#Edward Vallejo

[onenakedfarmer]

It's okay to say the terrorists' names:

Joseph Hackett of Sarasota, FL

Roberto Minuta of Prosper, TX

David Moerschel of Punta Gorda, FL

Edward Vallejo of Phoenix, AZ

[marcmarcmomarc]

Camp Camp Spanish dub

Max: Héctor Emmanuel Gómez

Nikki: Lileana Chacón

Neil: Pascual Meza

David: Irwin Daayán

Gwen: Alondra Hidalgo

Neil “Niño Espacial” Armstrong Jr.: Monserrat Mendoza

Dolph Houston: Arturo Cataño

Harrison: Moisés Iván Mora

Nerris: Nycolle González

Ered Miller: Karen Vallejo

Nurf Nurfington: Raúl Anaya

Preston Goodplay: Óscar Flores

Intendente: Germán Fabregat

Cameron Campbell: Octavio Rojas

Sasha / Erin / Tabii: Carla Castañeda

Edward Pikeman: Jesús Guzmán

Billy “Serpiente” Nikssilp: Alan Fernando Velázquez

Stephan van Petrol: Juan Carlos Tinoco

Hecdor Repugnante: Eduardo Garza

Jasper: Arturo Castañeda

Bonquisha: Laura Torres

Daniel: Alan Bravo

Jen: Karla Falcón

Intenhermana: Gabriela Guzmán

Penelope Priss: Ruth Toscano

Candy: Violeta Isfel (Startalent)

Carl: Andrés López (Startalent)

Agentes Miller: Joaquín Cosio (Startalent)

Sra. Nurfington: Kate del Castillo (Startalent)

El Papá de Nerris: Kuno Becker (Startalent)

La Mamá de Harrison: Consuelo Duval (Startalent)

El Papá de Harrison: Javier Ibarreche (Startalent)

La Mamá de Nerris: Jacqueline Bracamontes (Startalent)

Teniente Stuart Houston: Salvador Cienfuegos (Startalent)

Buzz Aldrin: Rodolfo Neri Vela (Startalent)

La Abuelita de Preston: Elena Poniatowska Amor (Startalent)

Sr. Repugnante: Faisy (Startalent)

Sra. Repugnante: Favio Posca (Startalent)

Brian: Daniel Lacy

Vera: Alicia Barragán

Hwan: Pepe Vilchis

Dang: Miguel Ángel Ruiz

Clark Campwell: Gabriel Pingarrón

Muriel Campwell: Olga Hnidey

Ainsley: Alina Galindo

Louis: César Filio

Cameron Jr.: Ricardo Brust

[bitterkarella]

Midnight Pals: Future Art

Christopher Paolini: look at you suckers Paolini: still drawing with your hands? Paolini: think fast, grandpa, the future is now! Paolini: check out my new book, the cover is all AI generated King: why doesn’t the astronaut have arms? Paolini: Paolini: oh I uh meant to do that

Paolini: see, with AI you can just make any cover you want King: wow! Poe: what does this mean for human artists tho Paolini: uhhhh Paolini: what’s that? Sorry I can’t hear you, I must be going under an overpass

Paolini: this is going to revolutionize the fantasy art landscape Paolini: where we’re going, we won’t NEED artists Paolini: get outta here, ya losers! Paolini: we don’t need boris Vallejo when the AI can draw sweaty barbarians Paolini: we don’t need frank frazetta when the AI can draw chunky amazons Paolini: we don’t need the brothers Hildebrandt when the AI can draw a wizard! Beard and all!

Edward Lee: but bro Lee: that’s all well and good Lee: but could the AI draw a girl with big titties? Paolini: oh you’d be surprised Hearn: step aside, let me give the AI a REAL challenge Lafcadio Hearn: could it draw an ANIME girl with big titties?

