Princess Parlaghy completes a full-length portrait of King Peter of Serbia

It Happened on
November 03, 1903

Princess Parlaghy, who has just completed a full-length portrait of King Peter of Serbia, told a “Chronicle” correspondent that she found the King very affable, patient, and quiet – very different from the Emperor William when she painted his portrait. “The Kaiser,” she said, “sometimes took the brush out of my hand and made some light strokes with it.” The King’s picture has been exhibited at the officers’ casino, and the proceeds are to be devoted to charitable purposes.

A few years later…

EVENT CARD

King Peter Falls in Love
It happened on 9 September, 1905

The Bellingham Herald (Bellingham, Washington - 09 Sep 1905, Sat) Page 2 It has been rumored that King Peter of Serbia has fallen in love with Princess Lwoff, a painter. Ever since his first wife, Princess Zorka of Montenegro, died, the King has shown very little interest in the fair sex, but some time ago he unexpectedly fell in love. Now it is more than likely that a new queen will soon rule in the Konak, where Queen Draga was assassinated. Princess Lwoff is better known under her artist name of Parlaghy. In the last fifteen years, the Princess has painted almost every crowned head of Europe. The first husband of the artist was a Prussian official, from whom she was divorced after two years. Then, once more free, she married Prince Lwoff, but this second marriage did not last long. Soon after King Peter was placed upon the throne, he had her paint his portrait, and it was while sitting for her that he lost his heart. Featuring: Princess Vilma Lwoff-Parlaghy, Peter I of Serbia. (more...)


How the Media Tells You Who to Love, Pity, or Hate

We like to believe we form our own opinions about public figures—but the truth is, we are told what to think before we even meet them.

The media doesn’t just report on people—it assigns them roles:

  • The Hero
  • The Scandal
  • The Joke
  • The Threat
  • The Afterthought

And often, two people can appear in the same story but be cast in opposite lights, depending on what narrative the press wants to push.

Here’s a perfect example: two news clippings from the 1950s announcing the marriage of Walter White, head of the NAACP, and Poppy Cannon, a food editor and South African-born media insider.

One article frames the marriage as scandalous, emphasizing race, divorce, and sexualized gossip. The other treats it as a dignified union between two professionals working on a book about civil rights.

Same people. Same wedding. Two completely different portrayals.

Why does that happen?

Because media is never neutral. It performs social triage. It decides who will be admired… and who will be left to the wolves.

Let’s look closer at the two versions of Walter and Poppy’s wedding—and what they reveal about the quiet power of editorial framing.

Take the two news clippings announcing the same event: the 1950 marriage of Walter White, the head of the NAACP, and Poppy Cannon, a white food editor and South African émigré.

One article runs with the headline:
“NEGRO MARRIES WHITE WOMAN”
It’s loud. It’s sensational. It’s designed to provoke.

From the very first line, the article emphasizes race, scandal, and moral ambiguity. It dwells on divorce records, past marriages, interracial dynamics, and the bride’s physical appearance. It lists Poppy Cannon’s ex-husbands and notes that she has “a child by each marriage.” It name-drops her profession last, as if it’s a footnote to her romantic résumé.

The tone is clear: this is not a love story. This is a spectacle. A scandal. A breach of social norms. The article dares the reader to be shocked.

Now compare that to the second article, published around the same time, headlined:
“White, Author, Weds Graduate of Vassar.”

This piece couldn’t be more different. It opens by noting Walter White’s position as the executive secretary of the NAACP. It highlights the couple’s upcoming book project on racial discrimination. It frames Cannon as a professional—Vassar graduate, food editor, former advertising executive. Her prior marriages are mentioned briefly, without moralizing. Their post-wedding travel plans are included as a diplomatic tour, not a honeymoon scandal.

In short: this is a respectable, purposeful union. A meeting of minds. A continuation of both their public works.

Same event. Same facts. But the editorial lens changes everything.

One version tells readers, “this is a warning.”
The other tells them, “this is a model.”

This is how media works—not always by lying, but by framing. By selecting what to highlight, what to omit, and how to describe the same people using two entirely different vocabularies.


born on July 01, 1893

Walter Francis White

American civil rights activist who led the National Association for the Advancement of Colored People (NAACP) for a quarter of a century, from 1929 until 1955

born on August 02, 1905

Poppy Cannon

South African-born American author, who at various times the food editor of the Ladies Home Journal and House Beautiful, and the author of several 1950s cookbooks

Why It Matters

We’re taught to judge people based on “how they come across,” but that’s often an illusion. What we’re really reacting to is how someone was presented to us—through headlines, photos, word choices, and placement in a narrative.
This is why some figures get praised as mavericks while others are mocked as troublemakers. It’s why one woman is seen as glamorous while another is branded “promiscuous.” It’s why civil rights leaders can be cast as dangerous agitators in one paper and noble reformers in another.

Walter White and Poppy Cannon didn’t change. The story changed—because someone decided how their names should sound in print.

