Hello everybody. Welcome to our series here on Esoteric Atlanta called Understanding the Magdalene. We just finished our first book in the series last week which was Mary Magdalene Revealed, The First Apostle, Her Feminist Gospel and the Christianity We Haven't Tried Yet by Megan Laudersen. For those that joined us for this book, you know that that was an emotional roller coaster of just yumminess going through Mary Magdalene's own gospel and of course experiences in dialogue and commentary by the author Megan Laudersen. If you missed that series, I will put a link to it down in the description box below. Now, the second book that we're going to be starting today is a book called The Magdalene Manuscript. This came recommended to me. This is going to go through the Alchemies of Horus and the Sex Magic of Isis. And so this book is probably going to get a little bit interesting and a little bit spicy. Now, I don't know what to expect with this book. I know some things about what were channeled through this manuscript but I don't know at all. So just like our Megan Laudersen book, I am reading this with you guys for the very, very first time. So any reactions that you see me have are genuine reactions. Now again, if you don't have this book and you would like to purchase a copy of this book so you have your own copy to read through, I will put a link to that in the description box below. But as always, it's not necessary to actually purchase these books because I am going to be reading through them. All right. For today, for the first day, we're just going to start with the invocation of the cosmic mother. And then we're going to read through the male Tom's introduction to this channeled book. And then we're going to read through the female who is Judy's introduction to this manuscript in the next week. We will actually get into the channeling from Mary Magdalene herself. Invocation of the cosmic mother. Oh, great mother, divine feminine, birther of the cosmos, lover unto spirit, cretrix of all matter and queen of all worlds within worlds and those without. We call you to us in this hour. We are your children. Hear our call.  You who lay with spirit our Father in the beginning of time and brought us forth from the blessed union of spirit and matter. We are your children, the sons and daughters of your flesh and your heart. We remember your touch and the fragrance of your essence and we long for you. Come to our hearts and gift us the remembering. Come to our minds and open our genius. Enlighten us with your presence. Draw back the veils that we might see and harken the doors to open. What beauty and ecstasy may live in our homes and hearts more fully. This is our hour of greatest need.   Come unto us. Come into us. So be it. Tom's introduction to the Magdalen manuscript. Personally, I have tremendous challenges with this manuscript. For one, it is channeled. And I thought that I left that kind of writing behind me after I finished the half of our material. For me, channeling is a questionable activity. It reminds me of the sin nets people cast in the waterways of the Cameroon in Southern France, an area believed by many to be where Magdalen came ashore. Along the banks, large nets sits in the river. Occasionally, someone cranks a hoist and pulls the net out of the water to see what got caught. I think channeling is a lot like this. There are currents within our psyche. They carry the hodgepodge of things, some of them interesting, some of them worthless, and some of them downright strange. Sometimes the channeling net catches something of unquestionable value, but often it is mixed with a bunch of junk. My first experiencing with channeling was in the late 70s. A friend of mine happened to be a medical researcher at Duke University and we conducted a series of informal experiments on the phenomenon. Since I worked with hypnosis in my psychotherapy practice, we decided to see what might emerge from hypnotic states in relation to channeled material. That very first evening we made contact with an immense intelligence that we euphysmically called the Big Dude. I have quite an irrelevant streak and anyone who knows me will attest to this. Big Dude spoke in characteristically grand style, typical of channeled entities of intelligence. It spoke about possible earth changes and it spoke about the interconnectedness of the universe. While the transcripts of the talks were intriguing, both my friend and I agreed that there was nothing of real substance and after three months of meeting once every two weeks or so, we dropped the experiment. As a psychotherapist working in the area of transpersonal psychology for many years, I have seen a lot of clients who channeled. Some of them were quite comfortable with it. Some were quite disturbed by it, like a woman in her late 40s who was awakened at three every morning for the last year. She would set pen in hand and scribble out messages from the other side. The other side of what is the question? Her transcripts talked about the power of love to heal. Sometimes they offered some decent solutions to problems. Sometimes, quite frankly, they said very strange things. Strange is, of course, a relative term. What is strange to one person may seem quite reasonable to another. The cultural filters we use to sieve our experiences are often arbitrary and based on inherited nonsense. My task as a psychotherapist was to help my channeling client make sense out of their transpersonal babble. I use these words on purpose.  The psychological entities that reside there are varied, like the characters in real life. Some of these densens from the collective are brilliant and well attentioned.  There's a tremendous increase in channeling among both lay persons and professionals alike. I think it is just a sign that as a collective we are beginning to gain access to our psychological and spiritual deaths. Many people are having spiritual emergencies in which their views of the world are quickly and radically altered by peak spiritual experiences. I think a lot of us have had that happen to us. I believe that we will be seeing even more of these psycho-spiritual crises over the next several decades as new mythos within our collective mind begin to surface. Channeling within this context is nothing more than a message from the deep. But like the summer fishing holes of my youth, some of the things down there are not worth fishing for. But still they come to the surface of the mind like an old shoe or a rusted beer can. One of the task for anyone faced with channeling is to separate the valuable from the inane, the uplifting from the dangerous. Just because the information is coming from the other side should not imbue it with any more authority than the words from someone down the street agreed. In fact, when someone hands me something and tells me that it was channeled, my guard goes up. And when a being from the other world shows up on my doorstep so to speak, I look for logical inconsistencies. I lay traps. If they pass these tests, I am more likely to consider what they are telling me. But I am the final judge. If what they say does not make sense to me, I dismiss it. Which is super, super, super important to do. Absolutely. And so in the midst of my immense resistance to the channeling phenomenon, Magdalene showed up one night in Zurich, Switzerland. My partner Judy had asked me to see if I could get anything about the Magdalene since we were shortly going to be in St. Marie de la Mer, the site of Magdalene supposedly landed after the crucifixion. I closed my eyes and entered a light hypnotic trance. Immediately, a being appeared in my mind's eye and announced that she was Magdalene herself. She began to dictate the manuscript you now hold in your hands. Over many sessions, she spoke with undeniable clarity and urgency. Every word was precise and the feeling in the room during these sessions was electric. Now several months later, as I look at the manuscript with a critical eye, I am struck by several things. The first is a personal dread at adding to the glut of channeled books. That's the last thing any of us need, I tell myself. But the material is like nothing I've ever seen. As a student of internal alchemies for over three decades, I have been fascinated by the similarities as well as the differences between the world's alchemical traditions. I have made it one of my personal quests to experience a vast array of alchemical methods for transforming and elevating consciousness. From this perspective, the techniques offered by the Magdalene are quite extraordinary. As a spiritual pragmatist, I have always tried everything myself. If it works, I keep