#Daniel Abreu

[balburder]

– Prêmio Grampo 2024 de Grandes HQs – O resultado final: as 20 HQs mais votadas

O álbum Monica é o vencedor do Prêmio Grampo 2024 de Grandes HQs. A obra do quadrinista norte-americano Daniel Clowes publicada pela editora Nemo e traduzida por Érico Assis consta em nove das 20 listas dos jurados convidados do Grampo, tendo acumulado 81 pontos na contagem dos votos. A segunda colocação ficou com Patos – Dois anos nos campos de petróleo (WMF Martins Fontes), de Kate Beaton, com…

[premiogrampo]

– Prêmio Grampo 2024 de Grandes HQs – O resultado final: as 20 HQs mais votadas

O álbum Monica é o vencedor do Prêmio Grampo 2024 de Grandes HQs. A obra do quadrinista norte-americano Daniel Clowes publicada pela editora Nemo e traduzida por Érico Assis consta em nove das 20 listas dos jurados convidados do Grampo, tendo acumulado 81 pontos na contagem dos votos. A segunda colocação ficou com Patos – Dois anos nos campos de petróleo (WMF Martins Fontes), de Kate Beaton, com…

[laurastudarus]

There are sports, and then there are sports. Extreme athletes push themselves beyond perceived limits, flying, diving, and running farther than it seems the human body has any right to go. And thanks to the X Games, Red Bull events, and even the Olympics, they’ve been given platforms to shine, allowing athletes like surfer Bethany Hamilton and snowboarder Shaun White to become household names.

(read more)

[cyarsk52-20]

JEWISH

What is Rosh Hashanah and how is it celebrated?

Rosh Hashanah, meaning "head of the year" in Hebrew, is the celebration of the Jewish New Year. It’s commemorated with prayers, food and gatherings.

By Danielle Abreu • Published 6 hours ago •Updated 5 hours ago

Rosh Hashanah is a two-day holiday celebrating the Jewish New Year and kicks off the start of the Jewish High Holiday season. Here’s everything you need to know about this important holiday celebrated by people around the world.

The two-day holiday known as Rosh Hashanah kicks off the beginning of the Jewish "High Holidays," a ten-day period of repentance and reflection that culminates with Yom Kippur, also known as the Day of Atonement, the holiest day of the Jewish calendar.

But what exactly is Rosh Hashanah and how is it celebrated? Here's everything you need to know:

What is Rosh Hashanah?

Rosh Hashanah, meaning "head of the year" in Hebrew, is the celebration of the Jewish New Year. During Rosh Hashanah, Jewish people around the world ask God for forgiveness for mistakes they’ve made over the past year and remind themselves not to repeat those mistakes in the coming year.

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What is Yom Kippur?

Yom Kippur comes on the last of the 10 days of repentance that began with Rosh Hashanah. The day is usually observed with fasting and extended time in deep prayer, before ending with the sounding of a "shofar," a trumpet made from a ram's horn.

When is Rosh Hashanah and Yom Kippur 2023?

Rosh Hashanah is observed on the first day of the month of Tishrei on the Hebrew calendar, which falls in September or October on the Gregorian calendar, the calendar commonly used throughout the world.

This year in 2023, Rosh Hashanah begins at sunset on Friday, Sept. 15, and ends at sunset on Sunday, Sept. 17. Yom Kippur will begin next week on the evening of Sunday, Sept. 24, and ends the evening of Monday, Sept. 25.

How is Rosh Hashanah celebrated?

Rosh Hashanah observances include special foods, traditions and mitzvahs, or commandments, and celebrations can vary from family to family. Many people attend services at a temple or synagogue, where a special service is held with messages of hope and atonement in the new year.

A hollowed-out ram’s horn, called a shofar, is blown during services to awake any spiritual slumber and remind worshipers to return to God and reflect on their sins.

Another important part of Rosh Hashanah is Tzedakah, or giving back to those in need. The belief is that by carrying out good deeds, God will notice these efforts and bless them with a fruitful new year.

Some Jewish families toss bread crumbs into bodies of water to symbolize the discarding of their sins, a tradition that dates back centuries.

APR 15, 2022

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What Do People Eat During Rosh Hashanah?

Fish is a traditional meal at Rosh Hashanah as it symbolizes fertility and abundance. Some people will eat the head of the fish to express the desire to be leaders and not followers in the year.

Many Jewish families also eat challah bread and apples dipped in honey, symbolizing the sweet hopes for the New Year.

Some families will also eat pomegranate fruit as its many seeds represent the many blessings in the coming year.

What Are Rosh Hashanah Greetings?

Because Rosh Hashanah celebrates the Jewish New Year, the most common greeting is "Happy New Year." The equivalent in Hebrew is "Shanah tovah," (pronounced shah-NAH toe-VAH) which literally means "good year."

Shanah tovah is the condensed version of a longer greeting L’shana tovah u’metukah, which means “for a good and sweet year.”

You can also say "chag sameach" (pronounced KHAHG sah-MEY-akh) which means "happy festival," the Hebrew equivalent of Happy Holidays."

This article tagged under:

JEWISHROSH HASHANAHYOM KIPPUR

SHANA TOVA to my fellow Jewish people around the country and the world

[rowinablx]

Why we need to remember Aaron Hernandez and his actions even though we'd rather forget

In the shadowy labyrinth of American football's pantheon, the story of Aaron Hernandez is a tragic tale of a fallen hero. Once a gleaming beacon of athletic prowess and promise, his narrative unfolded like a Shakespearean drama, replete with triumph, scandal, and a poignant descent into the abyss of despair. Born in Bristol, Connecticut, on November 6, 1989, Aaron grew up in a family where football was not merely a pastime, but a religion, a creed that shaped the very essence of their existence. His father, Dennis, a former tight end for the University of Connecticut, cast a long, formidable shadow over Aaron's youth, instilling in him a fervent passion for the game that would both elevate and ultimately consume him.

Aaron's journey into football stardom began in earnest at Bristol Central High School, where he honed his skills as a tight end and linebacker, earning a reputation as a force to be reckoned with on the field. His athletic talents did not go unnoticed; a slew of college scholarships awaited him, with the University of Florida emerging as the crown jewel of his academic and athletic conquests. It was here, under the tutelage of Urban Meyer, that Aaron's star continued to ascend. With a Super Bowl victory already under his belt, he was a highly sought-after prospect, and the New England Patriots, recognizing the potential that lay within him, drafted him in the fourth round of the 2010 NFL Draft.

Hernandez's tenure with the Patriots was marked by moments of brilliance and controversy in equal measure. In 2011, he signed a lucrative contract extension, a testament to the faith the team had in his abilities. However, whispers of off-field troubles began to tarnish his gleaming facade. Reports of drug use and violent encounters painted a picture of a young man grappling with the pressures of fame and fortune, a theme that would become a tragic motif in his life. Despite these off-field distractions, Aaron's performance on the gridiron remained strong, earning him a spot on the 2012 Pro Bowl roster and contributing to the team's Super Bowl appearance that year.

The darker shadows of Aaron's life grew longer in the summer of 2013 when he was implicated in the murder of semi-professional football player Odin Lloyd. The ensuing legal saga cast a pall over the NFL and his team, as the public struggled to reconcile the smiling image of the talented athlete with the accused killer that stood before them. Despite proclaiming his innocence, the walls of accusation began to close in. The New England Patriots, faced with a PR nightmare, decided to cut ties with their star player, effectively ending his football career.

As the trial unfolded, it became clear that the allure of wealth and notoriety had led Aaron down a path fraught with perilous associations. His friendship with a violent gang member, his involvement in the murders of Daniel de Abreu and Safiro Furtado, and his tumultuous personal life were all laid bare in the courtroom, a stark contrast to the glamour of the football field. The once-celebrated tight end, who had dazzled fans with his acrobatic catches and powerful runs, was now the subject of morbid fascination, a symbol of the fragility of the American dream.

Throughout the trial, Aaron's mental health was called into question. A complex tapestry of brain injuries, chronic traumatic encephalopathy (CTE), and a history of physical abuse emerged, offering a glimpse into the tumultuous inner workings of a man whose public persona had been meticulously crafted by the machine of professional sports. His lawyers argued that the repeated traumas he had suffered during his football career had fundamentally altered his mental state, leading to erratic behavior and violent tendencies. This defense, while controversial, shed light on the darker side of the sport, sparking a broader conversation about the long-term effects of head injuries in football and the responsibilities of the NFL towards its players.

But there was another secret lurking in the shadows of Aaron's life that had remained hidden from public view: his closeted bisexuality. The hyper-masculine world of the NFL had little room for those who did not conform to the rigid heteronormative ideal, and Aaron, fearing the repercussions of living openly, had kept his sexual orientation a closely guarded secret. The burden of this concealment weighed heavily on him, contributing to the inner turmoil that fueled his descent into a world of drugs, gangs, and violence. His fear of being outed was so intense that it is believed to have played a role in his involvement with the very individuals who would ultimately lead to his downfall.

The interplay between Aaron's private struggles with his sexuality and the machismo of football culture created a toxic stew that simmered just beneath the surface. His relationships with men, both on and off the field, were fraught with tension and confusion, a silent battle waged in the locker room and the streets of Boston. The dichotomy between his public persona and his private truth was a constant source of anguish, as he sought to reconcile the expectations of his fans, his family, and his own identity in a world that often seemed incapable of understanding the complexities of the human condition.

