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**This page will return on Sunday, you'll be alerted via Instagram & Facebook when it's live!


John Legend wants to ''live with less fear'' after learning how to swim. The 40-year-old singer started taking swimming lessons recently for the first time since he was five-years-old.


Lupita Nyong'o thinks being in a ''horror'' film is a ''good excuse'' to experiment with ''weird'' fashion.


Will Smith ''didn't drink for over a decade'' when he was starting his acting career, because he wanted to keep his body healthy.






Young professionals, entrepreneur's, independent filmmakers and Silicon Valley start-ups have been using peer to peer financial services for years to fund their businesses and projects; and a large majority of these loans are for personal use as well.


These loans are UNSECURED (no collateral is required). 


And your credit doesn't have to be spotless or pristine to qualify for one of these loans; they have a high risk category.


This concept is largely unknown among African Americans and urban communities.  Instead, blacks are purposely geared towards high interest bank loans or payday loans-that have access to your bank account or payroll check for repayment.


Peer To Peer services have lower interest rates than banks and credit unions.


This service is also ideal for student loan debt, debt consolidation, home improvement, moving expenses, holiday and birthday purchases, big purchases, etc.


Loans range from $5,000-$100,000.


To find out more, click on the above images and if your loan is funded, you receive a $100 bonus (if your loan is fully funded) and in some instances loans are fully funded within hours and an segment of the loans are "fully" funded at 70%.







Rewind: A few years ago, we published a mysterious job listing via the deep web that had been circulating for several years.


Fast Forward:  Recently, another mysterious job listing has emerged, below:


"Seeking someone with both medic and combat experience at a salary of $255,000 dollars for six months work.


No communication with the outside world during the six months and you will reside on an ship."


The contact information was a PO Box based in Washington D.C.


Is this a death door invitation in disguise?


In Related News:


1. The darknet has launched a channel for human meat recipes.


2. Troy says: A subscription based website shows people dying and taking their last breath.  This site has 15,000 subscribers.

3. By Clicking on one of the nameless “hidden wiki” links, Daniel came across a website that contained nothing but a Wall. Daniel was on the verge of clicking ‘Close’ when he saw a man wearing a mask emerge from the wall and greeted him with, “Hey there!"

Thinking this was a prank video, Daniel kept watching. Then the man began to speak again.

“Aren’t you going to speak?” He asked me.

I proceeded to type on the keyboard.

“Not the keyboard. Speak.” He said.

At this point, I was a bit frightened (how did he know that I was typing on the keyboard at that percise moment)?

“Who are you?” I asked.

“I’m your friend.” He proceeded to say.

At this point, I’m scared. My face is full of terror. 

“Come on, friend. Don’t give me that scared face.” He said.

This is when I got extremely frightened. Again, how could he see my face?

“Just one second my friend. I will get your address so I can talk to you in real life.”

He proceeded to type on his computer.

Frantic, I tried to close the window down and get out of the video.

“That won’t work,” he said.

Before he had time to track my address, I ran to my garage and returned with a screwdriver, and I quickly removed the battery from my laptop.






Four-year-old Jessica Marie Altman found her mother’s dead body Saturday afternoon, Jan. 24, 1981, in the Fort Dodge apartment where the two lived together. Angela Marie Altman, 22, lay partially nude on the kitchen floor — stabbed and strangled.

When the child answered phone calls, she told the callers about her mother and said she’d been unable to wake her.

Altman’s sister arrived at the 215 S. 7th Street home, and police arrived shortly after 3 p.m. They estimated Altman had been dead somewhere between eight and 10 hours.

Officials couldn’t find a weapon used in the homicide, but found the 4-year-old girl unharmed. Altman had suffered multiple stab wounds to her abdomen in addition to being strangled.


The mother and daughter lived on the southwest edge of Fort Dodge’s business district in a second floor apartment. Altman had last been seen alive the evening of Jan. 23, 1981.

Webster County Medical Examiner Daniel Cole ruled cause of death as strangulation and blood loss caused by 20 stab wounds to Altman’s abdomen.

The Iowa Department of Criminal Investigation assisted the Fort Dodge police and Webster County officials in the investigation, and the following day arrested and took 16-year-old Everett Dial into custody. They executed a search warrant on the teen’s nearby 413 S. 7th Street residence where he lived with his mother, Melvina Bell.

According to neighbors and family members, Altman and Dial had been romantically involved and Dial was allegedly abusive.

By March, based on evaluations performed on Dial at the North Central Mental Health Center, Juvenile Court Judge Francis Tierney ruled Dial posed no threat to the community and was not a flight risk, and freed Dial on his own recognizance.

