an idiosyncratic formal design that is operating in the world secretly. What's it look like on the page? A lot of long lines, right? A lot of long lines, some of which run over. Well, this, like other more poems, is a poem structured around counting syllables per line and counting, in fact, number of lines. This is not a kind of formal organization that you hear, and it's even difficult to see, but it's an operative one for her, and it's one of the ways in which she organizes her verse. It's as if Moore has in some sense set up her own rules, clung to them and kept them secret. She doesn't always keep them secret.  What you have is a poem that is made up of two eleven line groups, two eleven line stanzas or paragraphs, each beginning with a short seven syllable line, man looking into the sea, for their bones have not lasted. This is a kind of pattern that structures the poem. In all these ways that I'm describing, the syllable count, the expository writing, the Latinate diction, the self-conscious prose-like nature of the language, all those semicolons. This is poetry that has distanced itself from traditions of song and certainly from nineteenth century traditions of vocation. The form of the poem is, again, not something you see or even hear necessarily, it's there, almost as a kind of absence. Now, there's also wonderfully a certain combativeness, Moore is a combative and pugnacious poet. You, again, may not see this immediately because of the poem's impersonality, the way in which it seems to present itself, and the often intricate forms of syntax or oblique approach, but she is a fighter, and this poem is really a kind of fighting that we're seeing. The poem begins in irritation. It begins as a complaint, a complaint that's addressed to whom? To man, man looking into the sea. Man suggests, well, maybe humankind. You think about the people on the shore in Frost's poem, neither out far nor in deep, standing there looking out at the water. Well, Moore might be addressing them, but I think there's a more specific and particular man that is the irritant that sets the poem going. A figure of a man who, like a romantic poet, has arrogated to himself the mind to take in the view, stand like the figure in a Casper-David Friedrich painting, and gaze into the sublime. Meanwhile, Moore is somewhere else. Where is she? Well, she's somewhere behind him because he's blocked her view. Man looking into the sea, taking the view from those who have as much right to it as you have to yourself. Well, it is human nature to stand in the middle of a thing, she says, trying to make sense of this. Moore has a couple of comments here that describe the origins of this poem. It's the first quotation on your handout. She says, as for a grave, it has a significance apart from the literal origin, but here's the literal origin. It was a man who placed himself between my mother and me, and the surf we were watching from the middle ledge of rocks on Monhegan Island after the storm.  It is human nature to stand in the middle of a thing. It is important that, however, Moore was annoyed. She was annoyed into poetry, you could say, and she took her mother with her. The poem is really written from the perspective of a daughter and mother, and a daughter with an intimate relationship to her mother who absorbs here and very often elsewhere in her poetry actual quotations from, but even more importantly, a style of speech and associated with her mother, who talks a lot like Dr. Samuel Johnson or some other eighteenth-century figure and moralist like that. Mrs. Moore is someone that Marianne always identified with herself. It's significant here that Moore is using a quotation from her mother and not acknowledging it in any particular way, as if the two women had one voice and one perspective. The man that blocks their point of view, and blocks their point of view, you could say, in many senses, their literal point of view of the water, but also in the point of view he takes in effect ignores and suppresses theirs, and he is standing in the posture, as I suggest, of kind of conventional romantic visionary staring into the sea, emblem of infinity. Well, it might be Hart Crane writing at Melville's Tomb, although Crane wouldn't write that poem for a few more years. And when he did, incidentally, he sent it to Marianne Moore, who was then the editor of the book and rejected it. Moore's poem is, in fact, as I suggested, an early poem of hers and an early act of self-definition that's quite important, in both the impersonality of the point of view and yet the insistent individuality of that point of view. Moore's poems are like this. They seem impersonal, but they're at the same time deeply personal and deeply individual. Here she celebrates the power of the sea to resist the imposition of the observer's will, or the will of the sailor, or seafarer. Again, we can think of Odysseus or Pound seafarer. The sea is a collector quick to return a rapacious look, i.e. if you want to take possession of the sea in some way, well, don't think you can do that because this is a grander force than you and it will take you up and drown you, which is what the poem goes on to describe. The sea has here the force that it does in other great poems by more like The Fish or Sojourn in the Whale. It seems to stand for death. It is a grave. It is a grave in which you could say a certain idea of romantic