#Revolution 2024

[prettyydeadly]

is this anything. hey guys is this anything

[supakixbabe]

Aww Nick 😭

[lonelyvampx]

: Did you enjoy the triple threat match?

: Yes

: What was the most interesting moment?

: Yes

[unlikelywrestlingfan]

Sting retiring as champ is everything to me. Sting going out on his own terms is everything to me. Sting getting to main event is everything to me. Sting going undefeated in AEW is everything to me. Sting. is everything to me.

[lghockey]

I didn't get into wrestling until 2020. I do not know a lot of the old timers and nostalgia does not have an effect on me. Sting though, I remember him debuting in AEW and being like "who is he" which led me down a rabbit whole of watching matches and promos.

Sting is one of the all time greats in wrestling. His work ethic, ring work, promos, and great personality resonated with many people. (I love his mask reveal stuff... never fails to make me smile).

Even at his age, he was able to work and take bumps. Yes his age did slow him down a bit but he still was working his ass off and being a better ring worker than some guys younger than him (cough Jericho cough)

Sting is an ICON and will be remembered as such. He put in the effort and was a role model to many in and out of the ring. I wish him the best in retirement and I hope to see him outside of the ring in the wrestling business somehow.

Thank you Sting. We love you!

[art-the-f-up]

In the light of current world events, and after watching a video that explained how, if you DON'T feel like wanting to smash your head somewhere or scream into oblivion it means you're mind hasn't been revolutionized yet, I want to present this animated short film by Pakistan which speaks to me so much. Even though this film is about internal conflicts, the messages and indications are so universal and I urge everyone to take out a few minutes and watch it.

The seed of resisting a system that makes you think it's for your benefit but is just profiting off of your basic rights is so so important, now more than ever. I feel like we're on the brink of something big and something important. Please don't let that flame die.

Shehr e Tabassum 2020

[piratewithvigor]

They're the Miss Piggy and Kermit of our generation (adoring)

[atrocioushellsite]

Hello! The time is now my friends.

This is a call to action. I'm asking everyone to go out and find big patches of grass. Those long stretches between/around the highways. The area between the sidewalk and the street. Those huuuuuge lawns behind retail box stores.

Find all these big patches of grass doing nothing but getting mowed. And plant some vegetables. Plant some potatoes, squash, beets, tomatoes, take this dead land that's been squandered away and "sold" and "bought," and bring it back to life.

If "this land was made for you and me," let's give it some love so it can sustain us as it's meant to. This is the first step to change. We must break the chains that make us dependent on the government, and the only way to do that is through community. Let's start by making a nation-wide community garden. I'm gonna start planting. I hope others will follow suit.

It's time to stop giving them our tax dollars to fund an ethnic cleanse. Let's prepare by making sure they can't starve us out like their little brother out east is doing.

Happy gardening ���🍅🌽

[renee-ckstrong]

I really don't think that the Scramble deserved that much more time than Toni/Deonna. As great as this show is. The only women's match on the card only going 12 minutes and ending in a screwy-finish isn't what I wanted out of this.

You could've still protected Deonna by giving her a great showing in a long competitive match that could've gone either way.

[beardedbarba]

MR BRODY KING

🥺🥺🥺

[kittyhawkbombardier-bitch]

remember kids: Vive la rèvolution!!!

[blaringloudandproud]

Once again saying I love Samoan Joseph’s theme

[sunnunderthesun]

Congolese cinema and Patrice Lumumba

It’s no surprise that African cinema, especially Congolese cinema, isn’t a part of the syllabus of film studies at several universities outside Africa, and Patrice Lumumba hasn’t yet found a space in most history and political science textbooks used by the Western-centric education system in many wealthy and developing countries (including mine).

There is only a handful of scholarly work on Congolese cinema available in English, and most of them are focussed on the evangelisation of the Congolese people, in Belgian Congo, by the male missionaries through mobile film screenings using the “cinema van” built by the British before World War Two to spread propaganda among “primitive peoples”.

Gansa Ndombasi addresses the lack of available information about Congolese cinema and lays out its history in his book La cinéma du Congo démocratique (2008).

