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Will Luis Really Be There For Stella Post-STI Diagnosis On Teen Mom 2?


Briana learned last week on Teen Mom 2 that she tested positive for the sexually transmitted infection (STI) chlamydia after having unprotected sex with Luis. And during tonight’s episode, Stella’s parents — who hooked up multiple times pre-STI diagnosis — had a face-to-face conversation about this disappointing turn of events.

“I’m not going to stop apologizing,” Luis told his baby mama, after he claimed he was going to the doctor the following week to get treatment. “I am sorry for letting that happen. I’ve been trying to be different and be better than before.”

But Briana was tired of his behavior and had no desire to continue their romantic relationship.

“I just felt like you just don’t care about yourself enough to want to know what’s going on with your body,” Briana stated. “So if you don’t care about yourself, you’re not going to care about me. You’re not going to care about the next girl, so it’s like, what the f*ck is the point?”

And for Briana, it all boiled down to having faith in Luis — and that was completely gone.

“I never trusted you in the first place, and the little ounce of trust that I tried to give you, it’s for what?” she continued. “This happened. I think everything you’ve put me through and everything that has happened has left a weird taste in my mouth. And I don’t think we can be anything more than us being parents to Stella.”

But she was still fearful that her decision to not be with Luis — and her very apparent disdain for him — would impact his desire to see his little girl.

“I’m not taking anything out on Stella,” Luis assured Briana. “I know you’re going by what the past showed you and what I showed you. But it’s not going to change me still coming around and how I’ve been coming around for Stella.”

But will he stay true to his word, or will he sink back into being absent for his daughter? Give your predictions, then keep watching Briana, Luis and Stella every Tuesday on Teen Mom 2 at 8/7c.



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كتل أو عقد أو نديول في الغدة الدرقية؟ نصائح الدكتور كريم علي قناة فكر تاني



قناة الدكتور كريم علي : فكر تاني https://www.youtube.com/channel/UCoB1ySdDtKKDe0OVN1zbA_A جميع مقاطع الفيديو في هذه القناة هي لأغراض إعلامية عامة فقط.

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Sad13’s Power-Pop Memories, Anthony Ramos’s Feel-Good Exhale, And More Songs We Love




This week’s eclectic Bop Shop batch features Sad13’s lament about gigging in perpetuity, Anthony Ramos’s uplifting ode to the simple life, and more.



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وجبات متكاملة صحية سريعة ولذيذة للمدرسة 💕Kids Lunch Box💕



وجبات_مدرسية#kids_layan رابط القناة https://www.youtube.com/channel/UCvWnwto80YzmyVhnzaHpU2g?view_as=subscriber صفحة الفيسبوك …

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Zayn Sounds Happy On ‘Better’ — And Looks Like A Million Bucks In The Video



A day after announcing that he and Gigi Hadid have welcomed a baby daughter into the world, Zayn has welcomed another creation into this earthly realm: his latest single, “Better,” a lovely slice of R&B pop anchored by Z’s massive, massive voice.

The breezy, endearing song debuted alongside a sparse but stately video, where the heavily tattooed new daddy Zaddy dresses himself in fine menswear and stares moodily out the window of a nice house — all while he’s being spied on. Like a celebrity. Or an actual spy.

As Zayn sings with red highlighted hair, “Your dad probably loves me more than he ever did now / ‘Cause I finally got out / Yeah, we finally knocked down,” there’s a palpable air of second chances throughout “Better,” and it’s tempting to read his on-and-off relationship with Hadid into it, especially now, given their new beginning as parents.

On the simple cooing pre-chorus, Zayn repeats “I love you” over some thoroughly nocturnal and subterranean guitar lines. In the video, he does little more than slowly put on a shirt and a jacket while delivering the song’s climbing melody, but it’s Zayn, so it’s worth watching.

“Better” is the first new bit of music from Zayn since last year’s “Trampoline” remix with SHAED and “Flames” alongside R3hab and Jungleboi. His most recent album, Icarus Falls, dropped at the end of 2018.

If 2020 is indeed the start of some new chapters for Zayn — both in his music career and his own family — then things seem to be going quite well. Check out “Better” above.