Another suspect came under investigation, and though an acquaintance and his girlfriend had knowledge of the crime and told Iowa Cold Cases the suspect “killed the girl because she disrespected him,” the individual and his girlfriend refused to testify against the suspect because the suspect allegedly threatened to kill them if they did so.

The murder charges against Dial were dropped, and no one else has ever been charged with Altman’s murder.

Altman’s daughter Jessica was raised by her grandmother, Clarice Altman, and went on to serve in the United States Army before returning to school to become a registered nurse. In a July 29, 2012 interview with the Fort Dodge Messenger, Jessica, who lives in Tennessee, said she’d spent half her life trying to get answers about her mother’s death in what has turned out to be a frustrating quest — both with law enforcement and with her own family.

“I’ve talked to my grandma; she doesn’t really like to talk about it,” Jessica told Messenger reporter Barbara Wallace Hughes. “I guess I can understand. It might be easier for some people to try to forget.”

Jessica told Hughes she’d also tried talking to a couple of her uncles, but that “no one likes to talk about it. They just don’t.”

Angela Marie Altman was born July 30, 1958 in Meridian, Miss., and moved with her family to Fort Dodge when she was three months old.

She attended Pleasant Valley Elementary School and South Junior High School in Fort Dodge.

She gave birth to daughter Jessica Marie in September 1976.

When the Iowa Division of Criminal Investigation (DCI) established a Cold Case Unit in 2009, Angela Altman’s murder was one of approximately 150 cases listed on the Cold Case Unit’s new website as those the DCI hoped to solve using latest advancements in DNA technology.

Although federal grant funding for the DCI Cold Case Unit was exhausted in December 2011, the DCI remains committed to resolving Iowa’s cold cases. The DCI will continue to assign agents to investigate cold cases as new leads develop or as technological advances allow for additional forensic testing of original evidence.

This case remains unsolved.



A year later, in the same neighborhood.


On April 9, 1982 at 2:18 a.m., officers were called to the Starlite Motel at 3320 West Broadway in Council Bluffs, Iowa, regarding a disturbance involving a man with a knife. When officers arrived at the scene, Linda Mayfield, 21, (a suspected prostitute) was found lying face down by the north office door.

The responding officer said the victim had several stab wounds to her face, chest, stomach, hand and foot (similar to Angie Marie Altman).

Mayfield was transported to Mercy Hospital in Council Bluffs by ambulance and died in surgery at 4:00 a.m.

A witness in the case — a friend of Linda’s — stated the offender was a Caucasian male, 26-28 years of age, 5’7 to 5’10, clean shaven, and wearing a blue jean jacket, light blue pullover shirt that had an emblem on it and blue jeans.

The offender was also said to have lots of body hair that came up over his shirt collar.

The witness remembered the offender’s first name as “Chris," and she said he drove a red Mustang.

At this time the offender’s full identity is unknown and the case remains unsolved.

Two other women would die at the Starlite Motel.


Linda Mayfield left behind two children (one being an infant).







Eddie Levert:


We started the O’Jays at school in Canton, Ohio, in 1958, but struggled to find our identity and took years to make a breakthrough. At one point, we were doing beach music, playing shows supporting the Dave Clark Five and Sonny and Cher. I’d always thought we’d make a record and be millionaires, so it was a rude awakening.

Then Bill Isles fell in love, said he was going to California for four weeks and never came back, and Bobby Massey quit to become a songwriter and producer. The remaining trio weren’t anything like the O’Jays as people know us now.

Everything changed in 1972, when we met [songwriters and producers] Gamble and Huff and signed to Philadelphia International. They recognised our gospel roots and ability to switch between lead vocals. Kenny Gamble was a prolific songwriter, and Leon Huff could make a piano sound like a whole band. We just clicked. They had dozens of songs and we were able to pick the ones we liked. When we started recording, Love Train didn’t even have lyrics, so Kenny came up with them in five minutes, on the spot.

At that stage, I don’t think any of us had any idea how big that song would become, but by the time we started laying down the vocals, we knew we had a hit. Love Train felt like destiny. It had such perfect, timeless lyrics that it was almost as if they’d come from God, and we had to deliver them to the people.

I was very young, conflicted between my spiritual upbringing and becoming a superstar, but when we made a promotional film on a train that went through a zoo in Griffin Park, California, I felt humbled by the children, who were – and are – our future.

To this day, people hear it and want to start a train. At one gig, we played it for 30 minutes, while the audience formed a dancing train that went all the way outside the building.