In the hyper-masculine crucible of professional sports, where homophobia was as rampant as the pursuit of victory, Aaron's bisexuality was a tightly held secret, a burden that grew heavier with each passing season. The fear of rejection and the potential loss of his football career haunted him, forcing him to navigate a treacherous social terrain where authenticity was often equated with weakness. This secret, like the unseen bruises on his brain, festered within him, contributing to a volatile mix of emotions that would later be cited as a significant factor in his violent outbursts.

But amidst this chaos, there was a beacon of hope and love in his life: his daughter, Avielle Janelle-Jasmin Hernandez. Born in 2012 to Aaron and his fiancée, Shayanna Jenkins, Avielle became the one constant in a world of fleeting glamour and shifting alliances. She was the embodiment of innocence in a narrative stained with the dark hues of deceit and tragedy. Aaron's love for her was unbridled, a love that transcended the constraints of his public image and the shackles of his personal demons. In the quiet moments away from the media frenzy and the echoes of his legal battles, he was simply a father, playing with his little girl, trying to imbue her with the joy and wonder that had once filled his own youth.

Avielle's existence served as a stark reminder of the humanity that often gets lost in the glitz and grime of professional sports. Despite the chaos that swirled around him, Aaron strived to be a present and loving father. He shared tender moments with her, whispering sweet nothings into her ear, and showering her with the affection that was a stark contrast to the cold reality of his life outside the confines of their home. The birth of his daughter had brought a new dimension to his life, one that offered a semblance of normalcy and a reason to fight for redemption amidst the tempest of scandal.

Yet, the storm grew more ominous when Aaron was finally arrested on June 26, 2013, for the murder of Odin Lloyd. The news sent shockwaves through the sports world and beyond, as fans and detractors alike grappled with the image of the smiling, baby-faced athlete now handcuffed and escorted into a police cruisher. The mugshot of a disheveled and bewildered Hernandez would become an indelible symbol of the tragic narrative that had unfolded. The arrest marked a stark shift in his life, from the adored to the vilified, a transformation that was as swift as it was stunning.

The legal process that followed was a grueling marathon of accusations, court appearances, and media scrutiny. His once-adoring fans now questioned their allegiance, his teammates whispered in hushed tones, and his endorsements evaporated like mist in the harsh sun of public outrage. Throughout the trial, Aaron's demeanor oscillated between stoic and emotional, a reflection of the tumultuous tempest raging within. Each day brought forth new evidence, each revelation a fresh wound that bled the veneer of his former life away, leaving only the raw, unvarnished truth of his actions.

The courtroom was a modern-day coliseum where Aaron's fate was decided not by the roar of a bloodthirsty crowd, but by the cold, methodical deliberation of twelve jurors. The air was thick with tension as they weighed the testimonies of witnesses and the evidence laid before them. His lawyers painted a picture of a man haunted by his past and tormented by the very sport that had brought him fame, while the prosecution presented a calculated killer who had thrown away a life of privilege for a fleeting moment of rage.

Amidst the cacophony of the trial, whispers of his mental state grew louder. The revelation of CTE, a neurodegenerative disease linked to repeated head trauma, cast a pall over his actions. It was as if the very essence of Aaron had been hijacked by an invisible enemy that had been festering within his brain, slowly unraveling the fabric of his sanity. This twist in the narrative brought a new dimension to the case, transforming it from a simple tale of crime and punishment to a complex exploration of the dark underbelly of America's favorite pastime.

The verdict was handed down on April 15, 2015, and with it, the curtain fell on one act of Aaron's tragic play. Found guilty of first-degree murder, he was sentenced to life in prison without the possibility of parole. The football star who had once reveled in the adoration of the crowd was now just another inmate, a number rather than a name. His fall from grace was complete, a cautionary tale etched into the annals of sports history.

Yet, the story of Aaron Hernandez did not end with the Lloyd trial. In 2017, he faced another set of charges for the 2012 double homicide of Daniel de Abreu and Safiro Furtado. The trial was a macabre reprise of the one before, with the same cast of lawyers, witnesses, and media spectators all gathering to dissect the grim details of his life once more. This time, however, the outcome was unexpected. In a stunning reversal of fortune, Aaron was acquitted of the murders, leaving the courtroom in a state of shock and disbelief.

The acquittal, while granting him a temporary reprieve from the specter of the death penalty, did little to absolve him in the eyes of the public. The shadow of doubt lingered, a specter that clung to him like a second skin. The jury had spoken, but the collective consciousness remained divided, unsure of what to make of this man who had been vilified and then, in a twist of fate, partially vindicated. The narrative of his life had become a Gordian knot, a tangle of conflicting truths that seemed to defy a clear-cut resolution.

And then, in the stillness of his cell on April 19, 2017, Aaron's story took its darkest turn yet. In a moment of desperation or perhaps a final act of control in a life that had spun wildly out of it, he took his own life. The news sent shockwaves through the media landscape, leaving those who knew him, and those who had only known of him, to ponder the enigma that was Aaron Hernandez. His final act was a silent scream that echoed through the hollow corridors of the justice system, a haunting reminder that the most profound stories are often the ones that end without closure.

Before he ended his life, Aaron made a final phone call to the two people who had remained steadfast in his corner, his fiancée, Shayanna Jenkins, and his beloved daughter, Avielle. It was a call filled with the weight of a thousand unspoken words, a poignant coda to a relationship that had been the sole bastion of love and support amidst the chaos. Shayanna, the woman who had stood by him through the tempest, who had borne the brunt of his tumultuous emotions, was now left to grapple with the incomprehensible. Her voice, a beacon of solace in his final moments, would now be forever etched in the annals of a love that had been tested by the harshest of circumstances.

The conversation between Aaron and Avielle was one of those rare, heart-wrenching moments that transcend the confines of time and space. A father, desperate to leave an imprint of love on the soul of his child, whispered sweet nothings into the phone, his words a gentle lullaby to a life filled with turbulence. Avielle, oblivious to the gravity of the situation, giggled and cooed, her innocence a stark counterpoint to the grim reality of the conversation's subtext. For Aaron, it was a fleeting glimpse of the life he could have had, a poignant reminder of the joy that had been within his grasp.

In the hours leading up to his suicide, Aaron's cell was said to have been meticulously arranged. It was a place of solace, a sanctum where he could retreat from the cacophony of his thoughts and the relentless judgment of the outside world. He had written notes, messages of love and apology to those who had stood by him, and perhaps a final confession to those he had wronged. The act of writing, a silent conversation with his own conscience, was his final attempt at reconciliation, a feeble attempt to mend the fractured narrative of his life.

The moment he took his own life was one of profound solitude, a stark contrast to the frenetic energy of the football field he once knew. The quietude of the cell was pierced only by the desperate finality of his breath, a somber testament to the depths of his despair. His death was a tragic finale to a tale that had been marred by darkness and misunderstanding, a story that had become a cautionary allegory for a nation grappling with the consequences of its obsessions with violence and hero worship.

The aftermath of Aaron's suicide sent shockwaves through the world of football, where the whispers of CTE grew from a murmur to a deafening roar. The revelation that he had been suffering from severe CTE at the time of his death cast a pall over the sport, forcing a reckoning with the price paid by its gladiators for the entertainment of the masses. The league, long criticized for its handling of head injuries, found itself at the center of a storm of scrutiny and accusation.

The examination of Aaron's brain postmortem revealed a frontal lobe that had been ravaged by the repeated traumas of his football career. This part of the brain, the seat of judgment and impulse control, had been steadily caving in upon itself, a silent saboteur of his thoughts and actions. The once vibrant tissue had become a tapestry of decay, the delicate threads of his sanity frayed and torn. It was a stark visual representation of the invisible war waged within the minds of countless players, a battle that often went unseen until it was too late.

This revelation of his severe CTE cast a pall over the football world, forcing a collective examination of the price paid for the sport's glitz and glory. The league that had once dismissed the long-term effects of head injuries was now confronted with the grim reality of its complicity in the creation of monsters. Aaron's damaged brain became a symbol of the darker undercurrents that flowed beneath the gleaming surface of the NFL, a reminder that the warriors on the field were mere mortals, not immune to the ravages of the game they loved.

In the wake of his suicide, Aaron's estate became a battleground of its own, a grim reflection of the turmoil that had dominated his life. In a surprising twist, he had bequeathed all he had to his daughter, Avielle, and his fiancée, Shayanna.

The decision to leave his mother, Terri, and brother, DJ, with nothing was a poignant reflection of the fractured relationship that had existed for years. Terri, a woman who hadn't dedicated anything to her son's success, had watched without care or love as he spiralled out of control. The distance between them grew as Aaron's wealth and fame created a chasm that neither could bridge with love alone. His cousins, who had once shared a close bond with him, found themselves cast aside in his quest for power and acceptance in the treacherous underworld of gangs and drugs.

In the complex web of his final wishes, Aaron's omission of his immediate family was a silent manifesto of his true allegiances. He had chosen the path of his father, Dennis, who had instilled in him the belief that football was the only true family he needed. The sport had become his solace, his identity, and ultimately, his downfall. The men he had surrounded himself with, the ones who had shared his darkest secrets and borne witness to his most heinous acts, were the ones who would inherit his legacy, a twisted testament to the bonds formed in the crucible of violence and deceit.