it. If it doesn't, I toss it out. I have personally used the techniques Magdalene describes and they work. They work extraordinarily well. In fact, I can honestly say that practicing them has enhanced all my other alchemical practices regardless of the lineage from which they come. All of this led me to one final logical conclusion. For those fellow students of alchemy, for those seeking deeper experiences of spiritual transformation and for those who desire sacred relationships, this material may well prove invaluable. For this reason, I have decided to release the manuscript. There are still some problems for me. I'm a stickler for accuracy and there is no way to verify if the story is true or not. There are many versions of the Magdalene legend and it happened so long ago, I suspect we will never know for sure, at least from an objective point of view. I found the story Magdalene painted during the sessions extremely evocative. Parts of it I still do. However, the bulk of the story is to me just another story. Could be true, could be false. As a person firmly anchored, someone say marooned, on the shore of logic, I can't say whether the story is true or not and this disturbs me. But I can't say to the method she shared and the insight she offers are extraordinary. And so, for me, I sorted through the manuscript. I put the story back in the river and kept the methods. I asked you to do the same. Read this with your own heart in mind. Keep what is valuable for you and leave the rest. I realize that this book may very well be controversial in many circles. Still, I think it's right to release this manuscript into the world. If it does nothing more than get us to question the various issues it brings up, then I think the book's existence will be justified. It is, after all, a time for all Christendom to question its misappropriation of the feminine. For those seeking a deeper understanding of inner alchemy as means of transformed consciousness, I believe the material unquestionably stands on its own. During my rereading of the manuscript, a funny thing happened. So get this. Here I was looking at the material with a rational and critical mind. As I considered whether to publish it or not, Isis appears to me. Yes, Isis. She asked me to finish the book as soon as possible. What's a guide to do? So this brings us to his partner Judy's introduction to the Magdalene manuscript. It was a chilly night, hung with heavy fog in Zurich, Switzerland. We had a splendid dinner at our favorite Thai restaurant next door to the Alstadt Hotel. We had time on our hands. It was a rare window in our lives. It was Thursday, November 30, 2000, 22 years ago. I had a growing passion for the Magdalene, both an archetype and the Magdalene, the being. Who was she really? So much we live with every day in the civilization is based upon the church's branding of her and Ergo, all the feminine as horse, as shameful. Because of this branding, no less than holding down divinity and burning a hot iron into her flesh, the feminine has carried shame and has been held as less than for over 2,000 years. There is absolutely no basis for the church labeling her as a whore. Not one word from its original text supports such accusations. It was, in fact, the Council of Nicea. Huge subject we've talked about on this channel. Under orders from Emperor Constantine that chose the prostitute spin to support the patriarchy despite the authority of the feminine. Shame all that is feminine and unite the many diverse religions in the popular upstart religion called Christianity all for the sake of Rome for the sake of government. Again, guys, if you are still under the impression that Constantine was a great guy, then that is some heavy cognitive dissidents. We have evidential facts to prove that Constantine was, in fact, a Satanist and a psychopath. He was not a good guy. There are grounds for branding Mary Magdalene a whore, jealousy and fear of the power of the feminine, especially the kind of power that Magdalene had. I have never believed that we were born in sin and I have never believed that Mary Magdalene hints all the women in her steed were whores and I have never bought the image of Jesus Christ as a pious celibate holier than thou fanatic evangelical. Me too. I have never bought that about him either. I had followed the trail of Magdalene through southern France years before and I wanted to take Tom on the same route my heart had found to retrace my steps with my beloved. But I was afraid to trust my own heart and I desperately wanted more background. I wanted the story. I wanted more than the story. I wanted the truth. I remember telling Tom that what I would only consider validity in the story he brought through because I so value his integrity and his ability to contact true source and so I asked him if he'd ever consider contacting her. Now I need to tell you that Tom does not like to channel. The scientists and the mystic do frequently battle internally and I love them both equally. So I usually stand back and watch the scientists ultimately yield to the sweet light of truth that the mystic can invoke and in the dance that prevails in the end the world is presented great teachings cloaked in the veil of science the ignorant of this time demand so be it. But for this night for whatever reason grace was standing by and she was on my side. I asked if you would consider trying to contact Mary Magdalene and he said yes when I held my breath how about now he laid back on the bed and I grabbed the laptop he quickly moved aside and a half hours came to assist by adjusting his neurology which they frequently do to quite the scientist who protest too much and she entered the room swelled with power and an intensity of electricity that I felt in my fingertips my fingers trembled on the keys when she began to speak it was all of the eternity reached out and closed the gap of time she was there we were there the hourglass cracked and time suspended I hope I never forget hearing her words I swear I will never forget to be grateful for her truth for Tom's open heart for Yasha was on her and for the trust that she extended to me and telling me her story she continued over a period of weeks as we traveled through Switzerland the Italian Alps and down across Tuscany she came through on a boat from Genoa Italy to Palermo Sicily and when Sicily turned out not to be where we were meant to winter she visited us on the boat from Livorno to Malta she continued on outish the smaller island of Malta oddly enough within sight of where she landed to reprovision on her trip from Egypt to France she uttered the words we are complete just before Christmas of 2000 every night before she began she made me read back what I had taken down from the previous visit she corrected any words I hadn't gotten correctly and altered an occasional word clarifying here and there and before she left us each night she asked me to read back what she'd given that night many nights she waited at a particularly poignant junction in her story while Tom emotionally experienced her story as she told it admitting moans and little whispers she would say to me this channel is feeling the emotions of what I am telling you my heart goes out to Tom that he felt even for a moment what it must have been like for her to love a man as she loved Yahshua and to lose him to death for the sake of all humankind and my heart goes out to Yahshua only now after hearing and knowing her story is truth he loved her so he almost didn't do what he came to do we left Malta in the spring the computers were safely packed and shipped home I hand carried a disc with the manuscript on it with me everywhere along with a hard copy thus Magdalene went with us into Russia the Ukraine back to Germany and Switzerland and Viennese and when and then it landed so to speak back in Saint-Marie de la Marre where she landed in southern France the disc and the hard copy waited patiently in my suitcase while we toured the Rennes chateau and imagine how the pyramids must have looked when she dared to brave the wilds of the of those majestic peaks and finally at our tiny apartment overlooking the Mediterranean on the island of Paris she came back once more to answer more questions about specific words in the manuscript until we received her permission we did not change one single word not even a simple and obvious change intense she thanked us for our impeccability I figured if the ignorance we've had to live with for 2000 years was a result of someone editing Yahshua words badly I wanted to do my best to see that no one could possibly misunderstand what she was saying now and setting the story straight I asked her several personal questions that I knew someone would ask when we presented this manuscript I know the questions some of you hold in your heart and I asked her what to say to you when you ask those questions frequently she said tell them Mary Magdalene has no comment the questions she did answer are in the last section at the back of the book she spoke about the critical importance of this manuscript and its significance in the return of the cosmic mother she said for the whole of the earth for the galaxy for the universe and those continuous she said she would call people to this truth from all over the world and those who were ready would find the manuscript one way or another she congratulates you for hearing the call and she thanks you in the bottom of our heart on her behalf and on behalf of the cosmic mother for being here she says nothing will ever be the same


