老頑童 🍉🍉🍉🎄🎄🎄

Jadi di jakbar-tangsel lagi marak isu teror pocong capt. Kenapa gue bilang isu? Karena gue belum nemuin yg beneran sampe ketangkep. Kalau gue baca2, kronologis kejadiannya kurang lebih kek gini: ada orang mau rampok rumah tapi pura2 jadi pocong. Modusnya adalah ketok2 rumah orang. Si pocong bawa sajam dan ada tim mereka yg backup di belakang. Kalau dibukain pintu, pocongnya akan nyerang atau menakut2i dan kemudian di rampok. Susss ga siiiih? Lo ngerasa Janggal ga dengan kejadian ini? Kalau lo niat rampok, yaudah jadi rampok aja sekalian. Jebol pintu masuk dan sekap orang2nya. Gausah jadi pocong. Lagian ya, kalau lu ketauan warga terus dikejar apa ga susah? Jiwa detektif gue sih nangkepnya ini permainan psikologis aja. Tujuannya apa? Ya terror tadi, menakut2i warga agar mungkin ga keluar malam dll karena ada agenda tertentu yg sedang dilakukan. Agendanya apa? Kalian yg di lapangan pasti lebih tau lah. Terus pocong itu ada beneran ga? Gue rasa ga ada. Itu cuma sekali doang buat dijadikan konten dan dishare kemana mana. Menurut lo gimana capt? Aneh ga sih orang mo rampok harus dandan pocong dulu?

Padel mulai sepi karena udah gak eksklusif lagi. Tren padel dulu dimulai sama bule expat dan anak Jaksel. Dalam setahun, semua orang FOMO bangun court. Hasilnya, nilai eksklusif padel menurun. Begitu mainstream, the original crowd yang bikin padel cool langsung cabut. Mereka pindah to the latest cool sport: HYROX. Without them, massa yang ikut2an main padel just to hang around these "cool people" juga stop main. One day, HYROX will decline too, dan trennya akan pindah lagi ke sport baru. And the cycle repeats.

Sabrina carpenter disrespects Arab culture then goes to the met gala Wearing Arab style head jewellery?!?

Remembering Freddie Roulette (Wednesday, May 3, 1939 – Saturday, December 24, 2022) Born Frederick Martin Roulette in Evanston, Illinois, with family roots in New Orleans, Freddie Roulette became a Black American blues lap steel guitarist and singer who carried an instrument often associated with Hawaiian, country, and western sounds into the grit, sophistication, and expressive fire of Chicago blues, R&B, rock, and funk. Fascinated by the steel guitar as a child, Roulette learned the instrument early and began playing Chicago clubs in his teens, bringing a melodic, sliding, almost vocal language into spaces where few blues musicians were using lap steel that way. After serving in the U.S. Army, Roulette returned to Chicago and joined Earl Hooker’s band in 1965, placing his lap steel beside one of blues guitar’s great slide masters. He later recorded and toured with Charlie Musselwhite, appeared in the orbit of Chicago Blue Stars, relocated to the Bay Area, and worked across blues, rock, and experimental guitar circles with artists including Harvey Mandel, Henry Kaiser, Steve Kimock, Willie Kent, and the Holmes Brothers. His 1973 debut solo album, “Sweet Funky Steel,” captured the strangeness and beauty of his lane: blues feeling, funk texture, and steel-guitar imagination moving as one sound. Roulette’s later album “Back in Chicago: Jammin’ with Willie Kent and the Gents” brought him back into a deeper Chicago blues frame and was recognized by Living Blues as Best Blues Album of 1997. In 2016, NAMM later preserved his story through its Oral History program, noting his pioneering role in adapting slide/steel guitar into blues style and his influence on later blues musicians through both his strumming approach and emotional force. On Christmas Eve 2022, Freddie Roulette died at his home in Vallejo, California, at age 83. His daughter, Nicole Roulette, told The Washington Post that the cause was complications from dementia. Even in his later years, when illness and hardship entered his story, fellow musicians remembered the music as the thing that stayed with him. Freddie Roulette did not simply play blues on an unusual instrument; he expanded what blues could sound like when a Black American musician bent the instrument toward memory, motion, humor, sorrow, funk, and his legacy continues to live on in the sound of his lap steel refusing to go in just one musical direction.