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مرض السكر الوقاية وكيف نعالج مرض السكر السكري غير طبيبك مهم للغاية 2019 (منقول)



هذا الفيدو منقول من قناة فكر تاني وهذا رابط الفناة وانا لا انتحل شخصية اي قناة https://www.youtube.com/channel/UCoB1ySdDtKKDe0OVN1zbA_A نناقش في حلقه فِكر …

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SuperM Unite: K-pop’s Avengers Call For Togetherness On Super One


Halfway through Super One, the first full-length studio album from the South Korean band SuperM, something unexpected happens. After the breakout single “Tiger Inside,” a fearsome composition of guttural growls and clapping beats, cools off, its fiery sound gives way to the twinkling piano keys of the group’s first ballad, “Better Days.” It’s a hopeful song about overcoming hard times collectively, and with its slow-burning, ‘90s-tinged nostalgia, it seems at once outside the group’s typically boisterous sound and perfectly placed. The dichotomous arrangement of the two tracks resonates as the sonic equivalent of reaching the peak of a mountain, then looking out over a cloudy expanse, off to “better days, better days, better days” — and toward forever. You realize the world is so small.

“The lyrics are, kind of, very healing,” the 24-year-old Thai singer Ten says of the track during a Zoom press conference. After he speaks, his six collaborators — Taemin, Baekhyun, Kai, Taeyong, Mark, and Lucas — clap and cheer wildly in response. “I think people, when you listen to ‘Better Days,’ you can get that energy that we, us together, can make a better day.”

The “Avengers of K-pop” have been making history since they arrived on the circuit less than a year ago. The first K-pop supergroup, comprised of seven key members from acts under the parent company SM Entertainment (SHINee, EXO, NCT 127, WayV), their eponymous EP debuted at No. 1 on the Billboard 200, the first Korean artists to do so with a first release. Their sound became synonymous with the electricity of their earliest, instantly iconic single, “Jopping,” a formula followed by “2 Fast” and “Super Car.” That inherent energy is perhaps what made their work immediately appropriate for big-stadium tours: They embarked on their first world tour, We Are the Future Live, months after their debut, concluding at New York’s legendary Madison Square Garden. It’s also what makes their first ballad such an outlier within their catalog, albeit perfectly at home on Super One.

“We all need to come together and unite,” 27-year-old Taemin declares of the LP’s core message with the help of a translator. “We all need to come together to overcome rather than just the individuals.” That notion resonates immediately and poignantly while the group speaks to a group of journalists separated by continents and a global pandemic; at the end of the chat, they pose for selfies with smiles and peace signs for the digital grid of writers. This experience, a yearning to be together while being forced apart, is framed on the bumping, radio-ready English closing track “With You,” which was previously performed during Global Citizen’s Lady Gaga-curated One World: Together At Home benefit livestream. But the notion appears throughout, as on “Tiger Inside,” about unleashing one’s inner strength.

Courtesy of SM Entertainment

Though collective healing might be the driving theme of Super One, it’s equally defined by its eclecticism. It grooves into R&B on “Step Up” and “So Long,” while the album’s titular opus, “One (Monster & Infinity),” a hybrid remix, is an all-out banger with a gooey techno beat. The track might give SHINee fans flashbacks: It’s the first medley of its kind from an SM group since “Sherlock (Clue + Note).” “When I recorded ‘Sherlock’ with SHINee back in the day, at that time, it was like one of the first times we were doing this, so it felt very experimental,” Taemin adds. “At that time, I was a little worried about how this would end up sounding at the end of the recording process… A lot of people might think that mixing two songs together is, kind of, quite tall of a task, but we were able to do it, and I’m really happy with the results.”

A debut album is a symbolic, defining moment for an artist’s career; on Super One, SuperM are both the sum of their parts while also transcending that, a unique symbiosis among larger-than-life singular talents. And yet, there’s still more for the boys to learn along the way: “I’m sure everyone feels the same way but, as artists, when we start out our careers, I can’t help but to feel that a lot of the moments that we go through feel like we’re still trying to get there, like we’re not fully there yet,” 25-year-old Taeyong says. “There are a lot of moments where it might’ve felt like a failure but actually, everything was like a step to build up what they have now.”