Gamble and Huff saw us when we supported the Intruders at the Apollo in New York, and were somewhere down the bill. We learned so much from them. You could rehearse a song, think it was finished and in the studio they’d suddenly try a different groove. I watched them dissect each song until it really worked.


Eddie and I brought the gospel feeling that we learned at St Mark Baptist church, where my dad was the choir director, my stepmother was the pianist and her sister was the organist. Love Train was the first of our big message songs: “People all over the world (everybody), join hands, start a love train.”

1972 was explosive – Vietnam was rumbling on, the rich were getting richer - so it was the perfect time to sing about social issues. The song mentioned places that were having human rights problems, but in a positive, hopeful way: “The first stop we make will be England … tell all the folks in Russia and China too.” We’ve performed in it England many times, but I’d still love to sing it in Russia or China.

Source: The Guardian



PART II: Eddie Levert Interview Continued....


By: John Doran


A lot is said about The O'Jays from the Philly International years onward but you formed the group in 1958…

EL: What happened here was this: we started off our career in Ohio, we went to Cincinnati and King Records which was James Brown's record label, then we went to Detroit because they had the Motown sound, then we went to New York and recorded with the New York sound… Then we went to California. And when we went to Philadelphia we finally found ourselves. We found out how we were supposed to go about making records and how to make hit records with people like Kenny Gamble and Leon Huff.

EL: We were part of that Southern tradition. The Muscle Shoals sound. The Memphis sound. We were part of that tradition. We found ourselves via these places.

In all of these places we went we learned something. We found a little bit of success in each place but just not the success we found in Philadelphia with Kenny and Leon.


So I read that you thought about quitting in 1972, what was it that made you keep on going?

EL: Gamble and Huff. I'd never been with any other people who had touched my soul and who made me want to sing like they did.

And did they ever tell you what they felt they saw in The O'Jays?

EL: We had a relationship that I guess you could say was a mutual admiration society. I loved the way they made music and the way they wrote. I loved the way Leon played the piano and I loved Kenny's lyrics. And they loved the way that me and Walter sang. That we could appear on those records was unbelievable. Do you know what I'm saying? It was unbelievable to us. When we did those vocals and heard them played back to us, we could not believe it.

Philly International had such an amazing roster of artists when you look at Harold Melvin And The Bluenotes, Billy Paul, The Three Degrees, The Intruders... Was it a busy time? Was there a lot of pressure to get in and out of the studio as quickly as possible?

EL: Do you know, that if they gave us all the rhythm tracks - if all of them were finished - because we rehearsed songs so much, that we could record an entire album in one night.

Wow. So around the time of the Back Stabbers album, was there a set way of how you did tracks?

EL: Absolutely, there was a formula. You had people who lived with that music from the time you started rehearsing it. People like Bobby Martin was there from the absolute beginning and he'd be arranging the tracks. He lived with that music every step of the way. Thom Bell [string arranger] would be there from the time we started rehearsing, from starting work on the rhythm track to the end. Vince Montana [percussion, vibes] and all of those guys would be there from the first note to the final note.

For me Back Stabbers is one of the all time great soul albums. Every song is a classic. But like with quite a lot of soul and funk it's got a thick seam of darkness and unease to it. Not 'Love Train' but the rest of the tracks...

EL: Sometimes when you deal with truth, when you deal with things that are real, they have a certain darkness to them. And other times when you deal with things that are real, they have a bright future to them. Like with 'Love Train' - it was so positive that people still celebrate that song like it was just out. The same with 'I Love Music'. It was just an expression of the fact that we love what we do. Now 'Back Stabbers' was one of my favourite songs. We started out with the sheet music. We started out with the piano and me, Walter, William and [Gene] McFadden and [John] Whitehead [composer] standing around the piano. And then when they did the rhythm track it became special. And then when we recorded the vocals it became extra special. And then when they put the top on it, it became extra, extra, extra special. And then when I heard it [for the first time] on the radio in the middle of Colorado and it became extra, extra, extra, extra super special.

Is the song autobiographical to anyone?

EL: No, I just think we were just relating to the world and what goes on in the world and what still goes on.

My favourite track on the album is '992 Arguments'.

EL: [laughs] Now, on that song you might be talking about somebody's story…

Can you tell me more?

EL: [laughs] No… I can't do that. Ha ha ha! Look, it's like with any man woman relationship. "I can't even go down to the store and get myself a cold, cold beer because when I come out to the house, your mouth I'm going to hear. It's a shame all this fussing and fighting we're doing. You know it's got to stop. We can't go on like this. Our love affair is a total flop. [singing] 992 arguments." You do it every day with your woman or with whoever your mate is. It's about relationships.