Hi, welcome to the All Things LGBTQ interview show, where we interview LGBTQ guests who are making important contributions to our communities. All Things LGBTQ is taped at Orca Media in Montpelier, Vermont, which we recognize as being unceded Indigenous land. Thanks for joining us and enjoy the show. Hi, everybody. I'm here with Lydia Streich, who is an illustrious writer in many genres, including essays, dramas, and now fiction. Welcome, Lydia. Thank you, Anne. I'm thrilled to be with you and with your audience in Vermont, a city I've never visited, but a country. Yes, a state that I have never visited, but it's like my dream to visit. Well, it's a beautiful time of year. We almost met in New York. We're in June over your book launch, and I was able to zoom in for it, and it was a lovely occasion. The novel we're here to celebrate, The Teacher's Room, was launched in June, so it's been four months, and you've been touring around the world, really, with it on Zoom and in other venues. So congratulations on the novel. Thank you. Thank you, Anne. Let's start, tell our audience a little about you in case they don't know. Award-winning playwright, Lydia Stark, was born and raised in DeKalb, Illinois. She trained at the Drama Center in London and pursued an acting career in New York. You went to Hunter College in New York? I should mention that I pursued an acting career for one year, and then I couldn't bear it. And I went back to college just by accident, and discovered Hunter College was nearby and just started taking classes, and that really changed my life, and I realized there was, you know, I had a bit of a mind, and I like to think, and I like to write, and yeah. So that, that acting career was over, and it was only after studying other things, history and education, and journalism that I came back to the theater as a writer. And you also mentioned in one of your interviews that you felt constrained by the roles that female actors are assigned, or were assigned? Were assigned. Things have gotten better now, but yeah, I didn't feel comfortable in the the roles that were available to perform. I didn't, I didn't understand the emotions, because they didn't feel real to me, and so I didn't want to keep doing it. So you took the pen in hand and created your own roles? Oh yes. Huge roles for women. Always unusual roles, I hope. Many, many women who love other women, but not only, you know, just large, interesting roles for women. That was my goal. Well, let's continue with your bio. While completing a master's degree in journalism, Lydia wrote a first play. She has taught in schools and colleges, and her plays have been produced across the country and beyond. A teacher's room is her first novel. I have had the chance to talk with two other novelists who began as playwrights, and they both kind of said, yes, they have this career in fiction now, but their first love will always be theater, and they try to keep connected with it. Has that been your experience? No, no. My experience is that I had no connection to fiction at all. I was a playwright. I didn't, and it's embarrassing to admit, I didn't read hardly any contemporary fiction because most of my reading was involved with research, nonfiction related to whatever work I was completing, and somehow in the back of everyone's mind, I don't know, is the idea maybe one day I'll write a novel because it seemed to me a long process, something that I could take a long, long time to write and think about whereas a play comes fairly quickly, and then the opportunity came when I had four months to spend in Taos, New Mexico, which is a magical place at the Wurlitzer Foundation, and I started what would become the teacher's room, but I'd never, ever had a fiction course. As I said, I had not even a, you know, when I was little I read the classics and so on, but you know, so it was very difficult, and I really, my first draft of the novel had a summary and then dialogue. A summary and then dialogue was like a massive play, and I had a friend who happens to teach a wonderful, generous friend who happens to teach writing, gave me a kind of a 101, she said, Lydia, you have to show not tell, and you know, I had to wrap my head around that concept, and then I began to think a little bit like a camera to watch the characters move across the room, to look at what they were wearing, how they moved. These are things that a playwright leaves to the actor, you know, so it was all foreign to me, and so that I enjoyed very much, and then, you know, I heard from a, I sent it to an agent and she wrote back and said, you know, I like some of this, but there's no reflection. And I was like, reflection? I don't know what reflection is, how am I supposed to do this? So my friend again, very patiently said, pointed to places in the script and said, what does the character feel here? What does she think about this? And I was like, well, you know, again, that's what the actors do. So it was a very learning by doing, as they say. And it was probably the hardest thing I've ever done. But eventually, it really began to grow on me. So I think that, you know, I don't have a yearning to go back to theater, I'd like to keep trying this, you know, and see what happens. It's an interesting challenge, and I like it. And I was quite pleased to hear, although a bit chuffed to hear that some people felt it read like very, like it was written very easily, like it was, you know. It is a page journal. Yeah, yeah.  So how long did it take from when you sat down with your pen or at the computer until you were finished? Finished is a word. An abstraction. I was looking for scenes to read today or something to read, I thought, oh no, I should have used this word now. If I, you know, I could keep reworking things, add infinitum actually, but I started it, I think it was, I was in Taos, I believe it was 2015. And it took me, as I said, I had to learn how to do this.  And then once I began looking for a publisher and so on, I would go in again and yeah. And then, at some point, the publisher had to put the brakes on me and say, no, Lydia, that's it. You can't do anymore. Which is good. I know. I, you also mentioned in one of your interviews that you had to kind of stop doing the research into the life of the teacher in 1963. Or maybe I'm, maybe I'm mistaken about that. No, no, I didn't do a ton of research for this book. It's set in, okay, it's my hometown, though I never mentioned the name. I play a little game and never actually mentioned the name of the town. But and the characters are not based on the live stories of people in my town necessarily, but inspired by them and share characteristics with them. It was a world I grew up in. You know, so the research was fairly limited. I was inspired to write it by Lillian Faderman's work, brilliant work on lesbian life in America. And passages she devoted to teachers and their, their, the way they lived in secrecy and the profession. And otherwise, very little research for some of the specific moments later in the book that I, for not to talk about, I needed a bit of specific research, but generally speaking, just in that sense, this book was easy. I have one more question, and then maybe we could go to the reading, and then I have many more questions. Who is your audience, would you say? Okay, good question. Um, I'm greedy, probably, and I would, I would be happy if everybody who enjoys a good story would pick it up.  