Paolini: it’s been a long battle but finally we’re free from the tyranny of paying artists for their work Paolini: but I’m sure they’ll keep paying writers for our hard work Paolini: no way this could bite me in the ass

King: but Christopher aren’t you afraid that AI will eventually replace writers too? Paolini: haha replace writers? Haha what a concept! Paolini: please edgar I’m Christopher paolini Paolini: author of the inheritance cycle! Paolini: an epic fantasy about elves and dragons! Paolini: I’d like to see the AI that can think of that

Paolini: please people I wrote eragon! Paolini: a fantasy story about a guy spiritually bonded with a dragon Paolini: an idea totally original to me Anne McCaffrey: Gordon R. Dickson:

Laurel Hightower: so for the cover of this book, I’d like to see a mothman Slimyswampghost: you got it Hightower: can you give him a caked up ass like the statue Slimyswampghost: Slimyswampghost: ok Hightower: see this is why you use a real artist Hightower: Hightower: no Hightower: more caked up

[hillside-dangler]

Serial Killers listed by highest I.Q

1. Ted Kaczynski IQ:167

2. Charlene Gallego IQ:160

3. Rodney Alcala IQ:160

4. Carroll Edward Cole IQ:152

5. Edmund Kemper IQ:145

6. Robert Browne IQ: 140

7. Charles Albright IQ:140

8. Michael Bear Carson IQ:138

9. Lawrence Bittaker IQ:138

10. Ted Bundy IQ:136

11. Thomas Dillon IQ:134

12. Gerard John Schaefer IQ:130

13. Marcel Petiot IQ:130

14. Harvey Glatman IQ:130

15. Angel Maturino Resendiz IQ:130

16. Juan Vallejo Corona IQ:130

)c(

[nishhd]

LITERATURA CONTEMPORANEA CHILENA

La literatura de Chile hace mención al conjunto de producciones literarias creadas por escritores originarios de ese país; ha sido producida habitualmente en español, aunque existen también autores, principalmente poetas, que utilizan otros idiomas, en particular el mapudungun. Especialmente en el ámbito de la poesía, cuenta con varios escritores de renombre, como Vicente Huidobro, Enrique Lihn, Gabriela Mistral, Pablo Neruda, Nicanor Parra, Pablo de Rokha, Gonzalo Rojas, Jorge Teillier y Raúl Zurita, entre otros. En el campo de la narrativa, destacan también Isabel Allende, Roberto Bolaño, María Luisa Bombal, José Donoso, Jorge Edwards, Pedro Lemebel, Antonio Skármeta, entre otros.El romanticismo en Chile, conforme al análisis del crítico literario Cedomil Goic, puede clasificarse en tres generaciones literarias: la de 1837, 1852 y 1867.

La de 1837, denominada también generación costumbrista, se caracterizó por el desarrollo de un costumbrismo con especial énfasis en lo pintoresco y lo realista, abordándolos desde un punto de vista crítico y satírico En esta generación destacaron Mercedes Marín del Solar, Rosario Orrego, Vicente Pérez Rosales y José Joaquín Vallejo.

La de 1852 o generación romántico-social tuvo una postura más radical a la visión liberal que la generación anterior, presentando el pasado como ejemplo de rectificación del presente. En esta generación sobresalieron José Victorino Lastarria, Salvador Sanfuentes, Martín Palma, Eusebio Lillo, Guillermo Matta y Guillermo Blest Gana. En las décadas de 1950 y 1960, los autores chilenos volvieron a incursionar en la novela histórica. Y ya a partir de 1970, volcaron su mirada hacia los "momentos fundacionales, es decir, las etapas del descubrimiento, Conquista y, en general, el período colonial, lo que conlleva la relectura de los textos canónicos que dan cuenta de dichos proceso históricos, especialmente las crónicas, las relaciones, las cartas del conquistador, que constituyen los pretextos que serán deconstruidos por el discurso alternativo del creador literario" (Eddie Morales Piña. "Brevísima relación de la nueva novela histórica en Chile", Notas Históricas. En este nuevo renacer, la novela histórica basa su contenido en copiosa documentación. Asimismo, los autores chilenos leen disciplinadamente no sólo los libros de Benjamín Vicuña Mackenna, Francisco Encina y Jaime Eyzaguirre, entre otros, sino que también llevan a cabo una revisión completa de cartas, crónicas, diarios íntimos y de viajes.