The filmmakers of the films screened in Belgian Congo – which used to be the personal property of King Leopold ll after the European countries divided the African continent among themselves at the Berlin Conference of 1885 until Belgian government took over the administration of Congo from him in 1908 and turned it into their colony – showed black characters as “so Manichaean and caricatured that local populations could not identify with them”. The films, religious and nationalist in nature, including the imported Hollywood, Bollywood, and East Asian films – shown to the Congolese community between the early 1960s and 1997 were strictly governed by the interests of Mobutu, the then (1965-1991) head of the state who facilitated the West's access to Congo’s resources as he assumed his dictatorship over Zaire, a name he adopted for the nation. Film commentators, who translated the film’s dialogues into the local language and helped the community understand the story of the film they were being shown, existed well into the post-colonial period since the colonial times. The period following the end of Mobutu’s rule was marked by an increase in Revivalists’ religious films and independent films co-produced by the unrepressed Congolese diaspora with countries like France and Belgium. Ndombasi has called this cinematic period “Cinéma Congolaise” when Zaire became the Democratic Republic of Congo and, unlike the other two male-dominated periods of filmmaking, women began to make documentaries and short films. Recently Macherie Ekwa Bahango made her debut feature film, Maki'La (2018), on the lives of the marginalized street children and violence against women in Congo.

Both French Congo and Belgian Congo gained independence in 1960, but a Congolese feature film wasn’t produced until 1987; the 1980s being the period when NGOs started flocking to Africa. Some of those charitable organisations are accused of trying to establish “market-friendly human rights” and profiteering the resistance of the people in the exploited conflict-plagued continent.

The first Congolese prime minister and a visionary pan-Africanist whose anti-colonial revolution was crucial in freeing Congo from Belgium, Patrice Lumumba, was murdered in 1961 along with two of his colleagues, by the “agents of imperialism and neocolonialism” because the three martyrs “put their faith in the United Nations and because they refused to allow themselves to be used as stooges or puppets for external interests”. During the cold war, Lumumba’s plans to nationalize Congo’s resources to enhance the country’s economic growth was unfavourable to the West, especially because Congo provided the uranium used in the atom bombs dropped on Hiroshima and Nagasaki – an outcome of Einstein’s fateful letter. Lumumba’s assassination committed with full support from the United States and Europe, in his aim to prevent the “economic reconquest” of the resource-rich Congo by the United States, Belgium, and the United Kingdom, he sought the help of Soviet Union when the United Nations refused to aid the Congolese government in “restoring law and order and calm in the interior of the country”. But he was no communist. In his own words (translated into English): In Africa, anybody who is for progress, anyone who is for the people and against the imperialists is a communist, an agent of Moscow! But anyone who approves of the imperialists, who goes out looking for money and pockets it for himself and his family, is an exemplary man; the imperialists will praise him and bless him. That is the truth, my friends.

In the book Lumumba in the arts, Matthias De Groof writes, "In Congolese society, the impression is that Lumumba is the only one who managed to hang on, to survive and to stay in people's memories through the popular and humorous speeches in which people imitate political figures, for example. When a painter portrays Lumumba, he knows that he will sell the painting, which isn't the case for other national figures." Lumumba (2000) is considered to be the first African feature film on him that portrays his life, political stance and assassination, followed by the documentary called Lumumba, la mort d'un prophète in 1990, by Raoul Peck, a Haitian director who had spent his childhood in Zaire. The father of Congolese independence has inspired a number of foreign films, among other forms of art.

To get an idea of how challenging it is to shoot a movie in the Democratic Republic of Congo at present, last week, we got in touch with Congo Rising, a US-based production company who was preparing to make a major film on Patrice Lumumba in 2021. Congo Rising's Margaret Young informed us, It’s a huge challenge! We have a call scheduled with our publicist on Thursday and a call with Roland Lumumba, Patrice Lumumba’s youngest son, on Sunday. Things are definitely NOT nailed down. The project is still alive, but there are lots of questions which must be answered.

As the Congolese people now battle the devastating consequences of the ongoing armed conflict and slavery, it is crucial that we, the common people with a conscience, do everything in our power – boycott the corporate giants getting richer by enabling modern slavery, promote the enormous creative potential of the Congolese people and amplify the unedited version of their resistance against their exploiters – to stop contributing to their sufferings.

[lonelyvampx]

Sir, why is Hangman on your thigh, sir?

[unlikelywrestlingfan]

SCREAMING CRHING THROWING UP BASTARD BABES WE ARE SO FUCKING BACK

[lghockey]

"If you can't breathe, you can't fight"

Bitch if you cant breathe you DIE