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Home>Interviews> DJ Paul Explains Why Three 6 Mafia vs. Bone Thugs Didn't Happen, Hustling Mixtapes & New Podcast
DJ Paul Explains Why Three 6 Mafia vs. Bone Thugs Didn't Happen, Hustling Mixtapes & New Podcast
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DJ Paul recounts one of his final encounters with John Singleton, artists paying homage to Three 6 Mafia, and how hustling mixtapes in high school brokered peace with the ops.
With nearly three decades in the music industry, Three 6 Mafia's influence has been heard across the board. As hip-hop's reached its pinnacle of popularity in the past five years, Three 6 Mafia's influence has become inescapable. DJ Paul and Juicy J created this eerie, dark sound that inspired the uptick in rappers using the triplet flows that Lord Infamous introduced. Meanwhile, Travis Scott, Rae Sremmurd, and Cardi B are the tip of the iceberg when it comes to artists who've sampled or repurposed Three 6 Mafia tracks to their own success in recent years.
Paul and Juicy J's humble beginnings in Memphis transformed into a giant empire that has claimed a stake in Southern hip-hop. In a tale that's being groomed for a TV series, DJ Paul's beginnings started when he was hustling mixtapes at school before ultimately landing a distribution deal with Select-O-Hits -- an independent distributor owned by the Phillips family who put out Elvis' records. The local fame snowballed into national success that molded the Three 6 Mafia empire.
"Me and Juicy paid $2,250 each," DJ Paul told HNHH about making the first Three 6 Mafia project. "$4,500 to make the first Three 6 Mafia album and that shit probably turned into $450 million worth of shit over time, but that's how it started."
DJ Paul's entrepreneurial spirit is a reflection of his overall interests, be it food or real estate. That's the point of his newly relaunched Mafia Radio podcast with HotNewHipHop. DJ Paul will be diving into an array of subjects while remaining the "Hood News Man," as he calls it.
"I just try and keep the guys up to date on it because I know a lot of these guys are just like me back in the day, they was in the streets," Paul explained
"I try to be the Hood News Man. You know, let them know. Like, they standing on the corner doing what they gotta do and they get an alert that I just did a post. They look at it and be like 'Oh shit, n***a, we gotta go back to Africa. They finna blow this motherfucka up n***a. Like okay, DJ Paul just tweeted we gotta go back to Africa, they finna blow the United States up.' So, some shit like that or whatever. I just try and keep n***as informed of what's going on and just try and help as much as I can."
Ahead of the launch of Mafia Radio, DJ Paul chopped it up with HNHH about the new podcast, his relationship with John Singleton, paying homage, and so much more.
This interview has been edited and condensed for clarity.
HNHH: The new Three 6 drops are hard. I saw Metro rockin' one of the shirts the other day in the "Runnin" video -- crazy.
Man, all that shit hard. I been steppin' it up here lately. I wanna turn it more into fashion. We got jogging suits and everything out.
Well, shit. Like, Three 6 is timeless in that sense. The influence goes beyond music and into the aesthetic. The shirt that I saw Metro rockin' had that signature grungy Three 6 style.
Yeah, when I saw him wearing that shirt, I felt like -- I ain't even gon' lie, I felt old. (Laughs) Nah, I'm just joking. But no, I felt like, I was like, now I know we were already this, but now we are an official household name. So it's like when you go out and you see white kids and Asians and whatever, just all different races, rocking a RUN-DMC shirt. Like, I'll be in a grocery store -- the healthy grocery store -- and I'll see some hot white girl wearing a Public Enemy shirt. She probably can't tell you none of the lyrics to "911 Is a Joke" but it's just like (laughs) -- It's just, I don't know, it's just so huge. It's just, like I said, it's a household name, you know? And they love that vintage stuff. And when I saw that I was like, "Damn, we're officially one of those groups right now. We're officially one of those groups." Like, I'm not in Hot Topic or nothing like that. I would love to be, but that felt like one of those Hot Topic moments to me. Growing up, walkin' in there, buying a Van Halen shirt or something. And now seeing kids do the same for me, it's just online. It's cool.
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Just like on that note of being a household name, do you think that the brand itself is as big as the music? Because you can't deny how influential that sound is to the current sound of hip-hop right now.
Right now, our music is bigger than our brand. You know, I'm tryna get it the other way. 'Cause, you know, right now, like, a lot of people are influenced by us and you hear it in every genre of music, basically, these days. I done heard country music. I have produced country music that's been with some of our little seasonings of Three 6 Mafia. Our sound is everywhere. As far as our brand, it's not everywhere like that because there's still people who don't even know our name. Like, they know it, but there's still a lot of people that don't. I be walking down the street and people are like, "Ain't you that rapper? That dude, um?" You know, they know, and they know it and they know the songs and I'll be like "Ah, yeah" and I'll tell 'em. Most of the time I don't tell 'em, but if I tell 'em, I'll be like "Yeah, Three 6 Mafia." They'll be like, "Three 6 Mafia! What did you guys sing?" Well, we had a little song called "Slob on the Knob," "Stay Fly," "Poppin' My Collar." And they be like, "Oh my god!" And they start going crazy about it, just from that. So, it's still the name ain't out there like it could be.
You know, we still get looked over for some stuff. This and that. Like, I think the last time they had that Hip-Hop Honors Awards or whatever it is that they had on TV. We still ain't never been on none of those. Like, when you see a lot of these things about who's the hottest producer or what was the hottest group in the 90s. And you see all these things and they still forget about us. But they'll have a million people on there that was influenced by us and may even have remakes of our songs on there. So, you know, for whatever reason, people still wanna -- I think they do it purposefully -- some people do look over Three 6 Mafia so, that's why I said the brand ain't there but the music is there. They love the music. They just don't wanna show no love to us for whatever reason (Laughs). But I'm not trippin' though, because we got the Oscar (laughs).
"We still get looked over for some stuff. This and that. Like, I think the last time they had that Hip-Hop Honors Awards or whatever it is that they had on TV. We still ain't never been on none of those. Like, when you see a lot of these things about who's the hottest producer or what was the hottest group in the 90s. And you see all these things and they still forget about us. But they'll have a million people on there that was influenced by us and may even have remakes of our songs on there."
I mean, that's what I was about to say. You guys kinda did what no rap group accomplished at the time and broke down the door for the culture moving forward. And it's crazy that you even mentioned that you don't feel like you get the recognition you deserve. You guys are the OGs who kicked off a lot of the wave that you know, I witnessed growing up. And I feel like kids nowadays are witnessing as they grow up.
Mhm. I mean there's a lot of kids -- I mean really, really love us now, because a lot of these kids just startin' to find out who we are. You know, it's cool. So the thing about it though, it's like this because I never wanted the fame. You know, I never wanted the fame. When we first started off, we used to wear masks on our album covers like Mystic Stylez and Live by Yo Rep, and stuff like that. If it was up to me, I should've kept those masks on. But you know the fucking girls started getting at us at these concerts and we took 'em off. But should've kept 'em on. Should've kept 'em on. Like, man, I'd love to be like a KISS or ICP or something like that. You can go to the grocery store and nobody recognize who you is. You can live where you want to. You don't have to live behind gates and shit like that. Man, I would love that. Just live in a fucking forest somewhere by myself and go to the little town grocery store and nobody know who I am. Can you imagine how good that would be? I can't live in a small town like that, but every day I wanna try. Every day, I was always able to laugh at it like, "What the fuck small town in South Dakota can I move to?" Something like that. You know what I'm saying? I don't care about the fame. I like it being just like this. You know, the people who needed to recognize us [did it] with the Academy Award. We wrote a great song for that movie. It was a great movie. Had to do with our city. With great people. Rest in peace John Singleton. Craig Brewer, from Memphis, he was a big fan of ours.
John Singleton was a personal friend of mine. Even years before Hustle & Flow. We was in my hotel room in 2002. We was making Three 6 Mafia, Choices 2 movie. We was on on Sunset Boulevard and John Singleton came to my room. He was like "One day, I wanna make a movie like y'all." I'm like "n***a, I wanna make a movie like yours," like Boyz N Da Hood was the shit, you know? But he was like, "I wanna make a movie like y'all's, like a Boyz N Da Hood, but in the South. In Memphis, just like y'all did with Choices 1, something gritty like that. You know?" Four years later, he came to Memphis and outta nowhere we was making Hustle & Flow together and won an Academy Award together. So it was great. And I like it just like that. I don't want too much publicity.
No, for sure. And just on that topic of John Singleton. It was a tragic loss to cinema and the culture. Can you just like, expand a little bit just about your guys' relationship? Even following the Oscar. Like how did that develop over the years, like up until his passing?
Man, all the way up to -- I would have to ask my best friend Computer the exact day. But all the way up to, like, five months before he passed away, I got pictures of me and John when we went to some kind of get-together. Uh, ah yeah! It was a T.V. show that he had. And they did a premier for it at this kinda bar-lounge in Studio City. And we went out there. I went there with him. We hung out. And he was telling us that he was kinda, wasn't feeling too good and was having issues with something. And my boy Computer was telling him, "Boy, you gotta start eating better, eating healthier, John." And he was like "Man, I'm getting to it." Or something like that. I don't remember exactly how we worded it. My best friend do because we just had this conversation. But he was just telling us how he was getting to eating healthier and this and that and whatever. But we had been friends with John for a long time. We would see John out, and I would talk to John a lot. Juicy even went to John's condo overlooking the water in Miami. Elevator opens straight up into the unit. View of the beach, view of the ocean and all that. I never went to that, but that's how close we were with John Singleton. For years and years and years
I didn't even realize the relationship was that tight-knit between you guys.
Yeah, it was real tight.
Can you tell me -- Like, obviously saying a film like Choices is something that he aspired to make and Boyz N Da Hood is a classic. I was just wondering, how do you think his influence bled into your music?
Yeah, man. When Boyz n the Hood came out man, that movie. When we was watching that movie, it felt like I was watching my own life. Because that's the kind of life we was living then. That's the kinda shit I was going through.
Like, I'll never forget one day, you know, on the popular scene, where he hollerin' "Ricky!" when he got shot, and this and that? Well I had a situation like that. You know, where I was walking and the opposite n***as rolled up on us. You know, he asked me a couple of questions and he was like, this and that and blah blah blah. And then, you know, I was like, "Fuck you" and I threw my shit up, you know? This and that. We didn't have no straps on. We had left them at the house because we was just walking, just dudes walking up to the drug store just to get some fuckin' candy. I always loved candy. So we left the straps at the house for the first time. Being stupid, knowing we had to walk through these n***as' neighborhood. The opposites. And them motherfuckers saw us and pulled up in they goddamn truck. And I was like "Oh shit." In Boyz n the Hood, when they pulled up on us -- I didn't even back down on him. I still repped my shit to the fullest. This and that. He holla'd some shit at me, like "Nah, n***as it's this." Blah blah blah blah blah blah. And this motherfucker just pulled his shotgun out. First thing came through my mind was that fuckin' scene from that movie because this was around that time. This woulda been probably like '91 or -- when did Boyz n the Hood come out? It probably came out in '90 or somewhere around there. But this was around that time. And that was the first -- this maybe '91, '92, whatever -- and that was the first thing that came to my mind. I was like "Damn, I'm 'bout to get shot in the back, just like Ricky." (Laughs).
Just like that. I started runnin' and I was just waitin' for it. Motherfuckas bust out to runnin' and they never shot. Thank God they never shot. They didn't even shoot. You know, then, the next day I had to revisit they neighborhood and the outcome was a little different because I had my shit with me then but yeah. They didn't shoot me. Thank God they didn't. We wouldn't be havin' the fucking conversation right now. You know what I'm saying? Wherever them n***as right now, I'm not even mad at you. We was enemies back then, but you know what? My n***a, peace.
That's a crazy story.