and I think specifically male subjectivity is overcome and buried, shown its limits. In this poem the human imagined finally as something that twists and turns in the depths is converted by natural forces into a part of the natural world that it sought through the man's perspective to dominate. Moore sent this poem to Pound. These poets are always sending their poems to Pound. He responded with admiration in that second quotation there. He says, thank God, even though you are a woman, I think you can be trusted not to pour out a flood in the manner of dear Amy Lowell and Edgar Lee Masters, who though not a woman was a sentimental regionalist and not an international modernist, Pound is approving of Moore here. He approves that she does not gush, she does not emote, she has not written a sentimental poem. In fact, in a certain way she's written an anti-sentimental poem. I think it's important that Moore's rhetorical choices have prevented her from doing so, that the poem has the kind of formal self-discipline it does. Again, these are aspects of restraint in the poetry. Moore is dry in all respects. At the same time, these are modernist values, values that Pound would describe in his Images Manifesto and elsewhere. At the same time, Moore gets her dryness not by disavowing femininity or suppressing it or attacking it as one of her peers might have. She does it rather specifically in this act of challenging man. Let me look with you at the letter that Moore wrote to Pound in response that acts as a kind of now letter of introduction, and it has a lot of interesting things in it, and it's probably a good introduction to who she is for her. She says, I was born in 1887 and brought up in the home of my grandfather, a clergyman of the Presbyterian Church. She comes from a Christian and God-fearing home. I am Irish by descent, and that's part of where some of the combattiveness comes from. Possibly Scotch also, but purely Celtic, was graduated from Brynmore where she knew and befriended HD, taught shorthand typewriting. She's worked for a living. In 1916 my mother, Mary Warner Moore, and I left home in Carlisle to be with her brother, a chaplain of the battleship Rhode Island. There's a lot of Christianity in the family. She says that she's living with her mother in New York, and indeed she would spend the rest of her life living with her mother in New York in Greenwich Village in Brooklyn, in a small apartment. Contrary to your impression, I am altogether blond and have red hair. Pound had asked whether she was Ethiopian after he read the poem Black Earth. Read Black Earth and decide whether Mary and Moore is an Ethiopian. This is important. She says, any verse that I have written has been an arrangement of stanzas, each stanza being an exact duplicate of every other stanza. This is not always true, but she claims it is. I have occasionally been at pains to make an arrangement of lines and rhymes that I like repeat itself. But the form of the original stanza of anything I have written has been a matter of expediency, hit upon as being approximately suitable to the subject matter. The resemblance of my progress to your beginnings is an accident. I didn't – I wasn't influenced by you, Pound, when I started writing syllabic verse, because Pound had experimented with this himself. There's a couple ideas here that are important. First of all, that Moore identifies, as it were, two moments of creativity involved in the making of her poems. One is a moment of spontaneity and expediency in which lines almost like some kind of channeled speech arrive in a certain form. And then she makes that form in its contingency and accidentalness repeat itself. She goes on, and in other words, what came by chance, she repeats through will, through discipline. This is significant, and it's related to a kind of – well, to her originality of form, which is something at once – something that, as it were, comes to her naturally and that she builds on self-consciously and through a kind of rigorous self-discipline. She says then, I do not appear. She meant, I don't appear in literary periodicals. You can't find my poems but the line itself is wonderfully suggestive and simple, the sentence, I do not appear. And in fact, Moore does not appear very much in her poems. She is interestingly backgrounded or even invisible in her poems in the ways that she is in a grave. And then she says, I grow less and less embarrassed of being published, produce less and have a strong feeling for letting alone what little I do produce. And then she continues, to capitalize the first word of every line is rather slavish, as they do in nineteenth-century poetry. And I have substituted small letters for capitals in the enclosed versions of the two lines because another sort of distinctive formal choice Moore makes not to capitalize her first lines, something Williams does too. In a graveyard, she now goes on, now talking about the poem, a grave, a grave is better than a graveyard, don't you think? The change that I have made is to the end of the line, the very end of the poem, which I suggest, and for the sake of symmetry. I've altered the arrangement of lines in the preceding stanzas. I realize that by writing consciousness and volition, this is the order of the words that Pound had proposed at the end of that poem. Emphasis is obtained, which is sacrificed by retaining the order which I