Economy & business/Showcase/World
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У обиженного карлика пукина истерика: газпром продолжает выбрасывать “деньги в трубу”

У обиженного карлика пукина истерика: газпром продолжает выбрасывать “деньги в трубу”.

Новые обстоятельства вынуждают газпром тратить деньги впустую на свои любимые газопроводы, коих понатыкано по всей Европе и во всех направлениях
 

 
 
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Фиаско обиженного карлика пукина выскочки: США готовы утопить путляндию в сланцевой нефти

Фиаско обиженного карлика пукина выскочки: США готовы утопить путляндию в сланцевой нефти
 

 
 
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Обиженный карлик пукин дедка-победка снова сел в лужу на красной площади

Обиженный карлик пукин дедка-победка снова сел в лужу на красной площади.

Культ победы является путляндской идеологией замещения
 

 
 
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Карантин не для олігархів. Як придуркам медведчуку, коломойському, хорошковському «відкривали небо»

Карантин не для олігархів. Як придуркам медведчуку, коломойському, хорошковському «відкривали небо».

Майже три місяці українці прожили в умовах жорсткого карантину: зупинка транспорту, обмеження вільного пересування, неможливість дістатись до роботи, скасовані відпустки й подорожі, перекриті кордони й закрите авіасполучення. Але, як ми виявили, небо закрилось не для всіх.

Так, більшість українських аеропортів мали зупинити відправку й прийняття пасажирів – але для окремих чартерів і приватних літаків злітну смугу все ж відкривали. Зокрема, для впливових політиків та олігархів. Які під час дії карантинних обмежень: як виявили журналісти літали як Україною, так і закордон. Як їм це вдавалося, хто надав їм такі привілеї та чи справді всі ці винятки були обумовлені державними інтересами?
 

 
 
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Украинская ракета FALARICK для орудий НАТО показала себя как большая угроза карлику пукину !

Украинская ракета FALARICK для орудий НАТО показала себя как большая угроза карлику пукину !
 

 
 
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Dixie Chicks Drop ‘Dixie’ from Name with Release of New Protest Song

Country music trio The Dixie Chicks are now just The Chicks, joining other artists and companies who have recently altered their brands to discard names that connote racism or slavery.  The Chicks’ release of a new protest song Thursday came with new social media handles, a new website address and a new cover for an upcoming album. “We want to meet this moment,” members Martie Maguire, Natalie Maines and Emily Strayer said in a joint statement on their website, the only comment on the name change thus far. The Grammy-winning group has performed under its previous moniker since its start in 1989. Dixie and Dixieland are nicknames for the U.S. South, and may have come from the Mason-Dixon line, once considered the line between “free” Northern states and “slave” Southern states. The name change came just a week after writer Jeremy Helligar challenged The Chicks’ former name in a Variety magazine Op-Ed. “For many Black people, (Dixie) conjures a time and a place of bondage,” Helligar said. The Chicks are releasing their first album in 14 years next month, “Gaslighter.” The music video for new protest song “March March” uses footage from Black Lives Matter protests and features the names of prominent victims of racism and police brutality, including George Floyd and Breonna Taylor. In a statement to online magazine Pitchfork, the group thanked a New Zealand-based duo, also called The Chicks, for letting them “share the name.” Country group Lady A, previously known as Lady Antebellum, made a similar change earlier this month to drop associations with the pre-Civil War South. The band faced opposition from Anita White, a Black singer who has used the stage name Lady A for over 20 years. A meeting between the group and White ended in “positive solutions and common ground,” according to social media posts by both.    View this post on Instagram         @ladyantebellumofficial How can you say Black Lives Matter and put your knee on the neck of another Black artist? I’m not mad..I am however not giving up my name, my brand I worked hard for. #GodWillFightMyBattle #TheRealLadyA #LadyABluesSoulFunkGospelArtist #TheTruthIsLoudA post shared by LadyA (@ladya_bluesdiva) on Jun 12, 2020 at 9:34am PDT

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NYC Judge Rejects Trump Family Effort to Halt Tell-All Book

A New York City judge on Thursday dismissed a claim by Donald Trump’s brother that sought to halt the publication of a tell-all book by the president’s niece, saying the court lacked jurisdiction in the case.  Surrogates Court Judge Peter Kelly said the claims were not appropriate for his court, where disputes over estate matters are settled.  The motion filed earlier this week sought an injunction to prevent Mary Trump and the book’s publisher, Simon & Schuster, from releasing it, as scheduled, in July. Mary Trump is the daughter of Fred Trump Jr., the president’s elder brother, who died in 1981. An online description of her book, “Too Much and Never Enough: How My Family Created the World’s Most Dangerous Man,” says it reveals “a nightmare of traumas, destructive relationships, and a tragic combination of neglect and abuse.” Robert Trump’s lawyers filed court papers arguing that Mary Trump and others had signed a settlement agreement that would prohibit her from writing the book. The settlement decades ago included a confidentially clause explicitly saying they would not “publish any account concerning the litigation or their relationship,” unless they all agreed.  The agreement related to the will of Donald Trump’s father, New York real estate developer Fred Trump. Mary Trump’s attorney, Ted Boutrous Jr., said the court was correct in its decision.  “We hope this decision will end the matter. Democracy thrives on the free exchange of ideas, and neither this court nor any other has authority to violate the Constitution by imposing a prior restraint on core political speech,” he said in a statement.  The White House did not have an immediate comment Thursday. A spokesman for Simon & Schuster said in a statement that the publishing house was “delighted” with the decision.  
 