But I was thinkin' about that situation with the Boyz n the Hood. So, just to answer your question, when I used to look at the Boyz n the Hood, it used to just make me think of how we was. How we was growing up and this and that. And I was like, "Man, look, we gotta get up outta here. Like, this some bullshit here. Like n***a 'bout to get killed and shit. You know, all this back-and-forth, going to war shit we doing with these n***as, all that shit." I was like, "this shit is stupid. We gotta get outta this." And you know, I just, I just stopped walkin'. I would go places and I would drive my car. Make sure I have my shit with me. But the walkin' shit, I stopped. Then I just started lockin' myself more in the studio in my mama's bedroom house. You know what I'm saying? One day, I was at the studio, a n***a rolled past my mama's house shot up in the air. Boom, boom, boom, this and that. Same n***as. I looked out the window. I saw speeding down the street in a Grey Lincoln. This and that and I was callin' up my boys and I was like, "We gotta do the same thing that they just did, so get ready. I'll be there in a minute." You know, eventually, all that shit stops. The funny part about it is all them n***as who I was going back and forth to war with ended up buying tapes from me at school, and that's what squashed our whole beef. They would secretly, lowkey come up to me, and meet me in bathrooms and shit like that and buy tapes from me. Even though we was opposites. And they didn't want nobody to know that they were buying tapes from me. And today, me and all those n***as -- not the ones who shot at me, they was older dudes, they were the OG's or whatever. But the younger ones who was under them, who was trying to hate me, as well, those dudes are my friends now. Some of 'em in jail or whatever, but all of us became friends through my music. They would sneak and buy tapes from me, that's the crazy part about it.
How did you get into that hustle of pushing tapes? Even the fact that like that's what brokered peace between you and your ops. Can you just tell me a little bit about those times?
Yeah, some I gotta save because we're writing this TV show, but I'll tell you a little bit about it because I'm in bed with you guys. We gon' do business together. So I'ma tell you a little bit. Basically, how the whole thing started was when I had started making mixtapes my brother went to the feds, he was sending me money from feds to get some equipment. So I was paid $220 a month for some equipment I went and got. I got a four-track recorder, a keyboard, and a turntable. You know, one of my friends bought a mixer for me right after he killed his dad. Pretty weird. But he killed his dad, then he walked across the yard and was like, "Here you go Paul, I got a gift for you. Here's the mixer. And I'll see you later. I dunno. Probably finna go to jail for the rest of my life." And I'm like, "Okay, that's fucked up, but, alright, man. Lemme know how that go." And he gave me the mixer, and I started making mixtapes just for fun. Just to learn how to use the equipment. I never wanted to be a DJ. I was kinda insulted when people called me a DJ, because I wanted to be like a producer. I didn't wanna be a DJ. So, I just started making the mixtapes just to learn how to record simple loops and shit like that. How to use the equipment. And to make some money, I started selling the tapes at school for $2. I had this little brown bag where I could squeeze like 20 tapes in or whatever. And I go to school and sell 'em for $2. It was 60-minute TDK tapes, but I only did one side, thirty minutes. And the kids would be like, "Man, this is jammin', man. Can you do the other side?" And I was like, "Well, you gotta give another $2 and then I'll do the other side." And they was like, "Okay." So they'd give me another $2, I'd go home, mix up some shit, and put it on the other side. And then from thereon, after like volume two on down, I just did the full 60 minutes. And it would be other people's songs I was just mixing like a regular mixtape. But then, come volume four, I would start squeezing in my own songs. Songs that me and Lord Infamous -- Rest In Peace, Lord Infamous -- my brother, we would make. I'd just squeeze 'em in there to ease 'em in to just see what they thought about it. So it'd be like the fourth or fifth song, then it'd come around back in with some Ice Cube or something, N.W.A., whatever. Ease it in there. And people would come up to me like, "Aye, what was that fourth song in there?" I was like, "Ah, you like that? Eh, it's some stuff. Just some stuff." You know what I'm saying? So, after a while, I was just, I did that all the way up to volume ten. Come volume ten, it was all my beats. Just straight instrumentals, then the rest is history. After volume sixteen, it was all my songs, then that's when we brought out an album.
"I got a four-track recorder, a keyboard, and a turntable. You know, one of my friends bought a mixer for me right after he killed his dad. Pretty weird. But he killed his dad, then he walked across the yard and was like, "Here you go Paul, I got a gift for you. Here's the mixer. And I'll see you later. I dunno. Probably finna go to jail for the rest of my life." And I'm like, "Okay, that's fucked up, but, alright, man. Lemme know how that go." And he gave me the mixer, and I started making mixtapes just for fun. Just to learn how to use the equipment. I never wanted to be a DJ. I was kinda insulted when people called me a DJ, because I wanted to be like a producer."
So that's how it all started. I was selling in school during lunch. The only ones I sold in the bathroom and behind the alleys and shit like that was the ones that the other n***as were buying from me that didn't wanna be seen buying them from me. But other than that, I just posted up. I didn't even eat lunch. I just posted up in the hallway with that little brown bag in my hand. And I would just sell the tapes just like that. And then after a while, I wanted to get outside of my high school, so I would go to the stereo stores. All the stereo stores were owned by these like Middle-Eastern dudes. And they like friends, cousins, and all that shit like that. And I would go to one of them and he'd be like "Yeah, you should take some over to my other cousin. This Aziz. And you should take some tapes over here to stereo." So I'm riding all over town. But that's when it got more serious. I had to go get a duplicator machine that I still got in my house right now. Duplicator machine where I can make like three tapes at a time and have four slots on the front. I can have one tape, the master tape at the top, and press a button, and it would record the three tapes at the same time. So, me and my best friend would sit up all night. We would make, like hundreds of those. We'd take em to the stereo store and we do a consignment. They'd be like, "Okay, I'll see how it sounds. I'll see how it sells. Come back in a week and I'll give you the four dollars a tape." And I said, "All you gotta do is when you're tryna sell someone a kickbox, put this tape in there and let them hear this bass on this tape and you gona' sell that kickbox and you gon' sell this tape." And that became the recipe.
When they started doing that, he would call me within -- sometimes I leave that motherfucker, he would call me back the same day, like "Can you bring more tapes, Paul?" I'm like, fuck. So we just sat up there, trappin' with this lil' machine, doing three tapes at a time and it got up to like the thousands. So, we fuckin sitting up there, damn near, ain't even going to school. Just trying to make these tapes as fast as we can and turn 'em around. And then I end up hearing about a dude out here that had a company that duplicated tapes and everybody in Memphis went to this went to that dude. This white dude. I can't even remember his name. It'll come to me after a while, but everybody in Memphis went to him to get their tapes duplicated. He could duplicate thousands of tapes for us for really cheap. It was forty cents or some crazy shit or whatever. And he would duplicate those tapes. It was so crazy that he had to schedule us when to go up there because Memphis rappers didn't get along, and we knew if we met up there at the same time, there was gonna be a shootout. So, we had to like, check and see who was coming that day before we went and picked up our tapes. So, we were selling. I started selling the tapes to the stereo stores and that's when it really ran crazy, because people from all over the city started hearing about me. Taking my shit and going to college. Going to the armed forces, and then spreading it to even more people, you know what I'm saying? After a while they got so big, I was like, look, we gotta take it to another level. So, I went to the main record store here. It was called Pop Tunes. I went to Pop Tunes and I was like, "Look, I know y'all probably got real tapes in from like Priority Records and all these big distributors and this and that, but like, we some local dudes. We are doing really, really good. Is there any way I can put some tapes up in here? I can guarantee they gon' sell. And then you can just give me the money off of 'em like later on. Two weeks later or whatever." And he was like "We'll try." Shit started selling so good, that then he called the local distributor here, Select-O-Hits. The family that put out -- the Phillips family that put out Elvis Presley and all that. And he said, "Man, I got some dudes up here called DJ Paul, Juicy J and Three 6 Mafia. These dudes are selling tapes like crazy up here." He's like, "You probably need to talk to those dudes." And we went to Select-O-Hits and had the meeting and he was like, I'll give you guys a distribution deal. You gotta pay for everything but I'll put it on CD's. I'll pay for the initial CD's. Y'all gotta pay for y'all promotion, do y'all leg work. I'll put it on CD's for you and I'll put it in every store in the United States. And I was like, "Deal." And we did it. Went to the studio, made a real album in the studio because all that other shit was at my mama's house. Went to the studio, made a real album. $4,500. Me and Juicy paid $2,250 each. $4,500 to make the first Three 6 Mafia album and that shit probably turned into $450 million worth of shit over time, but that's how it started.
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As a group that's been— that's now been sampled countless times, and it's been in the news that you guys have filed copyright lawsuits over people who haven't asked for permission to use your samples. How do you define the difference between paying homage and biting?
Well, the thing about it is -- I don't really wanna talk about the whole thing too much because you know, it's too emotional for a lot of these people. It hits them so hard. But just to answer your question: like, people said paying homage. Like, they'll go redo a whole song, your lyrics and all of this and that. They be like "paying homage" and I'm like, I get it. It's cool if you just doing something just to put out for free on YouTube or whatever. I'm not tripping about that. But when you start doing, you know, like, 10, 20 of these and then I see that you got 'em for sale on streaming and this and that. I'm like okay, that ain't paying homage. Like seriously, you're getting money for this. You know, I can't do that for The Rolling Stones. You know, I can't be like, "Oh, man, Paul, man. I was just paying some homage." He gon' be like, 'Well, look, Paul, man. You gotta pay some money." Paul McCartney and DJ Paul in a flat-out argument somewhere! (Laughs). So it's like, just, doing something cool just for free and just for fun, that's cool. But when I look at, you know, you're putting it in movies and putting it in TV shows, and in commercials and you're streaming it. You're selling it, and you got the number one streamed this and number one TikTok that, like that's a whole other thing. Like, you done went too far with it. You tripping. I don't really wanna talk too much about it, because they don't they don't understand it. You could break it down in as many ways as you wanna break it down but they still don't understand it. They just think that you tryna be a grumpy old man. The good thing about it is, they'll get to that point, too. They'll get to that point. When they'll be older and they'll be having kids that do that to them and they'll be having the same conversation. They'll be like "Aye, you motherfuckers, this and that." And the kids'll be like, "I was just paying homage." This'll be in 2030 or something.
Kanye West just went on a rant about ownership and buying back his masters. I just wanted to know your reaction to this recent conversation that's gaining prominence about artists getting screwed by major record companies.
Well, you know, man. The thing about it is, when streaming was created, it screwed everybody. As cool as streaming is, you know, it's cool and all that, but it's just kinda screwed everybody. So, like, the record labels aren't making any money. So, that's why the record labels like, you know, "We gon' need more from you. We gon' need a 360 deal. Need to do this and need to do that," because they're just trying to figure out a way to make some money out of the whole thing. You know, these record labels eventually might get to the point where they're like, "you know what, we're not gonna put y'all out." But then the kids gon' be like, "we don't even need you to put us out, because we got this and we got that." And, you know, you can do it independently, so that's what it's all getting down to. Like, it ain't no use in sittin' up here fussing about the record label screwing you in this and that. Because, yes, they're gonna do that. They are not making no money, you know what I'm saying? You just gotta put it out on your own. Don't even sit up here and say that they screwin' you. Don't even try to go that route. Just do it on your own. That way you ain't gotta worry 'bout whether they screwin' you. When you see how hard it is to do it on your own and how much money that had to come out of your pocket, then you might look differently at the record label. You might be like, "Well, I don't know if they really screwed me. They just probably didn't make no money."
"It ain't no use in sittin' up here fussing about the record label screwing you in this and that. Because, yes, they're gonna do that. They are not making no money, you know what I'm saying? You just gotta put it out on your own. Don't even sit up here and say that they screwin' you."
You know, so just do it on your own and like, I didn't even see the Kanye West thing. I love Kanye to death, I didn't even see that thing. So, I don't even know if this has anything to do with what he was talking about, but I'm just speaking about the music business as a whole right now because I've come from both sides. I've seen both sides. Like, I was here during the cassette days, the vinyl days. I was here in the CD days. The streaming days. Now, everybody wants vinyl again. I've seen everything except for 8-Track. So, I've seen this music business inside and out. And I know how it was. I remember those $16.99 days. You know, I used to get $8.50 a unit, and I would sell 500,000 of those motherfuckers. For real. At $8.50 a unit. Tons. So, you know, I've seen all sides of it. I've seen when we were making tons and tons of money off of it. Thank God, I was smart with my money and I invested all my money, so I still have all my money. But, I've seen those days and I've seen streaming coming in. And they payin' crumbs and then this platform wanna pay less than this one. So, you know, before we go into record labels, we should probably talk to these streaming people. Talk to the government. We need to vote for whatever president is gonna make streaming go up. That's who we need to vote for. Outside of all that other shit that everybody talkin 'bout, that's what I'mma say, "Let's vote for whoever make streaming prices go up." Because they making money. People are listening to streaming. That's all they got these days. You know, we can't go nowhere. Everybody locked in the house. They streaming like crazy.