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د. كريم علي | تنظيم الوقت وتحديد الأهداف | مباشر



حبيت شارك معكم هالمقابلة القيمة جداً مع د. كريم علي من انستغرام. اللقاء كان مباشر لهيك للاسف الأسئلة والتعليقات مغطية وشو والجودة ليست الأفضل ولكن هذا لايقلل من …

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Taylor Swift’s Folklore Just Netted The Artist Her Latest Career Milestone



Earlier this year, Taylor Swift reached a big milestone with her surprise eighth album, Folklore, when she became the first artist in history to debut at the top of both the Billboard Hot 100 singles chart and the Billboard 200 album chart. And the accolades keep coming.

On Sunday (September 27), Billboard reported that Folklore has once again become the No. 1 album in the country, replacing YoungBoy Never Broke Again’s Top. In once again assuming the top spot, Folklore celebrates its seventh nonconsecutive week at No. 1 — and Swift herself has bypassed Whitney Houston to become the female artist with the most cumulative weeks at No. 1, across all of her albums. Swift has now spent 47 weeks at the top of the chart.

Billboard notes how Swift’s strategy of sending signing CD copies of Folklore to smaller, independent record shops — as well as her offering them through her own online store — has paid off. She’s also kept busy promoting Folklore even during a time when the live-music industry is effectively shut down; she performed “Betty” at the 2020 Academy of Country Music Awards on September 16 and has released “chapters” of songs from the album on social platforms, creating another kind of listening experience.

Swift’s first No. 1 album was 2008’s Fearless, and each subsequent LP she released hit No. 1 as well. Her new running total of 47 weeks at No. 1 across her discography beats Houston’s previous record of 46, which she had held since 1987.

Billboard points out that Adele is right behind at 34 weeks — and even despite fans’ hopes that a new Adele LP might be in the cards for 2020, the singer shared on Instagram in August that she had “no idea” when her next album might drop.





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Bartees Strange’s ‘Live Forever’ Gives In To Lawless Creation


By Danielle Chelosky

Over a span of five years, friends and bandmates pulled musician Bartees Cox Jr. aside to tell him, You need to quit those bands you’re in and start your own. “I had multiple friends who were like, dude, what are you doing? You’ve got to focus on your own stuff,” Bartees recalls as we talk on the phone early in September. “I was like, no, it’s not good enough.” He had put himself in a box.

His main gig was as guitarist and vocalist in a New York-based emo quartet called Stay Inside, founded in 2016 when future bandmate Chris Johns answered Bartees’s Craigslist ad, and they discovered they had the same birthday. “I was like, oh, wow, super cosmic, we’re both Aquariuses,” Bartees says. Along with Vishnu Anantha and Bryn Nieboer, who worked with Bartees at a 3-D printing company, they started churning out noisy, idiosyncratic post-hardcore anthems and played what Bartees considers some of the best shows of his life.

But in 2020, Bartees stands on his own under the name Bartees Strange. His debut album Live Forever, out October 2 on Memory Music, proves that his friends and bandmates were right; he is at his most powerful when he is in full control of his art, and when he is refusing to be put in a box or categorized as a genre. From the energetic, post-punk essence of “Mustang” to the poignant, acoustic ambiance of “Far,” the album inhabits a multitude of sonic spaces, including rap on infectious tracks like “Kelly Rowland” and “Boomer.” Still, it took a lot to get to this point.

His eclectic musical background helps to explain the diversity of Live Forever. Bartees grew up in Oklahoma around music, surrounded by “church choirs, country music, and hardcore bands,” as the press release puts it, since he was young. “I could hear similarities,” he says about the three. “I always felt like I wanted to show how they were connected to my friends.” His heart, though, belonged to the Midwest emo scene: “When I started rolling around with friends in high school and meeting punks and hardcore kids and people playing thrash, I felt like I fit in somewhere,” he explains because, in the punk community, no one is interested in boxes or limitations — the point is to go against the current, to do something new. “Everyone looked crazy. Everyone had piercings in their face and crazy hair and they were drug addicts and people dealing with shit like I was dealing with shit. No one was staring at me all of the time.”