have, that is Moore's order, volition and then consciousness. And I am willing to make the change, though I prefer the original order, which in fact ultimately she kept. Let's look at the end of the poem again. The C looks, well, I'll read from line 20. Pound said, well, that ending doesn't quite do it. Why don't you switch consciousness and volition? With what implication? That somehow volition is more important than consciousness, that it's the last thing to go and the most dramatic thing to lose. Moore, however, insists, no, that's not the case. It's the other way around. Consciousness is more important than volition. In fact, that's really what this whole poem is about, you could say. Moore wanted the emphasis to take Moore's word that comes with stressing volition as most important, and in fact volition is nothing but a kind of expression of emphasis. She says, no, consciousness is more important, and as she does, she emphasizes it. She introduces another kind of emphasis, one associated not specifically with volition so much as the drama and power of consciousness, which she insists on here. Although Moore's poem could be, in fact, read as a kind of rebuke in advance to Hart Crane, in his poem At Melville's Tomb. Moore, in fact, got to know and like Crane in the twenties, sometimes acting as his editor when he sent poems to the dial for publication. She turned back at Melville's Tomb. She accepted other poems. One poem she accepted, The Wine Menagerie, was a poem in quatrains. She accepted it and then converted the poem into free verse and reduced it by half crane accepted it, accepted this publication along with ten dollars, which he needed. But both Crane and Moore, like Williams, were, I think, self-consciously American poets, and their American-ness is important to how they define themselves as modern poets. And there is really in all of them a certain kind of combative cultural nationalism, which has aesthetic and ethical implications. As an example, let's turn a page back and look at the poem. The poem begins here as a series of national caricatures, and then eventually it will move from these caricatures, which suggest ways of life and also aesthetic dispositions, ways of doing and thinking about art, I think. She'll move from that to America and what is American? And this is, you could say, her real subject here.  She will go on and contrast everything that she has just caricatured in a polite but essentially negative way, in each of those cases, with the American. Specifically, with American speech and American English. In other words, just because Americans who say Sam or Cam sound like that instead of Psalm or Com, that doesn't mean they're stupid or that the rest of America is. In other words, if you don't think you can get poetry in America, you haven't looked. It's a wonderful poem. It's a defense of America and American creativity, American language. It is an attack on Eurocentric cultural snobs. At the same time, Moore is not only or merely adding America as one among other nations. Rather, America is the locality where this principle of hers is honored, a place that incorporates many other places, many other cultures, many other ways of feeling and thinking and speaking. This principle, the idea that inspiration has never been confined to one locality, to one place, affirms a kind of art that is not only a matter of high culture but that is also vernacular, regional, heterogeneous, popular and includes in it all kinds of materials. You remember the quotation I pointed to in the first day of class when I quoted from Moore's poem Poetry, and she was talking about all the things that should go in poetry and even business science and school books. Well, America is a place where you can put those things in poems. This is a proud, also a comical principle. It's a democratic principle for Moore. Is it maybe also a feminist one? I think so, insofar as Moore is an American, as specifically and distinctively a non-hierarchical point of view. That is not so much a woman's point of view, so much as a point of view that accommodates that of the woman, among others, within a multiplicity of human perspectives, and in fact non-human perspectives. She's serious about including those cats and dogs. Why is the poem called England? By incorporating the title into the first line of the poem, Moore makes it seem accidental. The device foregrounds Moore's concision and practicality. Why waste any extra words Pound wants you to use no word that does not contribute to the presentation. Okay, then we'll make the title part of the presentation, too. The gesture is also of a piece, I think, with Moore's distrust of hierarchy itself. She says, in effect, the title is not more important than the rest of the poem. You can't stand outside it or above it. It's just part of it, just as Moore found it slavish and probably pretentious to capitalize the first word of every line of verse. She wants to, in that sense, give dignity to the lower case, to non-capital letters. At the same time, Moore is very wily and clever. England really is important here. That is, it's not merely the first nation in an arbitrarily arranged list. She's defending America and American English, specifically against the noted superiority of England and English literature, where, of course, Pound, Eliot, Frost and others had gone to establish themselves as poets. To this