I'll just say that I grew up at the end of an era when, and in my little grade school, almost without, almost without exception, the teachers were what were traditionally called spinster school teachers. They were unmarried women. And of course, this was, they were some of the last teachers, spinster teachers, because the marriage ban, which had been in place throughout the late 1800s, and even through World War II, had been lifted. So around the country, more women who were joining the profession who could marry or wouldn't have to leave if they chose to marry. And so, but I had this lucky last moment with these dedicated, brilliant teachers. I loved them. They scared me sometimes, but um, and I wanted to kind of celebrate them. And uh, yes. So let's move to the reading then. Okay. Okay. So having said that, um, I'm going to read a little bit from near, near the beginning of the book. It's not right at the beginning. And if there's anyone in the audience who doesn't like to know anything about a book, what's going to happen before they pick it up, which is me. I then, you know, turn off your volume until I put the book down in about five or 10, less than 10, about seven minutes. Okay. But this is near the beginning of the book. And I wanted to, um, there, there are many scenes set in, in the school. And I use the school and we'll probably talk about this later as a, as a, everything that's going on in 1963 is seen through this one small school. And, um, and many scenes are set in the classroom where we watch the protagonist teach from inside her head. And there are many scenes set in the teacher's room. Uh, some very dramatic scenes as well, as you know, and, and some in the principal's office, because what school there's always scenes in the principal's office. And then there are scenes in the town and in the protagonist's home. And I'm going to, uh, start with a scene that begins in the classroom, not her classroom. This is an exception. It's a fellow teacher's classroom briefly. And then skip a little and continue. So let's see how this goes. I'll just say the reason I chose this scene is it, I hope, as naturally as possible introduces some of the themes of the book. We have to take things slowly, she says, so as not to lose our heads. She'll call as soon as she can. Days pass in which she greets me in the hallway or the teacher's room, like a friendly, distant colleague. I invite her to dinner, but she politely declines and hopes she can take a rain check, she says. And then the charade becomes too much for me. I stop outside the door to her classroom, which is always open. She has nothing to hide, she says, and peer in. The children are lined along the windows, carrying clipboards and pencils, straining for a view, some on chairs, the others on tiptoes. Esther is standing behind them. Look up at the sky, children. What do you observe this morning? There's authority and ease in her stance, her voice exacting and yielding at once. Clouds, Miss Jonas, they call out. Circles, stratus or cumulus? Cumulus? Will it rain? No, why not? The clouds are white. The children respond as one, well-mannered, content with themselves. Take your time with your sketches, she tells them. She turns to look up at the clock and notices me. I've caught her by surprise. She bows her head and makes her way purposefully to where I'm standing in the doorway. I'm longing for you, I tell her under my breath. There's a flash of irritation in her eyes, which are scanning the hallway. It will all work out, she says, with a breezy air, like a nurse calming a patient. She steps back into her room, glances back at me with a sigh, and closes the door gently, but firmly behind her. She's parked on the next block, she says, closing the door behind her, quickly, and walked over so as not to draw attention. She insists we close the windows, lower the blinds. She arranges her books on the table as if we're getting down to work and turns up the volume on the radio. Okay, she says, undressing me, we're safe. Safe from what? I want to ask, what is there to fear? But I can't form words, I can barely stand. You're safe with me, I manage to say, as I lead her up to my bed. But safe is the last thing I'm feeling, my desire for Esther is wrought with danger, the danger of losing control. In fact, I abandoned reason and every other faculty that holds a school teacher together. I go ape in her arms, I babble and shriek. Below my bedroom window, a car pulls into the driveway. Esther jolts up in the bed. Esther, it's okay. I'm laughing delirious with loving. It's only Bill, my neighbor, coming home from the late shift at Wurlitzer's. I reach for her, but she resists and pulls the covers tight around her. It's a very small town. People here notice everything, even things they don't understand and can't explain. It's nobody's business how we lead our lives, I assure her. I'm desperate to have her back in my arms. My body is bereft, but she's not convinced and keeps her distance. He seems startled, in fact. She's looking at me as if I'd said the world was flat. Your life is not your own, Karen. Surely you know that.  I'm panting, tongue hanging. I'm not in the proper state of mind. A teacher should be judged by her behavior in the classroom, I answer, my own behavior in the classroom, notwithstanding. Esther looks up at the ceiling, then down. She clasps her hands. I can't tell if she's at a loss for words or praying. She gets up from the bed and walks to the window, glancing out from behind the curtain. Satisfied that Bill is not lurking outside. She sits on the nearby chair and takes me in with a perplexed expression. We're like those nuns of yours. They put us on a pedestal. We live for the children and the children alone. One false step, Karen, and down you fall. Even the slightest deviation can compromise your standing in the town and lead to your undoing. Our present conduct is grounds for dismissal. Esther's words are preposterous to me. Love is one thing. Work is another. My life is my own.  I nod my head. I'll stand on my head if I could. Anything to get her back in my bed. Her brow is furrowed, but she's coming round. She's in my arms. We make love. The holiest of acts. Heart pounding against heart. A pure communion. We are not immoral. I inform her as we comb. Our conduct is a form of devotion. That does it, apparently. Esther is sitting up purposefully. I want to tell you a story, Karen. It doesn't have a happy ending, I'm afraid. Thank you. That is so 1963. That's good to hear. I was 12 in 1963, and I think it was in seventh grade. In one of your interviews, I understood you'd say that you chose 1963 because it was a dangerous year. Well, yes. I think the reason I really chose that year, setting myself quite a task, was because of Kennedy's assassination, which I think everyone, of course, knows where they were and remembers that. I thought that would be a very potent moment in a school and in a classroom. Many children remember that moment as well and how their teachers explained to them what had happened or didn't. Surrounding Kennedy's assassination are many, many tumultuous and some positive and some very like Kennedy's assassination, very terrible, very moment. We begin with nearly part of 1963 with the Feminine Mystique, Betty Friedan's book. I mean, just the very beginnings of feminist thinking, just these ideas of the housewife is just beginning to appear. Then you have the March on Washington in the summer. Wow, what a huge, huge event that was. Then the bombings, the church bombings and the death of the four little girls. Mobile, I believe. Birmingham. Birmingham, that's right. Birmingham. I think James Baldwin wrote The Fire Next Time in 1963, too. I mean, you're right. There was so much percolating culturally, but it was all under the surface. All under the surface. What struck me, there's another scene that intrigued me, which was too long for you to read, but the scene within Chicago when Karen goes to the meeting of the daughters of Beletus. I have said, Beletus my whole life, but I guess it's Beletus. And all the discourses percolating in that meeting about lesbianism and assimilation versus. Well, invisibility, the dress code and how we should behave and whether we should demonstrate or how we can move into the society and become accepted, whether we should do it cautiously in our high heels and dresses, or whether we should go onto the street and be who we are. But that scene is very, very late in the novel and comes as a kind of a culmination in the development in the character's understanding of herself and that world. Yeah. What also struck me about that scene is, Karen, a lot of lights go off in her head, but the sense of community, lesbian community that she feels in that meeting. And that kind of resonates with me, certainly. But then I began to think more broadly about communities. And as the novel develops, the teachers in this little town who are all various in approaches to things also form a kind of community. Oh, yes. Yes. So