Think about how much money YouTube made before they started paying artists. They made billions of dollars before they started paying artists. You know, the government ain't had our back on none of that. You know, they say something crazy and let entertainers — who entertain the world— they sit up in there and let entertainers get screwed by companies. And not realizing that the less money an entertainer makes, the less money the government is going to make because they gotta pay taxes on the money. So if I was you, I would be trying to make these entertainers be as happy as possible and as comfortable as possible and making as much money so they can keep entertaining. Because we're gonna need entertainment. You know, entertainment and sports people should be the first motherfuckers they take care of. Not saying nobody else is under that. But like, people like yourself in the media, people are reading your interviews. They're watching your posts, they're doing this. You're an entertainer, just like me, and people need entertainment. And I think, if you had to ask the people, they would say the same thing. They'd be like, "Yeah, I want my favorite rapper, my favorite blogger, my favorite whatever, yeah, I want him to be good. You know, because I want to continue to watch him. I don't need to go on his website and he be like 'I'm shut down, I'm gone. Just retire.'" I even played about retiring one day, my fans had a heart attack. You know what I'm saying? So, that's what we need to focus on. We need to focus on getting more money into these artists pockets, you know what I'm saying? We need to open back up the shows. People need to be doing shows. They're doing football games. Thousand motherfuckers up in there. Doing football games, why you can't do a concert? Just pull out your mask. Make sure everybody stay socially distanced as much as they can, you know? Obviously, we can't have as many people in there. Spread 'em out. And then, start doing some shows, man. Let these guys make some money.
As a group that makes high-energy music, how do you think a socially-distant Three 6 Mafia concert would look like? Actually, before we get into that, is the Three 6 reunion still happening?
Yeah, I'm finna post one soon as we get off this phone.
Excellent. I'm excited.
You know, you got to. You know, you got to, because, like, people'll sit up here and there's gonna be some shit from it. When I do this post, I'ma hear some shit from it. But like, you know, you gotta look at it like this: okay, so, you gon tell me diseases are only in one area? Like it's only at concerts? It's only at this and that? But we can go out here— and not that I have nothing against the protest because the protests is cool— but we can go out here and have 100,000 motherfuckas protesting with no mask, but we can't have fifty thousand -- Ten, twenty, two thousand, three thousand people in a club, with masks? What's the difference? What's really the difference? They don't mind if you go out and protest and don't have on no mask and then the rates go up. Okay, everybody just caught Corona because everybody was out protesting. Then at the same time, they don't want you to nothing clean. Like, they don't want you to go into restaurants out here. They don't want you to go in this. You can't go in that. I get it, because I don't wanna be in no restaurant anyway, you know. But, if it's gon' be somewhere, everybody gon' have they mask. Then, they make sure they have they mask on, if security see somebody without they mask on, they kick 'em out.
Is Three 6 Mafia and Bone Thugs still doing Verzuz?
Nah? That's not happening anymore?
Yeah, nah, that's not happening.
Damn, we were real excited about that. Especially me and one of my coworkers, we were very hyped.
Yeah, well, I was talking to 'em and they kept telling me they was gonna do it, man. Then, they just ended up changin' they mind. It's like, I don't know why they came in just to stop our thing and then didn't wanna do it. But whatever, I still got love for Swizz and Timbaland. Love you guys to death.
"Literally thirty-five minutes before we went live, Swizz' people called Krayzie Bone and they was like, 'We gon' do it on Verzuz, so don't do it.' And I was like, 'Look dude, we still need to do it, man.' I was like, 'I don't know— when is the Verzuz gon' happen? Like, we still need to do it.' I guess Krayzie didn't wanna do— he'd rather do the Verzuz than ours. He just kinda backed off and stopped picking up his phone. And I was like 'okay.' And I just left it alone. And then next thing I know, he tweeted and said, he didn't wanna do it at all because of the temperature of what was goin on in the world. Verzuz kept moving' on and everything else kept goin'. I was like, 'Alright, I kind saw this coming and I tried to tell you, but, whatever.'"
Weren't you guys gonna do like independent Verzuz before Swizz and Timbo stepped in and asked if they could host it?
Well yea, it was finna happen. Like, like thirty minutes. Literally thirty— thirty-five minutes, literally thirty-five minutes before we went live, Swizz' people called Krayzie Bone and they was like, "We gon' do it on Verzuz, so don't do it." And I was like, "Look dude, we still need to do it, man." I was like, "I don't know— when is the Verzuz gon' happen? Like, we still need to do it." I guess Krayzie didn't wanna do— he'd rather do the Verzuz than ours. He just kinda backed off and stopped picking up his phone. And I was like "okay." And I just left it alone. And then next thing I know, he tweeted and said, he didn't wanna do it at all because of the temperature of what was goin on in the world. Verzuz kept moving' on and everything else kept goin'. I was like, "Alright, I kind saw this coming and I tried to tell you, but, whatever."
Is there any particular tour story that still stands in your mind like out of any of them? I know that's like thirty years of live shows.
Um, nah. Not really, man. All of 'em was fun. All of 'em was fun. I would say, my favorite ones though, was -- my favorite shows of my whole career was in Germany. Germany and Tokyo, man. You could put me in Germany and Tokyo at any point in my life and I'd be totally fine. You could just have me there now and I'd be totally fine with it. Germany and Tokyo, Japan, are my two favorites— anywhere in Germany, especially Berlin. But anywhere in Europe, period. Anywhere in Europe. Norway? Put me there any day. Norway, any day. Tokyo, Japan, any day. Europe, all those my favorites.
How's the fan reception out there? What was it like performing in those countries for the first time not knowing the impact that Three 6 Mafia had?
Man, it was fun as hell, man. The first time I went there was like fourteen years ago. And uh man, it was fun as hell. Like, I knew it was gonna be crazy. You know, it was crazy as hell. Some of it— some of it online. It is somewhere on my DJ Paul KOMTV on my YouTube, like way, way, back in the day, like 2008. I got some on there, stage diving with no shirt on and everything. But yeah, it was fun. They went crazy. Man, they love Americans over there. A lot, like any rapper. They go crazy. They go way crazier than they do over here. Because you know, over here, it's a concert every day. But over there, you know, they don't get us that often. So, when we come over there, man, they treat us like royalty. When the last time I toured -- the last time I toured Asia was probably, I don't know, maybe four years ago or something. Man, they picked up from the airport in a Rolls Royce. They drove me around town in one. They took me shopping in one. They gave me an additional $5000 just to go buy some clothes with. That wasn't even in my rider or part of my show money or nothing. They just picked me up in a Rolls Royce and had white wine in the back because I used to drink white wine back then. Had the white wine bottles in the back. And they were like, "Hey, here's your five grand". We gon' drop you off. We gon' take you to a strip mall with clothes there and they're gonna hook you up. They gon' throw in some extras. I was like "Let's run it." It was me and my girl at the time and man, we in the back. I posted picture of it, in the back, ballin', man. Had stacks, man. Time of my life. Japan, Japan takes care of you.
So, just to get into the podcast, why does it feel like the right time to cross over into podcasting right now?
Well, I was kinda doing it maybe a year or two ago. A year ago. And I stopped doing it because of the people I was doing it with. They were having some situations with their program and they people were waiting for them and this and that and it kept kinda gettin' screwed up. So, I left that. But when I was doing it, people were loving it, man. Because people love having conversations with me because I could talk about anything in the world. You know, I got real estate companies. I've done everything in the world or still doing it. So, I got a broad mind. And I could talk about anything, and people just like having conversations with me because it's gonna always probably end up a little comical. But at the same time, you know you're gonna probably learn something, you know. That's one of the main reasons I wanna, well I like having a podcast and I wanna bring the podcast back to life. It's because I like to teach people stuff. So like, all the time on my Instagram -- there will be some funny stuff and there will be some music, and I'll sell a shirt or two or some barbecue sauce or something from time to time, but it's gonna be a lot of education stuff on there. There's gonna be a lot of educational stuff on there and I might not even keep it up all the time. I might just put it up for 24 hours and take it down. Or I might put it in my story.
I love putting all the information that I hear from people. People that I'm around that's successful or really smart. Or something I see on the news. I just try and keep the guys up to date on it because I know a lot of these guys are just like me back in the day, they was in the streets. And they ain't watching the news or reading no newspapers or paying attention to what's going on. So, I try to be that guy for them, you know. I try to be the Hood News Man. You know, let them know, like, they standing on the corner doing what they gotta do and they get an alert that I just did a post. They look at it and be like "Oh shit, n***a, we gotta go back to Africa. They finna blow this motherfucka up n***a. Like okay, DJ Paul just tweeted we gotta go back to Africa, they finna blow the United States up (Laugh). So, some shit like that or whatever. I just try and keep n***as informed of what's going on and just try and help as much as I can. Even with a food tip. You know, I post stuff about food. I used to do cooking videos. I'mma bring those back, only more healthier. So, that's what it's about man, just tryna [spread] all the knowledge I learned and being a OG, and all the time that I've been on this earth just sharing it with the kids so they won't make the same mistakes that I made. 'Cause there's a lot of times I made a lot of mistakes and I look back like, damn, if I woulda knew this then, I wouldn't have lost all of this at this point or this wouldn't have happened. So, just tryna help them beat the curve. You know, be ahead of it.
I was gonna say, the way you're Instagram feed is, there's a consistent source of content coming out that may not even be music related. You might add your two cents on something in pop culture or politics. What topic are you most excited to explore on this podcast?
Well, first of all, we don't call it politics. We call it Paul-itics. Paul-itics, because it got a different little spin on it.
So Paul-itics, man. I'm excited to talk about everything and really not that much music, You know, like I don't really care to talk about music, you know, that's fine. And I heard about some other musicians who don't really, who might be coming on there that don't wanna talk about music. You know, you've heard one story about music, you've heard 'em all. Basically, they don't tend to veer too much off the track. So, I really rather like talking about stuff that's like, love talking about real estate, I could talk about real estate all day. I love talking about cooking. I love talking about anything that gotta do with health and fitness, you know. Money, financial. It's more about growth. You know, if you're a rapper -- I can tell you some stuff obviously, but I probably can't tell you any more than you can already Google or already heard or seen on some Michael Jackson movie. You know what I'm saying? Something on BET or something. You know what I'm saying? All that stuff is out there. Okay? Don't sell your publishing, do this, blah blah blah. We get it. But I'd rather tell you what to do with that money that you making off of that, than sit up here and tell you like, "Okay, well how do I get a record deal?" Well, you probably don't want a record deal. So, I don't really wanna tell you how to get a record deal, because you probably don't want one. Probably wanna do it on your own. And "How do I do this? How do I do that? How do I get a feature from an artist?" Like always little questions like -- I don't even wanna sit up and really talk about that. Like, you wanna get a feature from an artist? You gotta have some money. They are not about to do it for free. And I wanna talk about stuff like, "This is what you need to do with that money." And if you wanna talk about some music, I might tell 'em this, I might be like, "You probably don't even wanna spend that money on the music, because you might [not] make it back. You probably wanna take that money and buy a little small piece of property that's gonna get you some money here every month. You know? So, that's the kinda stuff that I really wanna talk about. I want it to be more just like educating. Educating guys. But not all education. But obviously, because everybody doesn't wanna be educated. It's gonna be some funny stuff and some fun and all that. It's a lifestyle.
I'll just put it like that, man: it's a lifestyle.
Watch the debut episode of Mafia Radio podcast with Xzibit below.
Interviews News Original Content Music Hip-Hop History DJ Paul Three 6 Mafia john singleton Bone Thugs-N-Harmony Juicy J mafia radio music business podcast
Kanye West, Kim & Kids Dress Up As Giant Furry Spider For Final Halloween Flex
DaBaby's Older Brother Reportedly Takes His Own Life
INTERVIEWS DJ Paul Explains Why Three 6 Mafia vs. Bone Thugs Didn't Happen, Hustling Mixtapes & New Podcast