Something clicked in the midst of the madness of hardcore. “To see people break form and make sound without really knowing how to use their instruments was really refreshing and showed me how lawless creation could be,” he says. “I fell in love with that.”

His temptation toward this “lawless creation” contrasted with his previous notion of what he was supposed to be. He worked intense jobs in New York — where he moved in 2016 — felt drained, and ultimately hated himself. This caused tension for years. “I was trying to be this successful, young, smart, Black person that is just kind of a fairytale,” he says. Things were off musically, also: “Brooklyn was an amazing place to play and learn, but I didn’t think anyone was gonna hear my music if I stayed there,” he says. “It’s too noisy. I kept getting distracted. I wanted to play in every band and I want to record every person and produce every little thing. It’s impossible not to get caught up in the rat race.”

One day, he got to his job in Midtown Manhattan to find it swarmed with police and fire trucks. Two people — a married couple whom Bartees was friendly with because they owned the office next to his — had jumped out the window. “I had just seen them the day before, and then they were dead,” Bartees says. The opening lyrics of the extravagant “Mustang” are his poetic contemplations on this moment: “A man bled out this morning, I’m the antecedent / This was not the first time I fell in my arms.” He translates: “I felt like I hadn’t done enough for someone who passed away. Those feelings go back to when I was very young and losing people who I wish I would’ve been there for.”

He left New York for Washington, D.C. on a mission. “I started slowly rearranging my life,” he says, giving himself over to that lawless creation and giving up on what he presumed was expected of him. After five years of advice and encouragement, he finally started his own band, Bartees and the Strange Fruit, later to unfurl as Bartees Strange.

Even before Live Forever’s release, Bartees Strange has become a known quantity. The groundwork was laid earlier this year on his first EP, Say Goodbye to Pretty Boy, a set of covers of songs by ornate indie-rock stalwarts The National. His reverence for the source material blended with a bold reimagining of it, earning praise from frontman Matt Berninger, Hayley Williams, and even more surprisingly, Ryan Reynolds. “Uh, no, I didn’t expect any of that, at all,” Bartees says, bursting into laughter, and then giving the chaser: “Ryan Reynolds sent me a selfie this morning.” He is in a seemingly never-ending state of bewilderment, and reasonably so.

And it’s not just that Bartees’s National covers are good; they prove something. “I was really trying to assert that the way the music industry exists — that there are so few successful Black rock bands or Black indie bands that have had careers like The National — is a problem, considering our contributions,” he explains. “It’s, like, really fucked up.”

Julia Leiby

This idea carries over into Live Forever. On the intense “Mossblerd,” which Bartees describes as the “mission statement of the record,” he reckons with representation in not only the music scene but in life. It’s about the limitations of genres, stressing “how important it is that contributions from Black artists in rock, and other spaces that aren’t stereotypical, are normalized.” But the word genre works on a larger level — “like a stereotype, almost like a role you’ve been assigned,” Bartees says — especially when he raps about the incarceration of his older brother.

“If you grow up and you live in a poor neighborhood and you’re Black,” says Bartees, “and the only things you’ve seen on TV and the only songs you’ve heard and the only examples you’ve ever seen are poor Black people or crime or horrible news stories — in my mind, they all roll up into a genre.” He laments how his nephew, his older brother’s son, is inevitably falling prey to this cycle that is almost impossible to break: “I see that he’s a brilliant kid and has so much to offer, but he’s only seen what these genres tell him he is. And it limits him.”

Live Forever is, in many ways, Bartees transcending the boxes he’s been put in. He learned how to engineer and produce to overcome his struggle with bringing his visions to life; he accepted his fate as an artist rather than working a stable, prestigious job that he felt pressured to hold; he is asserting his place in a music scene where he rarely sees representation. “I want to fly close to the sun, too, even if I flame out,” he says. The 11 tracks that make up Live Forever show Bartees in flight; he is free and ambitious, dipping in and out of indie rock, rap, and jazz — exploring as much territory as possible in order to express himself.

“There are so many things that are so completely uncontrollable,” Bartees says, “but I feel like making this record was an exercise in learning more about who I am. I can build any world I want — whatever music, whatever art, whatever I want to make,” and he adds, “even if it doesn’t fit into a little box.”



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