my question to you as a writer is, do you feel like you have a writing community? Well, a very small one, but I do have some very dear friends who are writers and it's not the kind of community where I meet with them all the time and sitting cafes and so on because I have often lived separately and apart from my community. So in a way, I haven't had that the joy of being fully in a community and meeting up constantly and so on. No. But I did want to say something else about the daughters of villagers and that idea of community. And this is something that what wonderful Carla Jay brought up. You know, I somehow, I don't know, instinctively, I was working a lot with instinct and then found out, you luckily I got it right when Carla spoke and when this wonderful young historian of education, Rachel Rosenberg, when I met her, but I before that I hadn't done the research about teachers and I didn't know that there was a connection between large cities and small town life. And what what Carla Jay pointed out was that the only times that these teachers, lesbian teachers could feel themselves part of the community and be themselves were to drive to large cities. If they lived in small towns, their only moments of freedom to express themselves were to drive as groups into or, you know, then separately into the city and meet up in various times bars, clubs, and then with the daughters of villages in 1955. Finally, the idea that women's could meet in form their own sort of social clubs in the cities so that and as, you know, and that they could meet and gather apart from the bar scene. But of course, most met in the bar scenes, but to be together, they could dance together. But it was always brought with danger, absolutely brought with danger because these bars were being raided, they could be discovered. So it was a very great act of bravery and desperation they had to find outlets for themselves. So and this was particularly true for these small town teachers. And yeah. Well, the other point of interest in Carla's remarks is that she commends you for all the timely depictions, like of the bars and of as a reproductive choice element of the book that arises and the, you know, all the almost foreshadowing of current events that occurred in the novel, even though it's 1963. Oh, yes. I'm not, I'm not, I can say that there is a scene of illegal abortion in this novel. And I did that's where I had to do some research and I was shocked at the conditions women were undergo to have an abortion. But I had written this before the Supreme Court decision. So I was just flabbergasted because having done some research about the consequences of illegal abortion, I could not believe that we were being sent back to that period again. It was terrifying. But yes, so, you know, I think it's important that I learned a new term the other day, presentism. It's a historical debate now. And I think that I was trying very much just to imagine and relive, relive, you know, relive my childhood, but also to imagine what these the lives of these people were like in that moment.  And here we are again. I mean, that never goes away. I know. And I suppose we should note that bar raids are no longer occurring, but repressive forces are offering lurking. I don't want to be apocalyptic, but you know, your novel is prescient in that way. You know, I'd really wanted to try and recreate as honestly what it would feel like to be a young woman in that world. And you succeeded, I think. And on a lighter note, at the end, when yardly soap appears, one of the students gives her a gift of yardly soap, I thought, oh, my gosh, yardly soap, of course. That was all the rage in 1963. Yeah, I used to give that to my mother every year. We all gave it to each other as gifts in the family. What a hoot. So it was delightful to be reminded of that. Yeah, getting or believe it or not, we're getting to the close of our conversation. What are your current projects?  Yeah. My current projects are to, right now, I'm in the process of looking for some translations of the book, foreign publishers, and I'm still with this book. Other thoughts, feelings are going on in me, but it does take time for me. And I'm not really sure what my next project will be yet. And world events, you know, being over here right now in the middle of Europe, right, just, you know, a stone's throw from Ukraine. That's what's on all of our minds, you know, so it's a little tricky to try and imagine something else, but I think it will be helpful if I can, if I can get caught up in another world than the one we're in right now. Lydia Streik, thank you for joining us. Recently, during the Central Vermont Pride Festival, the Senior Center sponsored an exhibit of LGBTQ plus artists. And I will tell you that there was one portion of the exhibit in particular that as a gay man, I could not merely walk past it. Its composition and the emotions and response it provoked in me made me stop. So joining us today is the person who was responsible for the creation of those images. Please welcome Nate Buck to all things LGBTQ. Hi, everyone. So I want to start with, you know, talking a little bit about you. And I understand that you have a very strong connection with Vermont and specifically with Montpelier. Could could you share a little bit about that? Yeah, I grew up in the central Vermont area, grew up in Berlin. Montpelier is where I loitered as a high schooler. Some of you might remember me. I've always been in love with that town, but it didn't offer me what I wanted at that time. So I'm very humbled to be back. And I understand that you spent some time in Colorado and that you also spent some time at both Savannah and then the main college of art studying photography. So could you share a little bit about how photography came to be your medium for artistic expression? Yeah, I would say ever since being a little boy, like I was obsessed going through the archives, if you will, of my parents, like photographs from the 70s and everything. They are old. And it has always just tickled me to see how effortless like a photo can be or how you can really make it a composite image, what you want to be. So and then when I would have the chance in high school to take a photo class, I was in it and obsessed and I truly felt like that was my calling. It sounds kind of cheesy, but I had a really great instructor who is a Montpelier resident, Amy Koningbauer. Shout out. Lovely, lovely person and teacher and really influenced me to study photo. So do you use or did you then use both traditional film and digital or digital or? Yeah, I mean, part of the photo class was learning the film process, which is like very fun. But I've always felt that film is more fun when you don't have a deadline. So like classes like being in high school or even in college, it's a very like, it's a long process to really work it through those chemicals and everything and get exactly what you want. It takes a lot and I respect people that that's their main focus and their photography. I do stick to digital mostly, but I respect film. So you talked a little bit about composition. When you're approaching creating or you're starting to think about creating a photograph, is it a completed idea in your head? Is there a degree of spontaneity? From looking at some of your work, it looks as though you've done some extensive studio work, but you've also been outside doing some landscape photography. So do you go back and forth between inspiration and a deliberate composition? I would say I start with the idea of what I want to achieve and I allow spontaneity to be a component in making my composition. And then in editing, like post-me shooting, I'm a big perfectionist of just where the edges of the photo meet. If I learn anything from my classes in college, it's just consider every bit of the photo. What do you want in it? What do you not want in it? And I apply that to my compositions, but I would say there's plenty of room for spontaneity and just the unknown to happen within the shoots that I've had. When you're in the process of editing, do you find that you're looking at an image and by virtue of what you're just talking about doing, sort of shifting the focus a little bit, or how things are centered that you find yourself creating something totally different? There has been instances where that has been the case, but I really try to hone in on the original image and not completely change what was already there. There might be just a little bit of cropping and I don't use filters and stuff on the photos. Those are all from the work we'll talk about lighting that I was set up. But I try to make sure that