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‘Antebellum’ Brings Racial Justice Call to Reopened Theaters

Back in March, filmmakers Gerard Bush and Christopher Renz gathered their artist friends and a few journalists at Manhattan’s members-only social club, Soho House, for a screening of their first feature-length project, “Antebellum.”They wanted a constructively critical reaction ahead of the planned spring release of the film — a psychological thriller about a Black woman who finds herself trapped in a pre-abolition past that isn’t at all the past. Bush, who is Black, and Renz, who is white, hoped the project would contribute to a national reckoning over the legacy of slavery and white supremacy in the U.S.”To witness how truly moved they were by the film, some even to tears, was the very first time we realized the potential impact ‘Antebellum’ will have on society and the long-deferred conversations that need to be had on race in America,” said the filmmakers, who wrote, directed and produced the project.Then, the coronavirus pandemic exploded internationally.  Once the virus seized up the economy, forcing the closure of movie theaters and all but pushing Hollywood film studios into a mad dash to salvage elaborate release plans, Bush and Renz pulled their film. They said they didn’t want what was intended to be a big theatrical film relegated to a streaming platform, as several movie studios did last spring.  For Bush and Renz, patience may have proven to be a virtue.As many movie theaters reopen in the coming weeks, “Antebellum,” set to be released Aug. 21 by Lionsgate, will debut during the height of a reckoning in America when people are increasingly showing a hunger for works that light a path toward racial justice. Driven in part by nationwide protests over the recent deaths of Black people at the hands of police and vigilantes, it’s a moment that positions “Antebellum” as the only summer release that speaks both to the moment and to the broader movement to defend Black lives from entrenched, systemic racism.”We’ve always believed that 2020 would usher in a brand new era that would require a new type of filmmaking. … We had no idea just how prescient that would prove to be,” Bush and Renz told The Associated Press in a series of interviews and emails since the March screening.”Antebellum,” starring singer and actress Janelle Monáe, plucks the legacy of American slavery out of the past and places it squarely in the present — in a politically divided nation where Confederate nostalgia and white supremacist violence wreak havoc on Black life. The film follows successful Black book author Veronica Henley, played by Monáe, on a quest to destroy the vestiges of that legacy.If that sounds eerily similar to present-day America, it is mere coincidence, Bush and Renz said. Over the last month, protests sparked by the death of George Floyd, a Black man who died May 25 after a white Minneapolis officer held a knee to his neck, have given way to the removal of Confederate monuments, building name changes at public and private schools, and the shedding of racist caricatures from food packaging.Everyday Americans, Black and non-Black, are in the streets demanding seismic policy shifts in policing and the criminal justice system. It’s a consequence of having never reckoned with America’s original sin, Bush said.”We intend to wake people up from the daydream that a superhero is coming to save us,” he said. “Only we, meaning humanity, can save us from ourselves.”Monáe played a supporting role in last year’s “Harriet,” a biopic about the abolitionist Harriet Tubman, and she won critical acclaim for her role in the Academy Award-winning film “Moonlight.” In “Antebellum,” Monáe gives moviegoers a modern Black heroine who takes charge of her own liberation without a male-dominated cavalry.”I knew that it was something that I needed to do, not just for myself, but for my ancestors and for all of the many Black women I considered to be modern-day superheroes,” Monáe told the AP.”I hope that (the film) causes those with privilege in this country to have conversations amongst each other, because the topics in this film … are not for Black people to try to fix,” she added.Monáe had never worked with Bush and Renz prior to “Antebellum,” only learning of them because of their work on visuals that accompanied hip hop mogul Jay-Z’s 4:44 album in 2017. The duo started out more than a decade ago as heads of a creative marketing and advertising firm with luxury brand clients such as Moët, Harry Winston and Porsche.After the 2012 killing of Travyon Martin, the filmmakers found themselves wondering if they were “just gonna sell champagne for the next 20 or 30 years,” Renz said.That period of self-reflection led to partnerships with social justice organizations such as Harry Belafonte’s Sankofa.org. In 2016, Bush and Renz directed ” Against The Wall,” a star-studded video campaign to draw attention to racial profiling in law enforcement featuring actors Michael B. Jordan, who starred in the 2013 police brutality drama “Fruitvale Station,” and Michael K. Williams, of HBO’s “The Wire,” as well as activist and CNN commentator Van Jones.The video shows Black men and women assuming the position, as though they were being stopped and frisked by police, while dispatcher recordings of actual officers describe suspects in racially discriminatory terms. It also included a recording of George Zimmerman’s voice from the day he called police to report Trayvon Martin as a suspected burglar before shooting and killing the Florida teen.That project was followed by others featuring musicreleases from artists such as Ty Dolla $ign, Raphael Saadiq and Mali Music on Jay-Z’s TIDAL streaming service. Their path to feature-length films with a racial justice message has been a long time coming, Bush and Renz said.At times, “Antebellum” uses graphically violent depictions of the inhumane treatment of enslaved people, which in recent films has elicited disapproval from some critics and Black moviegoers who were weary of unimaginative Hollywood slavery films.Bush and Renz said they want audiences to trust that they have done something entirely different.”Some within today’s culture are triggered by art, when that is precisely what art is meant to do. We would much prefer you be triggered in a theater and activated to take meaningful, positive action — than all of us continuing to live in an open-air shooting gallery every time we leave our homes,” Bush said.Even as they anticipate finding box office success with “Antebellum,” Bush and Renz are already at work on their second feature-length script, under a newly formed production company, Gloaming Pictures.”Not since the ’60s has the call for an artistic revolution been so urgent,” Bush said. “The work is only just beginning.”

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