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text:
package com.msaf.validador.consultaonline;

import static org.junit.Assert.fail;

import java.util.Date;
import java.util.HashSet;
import java.util.Set;

import org.apache.log4j.Logger;
import org.junit.Test;

import com.msaf.validador.consultaonline.dao.PedidoValidacaoDAO;
import com.msaf.validador.consultaonline.dao.RegistroPessoaDAO;
import com.msaf.validador.consultaonline.dao.impl.PedidoValidacaoDAOImpl;
import com.msaf.validador.consultaonline.dao.impl.RegistroPessoaDAOImpl;
import com.msaf.validador.consultaonline.exceptions.PersistenciaException;
import com.msaf.validador.consultaonline.solicitacaovalidacao.DadosRetInstVO;
import com.msaf.validador.consultaonline.solicitacaovalidacao.PedValidacaoVO;
import com.msaf.validador.consultaonline.solicitacaovalidacao.PessoaVO;
import com.msaf.validador.consultaonline.solicitacaovalidacao.TpResultVO;
import com.msaf.validador.consultaonline.solicitacaovalidacao.TpValidVO;

public class RegistroPessoaDAOImplTest {

	private Logger log = Logger.getLogger(RegistroPessoaDAOImplTest.class);

	private PessoaVO getDadosRegPessoa() throws Exception{
		PessoaVO dadosRet = new PessoaVO();

		dadosRet.setBairro("bairro");
		dadosRet.setCep("79040000");
		dadosRet.setCidade("Coxim");
		dadosRet.setCnpj("9339339344-44");
		dadosRet.setComplemento("apto 15");
		dadosRet.setDataBaixa("10/10/2009");
		dadosRet.setDataConsulta("10/10/2019");
		dadosRet.setDataInclusao("10/10/2039");
		dadosRet.setEnquandramentoEmpresa("enquadramento");
		dadosRet.setEstado("Estado");
		//dadosRet.setIdRegistroPessoa(149);
		dadosRet.setIe("ie");
		dadosRet.setIesEncontradas("1000");
		dadosRet.setLogradouro("rua das carmelias");
		dadosRet.setNumero("234");
		dadosRet.setNumeroConsulta("24");
		dadosRet.setQtdeEncontrada("256");
		dadosRet.setRazaoSocial("razao social");
		dadosRet.setRegimeApuracao("regime apuracao");

		dadosRet.setPedValidFk(getPedValidacaoVO(dadosRet));

		//dadosRet.setRegistroPessoaFk(registroPessoaFk);

		dadosRet.setSituacao("situacao");

		Set<DadosRetInstVO> dadosRetornoList = new HashSet<DadosRetInstVO>() ;

		dadosRetornoList.add(getDadosRet());
		dadosRetornoList.add(getDadosRet());
		dadosRet.setDadosRetornoFk(dadosRetornoList);