extent, she's saying that the title is not so important that it stands above the poem England is not so important that it stands over and above America. In this sense, the title in fact turns out to be important and to give us important information because she's out here to make England less important and to deny it its pride of place. We've got just a few minutes left to start a long, difficult and truly marvelous poem called An Octopus that exemplifies more as a nature poet and exemplifies many of the distinctive features of her writing. Again, this is on 441. The title of the poem is the first line. We might think that this is going to be a poem about an octopus. Well, not exactly. In effect, the title is a kind of riddle that the poem will go on and explain and expand on. It's a poem about Mount Rainier, where Moore went with her brother John in 1922, that same year that Joyce published Ulysses, and Eliot ended the idea of poetry for ladies in the wasteland. The poem involves a kind of essential contradiction which it works through in complex ways. On the one hand, the mountain that Moore calls an octopus that she's writing about here is something that is exactly other. It's outside the poet. It's out there like the sea in a grave. It's objectified. It's something Moore has to stand apart from, perhaps try to conquer in the form of climbing it, or conquer in the form of representing it in her writing. Yet in the course of the poem, the mountain and its glacier, which is really the octopus that she's talking about, is something that Moore identifies herself with that comes to look like Moore, in certain ways. It comes to be identified with the force of her art. So, it's both a kind of version of herself and it's a version of something other, too. The poem is filled with an extraordinary and bewildering detail that evokes the natural world as one of extraordinary and bewildering detail. At the same time, it combines and creates a fantastic collage of quotation from a wild variety of sources. It's hard to know where to start and stop in this poem, when its parts are. It's a question that, in a sense, Moore is asking about the mountain itself. There's in general a kind of analogy throughout the poem between the mountain and the woman who admires it, whose mind itself can seem octopus-like and reaches out in these long tentacle-like lines to grasp the world, make it her own, freeze it in poetic language, even while she's insisting on the wonderful otherness of the world. I won't start reading now at the end of class, but let me say a couple of further things about the poem and ask you to reread it. Knowing that it's hard, reread it more than once, and maybe not continuously. It's a very hard poem to read continuously. Be sure to read the last paragraph of it carefully that begins on 444. Let me say something before we stop about quotation. You remember that the sea in a township mocked the rapacious collector. Moore herself was a great collector. She collected, among other things, quotations. She engrosses them. She gathers them to her. She masters her reading. She brings them into this poem in, as I say, a kind of collage. It gives the poem a kind of, well, a very strange poly vocality. There's many, many voices here. Think of the wasteland. Well, Moore rivals it in this poem. Many voices that, again, democratically allow for, you could say, perspectives, multiple kinds of material. Unlike the wasteland, Moore is not quoting only high art sources by and large. Well, Eliot has his popular culture too, but we know that it's pretty much a high culture poem. Well, Moore is making her magazines out of a pamphlet from the National Parks portfolio, through her reading in Ruskin and many other sources. And it treats those various texts, you could say, non-hierarchically, without a kind of regard to generic valuations. She doesn't play off high and low, as Eliot does in A Game of Chess, for example. It makes the sources of poetic language and of poetry continuous with ordinary life, her activities of reading, and at the same time it makes Moore's inspiration deeply personal, because who else but Mary and Moore would have read all this stuff or just these things? Like Pound, a kind of visionary scholar who found his muse in a translated Homer, Moore, knowing that literary inspiration is not confined to any locality, finds it all over the place in her reading. But again, what she's reading is something different from Eliot and Pound, and I'll say more about that next time.


I always go back to the fact that I am his wife, not his mother. My job is not to teach him, my job is not to discipline him, my job is not to slap him on the wrist when he does something wrong or makes an incorrect choice or a bad decision. My job is to support him, to encourage him when he's feeling like uncertain to say, just make the choice, whatever the choice is, make the choice, and it will be okay. There could be some tough times, there could be some rough times, there could be some great times. I never promised a rose garden or a smooth ride. I make some wrong decisions, but making the wrong decisions is not really the problem, it's about making that decision right. One thing for sure is she'll never rub it in my face or say I told you so, she'll just quietly yield to my steering of the ship and then even if I have to admit you were right and I got to turn around, still zip.