But it was the whispers of his past that truly haunted Aaron's legacy. The dark secrets of his childhood, the bruises on his soul that had never quite healed, had shaped the man he became. A young boy subjected to the cruel whims of parental abuse, he had learned to navigate the world through fear and pain. His mother, Terri, had been as much a specter of torment as she had been a nurturer, her harsh discipline leaving him emotionally scarred and yearning for a sense of belonging. Meanwhile, his father, the very man who had introduced him to the sport that would come to define his life, had also been the source of unspeakable pain. The abuse he suffered at the hands of both parents had etched a pattern of violence into his psyche, one that would manifest in the most shocking ways.

The shadow of his father's influence loomed large, a man whose own demons had cast a long shadow over their family. Dennis Hernandez, a former football player himself, had pushed Aaron into the sport from a young age, imbuing in him a fierce competitiveness and a win-at-all-costs mentality. Yet, this drive for success was underpinned by a volatile temper and a propensity for violence that would become a hallmark of Aaron's own behavior. The echoes of his father's fists resonated through his life, a rhythm of pain that seemed to follow him wherever he went, shaping his interactions and his identity. The love he had for the game was inextricably linked to the fear and anger that had been beaten into him, a love tainted by the very hand that had thrown the first pass.

Terri's role in Aaron's tragic narrative was equally complex. A mother whose own childhood traumas had left her emotionally scarred, she had sought refuge in a religion of discipline that often crossed the line into abuse. Her love for her son was as fierce as it was flawed, her methods of tough love a tragic misinterpretation of what it meant to be a guardian. Her words, sharp as tacks, had pierced his soul, leaving wounds that never quite healed. The screams and the slaps had been her tools of shaping, a misguided attempt to forge a son who could withstand the crucible of life, but instead, had only served to fuel his anger and resentment.

Yet, it was the whispers of his father's abuse that reverberated with a chilling resonance. The very man who had taught him the art of the catch, had also taught him the art of concealment, the necessity of hiding the bruises and the tears. The fear of his father's wrath had been a constant presence in his life, a specter that had haunted his every step. The silence that shrouded their home had been a cocoon of terror, a prison where Aaron had learned to bury his pain deep within.

In the wake of Aaron's suicide, the NFL and the New England Patriots found themselves in the uncomfortable spotlight of public scrutiny. The league that had once been seen as untouchable, a bastion of American values and heroism, now faced a reckoning. The tragic end of Aaron's life served as a stark reminder of the human cost of the sport they had built into an empire. The glitz and the glory of the Super Bowl rings were tarnished by the image of a young man destroyed by the very game that had made him a legend. The conversations about CTE grew louder, more insistent, as the reality of the long-term damage wrought by football could no longer be ignored.

The NFL, initially slow to respond to the growing concerns about the prevalence of brain injuries among its players, was now forced to confront the grim truths that Aaron's life had laid bare. The league implemented new protocols for concussion management and invested millions into research and prevention programs. Yet, the shadow of his story lingered, a reminder of the countless others whose lives had been forever altered by the violent collisions that were the lifeblood of the game. The hallowed halls of the league offices grew quiet as the whispers of doubt grew into a clamor for change.

The New England Patriots, too, faced a reckoning. The team that had once proudly claimed Aaron as one of their own now found their brand tarnished by his actions and the implications of their own role in his downfall. The organization was forced to examine its own culpability in fostering a culture that valued victory over the wellbeing of its athletes. The jettisoning of a star player was a stark admission that the machine had faltered, that the pursuit of greatness had come at too high a cost.

In the hallowed halls of Gillette Stadium, the silence was palpable. The cheers that had once reverberated in celebration of his touchdowns were now replaced by the echoes of his name, a specter that hung in the air like a dark cloud. The franchise that had been built on the bedrock of discipline and excellence now faced a crisis of conscience, a moment where the reflection in the mirror was not that of champions but of enablers. The question of what could have been done differently to prevent Aaron's descent into madness became a rallying cry for reform within the franchise.

Yet, the NFL, the behemoth that had once cradled Aaron in the bosom of its billion-dollar empire, remained steadfast in its denial. The commissioner's podium remained a bastion of stoicism, the words of condolence and concern for the victims' families ringing hollow in the face of the league's inaction. The whispers of CTE, once a fringe theory whispered in the shadows of the game, had become a deafening crescendo that the league could no longer ignore. Yet, the institution that had made him a star was now a silent accomplice in his tragic demise, its silence a deafening indictment of its own complicity.

The gleaming helmets and pads that had once been the armor of his glory were now the very instruments of his destruction. The league that had profited from his talent and labor now turned a blind eye to the wreckage left in the wake of his life. The glitz of the Super Bowl, the rabid fandom, the endless merchandise that bore his name—all were now tainted by the grim specter of his mental decay. The NFL, an entity that had once been the very essence of his identity, had abandoned him, leaving him to face the demons of his past with nothing but the echoes of his former glory.

The whispers of CTE grew louder, a cacophony that the league could no longer muffle with the roar of the crowd. Yet, the commissioner's podium remained a bastion of denial, a fortress of rhetoric that shielded the sport from the harsh light of reality. The very men who had once lauded Aaron as a paragon of athleticism now shied away from his name, as if the mere mention of it could taint their gleaming empire. The concussion protocols, the charitable donations to brain injury research, the solemn speeches about player welfare—these were the fig leaves that sought to cover the naked truth of their indifference.

Aaron's story was a mirror held up to the NFL, reflecting the shadows of a culture that prized performance over the people who provided it. His brain, once a marvel of coordination and strategy, had been pulverized by the very sport that had promised him a golden future. Yet, in the corridors of power, the talk of his tragic end was couched in terms of 'what ifs' and 'if onlys', a tragic narrative of personal failingures rather than a systemic betrayal. The league's refusal to fully acknowledge the role it played in his downfall was a testament to its own fear of mortality, the specter of accountability that threatened to bring the towering edifice of football to its knees.

The NFL, a colossus of wealth and influence, continued to march on, its gleaming helmets and pads a façade for the bruised and broken minds that lay beneath. The men who had once called Aaron their own were now eager to distance themselves from the carnage he had wrought, as if by disavowing his existence they could somehow erase the stain he had left on their pristine image. Yet, every time the pigskin was tossed in the air, every time the crowd roared for a bone-crushing hit, the ghost of Aaron Hernandez hovered just out of sight, a silent witness to the violence that was intrinsic to their beloved game.

The commissioner's podium remained a bastion of denial, the words of concern and condolence ringing hollow in the face of the league's inaction. While the whispers of CTE grew into a cacophony that could no longer be ignored, the NFL clung to its dogma, insisting that the safety of its players was paramount while simultaneously burying the evidence of its own culpability in the tragedies that had unfolded. The concussion protocols were a band-aid on a bullet wound, a cosmetic fix for a systemic issue that was as deeply embedded in the fabric of the sport as the laces on a football. The gleaming stadiums and endless streams of revenue were built on the backs of men like Aaron, who had been chewed up and spat out by a machine that cared little for the lives it consumed in its relentless pursuit of victory.

The players, too, grappled with the grim realization that the sport they had dedicated their lives to could be their ultimate undoing. In the locker rooms and training facilities, the whispers grew into a murmur of doubt, a collective questioning of the price they were paying for their place in the pantheon of football greats. The fear of the invisible enemy lurking in their own minds was a stark contrast to the tangible opponents they faced on the field. Yet, the allure of the game, the roar of the crowd, the camaraderie of the huddle—these were the opiates that dulled the pain of the hits they took, both physical and emotional. The NFL, a colossus of wealth and power, had become a modern-day Sphinx, demanding a toll of sanity and health in exchange for the fleeting glory of touchdowns and Super Bowl rings.

The legal system that had once held Aaron's fate in its hands now seemed a distant memory, a macabre theater where his life had played out for the world to see. Yet, as the final act closed and the curtain of his existence fell, it was clear that he had been the architect of his own downfall. The choices he had made, driven by the demons of his past and the relentless pursuit of a future that never truly existed, had led him to the cold concrete of a prison cell. It was a tragic irony that the very thing that had made him a star—his unrivaled skill and passion for football—was the same force that had propelled him into a world of darkness.

The grief that Aaron had sown was vast, a tangled web that enveloped not just the victims of his crimes, but also the countless individuals who had been drawn into his orbit. His family, who had once been the bastion of his love and support, now grappled with the shattered remnants of their own identities. His fiancée, Shayanna, who had stood by him through the storm, now faced a future without the man she had planned to build a life with. His daughter, Avielle, would grow up with only the faintest memories of her father, her childhood stolen by the shadow of his infamy.

But it was the revelation of his sexuality that added another layer of complexity to his tragic tale. The television series "American Sports Story," with the talented Josh Rivera portraying Aaron, dared to explore the deeply personal and often misunderstood aspect of his identity. The show did not shy away from the raw, unfiltered reality of a man trapped by the rigid constraints of masculinity and homophobia within the NFL. It delved into the secret world of Aaron's desires and fears, offering a poignant look at the internal battles he waged as he juggled his sexual orientation with the hyper-masculine world of football.

The series, with its nuanced portrayal of Aaron's bisexuality, served as a catalyst for a new wave of discourse surrounding the intersection of sexuality and sports. It peeled back the layers of a culture that often vilifies those who dare to be different, showcasing the profound impact that fear and prejudice can have on a person's mental health. Each episode, a meticulously crafted tapestry of his life, revealed the deep-seated pain and confusion that he had endured, the constant fear of being outed a constant specter that haunted him. The raw and authentic performance by Rivera breathed new life into the story, allowing viewers to empathize with the man behind the headlines, humanizing a figure that had been vilified and misunderstood.