		//dadosRet.setTipoResultadoFk(getTipoResultadoVO());
		//dadosRet.setTipoValidacaoFk(getTipoValidacaoVO());
		return dadosRet;
		}

	private PedValidacaoVO getPedValidacaoVO( PessoaVO dadosRet) throws Exception{
		PedidoValidacaoDAO pedidoValidacaoDAO  = new PedidoValidacaoDAOImpl();

		try {
			PedValidacaoVO pedidoValidacaoVO = pedidoValidacaoDAO.buscarPorId(new Long(123));
			pedidoValidacaoVO.getPessoaFK().add(dadosRet);
			return pedidoValidacaoVO;
		} catch (PersistenciaException e) {
			throw new Exception(e);
		}
	}

	private DadosRetInstVO getDadosRet(){
	DadosRetInstVO dadosRet = new DadosRetInstVO();

	dadosRet.setBairro("bairro");
	dadosRet.setCep("79040000");
	dadosRet.setCidade("Coxim");
	dadosRet.setCnpj("9339339344-44");
	dadosRet.setComplemento("apto 15");
	dadosRet.setDataBaixa("10/10/2009");
	dadosRet.setDataConsulta("10/10/2019");
	dadosRet.setDataInclusao("10/10/2039");
	dadosRet.setEnquandramentoEmpresa("enquadramento");
	dadosRet.setEstado("Estado");
	//dadosRet.setIdDadosRetInst(idDadosRetInst)
	dadosRet.setIe("ie");
	dadosRet.setIesEncontradas("1000");
	dadosRet.setLogradouro("rua das carmelias");
	dadosRet.setNumero("234");
	dadosRet.setNumeroConsulta("24");
	dadosRet.setQtdeEncontrada("256");
	dadosRet.setRazaoSocial("razao social");
	dadosRet.setRegimeApuracao("regime apuracao");
	//dadosRet.setRegistroPessoaFk(registroPessoaFk);

	dadosRet.setSituacao("situacao");

	dadosRet.setTipoResultadoFk(getTipoResultadoVO());
	//dadosRet.setTipoValidacaoFk(getTipoValidacaoVO());
	//dadosRet.setRegistroPessoaFk(getDadosRegPessoa());
	return dadosRet;
	}

	private TpResultVO getTipoResultadoVO(){
		TpResultVO tipoResultadoVO = new TpResultVO();

			tipoResultadoVO.setId(new Long(1));
			tipoResultadoVO.setDescricao("testando a descricao");
			return tipoResultadoVO;
		}

		private TpValidVO getTipoValidacaoVO(){
			TpValidVO tipoValidacaoVO = new TpValidVO();
			tipoValidacaoVO.setId(new Long(1));
			tipoValidacaoVO.setDescricao("descricao Tipo validacao");

			tipoValidacaoVO.setValidade(new Date());

			return tipoValidacaoVO;

		}

	@Test
	public void testCriarRegistroPessoa() throws Exception {
		RegistroPessoaDAO regPessoa = new RegistroPessoaDAOImpl();

		PessoaVO registroPessoaVO = this.getDadosRegPessoa();

		regPessoa.criarRegistroPessoa(registroPessoaVO);
		if(log.isDebugEnabled()) log.debug("Criacao de registro...");
		fail("Not yet implemented");
	}

	@Test
	public void testBuscarDadosRetornoId() {
		fail("Not yet implemented");
	}

	@Test
	public void testAtualizarRegistroPessoa() {
		fail("Not yet implemented");
	}

	@Test
	public void testRemoverRegistroPessoa() {
		fail("Not yet implemented");
	}

	@Test
	public void testBuscarTodos() {
		fail("Not yet implemented");
	}

	@Test
	public void testBuscarPorNome() {
		fail("Not yet implemented");
	}

}

redpajama_set_name: RedPajamaGithub


text:
Watch Chlöe Rule The Stage At The 2022 BET Awards
by Brooklyn WhitePosted on June 27, 2022 June 27, 2022
She's full of surprises.
Singer Chlöe made her solo BET Awards performance debut at the 2022 awards show. She shined with a set that included her latest song, "Surprise" and her second single, "Treat Me."
She pulled out all of the stops, including two references to ESSENCE Festival of Culture headliner Janet Jackson (she began by saying, "My name is Chlöe — Ms. Bailey if ya nasty" and gave a man a lap dance). The 23-year-old
performer also also mashed up Adina Howard's "Freak Like Me" with "Surprise."
Chlöe is currently working on her debut album, which will likely come out this year. In an August 2021 interview with Billboard, she revealed the album was "90% done." She also talked about what she looks to accomplish with the album.
"That when people look at me, they look at themselves and they're like, 'I can be myself completely and unapologetically, no matter what the world says,'" she said. "No matter if people are saying I'm doing too much, it's OK, because that's who I am. I'm not forcing it or being anyone different. If I listened to what people said or what they told me and if I dumbed it down, that's when I'm not being myself."
You can also catch her at ESSENCE Fest performing alongside her sister, Halle Bailey. In an exclusive interview with ESSENCE GU, the duo also revealed they are planning to tour.
Read our interview with Chloe x Halle here.
Watch Chlöe heat up the stage at the 2022 BET Awards below.
BET Awards Chloe Bailey

redpajama_set_name: RedPajamaCommonCrawl


text:
Home Sections Money & Business Saudi: Nearly 6,000 doctors are jobless in the kingdom
Saudi: Nearly 6,000 doctors are jobless in the kingdom
Nearly 6,000 Saudi doctors including 94 post graduates are jobless, according to statistics released by the Saudi Commission for Health Specialties (SCFHS).
The number of Saudi doctors who are seeking job and who have been professionally categorized by the commission as doctors has reached 5,967, the SCFHS said.
Among these jobseekers 5,873 have bachelor's degrees in medicine while 94 have obtained post-graduate degrees in various medical specializations.
The report came at a time when the Health Ministry recruits foreign doctors to meet the requirements of public hospitals across the country.
The total number of students at medical colleges inside the Kingdom is 26,216. Only eight of 37 medical colleges in the country have produced doctors yet, the report said. By 2022, 20,436 students are expected to graduate from medical colleges inside the Kingdom.
"Family medicine doctors represent 40 to 50 percent of the total number of doctors globally but in Saudi Arabia they represent only 5 percent," he added.
Al-Ahwal urged the commission to focus on doctors specialized in family medicine.
"The problem is 50 percent of public and private medical colleges are newly established and will take time to produce doctors," said Al-Ahwal.
Of the 37 medical colleges in the Kingdom eight are private. "Some of these colleges do not admit female students due to shortage of teaching staff," he said.
A lack of hospitals under medical colleges is another reason for the shortage of specialized and trained doctors, he said while emphasizing the need to support government medical colleges to increase the supply of doctors. "We should allocate more funds to establish university hospitals," Al-Ahwal said.
He said the ministry was forced to recruit foreign doctors due to Saudi doctors' reluctance to work in remote regions and the shortage of experts in biochemistry, anatomy, pathology and some rare specializations.
"This year for the first time the number of training seats would exceed the number of medical college graduates," Fahd Al-Quthami, spokesman for the Saudi Commission for Health Specialties pointed out.
Of the total medical specialists in the Kingdom only 10,600 are Saudi nationals while the remaining 40,129 are foreigners.
Source Credit: Saudi Gazette
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text:
Julie Siegfried (Luneray, França, 13 de fevereiro de 1848 - Paris, França, 28 de maio de 1922) foi uma activista e feminista francesa, conhecida por ter exercido a presidência do Conseil National des femmes françaises (Conselho Nacional das Mulheres Francesas) entre 1913 e 1922.

Biografia
Nascida a 13 de fevereiro de 1848, na pequena cidade, de maioria protestante, de Luneray, a alguns quilómetros de Dieppe, na região histórica da Normandia, em França, Louise Henriette Julie Puaux, conhecida como Julie, era filha de François Puaux, pastor da Igreja Reformada de Luneray, e de Marie Mathilde Léorat, ambos descendentes de famílias burguesas, protestantes calvinistas, antimonárquicas e anticatólicas. Era a mais nova dos três filhos do casal, sendo irmã de Louise (1837-1914) e de Frank Puaux (1844-1922), pastor, teólogo e historiador do Protestantismo.

A 2 de fevereiro de 1869, Julie Puaux casou-se com o empresário e político protestante, oriundo da Alsácia, Jules Siegfried (1837-1922) em Alès, Gard. Após o seu casamento, o casal fixou-se na cidade de Le Havre.

Em 1870, Jules Siegfried foi eleito presidente da câmara de Le Havre e em 1875, do seu casamento, nasceu o único filho do casal, André Siegfried, reconhecido posteriormente pelo seu trabalho como escritor e comentador da política americana, canadiana e britânica. Por essa ocasião, Julie Siegfried começou a focar as suas energias e esforços em várias causas feministas, nomeadamente na luta pelo acesso à educação para o sexo feminino, ajudando a angariar fundos para um colégio de aprendizagem, uma escola primária e a edificação da primeira escola secundária para meninas, na localidade onde vivia.

Pouco depois, em 1885, o seu marido foi eleito deputado no Parlamento francês, obrigando a família Siegfried a mudar-se para Paris. Inicialmente, a família estabeleceu-se num apartamento localizado no nº 6 da rotunda dos Champs-Élysées, mudando-se mais tarde para o nº 226 da Boulevard Saint-Germain.

Durante esse período, Julie Siegfried atuou publicamente e ativamente em várias organizações e ações de propaganda feminista. Participou em várias conferências em Versalhes, organizadas por Sarah Monod, colaborou com a revista La Femme e trabalhou com a Union française pour le sufrage des femmes - UFSF (União Francesa para o Sufrágio Feminino) e, mais proeminentemente, com o Conseil National des femmes françaises - CNFF (Conselho Nacional das Mulheres Francesas), tendo exercido como presidente eleita de 1913 até ao ano da sua morte em 1922. Foi também eleita vice-presidente do Conselho Internacional de Mulheres e ainda presidiu a Liga para a Educação Moral.

