Europeans brought the first slaves to America. Then, the immigrent Scot-Irish put gunmen in the field of battle, and won the Revolutionary War. The Scot-Irish had been fighting the Redcoats for hundred’s of years. They killed the loyalists and took their property. This was a White Nationalist Movement. The British did not want the Irish and the Scottish to feel Nationalistic. Most black people do not feel Nationalist. Obama was no help. The evangelicals pushed nationalism through the church, and one party. This is why they do not feel culpable for the wrongs of their President – and party. Our Democracy is in extreme crisis. The Republicans are creating a fantasy world, a alternative reality, where TRUTH has been BANNED! Banned in Boston and the Blue States. Trump’s evangelical-base don’t care if their President lies ten thousand times a year. The are the National People of King Jesus. They are the proud owners of America.
The scenario that Eric Richardson foist upon Walt Disney, and the lovers of Walt – is real when it comes to Evil Wizard POTUS! I decided to post the video I took of Eric’s political message, that says his people were brought here against their will, and thus his participation in White Reality is less than enthusiastic, and, living White People are going to have to make major adjustments, such as surrender their pride in being White. Does Eric demand White Europeans stop being prideful? Trump is trying to destroy NATO as I type. I believe he is a Russian Agent.
I am going to post more on the Bohemian Rebels who lived next door to real Nazis. Black People in American are not living next door to real Nazis, just fake ones. Eugene has been a Mecca for Hippies and Bohemians. There is a nihilistic tone to Eric’s rant, that says he and black people have resigned from white society – just like they did when they didn’t bother to vote – and Trump got elected.
“Take that! We got power! Surrender to us! Be guilty and ashamed, or we will put Trump back in office – again! Take that you Bohemian Beatnik Bubbas!”
I fought against this four years ago! I saw it coming. I reported on it, and got ostracized! I did a drive-by of the Mim’s house wearing a Micky Mouse Wizard hat. We hippies would take LSD and got to a theater and watch Fantasia. Society did not cater to us. We made our culture from scratch – while the entire Armed Forces and the FBI – did everything to destroy us!
A movie was made about the Swing Kids of Nazi Germany. They were the tip of the iceberg. Wild and Crazy Germans imported Black Music and used it as a weapon against THE NAZIS NEXT DOOR! I have every intention of making sure MY BOHEMIAN PEOPLE SURVIVE!
There is not a large black population in Eugene. Are they WITH ME, or, against me? I intend to reach out to like-minded Europeans, and create a BOND. I see Hands Across the Water. I see a Society of Truth living in vortex surrounded by Lying Nazis in America, who are just – a kiss away!
I am not some young punk toting a New Age Theory. I am a veteran. I have been on the front lines. I carry an old beat up black case. I got my horn inside. I know how to play it – real good! Play these videos at the same time. Mix it up! Do you want to win one battle, or…THE WHOLE DAMN WAR!
I just had a vision. I see Eric with a Jazz band at the Hult. Instead of digging for more black roots, he’s digging for white roots. The first piece is titled ‘Return to the Shire’. The mostly white audience won’t recognize it at first. When they do, there will be applause! Some folks might stand up!
I have been trying to talk Marilyn into doing another show at the Hult. It could be about the Swing Kids and German youth adopted black Jazz Artists. M’s friend, Les McCann moved to Europe add married a white French torch singer. We can get him to do our True National Anthem – and make it real!
William Morris (24 March 1834 – 3 October 1896) was an English artist and author, who wrote and published poetry, fiction, and translations of ancient and medieval texts throughout his life. J.R.R. Tolkien was influenced by both the artistic and literary work of William Morris.
 Literary influence
Literary works by Morris, which Tolkien explicitly stated to have had an impact on his writing, are his translation of the Völsunga Saga,, and his novels The House of the Wolfings and The Roots of the Mountains. Tolkien also said in an early letter to Edith that he tried to use some of Morris’s literary techniques when writing “The Story of Kullervo“.
Furthermore, scholars have deduced possible implicit influences from these and several others of Morris’s works: The Earthly Paradise (for The Book of Lost Tales), The Roots of the Mountains (for Gollum), The Wood beyond the World (for Lothlórien and Fangorn), and his translation of The Saga of Gunnlaug the Worm-tongue (for Gríma Wormtongue).
 Artistic influence
In several illustrations, Tolkien was clearly inspired by the decorative style found in the Arts and Crafts Movement (of which Morris was the central figure and one of the founders) and the related Art Nouveau. The design philosophy of Morris was to re-introduce traditional craftsmanship by using simple forms and patterns and often medieval, romantic or folk styles of decoration (in reaction to early to the early modern industrial design), a theme which can be seen in some of Tolkien’s illustrations from the late 1920s (see, e.g., ‘Tol Sirion‘), some of his paintings for The Hobbit, the ornamental patterns drawn in later years, and his hand-drawn maps of Middle-earth.