However I think the response to the series is for the wrong reasons, focusing on Josh Rivera going full nude in some scenes and sex scenes with men, rather than the profound message it carries. The explicit nature of the show's portrayal of Aaron's sexuality, while jolting to some, served as a stark reminder of the isolation and fear he must have felt. His sexuality was not merely a footnote in his tragic story; it was an integral part of his identity, one that he was never truly able to embrace. The scenes, while controversial, were not gratuitous; they were a raw, unflinching look at a man whose life was a tapestry of secrets and shadows, stitched together by the very sport that had both created and destroyed him.

Labeling Aaron as a gay character when he was a real person and likely bisexual is to me, incredibly disrespectful to him and his family. It's like reducing him to a caricature instead of the complex human being he was. He had a fiancée, a daughter, and a life that was multifaceted and layered with experiences beyond his sexual orientation. To focus solely on that aspect, especially in such a salacious way, is to ignore the depth of his suffering and the tragedy of his story. The series, while attempting to shed light on the struggles of LGBTQ+ athletes in the NFL, unfortunately, seems to have succumbed to the very sensationalism that perpetuates the stigma.

During the production of "American Sports Story," Josh Rivera, who played Aaron, was acutely aware of the delicate nature of portraying such a controversial and sensitive figure. He approached the role with the utmost respect, not just for Aaron's memory, but for those who had loved him in life. His responses to questions about Shayanna Jenkins, Aaron's fiancée, were marked by empathy and sensitivity. He knew that she had lived through the horror of his crimes, the pain of his incarceration, and the agony of his suicide. To her, Aaron was not a character to be played; he was the father of her child, a man whose love she had once shared.

The depiction of Aaron's bisexuality in the series was a double-edged sword. On one hand, it brought much-needed attention to the plight of LGBTQ+ athletes in professional sports. On the other hand, it risked reducing a multidimensional human being to a salacious headline. The nude scenes, while integral to the narrative, became the subject of public fascination rather than a catalyst for meaningful dialogue. The true tragedy of Aaron's story was not his sexuality but the inability of the world around him to accept and support him for who he truly was. The NFL, with its entrenched homophobia, had been his stage, but it had also been his prison, a place where he could never fully reveal himself without fear of rejection and ostracism.

Amidst the furor of the series' release, it was easy to forget that Aaron had been a man who, despite his flaws, had loved deeply. The tenderness he had shown to his daughter, Avielle, was a stark contrast to the violence that had come to define him in the public eye. His love for her was a poignant reminder that even the most broken of souls can find moments of redemption. Yet, the shadow of his crimes loomed large, casting a pall over any attempt to view him solely as a victim of the system. He was a man who had made terrible choices, and while the world of football had shaped him, it was ultimately his own hand that had held the gun.

Holding Aaron accountable for his actions was not a simple matter of assigning blame; it was a complex dance of justice and mercy, of understanding the depth of his suffering while not absolving him of his crimes. The legal system had done its job, meting out the harshest punishment society could offer, but it had failed to address the root causes of his descent into darkness. The NFL, with its billion-dollar profits and glitzy facade, had turned a blind eye to the mental health of its players, preferring to treat them as commodities rather than human beings with complex emotions and identities. The league's inaction in the face of the CTE crisis was a silent admission of complicity in the destruction of lives like Aaron's.

Yet, Aaron's life was not one of unbridled malice. There were moments of tenderness, of love and care that pierced through the armor of his public persona. His love for Avielle was a testament to the goodness that had once resided within him, a spark that had not been entirely snuffed out by the flames of his demons. In the quiet moments, when the cameras were gone and the shouting had ceased, he was a father, a man who loved his child with a fierce, unyielding passion that transcended the ugliness of his deeds.

The impending ten-year anniversary of Aaron's suicide is a poignant reminder that amidst the glitz and the gore, there were hearts that had been broken and lives irrevocably altered by his actions. The victims' families, forever bound by a shared grief, must relive their anguish with each new retelling of his story. His own mother and siblings, who had once basked in his glory, now bear the weight of his infamy, their hearts a battleground of love and loss. The relentless cycle of television shows and documentaries that dissect his life with morbid fascination only serves to exhume the pain that they, and so many others, have worked tirelessly to bury.

As the calendar pages peel away, revealing the date of Aaron's final act of desperation, the air grows thick with anticipation for the next salacious installment in the tragic saga that has become his legacy. Yet, it is my hope that these producers and networks will recognize the gravity of their role in perpetuating a narrative that has long ago exhausted its educational value. The repeated dissection of his life and the exploitation of his mental health struggles do not offer solace or understanding to those who mourn; they serve only to sensationalize his tragic end.

Aka. Stop. Profiting. Off. Aaron's. Murders. And. Suicide. That's what the ten-year anniversary of his tragic end should signal. Enough with the glossy TV specials and documentaries, the salacious retellings that treat his life like a piece of tabloid fodder to be picked apart and devoured by the masses. It's time to let the dead rest, and for the living to find peace. The families of Odin Lloyd, Daniel de Abreu, and Safiro Furtado, along with Aaron's own, have suffered long enough under the unforgiving glare of the media spotlight, their wounds reopened with each new season of "true crime" content that masquerades as a public service.

American Sports Story should be the end of dramatizing Aaron Hernandez's story. The line between artistic interpretation and exploitation has been crossed, and the time has come to allow the memory of a man whose life ended in such a tragic fashion to rest in peace. The relentless consumption of his narrative has become a grim spectacle, a macabre entertainment that does a disservice to the very real people who continue to feel the repercussions of his actions. The families of his victims, his daughter Avielle, and his loved ones are not characters in a sordid tale; they are survivors of a tragedy that refuses to be confined to the annals of history.

But the tenth anniversary of Aaron's suicide approaches, the media frenzy surrounding his life shows no signs of abating. Yet, it is essential to remember that the story of Aaron Hernandez is not one of fascination or entertainment; it is a story of pain, loss, and a systemic failure to protect those most vulnerable. The victims of his crimes deserve more than to be mere footnotes in a saga of celebrity and scandal. They deserve to be remembered for their lives, not merely as the catalyst for his fall from grace.

Odin Lloyd, a young man with a bright future, was more than just a name in a headline; he was a son, a boyfriend, and a friend, whose life was cruelly snuffed out. His loved ones, who continue to mourn in private, are subjected to a public spectacle that seems to have forgotten the very real agony they endure. Each time Aaron's story is told, it is a fresh reminder of the pain they carry. The same is true for the families of Daniel de Abreu and Safiro Furtado, whose lives were cut short in a senseless act of violence that still sends shockwaves through their communities.

Shayanna Jenkins, Aaron's fiancée, who had been painted as a gold digger in the harsh gossip of tabloid headlines, was in reality a woman of strength and resilience. Her love for Aaron was unwavering, even in the face of the unthinkable. The burden she bears is one of profound sorrow and a love lost to the darker recesses of a man's soul. The weight of his actions has shackled her to a past she cannot escape, her future forever entwined with the grim narrative of his crimes.

Avielle, the innocent bystander in this tragic play, grows up in the shadow of her father's infamy. Her childhood is a tapestry of whispers and stolen glances, a dance of love and loss. Yet, she remains a beacon of hope, a reminder that life goes on, even when the darkness seems to have swallowed everything in its path. It is for her that we must strive to find meaning in the chaos of her father's life, to understand that the story of Aaron Hernandez is not just one of a fallen football star but of a family torn apart by forces beyond their control.

To dedicate this essay to Aaron is not to glorify his crimes but to acknowledge the humanity that existed within him. It is to recognize the potential that was snuffed out by a system that values performance over personhood, a culture that prizes the illusion of invincibility over the reality of mental health. In the quiet moments, when the echoes of his tragic story have faded, let us remember the young boy who dreamed of playing under the Sunday lights, the teenager who loved with a fierce passion, and the man who, despite his demons, was a devoted father.

Thank you, reader, for walking this tumultuous journey with us, for delving into the complexities of Aaron's life without flinching. It is through your eyes that we have sought to understand the depths of his despair and the heights of his ambition. May the telling of his story serve as a catalyst for change, a call to action for a world that often turns a blind eye to the pain of those who dare to break free from the constraints placed upon them. Let us strive to create a society where athletes are not just commodities but human beings with the right to be seen and supported in their entirety, free from the shackles of toxic masculinity and the fear of rejection.

As we reach the end of this essay, I can't help but express my sarcasm to the NFL, an institution that has shaped the lives of millions, including our own. Growing up as a fan of the Denver Broncos and the Detroit Lions, I have experienced the highs and lows, the triumphs and the tragedies, that come with supporting teams that are so much more than just a group of players.

The NFL, with its glitz and glamour, often serves as a surrogate family for its fans, raising us on a diet of hope and hero worship. Yet, in the shadow of its gleaming stadiums and million-dollar contracts, lies a darker reality, one that Aaron's story has laid bare. It is a reality where the mental health of players is often an afterthought, where the pressure to perform can crush the spirits of even the strongest men. And in the center of this maelstrom stood Aaron, a man who never had the opportunity to be truly seen and understood aside from his darkness.

Josh Rivera's portrayal in "American Sports Story" offered a glimpse into the soul of a man who was lost, a man whose light was obscured by the shadows of his past and the demons that haunted him. Through his nuanced performance, Rivera managed to humanize Aaron, allowing the audience to see beyond the headlines and into the heart of a troubled individual. He did not seek to excuse Aaron's actions but rather to explore the complexities that led him down such a tragic path.