Como presidente da maior organização feminista de França, com 21 mil membros em 1900 e quase 100 mil em 1914, os seus objetivos incluíam obter a prestação de apoios para as mulheres carenciadas, criar melhorias na prestação de serviços de saúde, sobretudo para mães e crianças, facultar o livre acesso à educação, reivindicar melhores condições de trabalho, obter o total desbloqueio das profissões e áreas de ensino superior vedadas ao sexo feminino, e acima de tudo obter o direito ao voto feminino.

Apoiada pelo seu marido, Julie Siegfried levou a sua campanha pelo sufrágio feminino ao parlamento, conseguindo pela primeira vez que a moção fosse apresentada e recebida na câmara baixa da Assembleia Nacional em 1909. Apesar do feito ter tido uma recepção calorosa e positiva, não houve uma votação, sendo meramente discutida a possibilidade das mulheres terem o direito ao voto num futuro próximo.  Nos anos que se seguiram, a activista feminista voltou a tentar por várias ocasiões levar a sua revindicação por meios legais ao parlamento francês.

Com o despoletar da Primeira Grande Guerra, Julie Siegfried transferiu momentaneamente o foco das ações de várias organizações feministas para a ajuda humanitária, recolhendo donativos e medicamentos para os militares destacados na frente da guerra, auxiliando as famílias destes e ainda as vítimas da guerra, para além de ter sido uma das principais vozes a apoiar o papel das mulheres com o esforço de guerra e a oportunidade que esse advento poderia lhes trazer na sua reivindicação de direitos. Durante esse período, participou em ações pacifistas e no Congresso de Mulheres dos Aliados no Serviço de Guerra, ao lado das ativistas Virginia Vanderbilt, Edith Balfour Lyttelton, Edith Wharton, Edith Roosevelt, Katharine Stewart-Murray e Ray Strachey, entre outras.

Após a guerra, em 1919, Julie Siegfried foi nomeada pela legião de honra francesa, em reconhecimento pelo seu trabalho como presidente e fundadora de várias organizações de apoio às mulheres e de esforço de guerra.

No mesmo ano, o sufrágio feminino obteve o voto favorável da câmara baixa. No entanto, mesmo após a legislação necessária ter sido aprovada, a moção foi bloqueada pela câmara alta do Senado, sendo argumentado que os deveres das mulheres, considerados então apenas os de mãe e esposa, eram incompatíveis com o exercício desse direito. O direito ao voto feminino foi apenas aprovado e legislado em 1945.

Julie Siegfried faleceu a 28 de maio de 1922, em Paris, apenas quatro meses após o seu marido e companheiro de vida.

Feministas da França
Protestantes da França
Mortos em 1922
Nascidos em 1848
Sufragistas da França
Ativistas da França