Aún cuando surgen numerosas publicaciones, en Chile la tendencia no es tan acusada como en otros países de Latinoamérica. Según Mentor Seymour, "este fenómeno puede explicarse por la mayor preocupación de los novelistas chilenos contemporáneos por el pasado inmediato, o sea el golpe militar contra el gobierno de Allende en 1973, la dictadura de Pinochet y las experiencias en el exilio de varios novelistas" (La nueva novela histórica de la América Latina, 1979-1992. México: Fondo de Cultura Económica, 1993.

ROMATICISMO:

El romanticismo en Chile fue un fenómeno amplio, que formó parte de un contexto latinoamericano mayor, en el que predominó la idea de la construcción de la nación con un carácter utópico vinculado al liberalismo político. En el caso de las producciones escritas en Chile, el romanticismo se vinculó en su origen a la llegada de intelectuales argentinos hacia 1840 y al Movimiento Literario de 1842.

Durante la década de 1840, surgió en Chile una producción intelectual comprometida con la idea de la identidad nacional. Este fenómeno ha sido relacionado, por un lado, con el Discurso de incorporación a la Sociedad Literaria de José Victorino Lastarria (1817-1888), en el que abogó por la necesidad de una literatura de carácter local y, por otro, con el eco de ese llamado recogido por los intelectuales del Movimiento Literario de 1842.

Para Norberto Pinilla (1902-1946), la "escuela romántica" nació en Chile vinculada a este "despertar" de las letras nacionales, en particular, a partir de la ocurrencia de dos debates sobre "cultura filológica y literaria" que se vivieron durante esos años: la controversia filológica, intercambio de artículos en la prensa en los que se discutió respecto al uso de la lengua en América; y la polémica del romanticismo (Pinilla, Norberto. Panorama y significación del Movimiento literario de 1842.

REALISMO:

El realismo literario es una corriente estética que supuso una ruptura con el romanticismo, tanto en los aspectos ideológicos como en los formales, durante la segunda mitad del siglo xix. Se extendió también a las artes plásticas en Latinoamérica, lugar donde hasta entonces no había gran proliferación en este arte. Este se caracterizaba por una extensa y muy detallada información de los personajes, paisajes, escenas, etc. De esta forma, podían ser imaginados con mayor facilidad.

[hercoffeekryptonite-blog]

Leer construye una comunicación íntima, una soledad sonora.

— Irene Vallejo

🖌 Edward Lamson Henry (1841~1913)

[decadentworld]

I adore the way you answered the questions. There is a lot that I am very interested in and I appreciate the level of honesty in your responses. Some of these questions may seem similar but there is a reason for that. I don't try to be cryptic but the way you approach the questions is also part of this. I am also still working on the direction for this article because the answers I received are having me reconsider parts of it. Again, I appreciate the time you are taking out of your day to do this and the courage to respond to a random person on the internet :) Are there any artists that you like to keep updated with on their art or learn specifically from? Do you feel any urge to be more part of your local community and wish there were more opportunities to share your art? Have you thought about doing public art or more community based projects? What about collaborations? How do you feel that your art impacts those that you do interact with? Could you describe a normal interaction with your clients? What barriers have you experienced in gaining exposure for your work as an independent artist? How has social media influenced your approach to creating art? Do you feel pressured to follow certain trends or cater to popular themes? Have you observed any conflict between creating art for yourself and creating art that sells? How do you balance personal expression with market demands? Do you feel that there is a risk of “capitalizing” on certain artistic movements or themes? How does this affect your choices? Have you encountered community pushback on any pieces you’ve displayed, and how did you handle it? I would also like to provide a space for just a general discussion at this point and ask where do you think I am going with all of this? I know it may seem like a super silly question and very open ended but I am curious how my vague request has impacted you.

Part 2!

Are there any artists that you like to keep updated with on their art or learn specifically from?

There are not many specifically, since I don’t tend to keep up with following artists and their art, unless there are specific things that I can draw inspiration from. That being said, I am a fan of a few contemporary artists (both traditional and digital) such as Edward Povey, Ciruelo Cabral, Lesly O., and most importantly Boris Vallejo and Julie Bell, off the top of my head. Here’s my favorite contemporary piece of all time, Atlas by Boris and Julie.