The series served as a stark reminder that the glitz and glamour of professional football often obscure the very real lives and struggles of the men who don the pads and helmets each week. While the NFL continues to rake in billions and the nation remains transfixed by the spectacle of the game, the human cost is often relegated to the sidelines, a footnote in the annals of sports history. Aaron's story, as brought to life by Rivera, was a poignant reminder that the athletes we cheer for are not invincible, but flesh and blood, prone to the same frailties and vulnerabilities as the rest of us.

[vitrinanorte]

Ya se encuentra disponible el retiro de entradas para los espectáculos gratuitos de sala que trae el Festival Internacional Antof a Mil 2025 "Más Humanidad”, evento de artes escénicas presentado por Escondida | BHP y Fundación Teatro a Mil, y que este año se desarrollará entre el 3 y el 12 de enero de 2025 con una programación que profundizará en la empatía, la niñez y la conexión entre las personas.

En esta edición 2025, se podrán apreciar espectáculos de compañías provenientes de Reino Unido, España, Argentina y Chile, las que se presentarán en Antofagasta, Mejillones, Peine y San Pedro de Atacama. Las entradas para las 8 funciones en sala son gratuitas y se pueden descargar del sitio web Antof a Mil, donde también se puede encontrar el detalle de los espectáculos de calle que se presentarán en la región y que no requieren retiro de entradas.

Inauguración Antof a Mil 2025

La inauguración de Antof a Mil tendrá lugar el día 3 de enero con la obra nacional LIMPIA, puesta en escena dirigida por Alfredo Castro basada en la celebrada novela homónima de Alia Trabucco Zerán, dando el puntapié inicial al festival en el Teatro Municipal de Antofagasta (Sucre #433) a las 20:30 horas.

La programación continuará con SANKÖFA, obra que rescata la historia y la música de los afrodescendientes, y con Tiroteo, escrita y dirigida por Franco Rocco Cancino y que reflexiona sobre la educación y la violencia, son los montajes seleccionados por el jurado regional multidisciplinar del festival y se presentarán el 5 y 6 de enero en ILÚ Espacio Creativo a las 20:00 horas, y el 10 y 11 de enero a las 20:00 horas en el teatro del Liceo Experimental Artístico, respectivamente.

Desde España, llegan los Premios Nacional de Danza, Olga Pericet y Daniel Abreu con su obra La Materia que se presentará el 8 de enero en el Teatro Municipal de Antofagasta a las 20:30 horas. Continuando con la programación y espectáculos de sala, el día 9 de enero a las 20:30 horas en el Teatro Municipal de Antofagasta, se presenta la obra Hamlet deambula en círculos, dirigida por Cristián Plana y protagonizada por el reconocido actor Héctor Noguera quien celebra con este montaje los 30 años de su compañía Teatro Camino.

En tanto, el 11 de enero a las 21:00 en el mismo teatro será el turno de TE MANA HAKAÂRA: el poder que permanece, una coproducción de Teatro a Mil y la más reciente obra de danza de la compañía antofagastina La Huella Teatro bajo la dirección de Alejandra Rojas, que pone en valor la memoria histórica de rapanui a través de la historia de sus mujeres.

Foto: TE MANA HAKAÂRA: el poder que permanece. Crédito: La Huella Teatro.

Espectáculos de calle

Amal llega a Chile, donde se presentará por primera vez en el Festival Internacional Antof a Mil 2025, comenzando su recorrido el dia jueves 9 de enero en San Pedro de Atacama (calles: Ignacio Carrera Pinto con Pedro de Valdivia) a las 11:00 horas y Peine en la Iglesia San Roque a las 20:00 horas, para continuar en Mejillones el sábado 11 de enero en el Muelle Artesanal a las 11:00 horas y finalizar en Antofagasta el domingo 12 de enero por el sector norte de la ciudad (Río Maule con detective Salón Salas Fuentealba) a las 11:00 horas y finalizando su recorrido a las 20:00 en Explanada del estadio regional ubicado en de Av. Grecia frente a calle Hugo Silva Endeiza.

Durante su travesía, Amal nos recordará que la niñez debe ser protegida siempre y en todo lugar, entregando un mensaje de humanidad y tendiendo un puente hacia las celebraciones por los 80 años de la entrega del Premio Nobel a Gabriela Mistral.

Pachakuna: Guardianes de los Andes Pachakuna & Concierto en Antofagasta de La Patogallina | Con INTI ILLIMANI HISTÓRICO trío + TAMBOBRASS , el aplaudido pasacalle rescata a los animales sagrados de la cosmovisión andina con bailes y música en vivo junto a comparsas andinas locales, estará en Antofagasta el 4 de enero explanada frente a estadio regional a las 20:30 hrs y en Mejillones el 5 de enero frente a teatro Gamelin Guerra a las 20:30 horas.

En tanto, las calles de Antofagasta recibirán el 8 de enero la creación argentina Efectos especiales, un espectáculo ciudadano de los artistas argentinos Luciana Acuña y Alejo Moguillansky que invita al público a ser testigo y parte de un emocionante rodaje de cine en vivo a las 19:00 horas en el centro de la ciudad.

La programación completa de Antof a Mil es de carácter gratuito y la descarga de entradas para los espectáculos de sala ya se encuentra disponible junto con la programación completa en el sitio www.teatroamil.cl/antofamil25

Stands informativos

Niños, jóvenes y adultos mayores que necesiten ayuda para descargar sus entradas, podrán hacerlo directamente en los stands informativos que se han dispuesto en distintos puntos de la ciudad:

Del 10 al 13 de diciembre de 09:00 a 13:00 hrs en el Liceo Experimental Artístico ubicado en José Santos Ossa #1939.

Del 16 al 27 de diciembre y del 2 al 3 de enero de 09:00 a 13:00 hrs en el Teatro Municipal de Antofagasta ubicado en Sucre #433.

Ya se encuentra disponible el retiro de entradas para los espectáculos gratuitos de sala que trae el Festival Internacional Antof a Mil 2025 "Más Humanidad”, evento de artes escénicas presentado por Escondida | BHP y Fundación Teatro a Mil, y que este año se desarrollará entre el 3 y el 12 de enero de 2025 con una programación que profundizará en la empatía, la niñez y la conexión entre las personas.

En esta edición 2025, se podrán apreciar espectáculos de compañías provenientes de Reino Unido, España, Argentina y Chile, las que se presentarán en Antofagasta, Mejillones, Peine y San Pedro de Atacama. Las entradas para las 8 funciones en sala son gratuitas y se pueden descargar del sitio web Antof a Mil, donde también se puede encontrar el detalle de los espectáculos de calle que se presentarán en la región y que no requieren retiro de entradas.

Inauguración Antof a Mil 2025

La inauguración de Antof a Mil tendrá lugar el día 3 de enero con la obra nacional LIMPIA, puesta en escena dirigida por Alfredo Castro basada en la celebrada novela homónima de Alia Trabucco Zerán, dando el puntapié inicial al festival en el Teatro Municipal de Antofagasta (Sucre #433) a las 20:30 horas.

Espectáculo internacional imperdible:

Desde España, llegan los Premios Nacional de Danza, Olga Pericet y Daniel Abreu con su obra LA MATERIA Dos bailaores, premios nacionales de danza de España, Olga Pericet y Daniel Abreu, se unen para presentar La Materia, una premiada pieza de flamenco que transita por un viaje a los orígenes del flamenco, con la que debutan en el Festival Teatro a Mil 2025. se presentará el 8 de enero en el Teatro Municipal de Antofagasta a las 20:30 horas.

Este espectáculo es aclamado por la crítica y el público, quienes reconocen su dominio técnico, la armonía y el preciosismo de su trabajo. Inspirada en las guitarras de Antonio de Torres, Olga Pericet y Daniel Abreu desafían un mundo de retos para explorar el instrumento y su belleza desde su origen.

Las entradas aún se encuentran disponibles y estas pueden ser descargadas a través de la página de Antofamil.cl o por sistema ticketplus.cl, una oportunidad única para todos los amantes de la danza y el flamenco.

Foto: La Materia , Credito: Alain Scherer.

En tanto, el 11 de enero a las 21:00 en el mismo teatro será el turno de TE MANA HAKAÂRA: el poder que permanece, una coproducción de Teatro a Mil y la más reciente obra de danza de la compañía antofagastina La Huella Teatro bajo la dirección de Alejandra Rojas, Con un enfoque de género y la valoración de la tradición, oral, La Huella Teatro busca visibilizar la identidad Rapanui y contribuir simbólicamente a la restauración de su memoria poniendo en el centro la figura femenina, con el fin de desentrañar la propia voz y corporalidad de la mujer, entendiéndose como dispositivo de registro y testigo de los principales sucesos de su historia cultural social y política.

Espectáculos de calle

Amal llega a Chile, donde se presentará por primera vez en el Festival Internacional Antof a Mil 2025, comenzando su recorrido el dia jueves 9 de enero en San Pedro de Atacama (calles: Ignacio Carrera Pinto con Pedro de Valdivia) a las 11:00 horas y Peine en la Iglesia San Roque a las 20:00 horas, para continuar en Mejillones el sábado 11 de enero en el Muelle Artesanal a las 11:00 horas y finalizar en Antofagasta el domingo 12 de enero por el sector norte de la ciudad (Río Maule con detective Salón Salas Fuentealba) a las 11:00 horas y finalizando su recorrido a las 20:00 en Explanada del estadio regional ubicado en de Av. Grecia frente a calle Hugo Silva Endeiza.