redpajama_set_name: RedPajamaWikipedia


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I Was Paid to Travel
14 March 2017 by Urbania
It's your dream job, and hundreds of people want it. To land it, you need to find a way to stand out. That's what Samantha did to become a tour guide in Asia.
Getting paid to travel, discover new cultures and meet people from all over the world seems too good to be true. That's what Samantha* thought before coming across the Tous azimuts ad in Voir newspaper.
The travel agency was looking to fill three guide positions. The timing was perfect: after finishing her undergrad in education, Samantha spent four months roaming around Asia, and she'd just returned. At the age of 25, she didn't see herself taking a full-time teaching job and doing that for the rest of her life. One day, sure. But not right away.
So she sent her resume to the agency, like hundreds of other equally keen people. To stand out, she knew she needed to do more than that.
Without any prior notice, Samantha went to downtown Montreal to meet the Tous azimuts team. "They told me they were looking for people who don't get homesick after a week and who can manage human beings on vacation." Clearly, they were on the same page: she was invited to an interview the next day.
It went really well. But unfortunately another candidate had more experience than she did, and the Asia-specific guide position slipped through her fingers. "This doesn't mean the door is closed," the boss assured her.
He had no idea to what extent she would take his words to heart.
That year, Samantha took on a few small teaching contracts, nothing too demanding, and hopped on a plane whenever she could. The Tous azimuts agency started receiving postcards from Thailand, Vietnam, Tibet, all signed by Samantha. She described her adventures and reminded them she still wanted to work for them. It was her way of making herself unforgettable.
Every two months, she'd update her resume with the new places she'd visited, and send it to the agency. "When I was in town, I'd stop by and say hello. I'm sure when they saw me coming they'd say, 'okay, whose turn is it to talk to her this time?'"
Despite all her efforts, they still didn't have a job for her. Too bad for them. Samantha looked elsewhere and was offered a job with another agency that she didn't like quite as much. Before accepting the offer, she called Tous azimuts back, just in case. "No way, we're the ones who are going to hire you!" said the boss. "When can you start?"
Samantha worked as a guide for them for 10 years. She can't even count how many times she's been to Vietnam, Indonesia, Burma, Laos, Cambodia and Nepal… "I know Bangkok better than Quebec City!"
Now, Samantha has a job as a teacher. Every year, the boss at Tous azimuts calls her to ask her to go back to being a guide. "It took me a long time to open that door," says Samantha, "and I know it's always going to be open."
*Fictitious name
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Why I (stupidly?) took Nick Kristof's clickbait personally – or, where #EngagedAcademics came from
15 February 2014 16 February 2014 chuckpearson6 Comments
Let me make sure this additional waste of time is given the appropriate level of importance:
What academics need, when criticized by an op-ed columnist for not being public enough, is obviously a long bout of online naval gazing.
— Chanders (@Chanders) February 15, 2014
This is my navel gazing, then. It is long, and it is ranty. You have been warned.
For those new followers and the like who've never heard me tell this before: In my second or third year of grad school at Ohio State, sometime when I was trying to figure out what it meant to be a Christian and do biophysics and actually make some sense out of what I was doing for the rest of the universe, I had a conversation – I think on the old rec.music.christian USENET group, of all places – with a guy who became, over time, a dear 'net friend. He said he was reading Mark Noll's book Scandal of the Evangelical Mind, and I should check it out.
I had never taken a single serious thought about the concept of an "evangelical mind". At that time in my life, Noll's argument was an absolute revelation. And although there aren't many direct ways that Noll addresses this, I found an undercurrent in the argument of the failure – of scholars and of Christians doing scholarship in particular – to directly engage with the public and to communicate why scholarship was an important thing. "The scandal of the evangelical mind is that there is not much of an evangelical mind" – so somebody get to work on building one, then.
As I've progressed in this career, what I've found is that this isn't purely a Christian anti-intellectualism that I was encountering. It extends further into all corners of American life. There's not much of an American mind, period. The work of the academic – particularly the work of the academic that leaves a research-one university like Ohio State and goes to work at places like Middle Georgia and Shorter and Virginia Intermont, or (to choose another example) gets the modern languages doctorate and has all sorts of trouble finding a job, taking adjunct and visiting positions all the while – is incredibly misunderstood and consistently mischaracterized. It's taken as an article of faith that the PhD has the office, and simply sits in that office, thoughtfully smoking a pipe and then randomly writing fifty-cent words into an article that only four or five people in the world will understand.
The upward trajectory in college attendance, the political importance of the completion agenda, and the wholesale transformation of the college-attending population – away from the mythical meritocratic best and brightest and towards university genuinely for everyone – demands that the vast majority of people who hold doctorates and get jobs in higher education spend the majority of their time teaching the traditional collegiate canon to people who, two generations ago, would never have set foot on a college campus. It demands creativity, lucidity, and a ton of hard work. And for the job to be done well, it demands a capacity to engage – to communicate sophisticated ideas in a way that keeps students on board and opens up a path for them to become content experts as well, if they choose to do so.
And the reality I've found: when you do this well for the students, you open up the capacity to communicate with family and friends as well. You don't merely become someone who is an imagined figure surrounded by deep thoughts in an office; you become "hey Mom, this is pearson, he's the reason I survived physics" (or "he's my insane physics prof," which often means the same thing) or something of the sort. And that can go double when you get off the campus every now and again, and you talk astronomy with a bunch of middle schoolers (even though the thought of a biological physicist talking astronomy should frighten you), or you read a quiz bowl match for the high school kids and take extra time to hang with the team who just got blown out of the room, and as strange as it has become in my life, you become somebody people want to see come around, instead of this isolated person.
I am one guy, and I don't pretend to be anything different. The marvel of falling into the rabbit hole of Twitter is finding this massive population of people who have their own ways of engaging with the public, of recognizing this hole between what the perception of academic life is and what academic life actually is for most of us in 2014, and who are working their heads off to accomplish that engagement. They might be super-important full professors at Duke, or department chairs at Union, or underrepresented minorities with newly minted PhD's, or underrepresented minorities who are doing all sorts of important stuff while finishing that PhD. Those are just the examples that I come up with off the top of my head; you ask somebody else who's fighting it like I'm fighting it, and they'll have different examples of people who inspire them with the extent to which they're engaging people outside of the normal audience of academia.
We should be hearing about these people. They should be championed, and they should be inspiring us to do more ourselves.
That is why I read this latest example of a white male privileged New York Times columnist being clueless and found myself launched into a Twitter rage. Here's Kristof core take:
A basic challenge is that Ph.D. programs have fostered a culture that glorifies arcane unintelligibility while disdaining impact and audience. This culture of exclusivity is then transmitted to the next generation through the publish-or-perish tenure process. Rebels are too often crushed or driven away.
"Many academics frown on public pontificating as a frivolous distraction from real research," said Will McCants, a Middle East specialist at the Brookings Institution. "This attitude affects tenure decisions. If the sine qua non for academic success is peer-reviewed publications, then academics who 'waste their time' writing for the masses will be penalized."
Obviously, this isn't true across the board at every academic institution; if it was, Wikipedia wouldn't have nearly as many articles. </rimshot> And for crying out loud, there are a ton of us who do communicate with the masses. Why not get our take, instead of just writing the blanket condemnation of PhD program culture?
I did immediately get feedback from one of my fellow travelers, though, who immediately made clear to me that you can't downplay the importance of that argument; in her PhD program, she got clear and strong pushback because she wanted to write publicly about her sphere of expertise, and she was told that it would be "wasting her time". If that's so tangible now, okay, fine, I understand that take.
It still assumes that all of academia is research-one schools. It still assumes that academics are those pipe-smoking, office-dwelling, masses-disdaining figures from another place. In other words – as the New York Times is so prone to do, when talking about higher education – it assumes that regional universities and state colleges don't exist. It assumes that teaching-centered liberal arts colleges don't exist. It assumes that most church-affiliated schools don't exist. Good heavens, don't even speak of the community colleges.
And it assumes that everyone who could possibly serve as a public intellectual is a FULLPROF or is on the path to FULLPROF status. Non-tenure-track instructors? Visiting professors? God forbid, adjuncts?
Oh, but if it wasn't enough to be wrongheaded, Nick Kristof had to go to where I live:
Professors today have a growing number of tools available to educate the public, from online courses to blogs to social media. Yet academics have been slow to cast pearls through Twitter and Facebook.
Here is my Facebook page. You will note that I've been at this social media business since NOVEMBER 2005.
And – from DAY ONE – using those tools to engage with students. And, when the opportunity presented itself, using those tools to engage broadly with the public, too.
If anybody cares to share evidence of Nick Kristof being on social media before then, I'll gladly eat that helping of crow. Maybe Nick Kristof really does get public engagement more than I do. Somehow, though, I doubt it.
Yes, I know that there are far worse injustices in the world that exist, even and especially tonight, than a bullcrap New York Times column. I also know that I'm not a small amount of privileged myself. I'm a white dude in academia. We have enough of those. We have MORE than enough of those.
But I recognized that responsibility very early on, too, and I hope you'll find that the writings here and in the social media space reflect that, and I believe my work in the classroom and in public reflects that. If I'm done and the only people I've encouraged on into science and into professional fields are more white guys, I haven't been successful with my work. I firmly believe science works better with diversity.
And ultimately, with much gratitude to all of you who have read through my navel-gazing, this is the point: I can't possibly believe I'm alone in this. I've been in too many good meetings with people from across the Central Appalachians (with much love to the ACA) to believe that I'm alone in this. I've seen too much of the good work that my new Twitter-mates do to believe I'm alone in this. I've worked with too many partners in crime to believe I'm alone in this.
Charles Knight asked me this:
@ShorterPearson @jenebbeler @LibbyGrammer So if you were pointing towards three or four excellent examples who would they be?
— Charles Knight (@Charlesknight) February 15, 2014
And I started to answer with just a few Twitter handles, and something in me snapped, and I replied:
DANG IT, I'M HASHTAGGING THIS. Look out for #EngagedAcademics. @Charlesknight @jenebbeler @LibbyGrammer
— Chuck Pearson (@ShorterPearson) February 15, 2014
And that's how this mess started.
One request, if I can make it: I think it's a fair thing to keep the focus of an #EngagedAcademics hashtag on academics who engage well, not just with each other, but with the world around them, and especially on those who make efforts to make the language they use language that can engage the public, not their discipline. I don't mean that they dumb their work down; I mean that they make their work understandable and accessible for the masses, while maintaining its rigor. (The primary reason I love reading Tressie McMillan Cottom isn't the rigor of her sociology or the accessibility of her writing – it's that they're both there, together, in an authentic North Carolina African-American voice.) We should be saluting people who go that extra mile in outreach, and who do their part to take the caricature of the college professor and shatter it.
That, at the end of the day, is what I wish Nick Kristof would have done.
And finding examples isn't so hard. After all, I found most of mine completely by accident.
Posted in WordPressTagged academia, personal, twitter
Throwback Thursday, starring a couple of photosynthesis researchers
13 February 2014 14 February 2014 chuckpearsonLeave a comment
I don't play Throwback Thursday often, but apparently, when I do, Nicole supplies me with the picture.
The woman on the left, Elizabeth Gross, is the reason I have a PhD. In her role as chair of the Biophysics Program at Ohio State, she took a chance on a punk from Rose-Hulman who bugged the mess out of her (and even drove to Columbus on something of a lark on a Saturday to see what was there, and what could have been a 30-minute interview-type thing turned into a 3-hour conversation), and then, the moment the words "Brownian dynamics" were mentioned in casual conversation, bugged her some more during his first year until she let him into the lab, with no funding and a wild concept of a project. And patiently, through every conceivable TA appointment imaginable while the research was going on, she kept letting me bug her, and even started to bug me back a bit as she got seriously interested in the modeling herself. We worked out how plastocyanin and cytochrome f get together to do electron transfer, basically by taking every computer package written to model proteins and other macromolecules and forcing them to do what WE wanted to do, whether that was what they were designed to do or not. She had that "feeling for the organism" that Barbara McClintock wrote about – she understood how chloroplasts worked, and had a gut feeling for how proteins did chemistry, and 99% of the time, she was right.
And that's before we get into her metaphors that were simply brain-bending. Those who live in tin houses should not throw can openers, though, so I won't touch that with a 12-foot Norweigan.
The woman on the right, Nicole Vanderbush, was in my first group of students at Shorter. She was loudmouthed, obnoxious, kind of a punk herself – and insanely passionate about whatever she was passionate about at the moment. I have no idea what drew her to me, and I honestly wonder why I had confidence in her in those first days myself. All I know is, I have never had a student trust me so much, and who latched on to an idea so tightly. She took that very same Brownian dynamics problem and ran with it, got interested enough in the proteins to turn out a research project that could actually be presented somewhere (the only student I've ever had to take those steps, and I've been at this now for nearly a decade and a half), and landed at an REU at the University of Arkansas – as fate would have it, working for Dr. Gross' first grad student, Dan Davis. That REU turned into her own PhD project, and Nicole became a better experimentalist than I could have ever dreamed of being. Now she's at Shorter – and carries the title of Assistant Professor, the thought of which blows my mind daily.
The place where they are standing is the office space at Ohio State where I spent the better part of six years of my life. It is, I believe, cleaner in this picture than it ever was when I studied there.
One of the biggest regrets of my life is that there is not a picture of these two women, together with me. They represent two of the most important stages of my life.
And yes, if you knew these sweet people's personalities, it is thoroughly appropriate that Nicole has broken out the bunny ears on Liz, and Liz just keeps grinning as if to say "yes, Nicole, I know what you did there."
One other thing that it's important to note.
These two, the two most important people in my career in science, are both women.
There are not many guys who can say that bit.
It is a bit of a quirk of fate (or providence?), when you think about it. The right person to guide me through the PhD, and the right first student for me to start through that path.
I don't know what to make of that, except that I've found myself uncommonly sensitive to issues of women's success in science, in the physical sciences especially, over the course of my life. It registered very early on that there were many people who had talents who simply let those talents go because there wasn't someone there who would affirm those talents, and who would talk about the path to doing science as a profession being available to them.
Part of the conflict within me over the current state of academia, the current dearth of jobs out there for people with PhD's even in the sciences, is that we still need to address the gender imbalance in those professions, and take maximum advantage of the talent available, instead of losing people on the path. That needs to happen even as the jobs available is dwindling and the political will to support academic science goes from slim to none.
I've become very passionate about health professions advising, because that's another way to nurture those talents and put them to good societal use, and the jobs are there for those who complete those paths successfully (even as those paths involve residencies and other sorts of credentialing hoops). But that's not a substitute for our best thinkers applying their thinking to basic science problems, trusting that the benefits to them personally will prove over the long run to be benefits to society as a whole. And it's not a substitute for ensuring that our best thinkers are a diverse group, with diverse experiences that turn into diverse means of solving big problems.
I have no answers, but I have a set of values that I find important, and I have a host of people in my life who have informed those values. And at key points along that path, those people have been women.
I am incredibly, incredibly grateful for what I've inherited, and I need to be a good steward of that inheritance.
This is why I do what I do.
Posted in WordPressTagged academia, personal, science


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Periboeum metallicum is a species of beetle in the family Cerambycidae. It was described by Magno in 1987.