I also study paintings, etchings, etc. by classical artists like Gustave Doré, El Greco, Rembrandt, Michelangelo, among others. Here’s my favorite classical painting and probably my biggest inspiration ever, The Disrobing of Christ/El Expolio by El Greco.

I have a print of it in my room.

Do you feel any urge to be more part of your local community and wish there were more opportunities to share your art?

I wouldn’t say so because taking part in the ‘local’ community (I assume that means in my city) would imply a level of recognition I’m not comfortable with, in the case it were face-to-face, unless there are opportunities for me to share a few pieces anonymously. In that case I’d be more interested, sharing them under a simple pseudonym, the same way I do on the internet. But I agree that it would be cool if there were more opportunities in general for everyone because I think art isn’t considered all that important in my city as far as I know.

In a more digital sense however I do want to share my art, but all art-based platforms I know have nowadays been overtaken by the greed of the owners or total un-interaction from the viewers. In a sense I’d like for DeviantArt to be what it was in the 2010’s, or for there to be another platform like that in that time.

Have you thought about doing public art or more community based projects? What about collaborations?

I’ve thought once or twice about doing public art like the ones artists such as Pum Pum or Martín Ron from my country make, but in the end I realized I’m absolutely rusty when it comes to traditional art. That, and as I mentioned before, I don’t like the idea of being recognized in public or being a public figure. Same goes for community-based projects, except for the ones that are fully digital, in which case I’ve taken part in one last year when I was in the Harringrove/Stranger Things fandom, and one in 2019. I think the idea of them is very cool and a great way to make new friends in a community. As of right now, I think if a project like those ever arose again and it piqued my interest enough I’d probably think about giving it a go, but I think it’s also quite the responsibility because someone will depend on me doing my part and there are many factors that could make it go wrong, especially if I’m particularly busy with work.

That same thing applies to collaborations, though I’m not fully interested in those. I think I did one or two when I was like 12 and on DeviantArt.

How do you feel that your art impacts those that you do interact with? Could you describe a normal interaction with your clients?

I’m not sure if I even think about it all that much unless they tell me directly. Usually I try to make impactful pieces trying to convey a specific emotion, and clearly the ones made for fandoms tend to get more traction. But I don’t really get much interaction so I don’t know what people think of them most of the time.

Finding a potential client for me is through searching posts with specific tags or phrases like “looking to commission”, “looking for artist”. I don’t think anyone’s ever approached me first unless they were a repeat client. When I see that they’re looking to commission someone, I’ll either comment on that same post or send them a DM asking if they need an artist, adding my website to the message. Then the client will look at the samples and either tell me they’re looking for a different style or that they accept and we’ll start discussing a style and details, usually through Discord. I tend to have a very lax approach when I talk to my clients, we’ll just talk through Discord and bounce ideas back and forward in order to get the desired feel for the piece.

What barriers have you experienced in gaining exposure for your work as an independent artist?

Mostly, recognition is the main issue. Nowadays there are tons of talented artists online and sometimes it feels like my art is drowned in the sheer amount of all of them.

As well as recognition, a lot of the times the platforms themselves simply aren’t artist-friendly, or aren’t what they once were, or are filled with bots, or if it’s an art commission-based platform, the fees they take from artists are exorbitant. Think artistsandclients.com taking 15% from the seller. I’m now trying luck in Bluesky and it looks like a nice place, like Twitter but without the cesspit right-winger opinions. Plus they’re very artist-friendly too.

How has social media influenced your approach to creating art? Do you feel pressured to follow certain trends or cater to popular themes?

My early years in platforms like DeviantArt and Instagram put the thought in my head that I should be pumping out art consistently, since every cool famous artist I used to follow was doing it. I realized after some years and self-improvement of my art that many of those artists probably didn’t take that long in doing a single piece, because they’d found a niche and had a lot of experience with that topic. Plus, they’d had a growing following from their beginnings, so the numbers I saw were in fact reflective of that growth and not necessarily indicative of the quality of their art. All in all I realized that a lot of viewers prefer quantity over quality. That can quickly build up insecurities and pressure for a lot of artists. So now I just do my own thing, not really caring about the amount of things I do and the time I take for them as long as it has the best result possible in my opinion.