The production on that track is nuts. It's absolutely genius the way the vocals fade out at the end and the music's still going… With 'Love Train' was it a conscious decision to end the album with it? It's so different in pace and tone to the rest of the record.

EL: It was last on the record because it literally was the last song we recorded. We were there in the studio and we had no music or lyrics. So we started making up lyrics and that's where the song developed from. The message was so tremendous after we'd done it, that we felt it deserved to be the closing track.

So you'd been going since 1958 and then Back Stabbers was this massive, massive hit album in 1972. It must have been gratifying to make it big after so long of trying.

EL: Absolutely man. Because I was at that point where I was thinking, 'Are we ever going to get there? Are we ever going to make it happen?' When that record came along all of our dreams came true. It was like we were living in a dream. That was the end of the struggle and the beginning of something great. I am so humbled by it. 'Back Stabbers' is my all time favourite O'Jays song because it opened up a new era and new door for us.

The O'Jays have been working through so many massive changes in modern popular music, including soul, funk and disco. For example, the Tom Moulton remix of 'Back Stabbers' is a classic and very early example of the disco re-edit.

EL: To be innovative, to know which way the world is going, these are two of the things which The O'Jays have been able to achieve. We've been able to keep on reinventing ourselves and to keep on giving good music. You can't beat that man. Good music is a love and we're just spreading that love.

Did the success of Back Stabbers give you a lot of options?

EL: Back Stabbers opened the door but once you're through the door it's up to you to take care of business and make sure that it lasts. We were through the door but we still had to deliver as artists.

Did you feel like you were taking a risk with Ship Ahoy given some of the strong, political material on that album? You had almost like a dual existence going on as soul musicians but also as pop stars. Was there any talk of whether it might alienate some of your audience?

EL: Er, no. I say no because we at that time we were trying to be conscious, to be aware, we were trying to teach our audience, the people who loved our music, where we were from and what we were about. We weren't just making music, we were trying to send out messages about where we came from, what our heritage was and where we needed to go. And Ship Ahoy was part of a process of trying to convey to the world of who we were.

Ship Ahoy has got my favourite O'Jays track on it. For The Love Of Money is such a bad ass number.

EL: [laughs] Bad ass… that is a bad asssssss song. [laughs]

When you record a track like that, is it immediately apparent that you've got something special on your hands?

EL: They did so much to that track. Joe Tarsia, the things that he did to that track, engineering wise… the things that we did vocally, turning the backing vocals around, playing them backwards and then forwards, using phase shifting… that was a very innovative record. We knew it was a smash because we knew it was different to anything the world had heard before. And the message was so great.

Around this period, who did you keep your eyes on? Who did you see as rivals? Who would you always be checking out to see what they were up to?

EL: The Temptations, The Manhattans, The Delfonics, Harold Melvin And The Bluenotes for sure, The Stylistics, Sly And The Family Stone, The Isley Brothers, The Spinners… you were always competing with these people. Those were the people you were in competition with so you always had to keep your stuff on the same level.

And do you think there's a key to longevity as a musician?

EL: Yes. The key is to remember at all times that your fans are very important to you and you are their entertainment for the evening. You're not a diva. You're not the wherewithal. They have hired you to entertain them for the evening. That's what you are: the entertainment for the evening.






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Always remember to research stocks and cryptocurrency prior to purchase.









This ebook shows you how to purchase your dream car or SUV at auction; saving thousands in the process. 


The ebook "How To Buy Cars At Auction," provides an array of information regarding car auctions; unknown to the public.


On the show "Miami Vice," Don Johnson portrayed a cop yet drove a convertible Ferrari that he purchased at a car auction (the type of auction described in the above ebook).


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Desserts – cookies, cakes, pies, donuts
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Oils and Fats
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Soda (Diet and Regular)
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Wheat – bread, pasta, crackers

Alcohol – wine, beer, hard liquor








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Imagine what you would do and where you would go if you knew how to live a complete life with all your needs met for $20 a day? Would you head to a national park like Yellowstone, Yosemite or Glacier and hike and photograph wildlife for a month? Would you relax a month away on Florida's pristine white powder sand beaches sipping cold Mojito's? Would you hit the tables in Vegas for some exciting gaming, outrageous pool parties, followed by a mind blowing world class show? Would you dine out every night for a week on the pier in San Francisco? Would you go hunting, fishing, camping, hiking, biking, boating, surfing, skiing, or otherwise get off the grid and out of the grind for a month or two at a time? Click the above image to learn more.




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Vail: (Black supermodel turned-intelligence broker/assassin-in-training)....

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