References

Elaphidiini
Beetles described in 1987


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Myths & magic
Peg o' Nell
Home / Peg o' Nell
Peg o' Nell's Well with its headless statue, 2010
The malevolent water spiritAn elemental is a type of primitive spiritual entity from the pagan past, perhaps the manifestation of a race memory, usually associated with a single place.	of the River Ribble in Lancashire, England is in most accounts said to be that of the ghost of Peg o' Nell, who had been a servant at Waddow HallWaddow Hall is a 17th-century Grade II listed building within a 178-acre (72 ha) estate near Clitheroe, Lancashire.	. The earliest written account of the existence of such an entity appears to be that of Harland and Wilkinson in their Lancashire Folk-Lore, published in the 1860s:
He is not known by any particular designation, nor are there any traditions to account for his first appearance; but at least one life every seven years is required to appease the anger of the spirit of the Ribble at this place [Bungerley Bridge, close to Waddow Hall].[1]
Later in their account the spirit has had a sex change and acquired a name, Peg of the Well, in reference to a well in the grounds of Waddow Hall beside which stood a headless statue, which is still there today. Peg is said to have been ordered by the mistress of the house to fetch water from either the river or the well (accounts vary) one freezing cold night, and broke her neck in a fall after slipping on some ice.[2] The statue, which was then complete with its head, was moved from the house to the well to memorialise Peg's death.
Every seven years Peg returns to claim a life in revenge for her own,[2] as did Harland and Wilkinson's original water spirit. If a cat or a dog is not sacrificed to her on the anniversary of her death, the date of which is unrecorded, then she will instead take the life of a human.[3]
There are other river spirits with the name Peg including Peg PowlerPeg Powler is the evil spirit of the River Tees in northeastern England, said to drag children who ventured too close the water's edge to their deaths., who inhabits the River Tees, dragging unwary children to their deaths. Grant Allen in his The Evolution of God, originally published in 1897, suggests that Peg may be a corrupt version of an old Celtic name for a nymph or water spirit.[4]
Headless statue
Although sometimes described as being a representation of Peg o' Nell,[2][5] the headless statue is too ancient for that to be the case.[a]No account explains why anyone would have commissioned a statue of a servant. Harland and Wilkinson were told that the statue was of a Roman Catholic saint[b]St Margaret of Antioch, who was perhaps coincidentally beheaded by the Romans, has been suggested as a possible candidate.[6] and taken to Waddow Hall, possibly from Whalley Abbey, which had been abandoned and partially demolished in 1537 in the course of Henry VIII's Dissolution of the Monasteries. Whether the head was lost during the abbey's demolition or later is unknown. The standard version of the legend has it that an owner of the hall, Mrs Starkie, had summoned a Puritan preacher to exorcise her ten-year-old son who had become possessed by an evil entity, possibly Peg o' Nell.[c]The mention of a Puritan preacher suggests that these events would have occurred some time during the 17th century.[7] When the preacher failed to arrive she sent out servants to search for him, and they discovered the preacher lying dead in the river. Believing Peg to be responsible, and that the statue was in some way the focus of her power, Mrs Starkie took an axe and with one stroke cut off its head.[8]
Modern elaboration
Folk legends originate from an oral tradition of story telling, and inevitably the stories became altered through the generations. That process continues as the legends are retold even today, as in the account author and ghost-walk guide Simon Entwistle presents in his video series Tales from the Graves. He relates that Peg o' Nell was a beautiful young woman employed as a skullery maid at Waddow Hall who was murdered by the jealous wife of the master of the hall and his ambitious butler. Placing the event in 1795, he claims that Peg's body was then dumped in the River Ribble. According to this version of events the mistress of the house became convinced that Peg's spirit had taken possession of a stone statue then in the house and so ordered the butler to remove its head and dump both it and the rest of the statue in the river. Two boys poaching for salmon in 1929 rediscovered the body of the statue, which was then placed where it can be seen today.[9]
In reality there is no evidence that there was ever a servant named Peg o' Nell at Waddow Hall, and contemporary written accounts describe the headless statue as being in its present location in the mid-1860s. Entwistle's imaginative reinvention of the story can in no way be considered to be anything other than a work of fiction with only loose connections to the historical legend.
loc. 3823–3836
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Allen, G. (2018). The Evolution of the Idea of God (ebook). Blackmore Dennett.
Bennett, P. (2011, April 9). Peg o' Nell's Well, Clitheroe, Lancashire. Retrieved from https://megalithix.wordpress.com/2011/04/09/peg-o-nells-well/
Briggs, K. M. (1979). Abbey Lubbers, Banshees, & Boggarts. Kestrel Books.
Peg O' Nell. (n.d.). Ben Niall Video Productions. Retrieved from https://www.youtube.com/watch?v=DjsnNR-JRIw
Pye, M. (n.d.). Peg o' Nell. Retrieved from http://www.oldclitheroe.co.uk/page37.htm
Staff writer. (2003). Peg o' Nell. In J. Simpson & S. Roud (Eds.), A Dictionary of English Folklore (online). Oxford University Press. Retrieved from http://www.oxfordreference.com/view/10.1093/acref/9780198607663.001.0001/acref-9780198607663-e-792.
Westwood, J., & Simpson, J. (2013). Haunted England: The Penguin Book of Ghosts. (S. Kingshill, Ed.) (ebook). Penguin.
a. ^ No account explains why anyone would have commissioned a statue of a servant.
b. ^ St Margaret of Antioch, who was perhaps coincidentally beheaded by the Romans, has been suggested as a possible candidate.[6]
c. ^ The mention of a Puritan preacher suggests that these events would have occurred some time during the 17th century.[7]
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HomeResearch Outputs Signs, Senses and Cognition: Lady Welby and Contemporary Sem...
Signs, Senses and Cognition: Lady Welby and Contemporary Semiotics
Research output: Contribution to journal › Review (Book/Film/Exhibition/etc.)
Susan Petrilli discusses Victoria Welby (1837–1912) and the Signific movement in her book Signifying and Understanding. The disposition of the book is chronological and thematic, and Petrilli's discussion connects Welby's work with contemporary semiotics, as well as with the intellectual and scientific landscape of Welby's own time. For instance, a selection of Welby's vast correspondence with intellectuals, researchers and philosophers important to linguistics, semiotics, psychology and anthropology, to mention a few of her interests mirrored in the exchange of letters, is included in the book. The review aims at further connecting Welby's work to semiotic research of the day, where phenomenological and modern cognitive influences are important.
Anna Cabak Rédei
Victoria Welby, Signific Movement, semiotics, psychology, sign, meaning.
Reviewed Work(s): Signifying and Understanding: Reading the works of Victoria Welby and the Signific Movement (by Susan Petrilli)
Centre for Cognitive Semiotics (CCS)
Sara Lenninger, Göran Sonesson, Junichi Toyota, Ingar Brinck, Lars Kopp, Arthur Holmer, Anastasia Karlsson, Damrong Tayanin, Gerd Carling, Gisela Håkansson, Johan Blomberg, Jordan Zlatev, Lars-Åke Henningsson, Mats Andrén, Susan Sayehli, Teresa Strandviken, Joel Parthemore, Tomas Persson, Anna Cabak Rédei, Elainie Alenkær Madsen, Alf Hornborg, Mats Andrén, Lars-Åke Henningsson, Lars Kopp, Damrong Tayanin & Junichi Toyota
https://doi.org/10.1515/sem-2013-0054


text:
Владимир (Влад) Тенев е американски предприемач и милиардер от български произход, съосновател (заедно с Байджу Бхат) на компанията за финансови услуги Robinhood.

Ранен живот
Тенев е роден в България. Родителите му емигрират в САЩ, докато той е още малко момче. И двамата му родители работят за Световната банка, а той е отрасъл във Вашингтон. Учи във Висшето училище за наука и техника "Томас Джеферсън".

Завършва математика в Станфордския университет, където се запознава с Байджу Бхат, син на индийски емигранти. Владимир започва докторантура по математика в UCLA, но напуска, за да работи с Бхат.

Кариера
През 2013 г. Тенев и Бат съвместно основават платформата за финансови услуги Robinhood.

След финансовия преглед през май 2018 г., който увеличава оценката на Robinhood до $6 млрд., Тенев и Бат стават милиардери.

Източници

Милиардери от САЩ
Милиардери от България
Родени през 1980-те години
Българи в САЩ
Родени във Варна


Turns out Roger Stone's twitter tirade was worse than I initially realized, and it got him banned permanently. Pressure getting to him?
Stone was the guy who announced several days in advance, the Wikileaks release of the Clinton emails, so there are possibly other skeletons in his closet. Yesterday he got hot under the collar, called Don Lemon (CNN) "Dumb as a Dog" and got himself suspended on Twitter as a result.
yes i know who Stone is, that piece of human manure ..
The charges include conspiracy against the United States, conspiracy to launder money and making false statements. These are the first criminal allegations to come from Special Counsel Robert S. Mueller III's investigation into possible coordination between the Trump campaign and Russia to influence the 2016 election.
Former Trump campaign advisor George Papadopoulos has pled guilty to lying to the FBI, (a crime), about his contacts with the Russians over Clinton emails, and now appears to be a cooperating witness.
Manafort and Gates given bail at $10M and $5M. Both are under house arrest.
A cryptic sentence in the Papadopuolos document unsealed today has led analysts to speculate that Pap was wearing a wire throughout August and September 2017. Might, or might not, have led to important info. Time will tell.
When Manafort & Gates pled not guilty this morning, they had no idea that an hour later Mueller would have the Papadopoulos guilty plea and cooperating witness announcement. (Nor did Trump when he tweeted that the Manafort indictment predated the election campaign). They've got to be feeling a lot less secure tonight. That was likely Mueller's intention to ramp up pressure on them.
Among the possibly significant details that emerged today, was the date of the lying Paps pled guilty to on Oct 2. That as Jan 26, 2017, six days after the inauguration, and months before Mueller was appointed. He was first arrested on July 27.
What this means is that he was already a person of interest to the FBI in their early investigation, and by the time Trump invited Comey to dinner, Comey may already have been aware that Pap had lied and framed his answers to Trump accordingly.
they must have had something on Manafort since the Summer of 2016... i recall Trump dumped him like a contaminated nuke back then..so .. Trump knows something as well.. let's see if Comey made Trumps bed in those first meetings earlier this year ..
Tech companies begin 2 days of testimony on the hill today.
WaPo is reporting that Facebook will testify that as many as 126M Americans, roughly the same number as voted, and much more than previously estimated may have seen Russian sponsored material.
Google will say it found 1,100+ election related U tube videos connected to the Russians. Twitter will say 36,000 Russian bots sent 4M tweets.
It also emerged yesterday that the Russians were dangling the prospect of "thousands of Clinton emails" in front of Paps as early as April 2016. That's months before the public announcement of the DNC hack, or the Don Jr. meeting.
Seems that he's not the only one getting some revenge. Donna Brazile is promoting a new book and it seems to be creating a bit of a stir.
Last edited by jmcc; 02-11-2017 at 11:52 PM.
What would the great Irish playwright, George Bernard Shaw, have made of President Donald Trump?
He was a great supporter of the Soviet Union and swallowed its propaganda and asked for more. He wouldn't be out of place with a lot of the present-day media who really don't think for themselves but recycle the opinions of their bosses.
Not to minimize the concerns raised by Donna Brazille, but the headlines don't tell the full story. HRC did end up controlling the DNC, because she saved them from bankruptcy, and Bernie contributed zero money to that. Obama is widely blamed for leaving the DNC so vulnerable, in part because of an ongoing feud with then chair Debbie Wasserman-Shultz, who most consider a little dictator.
Brazille a Georgetown University professor, was fired as a CNN contributor, when it emerged she leaked in advance to Clinton info about a CNN hosted debate with Trump.There may be some score settling here. It was fun to watch CNN thread cautiously around this story.