Hi I'm Maureen Feynman and I'm Heather McHugh Brune. In this module we're going to be talking about marble. So marble is a metamorphic rock that started its life as a sedimentary rock. So in its early days when it was young it started out as a limestone. Limestone being one of the most common sedimentary rocks on the surface of the earth. We have a lot of it right here around us. You can't garden without finding it. It's everywhere here. Both limestone and marble are made almost entirely of the mineral calcite. So we talked about calcite a little bit in the alabaster module. Here we're going to be looking at it in a case of marble being composed almost entirely of calcite. Really neat mineral. I have a nice specimen of it here. So you can see again how that crystalline structure, in this case we're in the hexagonal crystal system, stacks upon and upon itself to give us these nice rhombic shaped crystals that cleave perfectly along three different axes or three different crystal dimensions. One of the really cool things about calcite, there are a lot of cool things about calcite, but one of the really cool things about calcite is that it has a very high birefringence. So what that means is that light when it enters into the crystal actually moves in different velocities in different directions within the crystal structure. And what happens when you've got light traveling at different speeds in different directions is that a beam of light entering the crystal is split into two beams. One is what we call an ordinary beam and the other an extraordinary beam. So I'm going to show you, this is a, I hope you'll be able to see this, a laser pointer, one single beam of red light. When I shine this in the back here, that single beam gets split into two and you should see it emerging on the other side as two dots of light or two points of light. One of those is passing directly through the crystal and the other one is getting shifted off at an angle. This also gives you a property where you can see a double image when you look through a crystal. Again, that double image coming from the one ordinary ray of light and the other extraordinary ray of light that gets bent off at an angle. And that is really just due to the way the atoms are bonded in the crystalline structure at the tiniest, tiniest structural level within these crystals. So once this limestone made up of calcium carbonate is subjected to high pressures and temperatures inside of the earth, for example, in a mountain building situation where you have two plates that are pushing into each other and pushing up mountains, the calcium carbonate simply recrystallizes to form a larger, more nicely shaped crystals. And that gives you very often what we call a sugary texture in the, in the well developed marble, very in the case of a very pure calcium carbonate will give you a very white, you can see, so this beautiful pure white, very sugary marble here. This one has a little bit of this gray streaking through it is also pretty common in marbles that gray is actually graphite. So the calcite being calcium carbonate, the graphite being simply carbon and that can be either leftover organic carbon from its sedimentary days, or that can be carbon that's being reduced out of the calcium carbonate by deprivation or by having the oxygen removed from the from the carbonate there. So we have a soft mineral calcite with a hardness three, a little bit of graphite in there with it with a hardness of one all carbon carbon based coming together to make either in its purest case that very snow white marble or in some cases the beautiful silver streaked marble with graphite in it. So what makes marble so important for art history and that's that's kind of a difficult thing to say because what doesn't make marble important for art history. I think hopefully most people when they think of rocks and art should think immediately of marble. We have so many fine examples of works of art from the ancient world, the medieval world, the early modern period and even today made of marble and the karara quarries are still producing sculpture quality marble, there are other places where you can obtain it as well. And part of what makes this such a desirable material is that like alabaster it's fairly easy to work. It's not quite as easy as alabaster but you can get a fineness of detail and that crystalline structure means that you can play with texture in marble. You can leave things rough and have kind of a softness to them. You can polish them to a high sheen of and think of say a marble cutting board or a cheese board that you might have that tends to be heavily polished or this tile here that I got from an importer in Cleveland, Ohio. You can get different effects from different treatments of the surfaces and so you can imitate human flesh. You can imitate something hard like a shell and this is something that has been exploited by sculptors for centuries.


PFA season is here, commands fleet-wide are no doubt well into final preparations for the semiannual assessment. To help sailors maintain a year-round state of optimal physical readiness, the Navy is encouraging us to take an honest look at what we eat. The Navy Barracks Cookbook is a great tool to help you start eating the right way and to keep your body in top shape. The Cookbook is essential for preparing healthy meals while living in the barracks. It has everything from hearty meals to the occasional sweet desserts. Additionally, it offers a tip section on how to lose weight and what spices and other ingredients you should keep on hand. You may also want to use a calorie tracker app to help you stay on track. Don't forget to check out the rest of the resources that the Navy Fitness Program has posted at their website.