Durante su travesía, Amal nos recordará que la niñez debe ser protegida siempre y en todo lugar, entregando un mensaje de humanidad y tendiendo un puente hacia las celebraciones por los 80 años de la entrega del Premio Nobel a Gabriela Mistral.

Pachakuna: Guardianes de los Andes Pachakuna & Concierto en Antofagasta de La Patogallina | Con INTI ILLIMANI HISTÓRICO trío + TAMBOBRASS , el aplaudido pasacalle rescata a los animales sagrados de la cosmovisión andina con bailes y música en vivo junto a comparsas andinas locales, estará en Antofagasta el 4 de enero explanada frente a estadio regional a las 20:30 hrs y en Mejillones el 5 de enero frente a teatro Gamelin Guerra a las 20:30 horas.

En tanto, las calles de Antofagasta recibirán el 8 de enero la creación argentina Efectos especiales, un espectáculo ciudadano de los artistas argentinos Luciana Acuña y Alejo Moguillansky que invita al público a ser testigo y parte de un emocionante rodaje de cine en vivo a las 19:00 horas en el centro de la ciudad.

La programación completa de Antof a Mil es de carácter gratuito y la descarga de entradas para los espectáculos de sala ya se encuentra disponible junto con la programación completa en el sitio www.teatroamil.cl/antofamil25

Stands informativos

Niños, jóvenes y adultos mayores que necesiten ayuda para descargar sus entradas, podrán hacerlo directamente en los stands informativos que se han dispuesto en distintos puntos de la ciudad:

Del 26 al 27 de diciembre y del 2 al 3 de enero de 09:00 a 13:00 hrs y de 15:00 a 18:00 horas en el Teatro Municipal de Antofagasta ubicado en Sucre #433.

El Festival Internacional Antof a Mil es presentado por Fundación Teatro a Mil y Escondida | BHP, con el apoyo del Ministerio de las Culturas, las Artes y el Patrimonio y las municipalidades de Antofagasta, Mejillones y San Pedro de Atacama. Medios asociados: TVN y Radio Biobío.

[beardedmrbean]

A prison officer who was filmed having sex with an inmate has pleaded guilty to misconduct in a public office.

Linda De Sousa Abreu, 30, was on duty at HMP Wandsworth in London when she entered the prisoner's cell and had sex with him on 27 June.

The encounter was filmed by another inmate and lasted for almost five minutes.

The mother, from Fulham, southwest London, was identified by HMP Wandsworth staff and arrested by the Metropolitan Police at Heathrow Airport after the footage went viral.

She was planning to fly to Madrid and telephoned the prison as she fled to the airport to say that she was not returning to work.

De Sousa Abreu pleaded guilty to one count of misconduct in a public office at a hearing at Isleworth Crown Court on Monday.

Abuse of position

The prosecution's case was that she had wilfully committed misconduct in a public office by abusing her position as a prison officer to have sex with an inmate.

De Sousa Abreu, who holds a Portuguese passport, was granted conditional bail and will next appear at Isleworth Crown Court on 7 November.

While Crooks’ motive continues to be a mystery, new details continue to emerge about the gunman’s actions.

House Foreign Affairs Committee Chairman Michael McCaul told CBS’ Face the Nation on Sunday that Crooks was plotting a “diversion by blowing up his vehicle on the other side of the property, and then he could escape”.

He claimed that the gunman had a detonation device on his body and two bombs in his vehicle.

It also emrgd that, at around 3.50pm that day, Crooks had flown a drone for 11 minutes over a path about 200 yards from the podium where Trump would stand.

This was 36 minutes before law enforcement officers even became aware if his whereabouts.

The Independent is the world’s most free-thinking news brand, providing global news, commentary and analysis for the independently-minded. We have grown a huge, global readership of independently minded individuals, who value our trusted voice and commitment to positive change. Our mission, making change happen, has never been as important as it is today.

Tetteh Turkson, of the Crown Prosecution Service, said: "This was a shocking breach of the public's trust. De Sousa was clearly an enthusiastic participant who wrongly thought she would avoid responsibility.

"The CPS recognises there is no excuse for any prison officer who conducts themselves in such a manner, and we will never hesitate to prosecute those who abuse their position of power.

"After working closely with the Metropolitan Police to build the strongest possible case, De Sousa had no option but accept she was guilty. She will now rightly face the consequences of her actions."

Deep concerns over HMP Wandsworth

The video of De Sousa Abreu emerged weeks after a watchdog said HMP Wandsworth should be put into emergency measures after an inspection raised concerns over ongoing failings in security following the alleged escape of Daniel Khalife in September last year.

The "deeply concerning inspection" also found severe overcrowding, vermin, drugs, violence and rising self-harm, where seven prisoners had taken their own lives in the past year.

In response, the chief inspector of prisons Charlie Taylor wrote to the justice secretary Alex Chalk to issue an urgent notification for improvement.

Khalife, 22, is due to go on trial at the Old Bailey in October.

He has pleaded not guilty to the charges against him.

[dear-indies]

Hello! Would you be willing to share any Venezuelan FCs anywhere from their early 20s to late 40s that are actors/actresses? Or possibly know of anyone in the RPC who can point me towards some please? It's okay if they don't have gifs yet because I would love to make some! Thank you kindly!

Scarlet Ortiz (1974) Venezuelan.

Marieh Delfino (1977) Venezuelan [Spanish, Basque, Catalan, Portuguese, Italian, and Dutch], Colombian / Cuban, English, Irish, German, Scots-Irish/Northern Irish.

Alicia Machado (1977) Cuban / Spanish.

Gaby Espino (1977) Spanish, Native Venezuelan and Lebanese.

Dayana Garroz (1978) Venezuelan.

Marianela González (1978) Venezuelan.

Maritza Bustamante (1980) Venezuelan.

Marjorie de Sousa (1980) Venezuelan [including Portuguese].

Doris Morgado (1981) Venezuelan.

Majandra Delfino (1981) Venezuelan.

Daniela Bascopé (1982) Venezuelan.

Daniela Navarro (1983) Venezuelan.

Sabrina Seara (1985) Venezuelan.

Gaby Espino (1986) Venezuelan.

Juliette Pardau (1986) Venezuelan.

Adriyan Rae (1987) African-American, German, Native American, and Venezuelan.

Genesis Rodriguez (1987) Venezuelan and Cuban [Spanish, possibly other].

Abril Schreiber (1987) Venezuelan.

Yelena Maciel (1988) Venezuelan.

Yuvanna Montalvo (1988) Venezuelan.

Scarlet Gruber (1989) Venezuelan [including German].

Carla Baratta (1990) Venezuelan.

Natasha Domínguez (1990) Venezuelan.

Cinthya Carmona (1990) Venezuelan.

Rosmeri Marval (1991) Venezuelan.

Laura Chimaras (1991) Venezuelan.

Irene Esser (1991) Venezuelan.

María Gabriela de Faría (1992) Venezuelan [including Portuguese].

Sheryl Rubio (1992) Venezuelan.

Kimberly Dos Ramos (1992) Venezuelan [Portuguese].

Marielena Davila (1992) Venezuelan.

Humberly González (1992) Venezuelan.

Estefany Oliveira (1993) Venezuelan.

Raquel Rojas (1994) Venezuelan.

McKaley Miller (1996) Venezuelan (paternal grandmother), English, Scottish.

Luiseth Materán (1996) Venezuelan.

Oriana Sabatini (1996) Argentinian / Venezuelan - is bisexual.

Vanessa Silva Sperka. (1997) Venezuelan / Slovak.

Emily Tosta (1998) Venezuelan / Dominican.

Simoné Marval (1998) Venezuelan.

Lilimar Hernandez (2000) Venezuelan.

Brigitte Bozzo (2001) Venezuelan.

and:

Albi De Abreu (1975) Venezuelan [including Portuguese].

Juan Alfonso Baptista (1976) Venezuelan.

Édgar Ramírez (1977) Venezuelan.

Luciano D'Alessandro (1977) Venezuelan.

Pastor Oviedo (1977) Venezuelan.

Daniel Elbittar (1979) Venezuelan.

Guillermo García (1981) Venezuelan.

Alejandro Nones (1982) Venezuelan.

Rodolfo Salas (1983) Venezuelan.

Victor Drija (1985) Venezuelan.

Rafael de la Fuente (1986) Venezuelan [including German], Lebanese / Spanish and Cuban - is gay.

Willy Martin (1987) Venezuelan.

Reinaldo Zavarce (1988) Venezuelan.

Arán de las Casas (1989) Venezuelan.

Jonathan Jose Quintana (1990) Venezuelan.

Esteban Velásquez (1990) Venezuelan.

Emmanuel Palomares (1990) Venezuelan.

José Ramón Barreto (1991) Venezuelan.

Sean Teale (1992) Venezuelan, Spanish, Welsh.

Tommy Martinez (1992) Venezuelan.

Aaron Dominguez (1994) Venezuelan.

Omar Rudberg (1998) Venezuelan - has said that he "he falls in love with the person regardless of the person's sex.

Antonio Andrés Rosello (2001) Venezuelan and Italian.

Here you go!

[ricardofonseca]

Mobiliza SLZ ressalta força do reggae na Jamaica Brasileira

Passeio turístico ao som do reggae trouxe uma rica contextualização histórica sobre a relação entre esse gênero musical e a cidade (Foto: Divulgação/Mobiliza SLZ).

