Archive for June, 2014

BLACK PEOPLE!- BLACK BABIES AND BLACK BREAST FEEDING- LET BLACK WOMEN TAKE TIME TO DO MORE OF BREAST FEEDING AS IT BONDS YOU TO YOUR CHILD LIKE NOTHING ELSE ATI IT IS THE BEST GIFT OF HEALTH YOU CAN GIVE OUR BEAUTIFUL BLACK BABY!

June 25, 2014

FROM YEYEOLADE.BLOGSPOT.COM

WE MUST HAVE A BLACK STANDARD OF BEAUTY BASED ON THE BLACK SKINNED BLACKEST WOMAN

Friday, June 20, 2014

BLACK BABIES AND BLACK BREAST FEEDING-LET BLACK WOMEN TAKE TIME TO DO MORE OF BREAST FEEDING AS IT BONDS YOU TO YOUR CHILD LIKE NOTHING ELSE ATI IT IS THE BEST GIFT OF HEALTH YOU CAN GIVE YOUR BEAUTIFUL BLACK BABY!

 

 

 

 

 

 

WE WERE FORCED TO DO THIS DURING SLAVERY O!

 

 

WE MUST HAVE A BLACK STANDARD OF BEAUTY BASED ON THE BLACK SKINNED BLACKEST WOMAN

Friday, June 20, 2014

BLACK PEOPLE! – LUPITA NYONG’O MAKES THE COVER OF VOGUE MAGAZINE WITH HER BLACK SKINNED BEAUTY! -FROM VOGUE.COM

June 23, 2014

a_3x-verticallupita-nyongo-vogue-cofrom vogue.com Lupita Nyong’o on Winning the Oscar, Becoming the Face of Lancôme, and Her First Cover of Vogue by Hamish Bowles | photographed by Mikael Jansson 34 Lupita Nyong’o first Vogue cover Photographed by Mikael Jansson, Vogue, July 2014 » SEE THE SLIDESHOW « In little more than a year, Lupita Nyong’o has made the leap from serious student to Oscar-winning actress and head-turning fashion star. Hamish Bowles catches up with Hollywood’s newest golden girl. Marrakech in May is unseasonably tagine-hot. Hapless tourists are being felled by sunstroke merely from sauntering across the city’s pulsing medina square, which is all but abandoned by the native food and trinket traders, snake-charmers, and storytellers who will throng it in the desert cool of evening. But in the oasis sanctuary of the Ksar Char-Bagh, all is balmy dolce far niente. A luxe spa hostelry built in imitation of a castle-like fort in the middle of the Palmeraie, it has crenellated towers that hide a private dipping pool and afford views down to a central marbled courtyard modeled on Granada’s Moorish Alhambra, and across the palm groves to the distant Atlas Mountains. Guests are lounging poolside in the shade of an allée of date palms, seemingly oblivious of the Academy Award–winning deity in their midst, who is the focus of the Vogue cover shoot in full fluster around them. Lupita Nyong’o is cucumber-cool, as beautiful and hieratic as an ancient Egyptian statue of a cat goddess, dressed in Prada’s magenta Deco-print dress licked with silver that is dazzling against her luminous skin. Lupita instinctively falls into graceful attitudes; she can’t help herself. “She knows the camera, she knows her angles,” notes an approving Phyllis Posnick, Vogue’s Executive Fashion Editor, who, it should be noted, does not suffer fools gladly but is in some kind of awe of this particular subject. It is easy to see why. Lupita, 31, is as preternaturally poised as a prewar debutante, with a carefully modulated, cut-crystal accent and a quaint use of English to match. When she discusses one of the most harrowing scenes in the infinitely harrowing 12 Years a Slave, Steve McQueen’s magisterial movie in which she made her unforgettable screen debut as the tormented slave girl Patsey, she describes her character, delicately, as being “completely disrobed.” See Lupita Nyong’o’s best red carpet looks. At the BAFTAs at London’s Royal Opera House in February, I happened to follow Lupita’s blindingly flash-lit entrance on the red carpet as she artfully manipulated the emerald-green organza Dior ball gown billowing around her. There was nothing in this swanlike apparition to suggest how stressful the relentless awards-show circuit can be. “Still waters run deep,” she explains with an enigmatic smile. In all, Lupita attended 60-some promotional events during a grueling five-month odyssey that began with the Toronto Film Festival in early September 2013 (where she first blazoned the promise of fashion stardom in Prada’s white jersey goddess dress, trellised with golden sequins). Small wonder that The New York Times’s Guy Trebay noted the “military precision” with which her management and stylists approached the campaign to conquer the red carpet and burn Lupita’s image into the collective consciousness—garnering her, among other things, a lucrative contract with Lancôme. (As Isabella Rossellini, the international face of the brand for more than a decade, beginning in 1983, describes it, “Having this contract is winning the lottery” and provided her with “the freedom to