As for specific trends, not really. I don’t remember if I’ve said this before but I don’t feel drawn to art trends. I feel a lot of them a bit artificial and overused for my tastes, but I might find one I like some time. As for popular themes, I could be a bit more swayed. ‘Popular theme’ in my mind sounds very encompassing of a term, so I’ll pick at the side that resounds more with me, in which case it’s related to fandom. In that case I do feel like I can get more interactions if I draw fandom-related things, which is why I’ll find myself thinking of fandom or ship-related ideas for future projects.

Have you observed any conflict between creating art for yourself and creating art that sells?

Just in the odd occasion, because I found that what sells the most will usually be what I like creating as well, and that has to do with fandom. Even if it’s for a fandom I’m not personally in, I find it very compelling to work for another person’s passion. There are very few things I do for myself outside of what other people like to see.

How do you balance personal expression with market demands? Do you feel that there is a risk of “capitalizing” on certain artistic movements or themes? How does this affect your choices?

I find that the way around it can depend on the time a specific piece can take. Now all the clients I’ve had are extremely nice and don’t have a problem when I take longer on a piece, but I can tell that the more commercial side wouldn’t take so kindly. I take my time because I like a more realistic (in terms of art) approach, but I’ve found that this leads me to processes that might be obsolete. I have for example just finished a sort of semi-realistic piece that only took me three days and I can already see that this is a style that companies look for even more than the style that takes me over a month. So I feel like from this point onward I’ll just have to see if I can find a faster method that can bear similar results, unless my clients really like what I’ve done up to now.

I feel half and half when it comes to specializing in one single thing, because that is how some artists find their niche, but at the same time it’s one of the main things you’ll be recognized for, and if you suddenly do something new you might lose interest from some viewers. Personally I don’t let this affect me too much because I do a bit of everything.

Have you encountered community pushback on any pieces you’ve displayed, and how did you handle it?

Not personally, but I’ve been in fandoms where there are always haters/antis of specific things. I was in the fandom for the character Billy Hargrove from the series Stranger Things for some time, and I could see a few fellow artists getting hate for drawing such a ‘problematic’ character. Then you have the series 9-1-1 where one half of the fandom is sending the other one death threats for drawing a canon pairing. I recently started liking the series Arcane and I was even planning on doing some fanart; I got a death threat just for being thirsty over one of the fictional WLWs there, lmfao. In my defense I thought she was bi.

I would also like to provide a space for just a general discussion at this point and ask where do you think I am going with all of this? I know it may seem like a super silly question and very open ended but I am curious how my vague request has impacted you.

I honestly wasn’t looking for a ‘direction’ of where all this might lead, I was just very interested in sharing points of view with fellow artists! I think this is one of the things that might build a bigger sense of community and more cool interviews like these should take place more often :-)

[mirandamckenni1]

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[nedsecondline]

Four Additional Oath Keepers Sentenced for Seditious Conspiracy Related to U.S. Capitol Breach | OPA | Department of Justice

Roberto Minuta, 39, of Prosper, Texas, was sentenced June 1 to 54 months in prison followed by 36 months of supervised release. Edward Vallejo, 64, of Phoenix, Arizona, was sentenced on June 1 to 36 months in prison followed by 36 months of supervised release, including the first 12 months to be served on home confinement. David Moerschel, 45, of Punta Gorda, Florida, was sentenced on June 2 to…

[karen-anti-r-cml]

November 22, 2022: Actually Rung In Our New Year Of Justice

And So Far...

2023: Is Off To A Good Year. The oath keepers, confederate maga loyalist and Insurrectionist Traders Of January 6, 2021 Are Falling and Is Their Leader, trump Helping Them... No... He's Begging Them To Do It Again!

The Rarely Used Civil War-Era Sedition Charge Is, As It Should Be, Being Used. It carries a maximum penalty of 20 years in prison.

November 22, 2022: Convicted Their Leader, stewart rhodes, kelly meggs, thomas caldwell, kenneth harrelson and jessica watkins,

The Jury Convicted All 5 Of Obstructing An Official Proceeding: The Certification Of President Joe Biden's Election Victory.