Reconhecida como Capital Nacional do Reggae, São Luís ostentou esse título de forma especial nos últimos dias. Durante a 4ª edição do Mobiliza SLZ, movimento que fortalece negócios da economia criativa na capital maranhense até esse domingo (24), o reggae protagonizou atividades que foram desde passeios turísticos a pé ou de barco, que passaram por lugares cheios de história, até oficinas que ensinaram o jeito maranhense de dançar o gênero musical da Jamaica.

A batida lenta e marcada do reggae embalou o "Reggae Cruise", passeio de barco pelo entorno do Centro Histórico, Barragem do Bacanga e Espigão, permitindo observar a cidade e vivenciar o reggae em uma experiência singular e memorável. "Visitamos pontos históricos fundamentais para a nossa cidade de São Luís. É um passeio turístico, histórico, regueiro e ambiental", resume o jornalista Ademar Danilo, organizador da ação.

Embalado pelo reggae, barco levou passageiros a contemplarem São Luís a partir de uma perspectiva inusitada (Foto: Divulgação/Mobiliza SLZ).

Já o "Roteiro Reggae GDAM", realizado pelo Grupo de Dança Afro Malungos (GDAM), compartilhou histórias, particularidades e curiosidades sobre o desenvolvimento do reggae na cidade em percurso a pé pelas ruas do Centro Histórico de São Luís e estimulou os participantes a dançarem, visando contribuir para dinamizar a cultura reggae no local. Urubatan Passos, colaborador do GDAM, participou da visita motivado pela paixão à cultura do movimento negro. "Aprendo a cada participação e ensino", afirma.

Inserida no Mobiliza, a atividade "Expo BF Preta" levou oficina de reggae à Biblioteca Municipal José Sarney, no Bairro de Fátima (Foto: Divulgação/Mobiliza SLZ

Ensinar a dançar o reggae a dois, no estilo conhecido como "agarradinho", tradicional no Maranhão, foi o foco da oficina de reggae na "Expo BF Preta", que ocorreu no Bairro de Fátima, e da atividade "Bailando com Reggae Mania", realizada no Centro. Gestora do projeto Reggae Mania, a educadora física Ada Melo considera o Mobiliza uma vitrine para iniciativas da economia criativa. "Sou muito grata e cada vez mais feliz pelo Mobiliza dar essa oportunidade para nós", expressa ela.

Para a coordenadora-geral do Mobiliza SLZ, Danielle Abreu, a inserção de atividades do movimento regueiro no Mobiliza buscou fortalecer ainda mais esse segmento da economia criativa. "Esse também é um serviço para o turismo, que incentiva o turista a ficar mais tempo em São Luís tendo mais atividades de lazer disponíveis", destaca a gestora.

O amor pela cultura do movimento negro levou o maranhense Urubatan Passos a participar de city tour regueiro (Foto: Divulgação/Mobiliza SLZ).

Mobiliza São Luís

O Mobiliza SLZ é um movimento que fomenta a cultura, o turismo e a economia criativa na capital do Maranhão, fortalecendo os empreendedores que atuam nesses segmentos em São Luís. Desde 2021, promove compartilhamento de conhecimento e conecta pessoas, de modo a estimular parcerias estratégicas e também a ampliar a visibilidade dos produtos e serviços oferecidos pelos criativos, o que ocorre anualmente durante os nove dias de realização do evento.

No último dia 5 de novembro, o Mobiliza SLZ ganhou um importante reconhecimento no Prêmio Marandu JOMP, na categoria Sociedade Civil. A programação foi organizada pela agência Marandu, reconhecida agência de inovação e empreendedorismo da UEMA. Antes disso, o movimento foi campeão da categoria Melhores Conexões Significativas, no 3º Prêmio de Turismo Responsável da WTM Latin America, e foi premiado em duas categorias no 1º Prêmio SOLuíses Ecossistema de Inovação.

A terceira edição do Mobiliza, que ocorreu em setembro do ano passado, foi marcada por recordes: foram mais de mil empreendedores envolvidos direta e indiretamente, e mais de 20 mil pessoas alcançadas pelas ações desenvolvidas. Nesta quarta edição, o movimento organizado pelo Sebrae tem o apoio do Sistema Fiema, por meio do Senai e do SESI.

[buckiegotit]

MOE AND UNESCO CONTINUE CONSULTATION ON SUSTAINABLE DEVELOPMENT IN EDUCATION

Published 19 June 2024 Buckie Got It, St. Kitts and Nevis News Source MOE AND UNESCO CONTINUE CONSULTATION ON SUSTAINABLE DEVELOPMENT IN EDUCATION. Basseterre, St. Kitts, Tuesday, June 18, 2024: In a significant move towards fostering sustainable development in education, the Ministry of Education conducted a series of follow-upconsultations with Daniel Abreu, the UNESCO Education for…

[newmotorsmoema]

Stock Car: Daniel Serra é o mais rápido no Velocitta e largará na pole na corrida 300 da carreira

BLAU MOTORSPORT CHEVROLET. 83, G CASAGRANDE, A.MATTHEIS VOGEL CHEVROLET. 10, R ZONTA, RCM MOTORSPORT TOYOTA. 51, A ABREU, POLE MOTORSPORT CHEVROLET. http://dlvr.it/T4fr9S

[motorsportverso]

Stock Car Goiania 2024

Sprint

Na largada

A saída de pista causa por toque entre o Atila Abreu e Caca Bueno na 1ª volta

A disputa estava entre o Suzuki e Mugiatti pela liderança

A disputa pela 3ª posição entre o Felipe Fraga e Thiago Camilo

A vitória da corrida sprint ficou com  Rafael Suzuki

Corrida 2

Com inversão do grid a pole foi do Felipe Babtista

Momento em que o carro do Fraga ficou com três rodas

Momento em que Gaetano Di Mauro teve problemas e ficou parado chamando o Sefety car na pista

Após a relargada o líder era o Felipe Babtista

Momento em que o Daniel Serra teve problemas depois da parada obrigatória e teve que abandonar

A disputa entre o Lucas Foresti e Barrichelo pela 4ª posição

A vitória da corrida 2 ficou com o Felipe Babtista

[twins2994]

Twins Thump Sox 7-1!

Red Sox 1 Twins 7 W-Ryan (1-0) L-Criswell (0-1)

The Minnesota Twins came up short against the Cardinals yesterday. The team returned home to host the Red Sox in rainy Fort Myers this afternoon. The Red Sox got the scoring started early and Wilyer Abreu smacked a Joe Ryan offering out to center for a solo shot. Boston had a one-run lead after two frames. The Twins would answer in the bottom of the third in a big way. Kyle Farmer started it with a single and Jair Camargo lined a double to the center field gap. Eddie Julien followed and drilled a Cooper Criswell pitch out to left for a three-run opposite field homer. The Twins added on in the fourth as Carlos Santana led-off with a base hit to right. With two outs, Jair Camargo blasted a Cam Booser pitch out to left-center for a two-run homer. The Twins extended their lead to four after four innings of play. Minnesota kept adding on in the sixth as Max Kepler drew a lead-off walk and Carlos Santana singled to right. Manny Margot hit a sac fly to center to add to the Twins lead. The Twins quickly loaded the bases and Matt Wallner hit a sac fly to plate another run. The Twins pitching staff did the rest as Jay Jackson put up a zero in the seventh, Daniel Duarte had a scoreless eighth, and Michael Boyle had a clean ninth as the Twins picked up the win.

-Final Thoughts- Joe Ryan did alright in his second spring outing. He threw three innings and allowed a run on two hits with a strikeout. Matt Centerino fanned two in the fourth, Jhoan Duran struck out two more in the fifth, and Justin Topa had a scoreless sixth. Jay Jackson, Daniel Duarte and Michael Boyle each threw one shutout inning. Carlos Santana, Kyle Farmer, and Jair Camargo each had two hits on the day. The Twins hit 1-for-3 with runners in scoring position and left five men on base. The Twins have their first of two off days tomorrow. They will return to action on Friday in Bradenton against the Pirates. Louie Varland will start for the Twins.

-Chris Kreibich-

[gazeta24br]

A renomada atriz, produtora, diretora, roteirista e empresária da LK Produções, agora LK Superação, desponta como uma verdadeira revelação no universo artístico de Fortaleza, no exuberante estado do Ceará. Sua carreira é marcada por parcerias brilhantes com renomados diretores do cinema local, tais como Alex Ripardo e Daniel Abreu, com quem colaborou em produções cinematográficas de destaque. Recentemente, a talentosa artista se envolveu em uma emocionante peça teatral, intitulada "Feliz Com Você", que é de sua autoria e tem encantado o público com sua entrega e genialidade. Aguardando ansiosamente o lançamento dos filmes já gravados, ela agora se vê estampada na capa da conceituada revista carioca "Karioquissimos", na edição 4, que circula no mês de dezembro do ano de 2023. A jornalista e assessora de imprensa da CEO, Lívia Rosa Santana, conduz uma entrevista primorosa com a artista, na qual são discutidos temas como o processo de superação enfrentado por ela e sua indiscutível paixão pela arte, que a impulsionaram a se tornar o exemplo que muitos almejam seguir. Com sua trajetória singular e inspiradora, Luiza Karla, mulher de talento inegável, revela que mesmo em profissões distintas, a arte tem o poder de erguer a cabeça e seguir em frente, conduzindo-a a projetar seus sonhos e conquistar metas concretas, que têm sido alcançadas de forma notável. Para o ano de 2024, novos projetos artísticos se apresentam promissores. Ao mencionar essa personalidade de destaque, é impossível não fazer referência à infância marcada por diversas batalhas, dentre as quais uma triste perda ocorrida aos seus nove anos de idade, quando sua querida mãe partiu, deixando-a sob os cuidados amorosos de sua tia Fátima. Foi esse apoio incondicional que a conduziu ao mundo das artes, sobretudo ao Teatro José Alencar, onde teve sua primeira experiência cinematográfica no ano de 2008, em "Paideia". Nos anos seguintes, ela participou de projetos memoráveis, como a minissérie que se tornou filme em 2012, intitulada "Sedição de Juazeiro", além de também atuar em "O Clone de Deus" e "Dragão Mar", ambos dirigidos por Daniel Abreu. Seu trabalho mais recente, "Por Trás da Porta", dirigido por Alex Ripardo, está prestes a ser lançado, e promete já atrair grandes elogios. No teatro, Luiza brilhou interpretando uma peça adaptada por Antonio Marcelo, intitulada "Lilith", na qual assumiu os papéis de produtora, diretora e atriz, abordando corajosamente a problemática da violência contra a mulher. Além disso, também se destaca sua autoria em "Feliz Com Você", obra teatral original que encantou o público com sua sensibilidade e profundidade.

