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Blondie Hit Their First No. 1 On the Hot 100 With \
⏲ 0:49 👁 25K
Flash Marriage with my Alpha1
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Sabrina the Teenage Witch Season 1 Episode 14 Sabrina Through The Looking Glass
⏲ 25:29 👁 5K
Ex-tabloid boss reveals how much he spent buying and killing stories about Schwarzenegger, Tiger Woods at Trump hush money trial
⏲ 2:39 👁 5K
Flash Marriage with my Alpha1
⏲ 1:46 👁 5K
Flash Marriage with my Alpha1
⏲ 1:46 👁 5K
Kapwani Kiwanga: Trinket \Canadian Pavilion at Venice Art Biennale 2024
⏲ 8:8 👁 5K
The murder of little Mary Phagan - Vanessa Neubauer - Part 10 of 13
⏲ 37:43 ✓ 27-Apr-2024
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_blondie-hit-their-first-no-1-on-the-hot-100-with-92.jpg "On today’s episode of Billboard's Chart Rewind, we look back at Blondie hitting their first of four No.1s on the Hot 100 with their hit \")
_flash-marriage-with-my-alpha1.jpg "Flash Marriage with my Alpha1")
_sabrina-the-teenage-witch-season-1-episode-14-sabrina-through-the-looking-glass.jpg "Sabrina the Teenage Witch Season 1 Episode 14 Sabrina Through The Looking Glass")
_ex-tabloid-boss-reveals-how-much-he-spent-buying-and-killing-stories-about-schwarzenegger-tiger-woods-at-trump-hush-mone.jpg "David Pecker described his “catch and kill” operations for Arnold Schwarzenegger, Tiger Woods and Mark Wahlberg at Donald Trump’s hush money trial Thursday.")
_flash-marriage-with-my-alpha1.jpg "Flash Marriage with my Alpha1")
_flash-marriage-with-my-alpha1.jpg "Flash Marriage with my Alpha1")
_kapwani-kiwanga-trinket-92-canadian-pavilion-at-venice-art-biennale-2024.jpg "Kapwani Kiwanga: Trinket / Canadian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia. Venice (Italy), April 19, 2024.<br/><br/>Official description: Kapwani Kiwanga is a multi-disciplinary artist concerned with forms of power: their suppressed histories and quotidian effects. The artist transforms the Canada Pavilion by way of a site- specific sculptural installation on the building’s interior and exterior, turning it into a large-scale tableau. Shapes shift, dissolving distinctions between inside and outside. As one moves through the coil-like architecture, it unfolds, multiplying perspectives. The installation principally consists of conterie (seed beads), historically employed as both currency and items of exchange. Conterie were dispersed globally from the Venetian island of Murano and incorporated into various material cultures. Kiwanga uses these tiny glass units to construct the monumental out of the minute, each bead acting as a witness to past transactions that changed the socioeconomic landscape of the sixteenth century and beyond. The work addresses the often-destructive history of commerce and how the trade of these beads shaped the world. Other materials related to the trade of conterie are also included. They rise from the pavilion’s floor onto the walls and spill out into the courtyard. As they meet the beads, they formalise a place of exchange, prompting reflection on issues of value, aesthetics, and global economic relations.")
_the-murder-of-little-mary-phagan-vanessa-neubauer-part-10-of-13.jpg "Alonzo Mann's testimony describes his experience when he appeared on the front page of the Atlanta Constitution in February 1978. He and his father noticed some inaccuracies in the article about Mary Phagan and felt it necessary to convey their opinion to the author. John Phagan Durham, son of Lizzie Mary Etta Phagan, went to Atlanta Constitutional Editor-in-Chief Sears and requested that the article be deleted. Mr. Sears replied that he could not stop the article, and that if the article offended the Phagans, he would apologize, and if it was factually wrong, he would correct it. John Phagan-Durham told Sears he would not make corrections because he was confident that the series had made the front page and corrections would not make it to the front page. The series renewed interest in the assassination of Little Mary Phagan and its aftermath. People wanted to know more about the trial and the lynching, and whether anyone from Phagan was involved in the lynching. Alonzo Mann became more eloquent about the incident. Bernard and the narrator had never heard of young Mary Phagan, but one night Bernard told them that a girl named after the narrator had been murdered. The narrator tells him what happened and why the Phagan family has remained silent. Bernard and the narrator drive to Marietta to visit Mary's grave. The cemetery was located in a wealthy area of the cemetery and had a marble headstone bearing her name and an inscription written by Tom Watson. The narrator quickly memorized the inscription and took a picture of Maria for scrapbooking. A middle-aged couple approached the narrator and asked if he knew where Little Mary Phagan's grave was. Her newspaper article rekindled interest in her, and the narrator was impressed by her relatives' refusal to seek public attention and their desire to remain anonymous. That year, 1978, was a year full of beginnings and innovations for the narrator, including when her father contacted a reporter to acknowledge her relationship with Mary for the first time. A few days after the accident, the narrator decides to check on the elderly woman who hit her car and see if she has filed insurance papers. As she opens the door, the narrator explains that it was she who was involved in the accident and is checking to see if she has filed her insurance papers. The narrator meets a woman who is blind and deaf and needs help filling out her form. She asked the narrator if they were related to Little Mary Phagan, and the narrator filled out her paperwork and read it through her magnifying glass. The woman then asked the narrator if she was related to Little Mary Phagan, to which she replied that the narrator was. Her wife then told the narrator about her life at the time and the changes she had undergone in her 92 years. The narrator had a great time and was invited to lunch with the lady. Her lady found the narrator listening to herself carefully, and the next day the narrator again received an invitation to lunch.<br/><br/>")
_blondie-hit-their-first-no-1-on-the-hot-100-with-92.webp "On today’s episode of Billboard's Chart Rewind, we look back at Blondie hitting their first of four No.1s on the Hot 100 with their hit \")
_flash-marriage-with-my-alpha1.webp "Flash Marriage with my Alpha1")
_sabrina-the-teenage-witch-season-1-episode-14-sabrina-through-the-looking-glass.webp "Sabrina the Teenage Witch Season 1 Episode 14 Sabrina Through The Looking Glass")
_ex-tabloid-boss-reveals-how-much-he-spent-buying-and-killing-stories-about-schwarzenegger-tiger-woods-at-trump-hush-mone.webp "David Pecker described his “catch and kill” operations for Arnold Schwarzenegger, Tiger Woods and Mark Wahlberg at Donald Trump’s hush money trial Thursday.")