Don't you see that this brings me money, money, money, when I shake my bum, bum, bum. All right guys, welcome back to the channel. If you're new, my name is Bobby. Guys, it is reaction time again. Today, we are not reacting to vegan YouTube. I found a trailer of a new Netflix series called Cuties, where an 11 year old girl from Senegal decides to leave her religion, her Islamic religion for twerking. Let's have a look. That was all she needed to see. Now she's gonna take off the hijab and start twerking. And notice the music in the background. One for the money, two for the money.  It is cool to be a prostitute. It doesn't matter how old you are.  Start today. Wow, look at this scene.  In the background, you see the white girl sucking on her finger and on the right side, we see the same thing again. This is absolutely disgusting. This is saddening. This is so vile.  They're talking about the new normal post COVID. No, this is the new normal that they want to promote absolute sexualization of 10, 11 year old girls. Look at those clothes, those crop tops. Look at those outfits. Look at those poses. All of this is obviously not appropriate. Something like this would have been impossible just five years back. However, now this being pushed as something totally normal. This is a pedophile agenda and I can't understand how people do not see this. Look at this. This trailer is full with filth. There you see the young girl touching the other young girl in some sort of lesbian-esque action. She's touching her butt. She's teaching her how to be a proper adult, right? This is what we do because this is what we see in the media. This is what the kids see on television. If it is Cardi B, Nicki Minaj, you name it.  Be a slut. Show as much skin as you can. Be promiscuous. This is what they want to promote. They're grooming our children. Do you really think that Jeffrey Epstein was some sort of isolated case? Guys, this is going on everywhere. We should be aware of this. What do you think Hollywood is? What do you think Netflix is? It's just an extension of this pedophile grooming agenda. Disgusting. Wow. Just wow. This is a pedophest. Right now, predators are sitting there watching, celebrating, seeing this material, this young girl with her spread legs and look even at the camera angle how it films directly in between the young girl's legs. This is absolutely disgusting. The parents that let those young actors play those roles should be ashamed of themselves and Netflix as well. We should boycott Netflix. This is an outrage. Absolutely repulsive. Let's proceed. There she is. Wow. Great. Traded the hijab for tight leather pants. Yet again, another butt shot. No worries. This is appropriate. This is totally cool. It's all right.  Amazing. Yeah, so many likes on Instagram. That is good. This is what we should pursue. We shouldn't pursue being good humans. We shouldn't pursue being honorable humans. No, we should pursue Instagram likes. So there you have it. The old rigid belief system religion. Right? This is something that we outlived already. Something from the past. So old fashioned. Now it's absolutely cool to do the exact opposite of what the parents say. You can see clearly that they're trying to ridicule religion as something that is not going with the times. And this is very dangerous because it all comes under the disguise of evolution. We're simply evolving into something better. Right? Religion is something from the past. Now twerking is your new God. This is good. This is what is being promoted here. Don't you see? It is the loss of morals. They're removing the children from ethics, from morals, from God and they're leading them into sin. The greatest sin that you can commit is to make a child sin. And this is exactly what they're doing with the hypersexualization of those children. Telling them that the new standard is not God, but it's false idols like those pop stars. They're trying to emulate them and with that they're sinning. They're committing sin. They're committing atrocities. They're throwing their life away. And Netflix, the media, is promoting exactly this. Do you know that they're trying to lower the consensual age? This is the propaganda that we're seeing at hand here. And for that they use the LGBT community, if you will. They want to add a P to the LGBTQ movement in order to establish a new pedophile law. Where it's totally alright for 40, 50, 60-year-old men to have sex with an 11-year-old girl or boy. It doesn't matter as long as it is consensual. How could it be consensual? A young child doesn't know what it wants, but this is what the media is for. They want to show them what they are supposed to believe is a good way of living. Take off the hijab and start twerking. I am not a Muslim by any means, but I am for universal morals, universal ethics. This should be the basis for a good life. If you remove the ethics and the morals from a young girl's life, you are setting them up for disaster. And cut. Again, we can see between the legs of a young girl, an 11-year-old girl. We can see her panties underneath the skirt. Thank you, Netflix. Thank you for promoting this. A plus, a plus. Absolutely generous, absolutely disgusting, absolutely dangerous. So sad. Yes, let's promote this. This is good.  