November 5, 2020: rhodes Said In A Message To His Followers "We aren't getting through this without a civil war,"

He Was Convicted Of Seditious Conspiracy.

watkins and meggs Convicted Of Conspiring To Obstruct An Official Proceeding

caldwell Convicted Of Tampering With Potential Evidence

January 23, 2023: Convicted roberto minuta, joseph hackett, david moerschel and edward vallejo

The Jury Convicted All 4 Members For Seditious Conspiracy To Disrupt The Electoral College Certification of President Biden's Election, Preventing A Member Of Congress From Discharging Their Duties, Conspiring and Obstructing An Official Proceeding.

March 20, 2023: Convicted sandra parker, bennie parker, laura steele, william isaacs, michael greene and connie meggs

The Jury Convicted All 6 Of A Trespassing Offense.

isaacs, steele, s. parker and c. meggs Convicted Of Conspiracy To Obstruct An Official Proceeding and Other Felony Charges.

isaacs, steele, s. parker and c. meggs

That's where we are for now

[glitterypeanutmugnickel]

January 23, 2023

HEATHER COX RICHARDSON

JAN 24

SAVE

▷ LISTEN

Today a jury found three members of the Oath Keepers gang, along with a fourth defendant associated with them, guilty of seditious conspiracy for their actions surrounding the January 6th insurrection in 2021. In October a different jury also found the founder of the Oath Keepers, Elmer Stewart Rhodes, as well as their Florida leader, Kelly Meggs, guilty of seditious conspiracy. Five members of another extremist gang, the Proud Boys, are currently on trial on that charge and others.

Today’s defendants, Joseph Hackett, 52; Roberto Minuta, 38; David Moerschel, 45; and Edward Vallejo, 64, were found guilty of a rack of other charges, too, but the seditious conspiracy charges are the biggies. Such indictments are rare and indicate a careful plot against our democracy. They are hard to prove. These six convictions—so far—are a big win for Attorney General Merrick Garland’s Justice Department.

At Talking Points Memo, Nicole Lafond notes that defense attorneys for the Oath Keepers argued that the fault for January 6th was not that of their clients. “Responsibility really rests at our politicians’ feet,” attorney Scott Weinberg said. “The president and Stewart Rhodes were claiming that the world is coming to an end even before the election.”

The House Select Committee to Investigate the January 6th Attack on the U.S. Capitol recommended that the Department of Justice consider criminal charges against former president Trump, the man behind the attempt to overturn the 2020 presidential election. It also called a number of his associates co-conspirators.

So far, those charges have not materialized, and Trump is running for president in 2024.

That campaign is off to a rocky start. Trump is supposed to kick it off next week in Columbia, South Carolina, but Michael Scherer and Josh Dawsey of the Washington Post report that he’s having trouble lining up politicians to show up. They’re not willing to indicate support for him yet.

Scherer and Dawsey note that South Carolina has two homegrown candidates, former governor Nikki Haley and current senator Tim Scott, who might want to run. In addition, Trump has recently alienated evangelicals—his formerly rock-solid base—by blaming them for his 2020 loss. It is also possible that his many legal troubles will catch fire, burning up his presidential chances. His secretary of state Mike Pompeo and national security advisor John Bolton are apparently testing the waters themselves, publicly needling each other. Bolton recently said Trump’s support is in “terminal decline,” and after Trump called former cabinet members considering a campaign “disloyal,” Pompeo told Fox News radio host Brian Kilmeade, “I never said I wouldn’t run.”

Another issue dropped today, huge in itself and at least tangentially related to the former president.

On Saturday, authorities from the Department of Justice arrested Charles McGonigal, 54, at JFK Airport as he returned from a trip to Sri Lanka. McGonigal worked for the FBI from 1996 to 2018.

On October 4, 2016, Federal Bureau of Investigation Director James Comey named McGonigal the head of counterintelligence for the FBI’s New York field office. As the special agent in charge, McGonigal supervised and participated in investigations of Russian oligarchs. Before that, he was the section chief of the Cyber-Counterintelligence Coordination Section at FBI headquarters in Washington, D.C.