I'm capturing the image in the moment and not making up for it in the post. Okay, thank you because that answers what was going to be my next question about, do you go out to an image and then rely heavily on what you'll be able to do with editing? And it sounds like no, you have this vision and it needs to remain clear and clean for you. Now, do you prefer doing work in the studio? No, most of my work is not in the studio. It may look like it, but I bring the studio with me wherever I go. The majority of the work that was showcased at the senior center was just LED lighting with color gels over the lights in my bedroom and someone else's kitchen or whatever it may be, none of them were taken in a real studio. I was going to say you are, have done incredible work perfecting your craft because that's not what I would have expected as to where those images had occurred and your expertise is clearly showing. So traditionally, this is where I ask people how their gay or LGBTQ plus identity has influenced their work. But in your student profile from the main college of art, you make a clear statement about trying to document the impact of the internet on gay culture. I absolutely would love you to expand on that. Yeah. So growing up in rural Vermont and kind of feeling like a fairy and not really knowing what to do with it, I resorted to the internet and no one knew about it. No one was invited into that except for the strangers I would find comfort in talking to. And I found that to be a pattern throughout the rest of my high school years and then even into college where I was finally able to express myself. And I was not ready to do that here in the full extent that I wanted to do it. And it was just a learning process to expand my horizons like really like dig into like what kind of gay am I or whatever that means and let it kind of just bleed out on my work. It was very important for me to leave Vermont for a while and have the experiences that I had with the internet as it changed. I mean the internet never stopped being a part of my experience. I mean like I didn't know Grindr existed until I got to Savannah and I was like oh god I'm in another platform but here we are. And it's just like commentary on how everyone participates in it and how I also want to like express that like I'm not ashamed of it and no one should be. Part of your narrative talks a bit about how you thought the internet had actually created greater distance between you know gay men interacting with each other and intimacy and lust. Could you talk a little bit about that and then I'm going to bring up the photograph that you said we could share so you can talk about how that came into being and what you hoped people would see in it. With my upbringing on the internet I mean it was very much a hindrance of me understanding what a real real relationship is or how to just come about come about other gay men and like strike the conversation. So I did find it a hindrance I do find it a hindrance still but it is one of our outlets so it was always just like kind of a I was torn in between both and like the lust and love it's just like sex at your fingertips with these apps so you can easily just get distracted if you wanted something more out of a relationship so that's really what I was diving into is that we all similarly utilize these platforms but I think part of us doesn't just want sex and some of us don't just want love and it's just kind of all there together. And then we have to figure it all out so I'm going to bring out the image now that you had given us permission to share and I'm saying that because I want people to be respectful of artists and their work in giving permission but this is a phenomenal image it provokes some very strong emotions what is it that you were trying to capture or what were you hoping people would see in this image? So this actually goes back to spontaneity. I knew I set up the lighting how I wanted it and got the self-timer on I had a friend helping me along with my subject I'm also in that photo but with the tattoo so it was it was challenging but it worked out I this was like the perfect mix of what I wanted from that project I see both lust and love in this and that's what made it really challenging this is the photo that started that project I would say this is the photo that gave me the vision and had me figure out what the concept I was making because the concept wasn't there entirely until I made this image and then how to move on from this image and make a body of work so this is a very important image from that body of work and everyone's favorite and it's one of probably my favorite photo I've ever made. Okay that's good to know that it's one of your favorites and because I from having looked at that entire series you could see how the emotion started building from image to image to image and having said that if somebody who is watching this interview says I want to see more of his work how would they be able to do that? At this moment I've got an Instagram page so it's pretty low-key at the moment um but I will say like I am creating more work and I've kind of been on a hiatus for a couple years and I've not really put the energy or effort into making work and I feel re-inspired and there'll be a website soon once I feel like I've started creating a body of work. So when the website comes into being you of course will let us know so that we can promote that. If I wanted there were several of your images that really spoke to me if I wanted to obtain copies of those is that something that somebody could reach out to you and say I you're shaking your head like yes please support this. I have an external hard drive with all the files I know where I can print so absolutely I do have a lot of copies just stored here as well but a fresh print is very possible. Is there any chance that there will be even a small exhibit in the near future similar to what happened at the Montpellier Senior Center or is that something that's a distant project? I would say a little bit more distant. I really want to I like I mean the reason I showed at the Senior Center with this work from my senior thesis is because it did not get it didn't get a life here and I kind of wanted to reintroduce myself to the art scene and well I guess I was never really a part of the art scene in Montpellier in central Vermont and I wanted to just put it out there of what I have and I'm very proud of the work but I am you know definitely in a different direction but I still have the same values and there will be similarities I'd like my signature stamp in some way. So I want to ask you to expand a little bit about some things that you reference reintroducing yourself to the arts community here in Montpellier what is it that we could be doing to be more supportive of queer artists and what could we be doing to create opportunity in space for queer artists to exhibit their work? I would say that there's a lot of talented artists in this community but I don't think there is enough shock factor I think that there needs to be a little bit more opportunity for younger artists. I see a lot of great work in Montpellier but I feel that I don't know where I fit into that I feel like it's very like PG-13 and you know I could be like not rated in some of this some of the content that I have and I think that there should be more opportunities for like that to exist and I know that you don't want to show your kids like a certain amount of things but I think there's a place for it and I think everyone should have an open mind and collaborating could be so cool and I'm excited for the future of what I can do with other Montpellier artists. Okay so what we need to do is give our artistic community permission to be edgy to maybe make us feel a little uncomfortable to squirm a little bit in our chair and perhaps expose each other to things that we hadn't necessarily experienced on our own. Yeah I think there's like a lot of vulnerability in my work and I'm not going to say that there's not vulnerability in the work that I've seen Montpellier but I and it's probably a lot more abstract than the way I'm throwing myself out there just because I'm a photographer and it's very like straightforward like portraiture and whatnot. Yeah I think that there could be a little bit more edginess in the area absolutely um here to shake it up. All right I'm I'm going to be looking forward to being shaken so with that thank you for spending this time with us and I look forward to announcing your website and your inclusion in an exhibit. Thank you so much it's been really fun. Thank you for joining us and until next time remember resist.