_flash-marriage-with-my-alpha1.webp "Flash Marriage with my Alpha1")
_flash-marriage-with-my-alpha1.webp "Flash Marriage with my Alpha1")
_kapwani-kiwanga-trinket-92-canadian-pavilion-at-venice-art-biennale-2024.webp "Kapwani Kiwanga: Trinket / Canadian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia. Venice (Italy), April 19, 2024.<br/><br/>Official description: Kapwani Kiwanga is a multi-disciplinary artist concerned with forms of power: their suppressed histories and quotidian effects. The artist transforms the Canada Pavilion by way of a site- specific sculptural installation on the building’s interior and exterior, turning it into a large-scale tableau. Shapes shift, dissolving distinctions between inside and outside. As one moves through the coil-like architecture, it unfolds, multiplying perspectives. The installation principally consists of conterie (seed beads), historically employed as both currency and items of exchange. Conterie were dispersed globally from the Venetian island of Murano and incorporated into various material cultures. Kiwanga uses these tiny glass units to construct the monumental out of the minute, each bead acting as a witness to past transactions that changed the socioeconomic landscape of the sixteenth century and beyond. The work addresses the often-destructive history of commerce and how the trade of these beads shaped the world. Other materials related to the trade of conterie are also included. They rise from the pavilion’s floor onto the walls and spill out into the courtyard. As they meet the beads, they formalise a place of exchange, prompting reflection on issues of value, aesthetics, and global economic relations.")
_the-murder-of-little-mary-phagan-vanessa-neubauer-part-10-of-13.webp "Alonzo Mann's testimony describes his experience when he appeared on the front page of the Atlanta Constitution in February 1978. He and his father noticed some inaccuracies in the article about Mary Phagan and felt it necessary to convey their opinion to the author. John Phagan Durham, son of Lizzie Mary Etta Phagan, went to Atlanta Constitutional Editor-in-Chief Sears and requested that the article be deleted. Mr. Sears replied that he could not stop the article, and that if the article offended the Phagans, he would apologize, and if it was factually wrong, he would correct it. John Phagan-Durham told Sears he would not make corrections because he was confident that the series had made the front page and corrections would not make it to the front page. The series renewed interest in the assassination of Little Mary Phagan and its aftermath. People wanted to know more about the trial and the lynching, and whether anyone from Phagan was involved in the lynching. Alonzo Mann became more eloquent about the incident. Bernard and the narrator had never heard of young Mary Phagan, but one night Bernard told them that a girl named after the narrator had been murdered. The narrator tells him what happened and why the Phagan family has remained silent. Bernard and the narrator drive to Marietta to visit Mary's grave. The cemetery was located in a wealthy area of the cemetery and had a marble headstone bearing her name and an inscription written by Tom Watson. The narrator quickly memorized the inscription and took a picture of Maria for scrapbooking. A middle-aged couple approached the narrator and asked if he knew where Little Mary Phagan's grave was. Her newspaper article rekindled interest in her, and the narrator was impressed by her relatives' refusal to seek public attention and their desire to remain anonymous. That year, 1978, was a year full of beginnings and innovations for the narrator, including when her father contacted a reporter to acknowledge her relationship with Mary for the first time. A few days after the accident, the narrator decides to check on the elderly woman who hit her car and see if she has filed insurance papers. As she opens the door, the narrator explains that it was she who was involved in the accident and is checking to see if she has filed her insurance papers. The narrator meets a woman who is blind and deaf and needs help filling out her form. She asked the narrator if they were related to Little Mary Phagan, and the narrator filled out her paperwork and read it through her magnifying glass. The woman then asked the narrator if she was related to Little Mary Phagan, to which she replied that the narrator was. Her wife then told the narrator about her life at the time and the changes she had undergone in her 92 years. The narrator had a great time and was invited to lunch with the lady. Her lady found the narrator listening to herself carefully, and the next day the narrator again received an invitation to lunch.<br/><br/>")
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