Charges against McGonigal—who is one of the highest ranking FBI members ever charged with a crime—stem from his connection to Oleg Deripaska, a Russian oligarch close to Vladimir Putin. The United States sanctioned Deripaska in 2018 for working for the Russian state to destabilize Ukraine. Deripaska was also a close associate of political operative Paul Manafort, who ran Donald Trump’s 2016 presidential campaign. Manafort was convicted in 2018 of a number of crimes associated with his ties to Russia. Trump pardoned him.

McGonigal, along with Sergey Shestakov, a former Soviet and Russian diplomat who has worked as an interpreter for U.S. courts, is charged with violating sanctions by taking money from Deripaska to investigate one of his rivals, and with money laundering. In a separate indictment, McGonigal is accused of hiding multiple cash payments from a foreign intelligence official and of trying to get the sanctions on Deripaska removed.

As Marcy Wheeler of Emptywheel points out, the Department of Justice is pursuing this case so far as about public corruption, not about national security. But it is surely significant that the man who was supposed to be in charge of protecting the U.S. from Russian oligarchs went to work for one as soon as he left the FBI, and perhaps sooner. And that oligarch was connected to Trump’s 2016 campaign manager.

While there is a lot we still don’t know, we do know that in 2018, Comey told Congress he worried that officials in the FBI’s New York field office had given Trump ally Rudy Giuliani sensitive information in the last days of the 2016 election, after Giuliani had said so in front of television cameras. Giuliani made that claim in October, after McGonigal took over that office.

We know that Comey told investigators that he released news of the reopened investigation of Clinton’s emails—against Department of Justice policy, right before the election with voting already underway—out of concern that “people in New York” would leak that information. Former acting attorney general Sally Yates was clearer. She told the inspector general that Comey and other FBI officials “felt confident that the New York Field Office would leak it and that it would come out regardless of whether he advised Congress or not.”

We also know that after McGonigal left the FBI, he went to work for Brookfield Properties, the multibillion-dollar real-estate company in New York that handled the bailout of Jared Kushner’s 666 Fifth Avenue by a $1.1 billion, 99-year lease—all paid up front—thanks to the Qatar Investment Authority.

None of those things is currently on the table in the indictments, and they might not turn out to be significant. But my guess is that this case will continue to develop.

Prosecutors for the Southern District of New York told Magistrate Judge Sarah Cave that they had agreed with McGonigal’s attorney for him to be released on a $500,000 personal recognizance bond, co-signed by two other people.

Another prominent legal case touching on the Trump years wrapped up today when it took a jury only two hours to find another January 6 defendant guilty of all charges for which he was on trial. Richard “Bigo” Barnett, 62, of Gravette, Arkansas, who was photographed with his feet on then–House speaker Nancy Pelosi’s desk, was found guilty of civil disorder, obstruction of an official proceeding, carrying a dangerous weapon into a restricted building—he was the one with a stun gun in a walking stick—and five other counts. Barnett said he ended up in the speaker’s office by accident while he was looking for a bathroom.

And legal commentator Joyce White Vance of Civil Discourse points out that tomorrow, a judge in Fulton County, Georgia, will hold a hearing to decide whether to release the report of the grand jury that investigated Trump’s attempts to overturn the 2020 presidential election.

You can see why Republicans are nervous about leaping aboard the Trump train for 2024.

[insideusnet]

Oath Keepers members found guilty of seditious conspiracy | CNN Politics : Inside US

CNN  —  Three members of the Oath Keepers and a fourth person associated with the far-right militia group were convicted of seditious conspiracy by a Washington, DC, jury on Monday for their role in the January 6, 2021, insurrection. The four men – Roberto Minuta, Joseph Hackett, David Moerschel and Edward Vallejo – were accused of plotting to stop the certification of Joe Biden’s 2020…

[news24fr]