oh god! welcome back to my channel i'm ekki today i'll be testing out this magical japanese face masks i found online if you're new here you're welcome if you're an odi thank you so much you have my heart and thank you guys for 500 plus subscribers thank you for subscribing thank you for commenting liking and sharing all my videos and please don't forget to share this so guys the recipe that is used in formulating these face masks is the things you use at home it just requires three ingredients which are carrots irish potatoes and you also need gelatine i don't know if i pronounce that right yeah but i'm going to leave the name on the screen i'm going to be washing my carrot to peel off the back next i'm going to grate this so i'll be grating this so i'm done grating so i'm going to be straining out the water so this is the residue we have right now i don't know if this is too small i feel it's too small but because it's just something that i'm trying out for the first time i don't want it to too much so i won't have to waste it but yeah i'm going to do with this okay so next i'm going to be adding the gelatine i'm going to use my discretion for these guys so i'm just going to add like this tablespoon i'll put it on the fire and leave it on a low heat for about 30 seconds while i stir and then i bring it down and leave it until it's cool so this is what it's looking like it's a little bit cold i'm going to put that on my skin this is advice not to take it to your under eyes this mask is supposed to remove whiteheads blackheads and smoothing your skin give it that baby skin and glow i'm just going to wait for a while to see how this turns out and i'll get back to you guys so guys i can't even talk this is what i'm looking like right now i've spent like 15 minutes or if not 20 waiting for this to dry out i brought the paste close to my mouth i have some hairs around my mouth so i wanted to take it out i'm thanking my sparser i did not take this thing close to my under eyes already like my skin is feeling so tight and tacky i have one pimple here let me see if it's going to bring that out i'm trying to peel off the marks now i feel this is going to be very very painful this is no jokes my god this is so painful like it's making me scratch my neck see this thing is what i cannot explain it's painful look i'm feeling my skin almost my skin is feeling so soft the way i'm seeing my marks it might not come out the way i saw it on the internet because they were able to peel off everything at once but i feel the layer that i applied was very thin if you have facial hairs guys know that this is going to be very painful for you my skin is hot if you don't know how to bear pains it's painful that i thought guys i'm almost tearing i'm crying now you get to your nose area that you will not cry it's not even possible i have instant running lose to stay beautiful is not it's not a dead job i'm whipping this is what my skin is looking like after peeling off the marks i'll just go take my shower and i'll be back but before i go guys let me show you what the marks looks like like i really don't have um white heads black heads that much of my skin this is the one i peel off from my nose and i noticed that some of the white heads came out i don't know if this is focused enough for you to see but yeah so i took my bath and did my nighttime skincare i think that these marks will do more impacts after two or three more years i love the result i love how my skin is feeling even though it was painful process i love anything that has to do with natural stuff stuff stuff immediately i saw that video i decided to try it out and i'm not regretting trying it out i feel like my skin is renewed yeah around my mouth region i usually have um i do have um hair around here i have a mustache yes it removes some of the hair but it didn't remove all i still feel is because the layer was thin that's the reason why all of it did not come out because it actually pulled off a lot i don't know if that thing is really giving that glow but i love the result i will do more of it and i still let you guys know so yeah that is it for this video thank you so much for watching if you got any value out of the video please don't forget to share like comment and subscribe also ring the bell beside it so you don't miss new updates thank you so much for watching stay safe stay blessed and stay beautiful till i come your way next time bye guys


Hey, Derek, a lot of guys have said post game, the more physical team was going to win.  Yeah, I think we just focused on what we could do as a team. And being physical, finishing drives, getting off the field, throwing out for a defense, and checking on the kicker and returner, and special teams, and just playing an overall game, great game on all three phases. And I thought we did that today. Park. Derek, when you're in a game like this early on, where it seems like the offense isn't going to go point for point, almost, what kind of pressure do you guys feel in those moments? And how did you think the offense responded today? I don't think there's no pressure. I think we all just focused on us just getting out there, finishing drive, getting points. That's always been our focus. And that's what we were trying to do. That's why we're putting drives together in this end zone. Give ourselves a chance to win. Derek? Hey, Derek, it kind of felt like last season, the offensive line began playing its best in the second half of the season. Does it look like to you like it's trending that way again? And do you think today was their best performance in front of you this season? They did a great job today.  And I just had to go out and do my job. And my job definitely a lot easier. I appreciate those guys. And just got to carry this momentum forward to next week. Enjoy this win. And focus on being one on each week. Paul? Derek, in terms of that blocking, it seemed like the initial opening so often in the first half, especially, was really, really big. Were the plays going just as designed? And how big were those initial lanes? It's really cool. I mean, I think you can see it on the TV or through watching, that guys are opening up holes, doing their job effectively, doing a great job. And I just had to go out there and get out to South, finish runs, and I finished forward, get to the end zone. So credit to all those guys, blocking did a great job. Our credit goes to them. I just want to go out there and do my job and be efficient when I have the ball man. Terry? Derek, what's been kind of the change in approach or the mindset of this team the last couple of weeks going on the road and getting two wins here in a pivotal part of the season? What's been the mindset? Yes. Finishing, leaving with a W. I don't think it's too much to think about. Play out to solid football, finish, start fast, finish strong, and leave with a W. Teresa? Derek, you say playing our type of ball, and that involves you putting up some good numbers. You're now just behind Emmett Smith for the most consecutive games and putting up more crazy numbers. Is this what is needed to make this offense operate at its best when you're running like this? I think if we go out there and do what we need to do as far as executing what's called and focus on finishing at the offense, then all that stuff will take care of itself. But as long as we playing well as an offense and helping the team win games by doing our part, I think we give ourselves the best chance to win the game. But we got to play well in all three phases. And for our offense, once we're clicking, everybody, doing what we need to do, beating man in front of them, finishing forward, focus on getting the end zone, then we have our best chance to win. Two more, Joe Rexroad. Derek, I wanted to ask you about going for it fourth and four late in the half and leading to that late touchdown. You guys, obviously, we're going to punt and come back on. What's that mean to you guys for being able to have that kind of aggression in that moment? What do you think that that did for you guys today? So you have confidence in us to convert the bar. They get the first down. And it'll be a great job as an offense, finishing with the ball in the end zone and no credit to everybody on the offense to be able to execute that and finish with a touchdown. Last one, Gentry. Yeah, Derek, you've had plenty of games where you've kind of worn down the defense by the fourth quarter. But when you're having success early, especially on the opening drive of a game, how nice is that to kind of know that you're in line for a big day? Just it's always fun when we're clicking and clicking early, being able to make plays and move the ball down the field. Everybody's doing their job. And it's always fun whenever you're able to start fast in the game with a W.  Guys in front of me blocking. I was going to go do my job. Did a great job today. All the credit goes to them.