make only the films that I liked and not the films I didn’t.”) Lupita appreciates the fact that Lancôme’s brand ambassadors, who currently include Julia Roberts, Kate Winslet, and Penélope Cruz, “are very different, unique women—it’s not about conforming to an already established idea of what is beautiful, and I like that.” In her meetings with the beauty house’s executives, she echoed powerful sentiments she expressed in a speech earlier in the year at the Essence Black Women in Hollywood Luncheon. “I remember a time when I too felt unbeautiful,” she told the audience that day, and described the sensation of having a flower bloom inside her when the Sudanese-born Alek Wek appeared on the modeling scene in the mid-nineties. Over dinner at Le Tobsil, a spice-colored riad restaurant in the medina, she tells me, “I felt how valuable and vital such representation is.” As we are serenaded by the hypnotic chant of the Gnawa musicians in the adjoining courtyard, I suggest to Lupita that she must have had a completely surreal year. “Indeed I did,” she says, laughing. “It just feels like the entertainment industry exploded into my life. People who seemed so distant all of a sudden were right in front of me and recognizing me—before I recognized them!” Her first real intimation that her life was changing—probably forever—came after the SAG Awards in January, when she arrived late one night at the airport and was mobbed by paparazzi. “For a split second I looked behind me to see who they were flashing at—and it was me!” she remembers. “That was, I think, the beginning of the end of my anonymity.” Though, as she recalls with a laugh, she lived for three years as a student in pants and a sweatshirt, Lupita has always enjoyed fashion. Growing up in Kenya, she designed many of her own clothes “because it was cheaper than buying retail,” including her own prom dress when she graduated from the all-boys high school she attended in Nairobi—girls were accepted only in two advanced-placement classes. “It was a velvet miniskirt with a matching little top and an iridescent silver translucent fabric that flowed to the ground,” she remembers. “It was kind of ridiculous, but it was fabulous at the time.” Lupita realized that she needed a more considered approach to her fashion choices as she prepared for the formidable season of appearances for 12 Years a Slave. She had worked with and befriended Michelle Dockery (Downton Abbey’s Lady Mary) on Non-Stop (a rollicking suspense vehicle for Liam Neeson that was released two days before the Academy Awards, with Lupita—in what more than one critic described as a meager role—as a flight attendant alongside Dockery). Dockery introduced her to her stylist, Micaela Erlanger, a protégée of the late Annabel Tollman, who helped shape the red-carpet personas of Scarlett Johansson and Mary-Kate and Ashley Olsen, among others. Lupita arrived for their first meeting armed with a Pinterest board of fashion ideas that appealed to her: “Bold color, interesting print, interesting silhouette—simple but architectural and feminine,” Erlanger remembers. “Elegance, but with a sense of humor.” The pair proceeded to meet for “epic six-hour fittings,” says Lupita. “It’s a job; it’s work, you know!” she tells me. “We’d just try, try, try, try, try, try, try. At first it was very daunting, but I ended up really having fun with it.” Their choices have run the gamut from Christopher Kane and Sacai to custom Prada and Chanel Haute Couture. Most times, she adds, “especially for the bigger awards, the dress let me know it was going to be worn. It’s quite scary when you fall in love with a dress, because it’s nothing to do with your brain. It’s like a gut reaction.” The caped scarlet Ralph Lauren gown for the Golden Globes was a case in point: “We got goose bumps,” remembers Erlanger of that fitting. “I told her, ‘This is going to be a game-changer.’ And it was.” Lupita was cast in Miu Miu’s spring campaign alongside Elizabeth Olsen, Elle Fanning, and Bella Heathcote, and attended the label’s fashion show in Paris, dressed in a collared burgundy sweater under the sort of stiff little coat that Britain’s royal children have traditionally worn—the prim Good Girl foil to her front-row neighbor, Rihanna, who was working an eighties banjee-girl look in a runway-fresh Prada shearling coat, a plunging décolleté, and a Cleopatra bob. As for Lupita’s short crop, which she has worn since she was nineteen, hairstylists Ted Gibson, Larry Sims, and Vernon François have worked such iterations as a two-pronged Mohawk, a Grace Jones flat-top crew cut, a widow’s peak, and a Gumby. The bold and adventurous makeup choices she makes with Nick Barose, meanwhile, annex beauty as a virtual accessory to her wardrobe. “You spend so much time with your glam squad,” says Lupita. “Their energy is the last thing you experience before you leave the hotel room—and they make it fun and light and manageable.” Before she embarked on her fashion marathon, “everyone said, ‘Brace yourself, Lupita! Keep a granola bar in that clutch of yours!’ ” she confides. “I didn’t really understand what they meant, and it was only once it was past that I realized that my body had been holding on by a thread to get through this very intense experience. Nothing can prepare you for awards season,” she continues. “The red carpet feels like a war zone, except you cannot fly or fight; you just have to stand there and take it.” She considers for a moment. “I hope they don’t make that the big quote!” she says, laughing. “Because that would be sad! Tell them not to do that!” It is understandable that Lupita would hesitate to trivialize the idea of internecine strife. Her current beau, the Somali-born rapper K’naan, has a preternatural serenity of his own that belies a childhood of unimaginable ferocity in his civil war–torn homeland, when he saw playmates die. (He fled with his family to Toronto, where, like so many of his disenchanted, rootless compatriots, he turned to a life of petty crime before reinventing himself through music, achieving global recognition when he adapted the lyrics of his anthemic “Wavin’ Flag” to become Coke’s official 2010 FIFA World Cup song.) Lupita’s childhood, though privileged, was hardly settled. Her father, Peter Anyang’ Nyong’o, a political-science professor, opposed the government of Daniel arap Moi, whose turbulent presidency lasted 24 years. Nyong’o’s brother “disappeared,” and Nyong’o was eventually self-exiled to Mexico, where Lupita was born in 1983. (Her name, in the symbolic Luo tradition, is a play on the word luo itself, which means “to follow,” and Peter is her father’s name, so that run together they suggest “I followed Peter to Mexico.” Lupita also speaks Swahili.) The family eventually returned to Nairobi, where her father continued to face intermittent persecution by the system, which changed with the election of Mwai Kibaki in 2002. He is currently a senator in the Kenyan parliament. He is also, let it be noted, an actor manqué, with a passion for Shakespeare, instilling in his daughter, along with her five siblings, an appetite for performance since childhood. “My family is very close-knit,” she explains. “My aunt, who was an actor herself, would get all us children together to write and perform plays. I loved manipulating my parents’ emotions.” When her mother, Dorothy, cried out at the tragic denouement of one of the plays, Lupita remembers “feeling very powerful.” They are clearly close; Dorothy has often accompanied her to awards shows, as have her siblings, including her acting-mad little brother, Peter. In Morocco, hearing that Dorothy fretted that her daughter wasn’t eating enough, Lupita spelled out I Love You with her Ksar Char-Bagh breakfast fruit and sent it to her as a charming freeze-frame iPhone video on Mother’s Day. At fourteen, Lupita secured her first legitimate role, playing Juliet with the Phoenix Players, Nairobi’s “vibrant semiprofessional theater,” and experienced the same thrill when the performance brought the audience to tears at the end. “That was when I realized that I really loved this thing called playacting.” Lupita’s father has a master’s degree and a doctorate from the University of Chicago, and, like many middle-class Kenyans, Lupita was expected to continue her higher education abroad. So in 2003, at the age of 20, she began taking classes in film and African studies at Hampshire College in Massachusetts—an experience that she found to be “a major culture shock” after her self-described “very conservative” schooling in Kenya. “I felt like I needed rules,” she says, “but in the end, it taught me that I am very self-motivated—I can make my own rules!” While at Hampshire, Lupita went home to Kenya and managed to finagle herself into working on the set of The Constant Gardener, which was shooting there. She met its star Ralph Fiennes and confided in him her passion to act. He firmly told her not to pursue it as a career unless it was something “I couldn’t live without”—advice that, as