[vitrinanorte]

A tablero vuelto comenzó el Festival Internacional  Antof a Mil 2025 en el Teatro Municipal de Antofagasta La 25° versión del festival, presentado por Escondida | BHP y Fundación Teatro a Mil, se desplegará entre el 3 y 12 de enero de 2025 en salas y calles de Antofagasta, Mejillones, San Pedro de Atacama y Peine.

Toda la información de la cartelera y actividades de formación y mediación gratuitas está disponible en Antofamil.cl.

El viernes 03 de enero se inauguró en Antofagasta la edición n° 25 del Festival Internacional Antof a Mil, con la reconocida obra nacional LIMPIA, una puesta en escena de Alfredo Castro basada en la novela homónima de la escritora chilena Alia Trabucco Zerán, convocando a más de 700 personas en el Teatro Municipal de Antofagasta. Esta aclamada obra, que marcó el inicio de este festival, presentado por Escondida | BHP y Fundación Teatro a Mil, consolidándose como un espacio de encuentro cultural y comunitario.

Evelyn Campbell, directora de gestión institucional de Fundación Teatro a Mil, indicó que “con LIMPIA damos el puntapié inicial a una nueva versión del festival en la región de Antofagasta, que llega con un marcado enfoque comunitario y territorial, ofreciendo una programación nacional e internacional de primer nivel, talleres, conversatorios y actividades para Pequeñas Audiencias”.

Por su parte, Abel Benítez, director de Asuntos Corporativos Escondida | BHP, destacó la relevancia del festival, impulsado por la compañía desde sus inicios. “Este año estamos dando inicio de manera simultánea al Festival tanto en la región Metropolitana como en Antofagasta, lo que refleja nuestro compromiso por seguir impulsando la creación de espacios que promuevan el desarrollo del arte y la cultura. En esta versión, el impacto de Antof a Mil se extenderá más allá de Antofagasta, alcanzando comunas como Mejillones, San Pedro de Atacama y localidades como Peine. Los invitamos a ser parte de esta gran celebración de las artes escénicas”.

Próximas funciones

El sábado 4 de enero, la explanada del Estadio Regional de Antofagasta se convertirá en escenario para Pachakuna & Concierto, un programa doble que comenzará a las 20:30 horas con el pasacalle Pachakuna: Guardianes de los Andes, de la compañía La Patogallina junto a comparsas andinas locales, seguido de un concierto de Inti Illimani Histórico y la banda Tambobrass.

Al día siguiente, el pasacalle de La Patogallina, Pachakuna: guardianes de los Andes, se presentará en Mejillones a las 20:30 horas, frente al Museo de Mejillones.

Seleccionada por el Jurado de Antofagasta del festival, se presentará los días 5 y 6 de enero la obra de danza Sanköfa, que rescata la historia y la música de los afrodescendientes, en ILÚ Espacio Creativo (entradas agotadas).

En tanto, las calles de Antofagasta recibirán el 8 de enero la creación argentina Efectos especiales, un espectáculo ciudadano de los artistas argentinos Luciana Acuña y Alejo Moguillansky que invita al público a ser testigo y parte de un emocionante rodaje de cine en vivo a las 19:00 horas en el centro de la ciudad (Paseo Manuel Antonio Matta desde calle Arturo Prat).

Desde España, llegan los Premios Nacional de Danza, Olga Pericet y Daniel Abreu, con su pieza La materia, que se presentará el mismo 8 de enero en el Teatro Municipal de Antofagasta, gracias al intercambio entre el festival y Teatros del Canal de la Comunidad de Madrid. La obra es un viaje a los orígenes del flamenco inspirada en las guitarras del luthier Antonio de Torres, considerado el padre de la guitarra española moderna (entradas gratuitas para descargar en Antofamil.cl).

Dentro de las obras nacionales, se presentará el 9 de enero, también en el Teatro Municipal de Antofagasta, la obra Hamlet deambula en círculos, dirigida por Cristián Plana y protagonizada por el reconocido actor Héctor Noguera, quien celebra con este montaje los 30 años de su compañía Teatro Camino.

La segunda seleccionada por el Jurado de Antofagasta tendrá funciones el 10 y 11 de enero en la sala del Liceo Experimental Artístico. Se trata de Tiroteo, escrita y dirigida por Franco Rocco Cancino, una reflexión sobre la educación y la violencia en tiempos actuales.

En paralelo, el 11 de enero será la única función de TE MANA HAKAÂRA: el poder que permanece en el Teatro Municipal de Antofagasta a las 21:00 horas (entradas gratuitas para descargar en Antofamil.cl). Esta coproducción de Teatro a Mil es la más reciente obra de danza de la compañía antofagastina La Huella Teatro, bajo la dirección de Alejandra Rojas, que pone en valor la memoria rapanui a través de sus mujeres.

En tanto, el festival llegará a su fina con Amal, una marioneta de 3.5 metros de altura que representa a una niña siria refugiada de 10 años cuyo nombre en español es Esperanza. El jueves 9 de enero a las 11:00 será el turno de San Pedro de Atacama (Ignacio Carrera Pinto con Pedro de Valdivia), para luego presentarse el mismo día a las 20:00 horas en Peine, en la Iglesia San Roque. Su recorrido continuará el sábado 11 en Mejillones, a las 11:00 horas en la Plaza de la Cultura (Av. San Martín).

La gran travesía de Amal por la zona concluirá con dos apariciones en la capital regional el domingo 12 de enero: a las 11:00 horas en el sector norte de Antofagasta (Río Maule con Detective Solón Salas Fuentealba) y por la noche, a las 20:00 horas, se despedirá de los antofagastinos en Av. Grecia con Hugo Silva Endeiza.

Amal será recibida por comunidades locales -que ya se están preparando para darle la bienvenida- y recordará al público que la niñez debe ser protegida siempre y en todo lugar, entregando un mensaje de humanidad y tendiendo un puente hacia las celebraciones por los 80 años de la entrega del Premio Nobel a Gabriela Mistral, ya que sus poemas serán parte de la propuesta artística de Amal en Chile.

Programación Lab Escénico

Complementando los espectáculos, el programa de mediación del festival, LAB Escénico, desarrollará diálogos post función en cada espectáculo de sala, dos talleres con artistas de las obras La Materia y de Efectos Especiales, y tendrá sesiones de su programa Pequeñas Audiencias asociadas a Amal en Chile junto a estudiantes de la Escuela Juan Pablo II de la población Bonilla en coordinación con el Servicio Jesuita Migrante, con el apoyo de UNESCO, ACNUR y Unicef.

Toda la programación de Antof a Mil es gratuita. Los espectáculos de sala serán con inscripción previa en Antofamil.cl y los de calle serán con acceso liberado, sin inscripción previa.

[diarioelpepazo]

Ya se encuentran en suelo dominicano para ceremonia del Salón de la Fama. Un círculo de cronistas deportivos internacional fue el responsable de seleccionar a los componentes de la décima clase del SFBL Daniel Morales La ceremonia de exaltación al Salón de la Fama del Beisbol Latino se llevará a cabo este lunes 4 de diciembre en la ciudad de Punta Cana, República Dominicana, la cual contará con la, quizás, mejor clase jamás presentada. Entre los nuevos inmortales se encuentran el puertorriqueño Carlos Beltran, el venezolano Bobby Abreu y los dominicanos David Ortiz, Manny Ramírez y Adrian Beltré. De acuerdo con el periodista Héctor Gómez, tanto Carlos Beltrán y como Bobby Abreu ya se encuentran en Coco Bongo, para recibir su merecido homenaje. El pasado 22 de noviembre ambos peloteros manifestaron, a través de una conversación vía telemática, su emoción y su agradecimiento con la organización. “Para mí es un honor formar parte del Salón de la Fama del Béisbol Latino… especialmente también por el grupo. Es un grupo de grandes estrellas. Estoy sumamente agradecido y contento”, expresó Abreu a través de una videollamada. Un círculo de cronistas deportivos internacional fue el responsable de seleccionar a los componentes de la décima clase del SFBL, a diferencia de años anteriores en que los miembros del comité elegían un jugador de cada país beisbolero latinoamericano. Para recibir en tu celular esta y otras informaciones, únete a nuestras redes sociales, síguenos en Instagram, Twitter y Facebook como @DiarioElPepazo El Pepazo/Líder