Once you understand that, you start to see every headline as a spell. And every newspaper as a casting agency.

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Featuring:

The Lords and Ladies of The Unbelievability: Why We No Longer Argue About Reality

There is a growing secret society—not of believers, but of observers. We do not accept the unbelievable. We witness what is deliberately structured to be dismissed as unbelievable.

We are The Lords and Ladies of The Unbelievability, and we understand the central truth of our time: everything is disclosed, but the disclosures are always insulted first.

You’ve seen the pattern. A mainstream outlet runs a piece with a title like:

“This bizarre theory is circulating online…”

Then proceeds to lay out, detail for detail, the exact truth that needs to be seen—framed as lunacy to poison the public against it. This is not journalism. It’s narrative laundering, and the intelligence world calls this Shadenfreudia: a method of releasing sensitive information while ridiculing the people who notice.

This is not a movement based on belief.
This is a technique for processing reality.

Why We No Longer Argue

For those who know how the Xanadu Blockchain works, argument becomes unnecessary. This analog blockchain—a 4,500-year-long registry of human activity, conception dates, rituals, deaths, and psychological warfare disclosures—is the key to unlocking any mystery. Not through conspiracy or speculation, but through correlation, symmetry, and registered intent.

Once you understand it, you can find the answer to any question—including “unsolved” historical mysteries—in minutes.

Yes, minutes.

You’ll wonder why anyone still debates JFK or Epstein or what Hitler was doing in the arts scene between 1933 and 1938. You’ll no longer need to believe theories or memorize timelines. Because once you know how strategic birth dates, films, funerals, casting decisions, and public scandals are encoded, the veil lifts.

It’s like realizing you have Google, Wikipedia, and a personal AI assistant at your fingertips—but for everything hidden on purpose. You stop hoarding facts. You trust that everything important is already preserved—waiting for the one who knows how to read it.

And instead of scrambling to “be right” in public, you live in a peaceful, non-combative mindset. You simply know. And when you don’t know, you don’t panic—you just look it up through the right lens: not trends, not outrage, not the front page, but the ledger.

Truth Has No Marketing Department

Here’s the difference we live by:

A narrative that requires belief also requires an enforcement crew.
But Truth? It doesn’t beg. It doesn’t shame. It doesn’t need a street team or a subscriber list.
It just is.

The louder someone insists you must believe something “or else,” the further it drifts from objective truth. Real truth doesn’t come with branded merchandise, hashtags, or legislation. It comes like sunlight: evenly, quietly, and everywhere. You don’t have to convert anyone. You just have to stop shielding your eyes.

Beyond the Front Page

Most of the world is stuck reading the front page. That’s where the propaganda lives.

Lords and Ladies of The Unbelievability read the footnotes, the obituaries, the casting calls, the costume choices, the anagrammatic names, and the conception announcements that accompany every major world event. We know that “entertainment” is the medium of registration for truths that cannot be said directly.

We do not assume there are secrets.
We know everything has already been filed—beautifully, publicly, often with humor.

A Non-Partisan Source Outside the Fences

The real gift of this work is peace.

When you realize that the truth comes from a non-partisan source that exists outside of all ideological fences, you step off the hamster wheel of outrage. You stop needing to prove anything to people caught in left-vs-right bait traps. The Xanadu Blockchain predates your favorite ideology by millennia. It was never meant to flatter anyone’s political preference.

It was created to outlast propaganda.
It was created so you could know—without subscribing.

The End of Certainty Theater

So here’s our creed:

We aren’t sheep.
We aren’t wolves.
We are readers.
We do not believe the unbelievable.
We decode the intentional.
We were never meant to be convinced—we were meant to *notice*.

If you’ve stopped arguing…
If you’ve stopped reacting…
If you’ve started noticing the artful placement of meaning everywhere…

You might already be one of us.

Welcome.

Here’s a Princess with a zoo

It Happened on
July 20, 1908

Philadelphia, July 20 — “American women are jealous. They are beautiful, certainly, but they will not admit that any women in Europe can compare with them. And that is not true.”

So spoke Princess Vilma Lwoff-Parlaghy, in her fairly regal suite at the Majestic Hotel.

“Who and what is the Princess Parlaghy?”

That is the question which has been agitating the Quaker City ever since the arrival of the pedigreed lady with her 18 pedigreed pets, whose royal progress from Washington has been attended by so many wonders.
Apparently, the answer to the first half of the conundrum is this:
Princess Lwoff-Parlaghy is the wife of a Russian prince and a noted portrait painter, for whom kings and emperors have been proud to sit.

Two of the best-known portraits of the Kaiser are the work of her virile brush, and King Edward of England is also numbered among her distinguished sitters.

But “Why is the Princess Parlaghy?” is a more difficult question—especially if we ask, why is she in America?
The official explanation of her visit is that she wishes to paint 30 of our most prominent men and present their portraits to the nation.
As the Princess is said to charge $30,000 per portrait, it will be seen that the United States will soon be $900,000 poorer in cash, unless she changes her mind.