she admits, “gave me pause.” In Kenya, as she notes, acting “wasn’t a viable career path; it’s not necessarily seen as a prestigious profession.” Expectations ran high: Her cousin Isis Nyong’o (a former VP and managing director of the African operations of InMobi, the independent mobile advertising network) has been cited by Forbes as one of Africa’s most successful women. After undergraduate studies, Lupita returned home to Kenya, and she experienced something of an existential crisis before having “this vivid image of myself at 60, looking back at my life and really regretting that I hadn’t tried to be an actor. That was the dawn that I needed to start pursuing this.” She applied to Yale; if it didn’t work out, she would return to production. She had already written, directed, and produced a documentary for her Hampshire thesis project: In My Genes, about a friend’s experience living with albinism in Kenya, where the condition is considered a bad omen and those born with it are subject to discrimination—and worse (“I traveled all those thousands of miles just to learn about my next-door neighbor!” says Lupita). Without a theater library in Nairobi, Lupita reverted to her Juliet, and to high school pieces to perform for her Yale application, which involved auditioning on one day and waiting to hear whether you were going to be called back a month later. During the interview, she was asked when she was planning to return to Kenya. “After callbacks,” she replied. “They laughed, but it was true. I had to make that call, and that was of course very scary and presumptuous, but I was not going to sell myself short.” Lupita was accepted but delayed her arrival to appear in Shuga, the groundbreaking Kenyan soap opera that was produced by the MTV Staying Alive Foundation, in collaboration with the Kenyan government, intended to promote “responsible sexual behavior and tolerance.” (It was aired in 46 African countries and subsequently in over sixteen more around the world.) When she finally arrived at Yale, among so many dedicated students, the experience was revelatory, even if the schedule was unforgiving—“In one day you’re playing five different characters,” and between class and rehearsals she was often studying from 9:00 in the morning until 1:00 the following morning. But even so, as she prepared for her final-semester showcases (presented in New York and Los Angeles to a packed house of agents, managers, producers, and casting directors), she was also working on an audition tape for the role of Patsey. By his account, Steve McQueen had already seen “thousands” of actresses for the role, but when he saw that tape, as he told Vogue, “It was like looking for a piece of glass on a sandy beach and finding a jewel. . . . She has this aura about her.” Working with his cinematographer, Sean Bobbitt (“They are like tango dancers,” notes Lupita), and filming her scenes in an almost documentary way, McQueen (who won Britain’s prestigious Turner Prize in 1999 as a video artist) potently captured that aura onscreen. “I was really nervous about seeing myself in 12 Years a Slave,” says Lupita, “because it had been such a profound experience in all ways. I remember it being one of the most joyful times in my life—and also one of the most sorrowful. I didn’t want my experience to be a vain one. But I will say that when I watched it, my heartstrings were pulled so tight for Solomon that I couldn’t go into the ego trip. I cried—I mean, I was inconsolable. I wept for an hour after the movie.” Lupita’s tears were the beginning of a journey that led to her Academy Award. “I had already gotten the nomination, which was truly, truly astounding, and enough,” she remembers. “Even in my dreams of being an actor, my dream was not in the celebrity. My dream was in the work that I wanted to do.” When her name was read out, the experience was, as she recalls, “very confusing, very numbing. I was just repeating my name in my head, so I didn’t know whether I had said my name or they had said my name! And then my little brother screamed, and time was suspended and it was just noise in my head.” As Lupita gathered those voluminous silk georgette pleats of her custom Prada skirts, she remembers that all she could think was “Don’t fall on those stairs” because, as she drolly explains, “it’s not cute if you follow Jennifer Lawrence—it’s not cute if you’re the second one!” “People are still filling me in on what happened after,” she adds. “My mother says I cried during the speech; I