Steal, sin, money from your parents. Another sin yet again. This is what we should applaud now. Amazing. Liberate yourself. You go, girl, and then end up on the streets wearing bras and thongs for everybody to see. Let's sexualize those girls even more because it hasn't been enough. Let them put on lingeries. Let them literally dress like hookers on crack, on the streets for the grown-ups to watch. Amazing job. Sweet. The bad old fashioned mom. What is she thinking? Slapping that poor girl. All she ever wanted is to be equal with the good grown-ups. This is what we see here. Again, the LGBT movement, the left. It is all under the disguise of compassion and equality. We can all be equal, right? Women and men. And now kids and grown-ups. We can be equal too. As long as I see my idols on the screen twerking, why shouldn't I be allowed to do the same? Don't you see that this brings me money, money, money when I shake my bum, bum, bum? This is good, mom. Why do you slap me? Do you see the brainwashing? Disgusting. Oh, crying drama. Yes. I'm more skirts. Just perfect. 14 year old boys, 11 year old girls. Hey, that works out perfectly fine. Again, let's lower the age of consent. It is totally cool for us adults to watch this because keep in mind, this Netflix series is not rated for children. This is adult content. This series is made for adults. And now we as adults, of course, we know that the children will be watching, but hey, we should see 14 year olds and 11 year olds as equals. They just want to have fun as well. Those kids just want to have sex. This is why they wear bras. This is why they twerk. They are equal to us. If they consent to sex with us, it should be totally all right. Just two people sharing the love. This is the dangerous agenda. How can't you see this? Cuties. Even the title is to lure pedophile predators in. Wow. Wow. All right. And this is it. Thank God it is over. Gross Netflix. Gross.  Perverted, vile, degenerate and dangerous. Guys, you have to keep in mind. This is not random. This is not by chance. Coincidence. We see it in our educational system. Children are being groomed. So-called sex education starts earlier and earlier and earlier. Very, very young children are exposed to all kinds of disgusting filth. There was a case in America where children got some homework for their sex education.  So now let me ask you, what happens when you Google transvestite porn? Do you think you're going to end up on a Wikipedia page?   It all goes hand-in-hand, as I said, with the LGBT movement, where they want to promote this new normal. Don't you see it? We've been locked at home due to the Cura virus, due to COVID-19, and we've been groomed to accept a new normal. But at the same time, we've been distracted, looking away from what is truly happening.  It happens on the highest levels. In Hollywood, banking, politics, you name it.  The UN is run by occultist pedophiles. You don't believe me? Look it up. Hey, on that note, orthodoxy and the Kingdom of Satan. Absolutely amazing book. Highly recommend. It goes into depth. The United Nation, elites, European Union, freemasonry, ancient cults, Zionism, banking, one-world government, and of course, the child abuse. You don't have to be orthodox to read this. Hey, you don't even have to be Christian to read this. This is a phenomenal book. I highly recommend it. Guys, please stay aware. Stay awake. Back in the day, they used to say the devil is in the detail.  This is the time to wake up, guys. This is the time to expose this agenda. Veganism that I've been talking about for years on my channel is just an aspect of this disgusting devilish plan. Please wake up. All right, guys, that's it for today's video. I hope you enjoyed it. If so, leave it a thumbs up and let me know in the comment section how you liked this video, what you want me to react to next. If you haven't subscribed already, guys, please do so. And as always, may God bless you all. Much love and peace.


We are a workers compensation insurer. We have approximately 60% of all the businesses in Colorado and those businesses employ nearly 900,000 people. We got into the conversation on who were the people we were trying to hire, what skills did they need, how valuable was their training. All the people we hire had to have a bachelor's degree but it didn't say anything about their skills, capacity or their fit within the culture of who we are as a company. I had to finally acknowledge that we ended up training people pretty much from the ground up. What would you think of having apprentices at Pinnacle and I just could not wrap my head around what he was talking about. I think we all have this notion of apprentices who are blue collar workers, whether it's in construction or electrical, et cetera, but we quickly learn that a lot of white collar businesses whether it's banking, IT, insurance, financial services, any business you can think of taking juniors in high school, training them, giving them the professional skills they need to come in and start growing those businesses, this blew our minds, particularly for Pinnacle. Given that we've got an aging workforce, it would be an important way of us building the kind of people and colleagues within our company that are gonna be our future. We've got 23 apprentices right now. We've hired five of these young people. We know exactly what their capabilities are as we hire them, so I have a great deal of confidence in them. I can give you an example of a young guy who tells a story that he was ready to drop out of high school and now he's designing bots here at Pinnacle and is as engaged as any one of our employees. The message I'm taking out to the business leaders is it's a great opportunity to really build your business's capacity and bring on employees for your future.