To get into I guess let me start with something you wrote recently Saying that in two months many corners of the world have gone from fighting over toilet paper To fighting against racism and white supremacy. Yeah, I mean, I think You know and first of all, I mean it just but again, I mean this is not only Reckoning with this history, but I think a lot of other countries are looking to the US for inspiration To rise up against the issues in their own countries. So really this is this is a fundamental shaking of a world order I would say a racial world order given how important this issue is and given how dangerous this pandemic is How do you begin to approach the fact that how do you communicate that? How do you deal with that?  Just this is too important Pandemic can deal is gonna have to just wait The fact that people are out there willing to risk their lives in terms of the pandemic and pandemic that kills because you're in contact with people that Connection closeness is dangerous and yet it's that connection and it's that closeness and it's that solidarity that is driving this Conversation is driving change and is driving reform. Hello everyone welcome It's great to be back after a week-long vacation from all this madness and before we begin I just want to let you all know that I'm now over on parlor I hear that it could be a Twitter killer I guess we won't know until everybody goes over there and signs up So check me out when you're done with this video. So yeah, you read the headline, right? Once again, the enemy of the people are earning their label this time actually Threatening violence against a group of people based on their skin color and gender and from the freaking editor of the Washington Post no less Her name is Karen Atia So make sure to let the Washington Post know how you feel about racist hate mongers being given free reign to incite Violence with their paper now before I get to the stuff that's absolutely gonna make your head explode Give me 30 seconds to tell you about this special offer for my subscribers Have you found yourself grazing at the fridge a lot more than usual these past couple months? If so, you're certainly not alone and as a result you could see your weight creeping up, too I'm fairly sure that if you've ever walked into a health food store or flipped on the television You've no doubt heard of the ketogenic diet or keto It's one of the most popular diet trends on the earth right now my wife's really into it But me not so much. 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We are calling for equality and not actual revenge But you are calling for violence and revenge and you're just trying to be sneaky about it Which isn't working very well and keep in mind This is a global editor for the Washington Post one of the biggest news Organizations on the planet think about that for a minute We've gone from the me-too movement to actually openly calling for revenge against women based on their skin color Her rationalization for this is one event a hundred years ago The murder of one person almost a hundred years ago that sure was tragic and evil But it was one incident in the distant past and has absolutely nothing to do with women right now They want to keep pointing to these Karen videos where white women are calling the police on black men where we don't even know the full Circumstances only what's in that video the only reason those videos are everywhere is because the media has focused on them specifically What about all the white people that are being beaten up by black people Twitter is flooded with videos of this But you never see them on CNN MSNBC ABC CBS NBC or any mainstream news organization should white people use this black on white violence as a rallying call against black people Of course not, but we're dealing with racist sociopaths here So following that logic doesn't mean that the media does want negative backlash on the white community It certainly seems that way like I pointed out many times the statistics are very clear when it comes to black murder Black people are black people's biggest threat when it comes to intra-racial murder There's more black on white murder than there is white on black and this has been consistent from 1980 to the present but again these are facts that the media has done their very best to bury so back to Karen She also lists one of these reasons for revenge is that 53 percent of women voted for Trump The editor of one of the country's largest news organizations is calling for racial violence against people because of who they voted for This should concern everyone because if we're gonna start killing each other over who we voted for this country is finished So Karen has since deleted that post but has filled her Twitter feed with other outrageous statements such as but here's the thing about Karen memes the dark side of hand-wringing about how Karen hurts white women's feelings is that it is a distraction from how everyday white women uphold white supremacy through violence aggression and weaponizing of their gender again She's making these broad generalizations about an entire group of people Literally hundreds of millions of people based on videos of six or seven people out of 200 million total just imagine that we were using that same logic when it came to all these videos of black on white violence But we can't do that because there's 45 million black people in this country And even though we may have dozens or even hundreds of videos of black on white violence. That's minuscule You can't judge an entire group of people based on that small tiny fringe of groups yet Here we are with the editor of a worldwide news organization Literally doing that to a group of people in this country. How does this person still have a job? Where is all of this hate coming from? She's a first-generation American who managed to become editor of one of the country's biggest newspapers Is that white supremacy? She's being allowed to spout racist threats of violence against innocent people because of her skin color Is that white supremacy? It's yet another glaring example of how the US media has been taken over by extreme far-left Racists who clearly have every intention of starting up some sort of racial conflict. This is why we call them enemy of the people It's not just racist black carons at the Washington Post who are mind-blowingly obvious in their activism But also pudgy white Andy Richter look-alikes named Philip bump this guy So this guy writes an article which appears to be a fact check against Trump But actually ends up confirming Trump is actually correct This is the type of propaganda these leftists in the media are now reduced to Clearly hoping that the reader reads the headline and then just moves on that headline being Trump keeps claiming that the most dangerous Cities in America are all run by Democrats. They aren't oh, but they are bump. They are And I can use your own article as a reference and you hear about certain places like Chicago and you hear about what's going on in Detroit and other cities all Democrat run every one of them's Democrat run 20 out of 20 20 worst the 20 most dangerous are Democrat run. He's almost exactly right He probably should have just said the overwhelming majority of the most dangerous cities But he's mostly right as you can see here on this graphic Which was in the supposed fact-check article as you can clearly see there is one red state on that list way at the bottom The rest deep blue this brain genius even admits as much saying quote most of the current mayors of these cities are Democrats two of the mayors of cities with the most reported violent crimes overall though our Independence and one the mayor of Jacksonville, Florida is a Republican among the 20 cities with the most violent crime per capita one isn't The independent mayor of Springfield, Missouri Trump with no doubt Thrung off that detail the crying it as fake news the revelation that this assertion was only slightly wrong And in fairness it actually doesn't matter that four of the 32 cities listed above have non Democratic mayors Because it doesn't really matter that most other mayors are Democrats It doesn't really matter you got that the media is a political arm of the Democrat Party And we'll never generate any scrutiny or negative criticism of Democrat run cities because that's just not in the agenda It appears that Democrats in Democrat run cities die in darkness as the Washington post buries all the bad news That's all for this episode. Please hit that like button share and subscribe It really helps this channel and after being gone for a week I could really use the help if you'd like to support this channel further you can do so on one of these platforms You can find all those links in the description and pin comment Thanks for watching. Keep coming back