don’t believe her.” Those waters do indeed run deep: She was memorably poised, her acceptance speech a model of erudition. “When I look down at this golden statue,” she said, “may it remind me and every little child that no matter where you’re from, your dreams are valid.” So it was that Lupita appeared to spring into our lives fully formed, both as a consummate movie actress receiving her profession’s highest honor and as an intriguing fashion star and superlative beauty icon. She is quick to note that her “red carpet” self “is just one aspect of me; it doesn’t represent the entirety of me, which I am at peace with.” She keeps her private life just that. “The safest thing is when I’m indoors in my world,” she says, which for the moment is an apartment in Brooklyn. When she isn’t cooking at home (“I like to cook whole fish. And I make some mean salads”), she is enjoying the borough’s unpretentious restaurants and bars. The complicated question of how to follow Lupita’s dream debut is one that has clearly been exercising the actress and her management, who recently confirmed that she will be providing the voice for Raksha in Disney’s live-action/CGI hybrid revisiting of The Jungle Book. The news that she’d also been cast alongside Oscar Isaac, Adam Driver, and Game of Thrones star Gwendoline Christie in J. J. Abrams’s Star Wars: Episode VII, out Christmas 2015, meanwhile, sent the Internet into a collective frenzy. “I’m going to a galaxy far, far away,” Lupita told me with a laugh as the announcement was made in early June. In the meantime, she says, “I’m really hungry to get back onstage. It flexes muscles that you need to do the more subtle film work.” She is particularly keen on the writing of the actor-playwright Danai Gurira and loves her plays Eclipsed, about the Liberian civil war, and The Convert, set in southern Africa, about the birth of Christianity on the continent. Like her boyfriend, K’naan, she is very engaged by the myriad issues confronting their homelands. She recently signed on to both coproduce—in partnership with Brad Pitt’s Plan B and two other partners—and star in an adaptation of Nigerian writer Chimamanda Ngozi Adichie’s acclaimed novel about the African immigrant experience, Americanah. “The book blew me away,” she tells me. “This was a project I wanted to work on, and I pursued it with all my being. It’s an unabashedly romantic book, really inspiring and uplifting. I found myself in her pages.” On top of all that, she has a yen for some more Shakespeare. “I thought I’d had my fill at Yale, but . . . oh, boy, I guess there’s nothing like the Bard!” she says, laughing. “I absolutely adore Twelfth Night.” She adds that in the future, Cleopatra and “Lady M” are top of her wish list. As a child watching Star Wars for the first time, Lupita was intrigued by R2-D2 and C-3PO. “They just resonated with me,” she says. “Being able to convey emotions with just a few digital sounds—it speaks of good storytelling.” That storytelling is still holding her in thrall. “It’s a wonderful opportunity to be working in these fantastical realms,” she says. “They’re worlds away from 12 Years a Slave, that’s for sure—but that kind of diversity is what dreams are made of.” For more from Vogue, download the digital edition from iTunes, Kindle, Nook Color, and Next Issue. 1 June 19, 2014 6:00a.m. Summer Style Made Easy From the best beach accessories to the new crop of swimwear designers making waves right now, here, everything you need to know for a stylish summer. View Now 2 Discussions by marie6gaillard I had boycotted the magazine but now I will buy this issue asap. Lupita is absolutely stunning and talented. Now this is fashion. Excellent choice! Posted 6/19/2014 3:56:44pm Reply Approve Report by nucubidze-1997 Hello! I am Mariam Nucubidze! 16 Years! Eager to stars work in Vogue.(The assistant of Anna Wintour)..I am Very enthusiastic and creative.I Love Writing.I have created a television program Project %u201ETeen%u201C(I have a patented).I love news and new Ideas.I have Ideas About in your Magazine.I know the psychology of the people and wishes.But I dont live in the USA.I am from Georgia.(Georgia is a country,not a state.The capital -Tbilisi) If you Hire me for work and a chance for me to ensure my arrival in America.Thank You for your attention.(Write me this email(nucubidze-1997@mail.ru) or call me on phone ( 995 555 107 817)) P.S (If you read my letter,Tell her that I love and am a fan of Anna) Posted 6/21/2014 1:46:20am Reply Approve Report