 Bibliography, selected
- 1867: The Life and Death of Jason
- 1888: The House of the Wolfings
- 1889: The Roots of the Mountains
- 1896: The Well at the World’s End
- 1870: Völsung Saga: The Story of the Volsungs and Niblungs, with Certain Songs from the Elder Edda (with Eiríkr Magnússon)
France’s flirtation with Russia goes even deeper and is therefore more worrisome. French President Emmanuel Macron, clearly angered by Trump’s complaints about NATO and threats to pull out, has decided to preempt that possibility essentially by forging a new geopolitical deal with Russia. Macron invokes an autonomous Europe (presumably under French leadership) making a deal with Russia, which, in any case, is allegedly not the main threat to European security.
The sub-text of this deal will be forcing Ukraine to accept Russia’s forcible seizure of its territory in return for which the new Europe will magically prevent Russia and China from forging an alliance and also, tacitly restrain German ambitions. This kind of geopolitical nonsense may enjoy support among French intellectuals who think the EU should remain neutral between the U.S. and China and presumably welcome back an unrepentant Russia into the fold. But it represents the abnegation if not nadir of the great tradition of French statesmanship dating back to Richelieu, and offers nothing to Europe.
The Café Bohemia is a jazz club located at 15 Barrow Street in the Greenwich Village neighbourhood of New York City. Its original run lasted from 1955 to 1960, and has been revived at its original location as of October 2019.[1
The club was opened in 1955 by Jimmy Garofolo. Garofolo had owned the room since 1949 and had operated it as a restaurant, bar, and stage at various times, each endeavour turning out unsuccessfully. In 1955, saxophonist Charlie Parker was living across the street from the club with poet Ted Joans. Parker offered to play the club for Garofolo in order to get his drinks for free, which unofficially began the room’s short-lived life as a jazz club. Parker died prior to the beginning of his engagement at the Bohemia, but the hype generated around his name being promoted was enough to garner further support for the new club.
Among the bands that played the club were the first Miles Davis Quintet, Art Blakey‘s original Jazz Messengers, and Kenny Dorham‘s Jazz Prophets. At one point Herbie Nichols was the intermission pianist. Miles Davis’s Prestige recordings Workin’, Relaxin’, Steamin’, and Cookin’ were meant to convey the spirit of the group’s performances at the Bohemia. This is most evident on Workin’ where the band’s set closer “The Theme” is played at the end of each side of the record, and one piano trio number, “Ahmad’s Blues”, is featured.
The cover photograph of the Miles Davis record ‘Round About Midnight was one of several taken by Marvin Koner during the quintet’s stay at the club in 1956. The photograph retains the actual colouring but is cropped from the original. The red hue was due to a red fluorescent light above the bandstand.
As of October 2019, Café Bohemia has been revived in its original location, in the basement of the Barrow Street Ale House (which was established in 1990).
Cannonball Adderley’s New York debut
On 19 June 1955 Julian and Nat Adderley arrived in New York on a trip for the former to work on his Master’s Degree at New York University. That first night in the city the brothers went to the Café Bohemia to hear the Oscar Pettiford band, which was the club’s house band at the time. Jerome Richardson, who was the group’s regular saxophonist was unavailable that evening due to a recording session. Pettiford asked Charlie Rouse – who was in the audience – if he would sit in, but Rouse did not have his saxophone with him. Pettiford then noticed another audience member, Adderley, who had a saxophone case with him and told Rouse to ask this unknown man if he could borrow his horn. Instead, Rouse asked Cannonball if he would like to sit in with the group. Reluctantly, the leader complied and allowed Adderley to play. Overnight Adderley rose to prominence on the New York jazz scene. On 21 June he officially played his first night at the Bohemia; on June 28, 1955 he recorded with Kenny Clarke’s group; on 14 July he recorded his first album as a leader. By October 1957 he was a member of the Miles Davis Sextet..
This purpose of this project is to commemorate and honor lost womyn’s space–both ancient and modern. This can mean anything from lost women’s colleges and schools, to lesbian bars and clubs. And everything sacred and profane in between.
The Ringvereine (English: “Ring clubs”, as members identified themselves by wearing a ring) were criminal gangs operating in late 19th and early 20th century Germany, notably the Weimar period. Ostensibly convicts associations formed in the 1890s to aid their reintegration to society, the Ringvereine became convenient fronts for illegal activities as well as providing a ready network of underworld contacts. Like the Mafia, these associations also followed certain rules and a code-of-conduct. Since these groups practiced witness intimidation and members provided alibis for one another, it was difficult to prove their involvement in a crime.
The term emerged for a union with criminal orientation when several clubs by former prisoners joined up to the holding organization “Ring Berlin”. The “Ring-brothers” could be identified by the identical signet rings and were bound to absolute secrecy particularly towards the police. The criminal clubs of the 1920s held melodious names such as “Berliner”, “Immertreu” (“always faithful”), “Libelle” (“Dragonfly”) or “Apachenblut (“blood of the Apache”). The members provided each other with alibis and lawyers, supported each other financially and looked after the families of the other members. The union was funded by a charge of the spoils from the organized crimes.
When the Nazis came to power in 1933 they promised to restore law and order and outlawed Ringvereine associations. Nevertheless, despite being banned and the best efforts of the Nazi regime, these organised gangs would persist for a number of years. During communist rule in the eastern part of Germany supported by the Soviet Union, the Ringvereine were suppressed.