Quatre membres de la milice antigouvernementale Oath Keepers ont été reconnus coupables lundi de complot séditieux lié à l'insurrection du 6 janvier 2021 au Capitole américain par des partisans de Donald Trump, à l'issue du deuxième grand procès accusant des extrémistes d'extrême droite d'avoir comploté pour garder de force l'ancien président américain au pouvoir.Le verdict contre Joseph Hackett de Sarasota, Floride, Roberto Minuta de Prosper, Texas, David Moerschel de Punta Gorda, Floride, et Edward Vallejo de Phoenix, Arizona, est intervenu quelques semaines après qu'un autre jury a condamné le chef du groupe, Stewart Rhodes, en l'attaque de la foule qui a retardé la certification de la victoire du démocrate Joe Biden à l'élection présidentielle de 2020 sur le républicain Trump.Proud Boys sur la défensive lors d'un procès pour sédition hanté par l'absence de TrumpLire la suiteLes condamnations ont été une autre victoire majeure pour le ministère de la Justice, qui tente également d'obtenir des verdicts de sédition contre l'ancien chef du groupe nationaliste d'extrême droite, violent et entièrement masculin, les Proud Boys, et quatre associés. Le procès contre Enrique Tarrio et ses lieutenants s'est ouvert plus tôt ce mois-ci à Washington DC et devrait durer plusieurs semaines.Ce sont quelques-uns des cas les plus graves signalés jusqu'à présent dans l'enquête approfondie sur l'attaque du Capitole, qui continue de croître deux ans après l'émeute. Le département de la justice a porté près de 1 000 affaires et le décompte augmente de semaine en semaine.Les avocats de la défense ont cherché à minimiser les messages violents comme de simples fanfaronnades et ont déclaré que les gardiens du serment étaient venus à Washington pour assurer la sécurité lors d'événements avant l'émeute.Ils ont saisi le manque de preuves des procureurs que les Gardiens du serment avaient un plan explicite pour prendre d'assaut le Capitole avant le 6 janvier et ont dit aux jurés que les extrémistes qui avaient attaqué le Capitole avaient agi spontanément comme des milliers d'autres émeutiers.Rhodes a fondé les Oath Keepers, dont les membres comprennent des militaires actuels et retraités, des agents des forces de l'ordre et des premiers intervenants, en 2009.Des membres se sont présentés, souvent lourdement armés, lors de manifestations et d'événements politiques, notamment des manifestations à la suite du meurtre de George Floyd en mai 2020 par un policier blanc à Minneapolis.

[sacandovuelta]

[henryfitzempress]

In addition to the debate of medieval queenship, it does well to remember Queen Philippa of England’s doings, her perceptions as queen and how she set a model to those who came after her in an almost stark contrast to her predecessor, Queen Isabel. In saying so, here’s an excerpt of “The Red Prince”, by historian Helen Carr. [pp.10-11]

“In 1319, when negotiations were in place for Edward and Philippa’s marriage, Bishop Walter de Stapledon, an ambassador for King Edward II, was sent to Hainault to inspect the future Queen of England.

In his register, he provides a detailed report of her appearance; she had dark hair, a ‘high and broad’ forehead, with ‘broad’ nostrils, but ‘no snub nose, full lips and was ‘brown of skin all over’. 

The chronicler John Hardyng predicted Philippa would bear many children. He described her as having ‘good hippes’, necessary to successfully carry twelve babies to term. With just thirteen months between John of Gaunt and Edmund of Langley, it is questionable whether the relentlessly virile Edward ever left his wife alone. Philippa was a portrait of maternal femininity. She did what all good Queens were expected to do: give birth to heirs. Her children were her absolute priority.

Philippa of Hainault took on the responsibility of other children as well as her own. She adopted orphaned children of the nobility into the nursery such as Joan of Kent, after her mother died and her father was beheaded for treason. Philippa also cared for the children of those in her service, such as Katherine and Philippa de Röet, whose Flemish father, Pan de Röet, had died on campaign in France. 

She extended her interests further into rural industry by opening mines in Tyndale and Derbyshire, providing opportunity and industry for local communities and even prompting the English to use their wool to manufacture their own garments--where cloth was previously bought in from Flanders. In 1341, she also enhanced the growth of Oxford University by supporting the foundation of The Queen’s College, Oxford. The chronicler Jean Froissart worked for the Queen as her secretary from 1361 to her death in 1369 and described her as ‘courteous, humble, devout...and tall’. 

Where Philippa of Hainault was humble, caring, loyal and dutiful, Edward III was confident, ambitious and hot headed. (...)”.

Fancast:  Alba Galocha Vallejo as Queen Philippa.