White People Are The Worst – Hockey Edition

June 20, 2014

NORTH amerikkka!

The Belle Jar

Trigger warning for racist and violent language and images

Last night, Montreal Canadiens player P. K. Subban scored the winning goal against the Boston Bruins in Game 1 of the Eastern Conference Semifinal.

Predictably, Boston fans were outraged. In this case, though, with Subban as one of the few black players in the league, their anger took a sickeningly racist turn.

It was so bad that the n-word was briefly trending on Twitter in Boston. Seriously. Think about that for a minute. Think about how many people must have been tweeting one of the vilest, most degrading racist slurs in our language in order for it to be trending in a city the size of Boston. That is not just a few racist fans making everyone look bad – that is a whole fucking lot of people trying their hardest to make Subban (and all people of colour) aware of just how…

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Light Skin V.S. Dark Skin- Z Ely and R.P.

June 20, 2014

BLACK SKIN WILL RISE AGAIN AND BE ON TOP LIKE IT SHOULD BE AS THE MOST BEAUTIFUL ATI THE FATHER OF ALL SKIN!

The American Dream Movement

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Colorlines Launches ‘Life Cycles of Inequity’ Series about the Black Male Experience

June 20, 2014

BLACK MAN! YOU WILL YET STILL RISE AGAIN!

The Chicago Defender

black-man-reading

It’s been almost a year since George Zimmerman was found not guilty in the murder trial of Trayvon Martin. Still, the discussion it stirred about the black male experience in America continues.

Joining the ranks of short films and documentaries such as “After Trayvon” and “Afraid of Dark,” Colorlines has launched “Life Cycles of Inequity: A Series on Black Men.”

Read more HERE.

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THe Jabali Acrobats are African Acrobats that are so good they tour with the Harlem Globetrotters!

June 20, 2014

Charismaallover's Weblog

Jabali AcrobatsDo you know one way to get in  good shape? Do Acrobatics that is. It  gives the body a workout and flaunts flexibility. How many African acrobats do you know of? Do you at least know of the Jabali Acrobats?

These particular  Aacrobats are African Acrobats. They are originally from Mombassa, Kenya. They blend fast paced movement, music, dance, and acrobatic elegance to put on a full stage theatrical extravaganza.

Their most exciting performances shows the link between athletics and the arts. The  incredible acrobatics,contortions, tumbling, human pyramids, and chair balancing skill of these performers turns to dance, with the Congo Snake Dance, The Flaming Limbo Bar Dance, Skip Rope Footwork techniques and comedy to the most powerful music.

In addition to theatrical  performances, stage shows and festivals worldwide the Jabali Acrobats perform NBA and College halftimes and go visit places often with the Harlem Globetrotters. Other performances involve a…

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Kareem Abdul Jabbar’s take on the Donald Sterling case

June 20, 2014

Leslie Jones, SNL black writer jokes about slavery…is slavery ever funny?

June 20, 2014

politics from the eyes of an ebony mom

Leslie Jones is one of SNL’s newest writers. She is black and made her on camera debut Saturday, but is slavery ever funny? Read the linked story and share your thoughts.

http://www.washingtonpost.com/news/morning-mix/wp/2014/05/05/leslie-jones-of-snl-defends-her-jokes-about-forced-breeding-during-slavery/?tid=hp_mm

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Is #SAVEOURGIRLS the new KONY2012?

June 20, 2014

MI O MO! (I DON’T KNOW WHETHER IT IS TRUE OR NOT!)

politics from the eyes of an ebony mom

michelle obama save our girls
A FRIEND OF MINE POSTED THIS ON HIS FACEBOOK PAGE TODAY:
I am sorry folks I question the validity of this story. KONY 2012. was a fake story and I think this may be as well. When ever the government has something up their sleeves they release something to distract the masses. I could be wrong but no one in Washington gives a damn about Black folks here and i am to believe that they care about 245 missing girls in Nigeria? Michelle Obama takes out time to take this picture? Damn what they getting ready to do to us now?
It did not surprise me that he felt this way, but I was surprised to see that so many of his friends agreed with his analysis. Share your thoughts.

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Should existing wives have a say in additional wives?

June 20, 2014

BEENI O! (YES O!)

Coarse: A Blog

 

 

 

In some cultures, men can take wives and the other wives will not be able to say yea or nay on the matter. 
The man will go off, acquire a new bride, bring her home and everyone is expected to adjust accordingly. 
This seems, to me, to leaves wives in a position to where they have no say over who they will build a family with.
That type of polygyny makes me sad. We don’t have to be in any way alike, we don’t have to like any of the same things. We can be our own types of people. All I ask for is a team-player mentality, the WANT to build this empire for the betterment of all of us.
 

Image

There are women who are preaching that NO, the existing wives should have NO SAY. I SUSPECT it’s because they themselves are recently acquired wives and…

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