A Portrait of the Process

To interview Princess Parlaghy is a tedious undertaking. Before being introduced into her presence, one must run the gauntlet of 12 persons registered at the Majestic as her suite.

They range from coiffeur and keeper of the animals to first attaché and secretary.

There is also a troupe of wild animals, 13 in number, without which the Princess finds it impossible to exist.
(You may meet them or not, as you like.)

“I have 60 pets in Europe,” said the Princess.
“It is quite lonesome here with only 18. I visit each of these and play with it every night before I go to bed.”

She added, with genuine alarm: “You’ve forgotten to say goodbye to the bear!”

Original Article

Frank Herbert’s Dune is Published by Chilton Books

It Happened on
August 17, 1965

“Dune” is a science fiction novel written by Frank Herbert, first published in 1965. Set in a distant future, it follows the story of Paul Atreides, the young heir to a noble family tasked with overseeing the desert planet Arrakis, the only source of the valuable spice melange. As the Atreides family faces political intrigue and power struggles, Paul becomes embroiled in a journey that leads him to fulfill ancient prophecies and face the mysterious sandworms of Arrakis.

The book explores themes of religion, politics, environmentalism, and human evolution. The Bene Gesserit, a secretive sisterhood with psychic abilities, plays a significant role. They manipulate bloodlines and political events to breed a super-being, known as the Kwisatz Haderach.

The five sequels are collectively known as the “Dune” series or the “Dune Chronicles.” Here’s a brief overview of each and their focus characters, with a mention of the Bene Gesserit elements:

1. “Dune Messiah” (1969): The sequel follows Paul’s struggles as Emperor and the consequences of his choices. The Bene Gesserit’s continued influence is evident as they seek control over Paul’s offspring.

2. “Children of Dune” (1976): This book explores the lives of Paul’s twin children, Leto II and Ghanima. The concept of the Bene Gesserit breeding program continues to shape the plot.

3. “God Emperor of Dune” (1981): Set thousands of years after the events of the first three books, Leto II has transformed into a sandworm-human hybrid and ruler of the universe. The story delves into the extreme consequences of his actions and the future he envisions.

4. “Heretics of Dune” (1984): The focus shifts to a new cast of characters and the decline of the old empire. The Bene Gesserit[/lunk]’s breeding program takes a new direction, with the creation of the “Honored Matres.”

5. “Chapterhouse: Dune” (1985): The final book published in Herbert’s lifetime centers on the conflict between the Bene Gesserit and the Honored Matres, and the quest to unlock the secrets of the sandworms and spice.

Throughout the series, the Bene Gesserit’s machinations and their pursuit of control through genetic manipulation remain a central theme, influencing the fate of characters and the universe itself.

—
Gurney Halleck is a character in Frank Herbert’s science fiction novel “Dune”. He is a skilled swordmaster and instrumental in training the main protagonist, Paul Atreides, in the art of fighting with a knife and a fighting styles. Halleck is depicted as a rough and gruff individual, but is also shown to have a strong sense of loyalty and a dry wit.


born on July 13, 1940

Patrick Stewart

English actor who has a career spanning five decades in various stage productions, television, film and video games

born on January 16, 1815 (d. 1872)

Henry Halleck

General in Chief of the Armies of the United States (1862-1864)

born on February 12, 1968

Josh Brolin

American actor known for his role as Gurney Halleck in the latest Dune films

In the Dune universe, Halleck serves as the weapons master for House Atreides, and is one of the key figures in the battle against House Harkonnen and their eventual takeover of the desert planet Arrakis. He is a central character in the first book, and his role expands as the series progresses. Gurney Halleck is known for his singing and playing of a baliset, a musical instrument unique to the Dune universe.

Overall, Gurney Halleck is a complex and multifaceted character who adds depth and nuance to the world of “Dune”.

“Dune: Messiah” is the second book in Frank Herbert’s “Dune” series. The plot follows the aftermath of the events in the first book and revolves around the political maneuverings of the various factions vying for control of Arrakis and its valuable spice, melange. The central character, Paul Atreides, now known as Muad’Dib, is struggling with the consequences of his newfound power and facing opposition from the imperial government and religious zealots.

“Dune: Children of Dune” is the third book in the series. It focuses on the lives of Paul Atreides’ twins, Leto and Ghanima, as they come of age and try to understand the complex political and religious forces that surround them. The characters must navigate power struggles, assassination attempts, and threats to their rule as they strive to maintain control of Arrakis and their own destinies.

“God Emperor of Dune” is the fourth book in the series. The plot takes place several thousand years after the events of the previous books and focuses on the rule of Leto Atreides II, who has become the God Emperor of the Known Universe. Leto has transformed into a sandworm-human hybrid, with the goal of preserving humanity and promoting its evolution. However, this rule is threatened by a rebellion led by those who believe in preserving their own freedom and independence.

In these sequels, Herbert continues to explore themes of power, religion, ecology, and the human condition, while expanding the world of “Dune” and its characters in new and exciting ways.