Murdoch Lawyer Accused BBC Of Phone Hacking Vendetta

Murdoch shut the paper last July amid a torrent of allegations about alleged ethical and legal lapses by its staff. In two letters, dated March 10 and 11, Pike suggested that the BBC might be pursuing the hacking story for business or political reasons rather than for journalistic motives. In his March 10 letter, Pike noted that the BBC was planning to broadcast Panorama’s investigation at a time when the British government was actively considering Murdoch’s bid for BSkyB’s remaining shares. BSkyB is a principal competitor with the BBC in Britain. Pike said it was “quite apparent” that the program the BBC was preparing was “yet another attempt to undermine New Corp’s bid for Sky” (sic).

In response to a request for comment, the BBC told Reuters: “Panorama investigations always come from a point of public interest and operate within the BBC editorial guidelines and Ofcom’s code. A spokesperson for News International, Murdoch’s principal newspaper publishing company in Britain, said the company had no comment on Pike’s accusation that the BBC had pursued the phone hacking inquiry for ulterior motives. The Guardian also reported that the BBC had referred Farrer & Co to a disciplinary authority for British lawyers because of this aspect of Pike’s letter. The BBC confirmed that it had “written to the Solicitors Regulation Authority. In Britain, solicitors are lawyers who handle most out of court and pre-trial litigation, while barristers are lawyers who handle trials and appeal proceedings in higher courts. Pike did not respond to an e-mail requesting comment. But a representative of Farrer & Co. disputed the Guardian’s interpretation of Pike’s letter and what Pike had said to Parliament. The firm had no further comment on its accusation that the BBC had acted for commercial or political motives.

It is also right to keep a steady eye on what areas the BBC should operate in, and where it should draw back to allow other voices to flourish, whether they be local newspapers, the national press, or independent podcasts. Nevertheless, however tempting it may be in the moment to taunt it as the “Brexit Broadcasting Corporation” (or whatever the current anxiety may be), it is also right to take the long view of the BBC. That must surely mean defending its importance as a bastion of the UK’s democracy, culture and identity. The BBC was formed from a set of enlightened decisions taken during the birth pangs of broadcasting.

If one considers the conditions of the world we live in now, these decisions look especially prescient. Today, this promise of broadcasting in the public interest means not commodifying your data against your will, or giving you fake news. The threats to democratic discourse presented by the filtering of information via the algorithms of multinational companies have become obvious. We are beginning to digest how politics (in Britain and overseas) may have been influenced by the use of data acquired on Facebook and elsewhere. But the BBC is vulnerable. For 40 or so years in the late 20th and early 21st centuries, the television was the hearth around which all Britain gathered.

It was the carrier of a common culture. That is no longer true. UK public-service broadcasting (including from Channel 4 and others) still accounts for 70% of content seen by audiences in Britain, but providers such as Netflix and Amazon are claiming more and more of viewers’ attention. The BBC is also gradually waking up to the fact that 16- to 30-year-olds are rapidly drifting away from it, as a recent speech by Tony Hall acknowledged. This is bonanza time for audiences: never has there been so much high-quality material available to watch, whenever we like. The BBC needs to greet the future with boldness. If the television is no longer the carrier of the public sphere that it once was, then what is? One answer is, of course, the internet. What if BBC engineers were to build a mechanism for structuring and shaping audience’s experiences of the web, in the public interest? That kind of thinking would take imagination, patience and creativity – not just from the BBC, but from the government.

9 of the Anglotopia Print Magazine in 2018. Support great long-form writing about British History, Culture, and travel by subscribing to the Anglotopia Magazine. Every subscription helps keep Anglotopia running and provides us to the opportunity to produce articles like this. You can subscribe here. While no longer alone amongst Britain’s media powerhouses, at one time, the British Broadcasting Corporation (BBC) was the only game in town. Since its incorporation in 1922, the corporation has been responsible for informing and entertaining the British public, tasks for which it continues to excel at 95 years later. In September 1923, one of the BBC’s most influential documents began publication with the first issue of the Radio Times.

The periodical provided a schedule of the corporation’s limited programmes, but also served as an educational resource for budding amateur enthusiasts as well as carrying the manufacturers’ advertisements for the newest radio equipment. The RT was also the only place to find the radio schedule, as newspapers viewed it as a competing medium and thus refused to publish it. The BBC’s first major test came during the General Strike in 1926. At the time, the BBC was in renegotiations with the GPO over its license, an issue that was left up to the Crawford Committee. Several of the manufacturers wanted out due to the unprofitable nature of the consortium, while Reith wanted the BBC to become a public service.

Reith wanted the BBC to maintain its monopoly and serve the public interest, feeling its expansion should be funded by the government for the general welfare. Meanwhile, the General Council of the Trades Union Congress was trying to get the British government to stop wage reduction and improve the conditions for the nation’s coal miners. Negotiations between the TUC and the government broke down, and the strike began on 3 May 1926. The strike had an effect of temporarily halting newspaper production, rendering the BBC the only source of regular news. Behind closed doors, Reith was firmly on the side of the government with regards to the strike, even letting the Prime Minister broadcast from his own home.

This helped to keep the government out of the BBC’s business insofar as it did not attempt to use the radio service as its mouthpiece. The BBC then presented some of the most even coverage of the strike, representing the viewpoints of both the workers and the government during the work stoppage. This cemented the BBC’s audience as well as establishing its reputation for fair and balanced reporting. The company came out of 1926 in a strong position, and the Government accepted the Crawford Committee’s recommendation that the BBC have a new status as a non-commercial, Crown-chartered organization in 1927, then becoming the British Broadcasting Corporation. The original 1927 charter established objectives, powers, and obligations of the BBC, entrusting John Reith as its Director-General to execute the document’s provisions.

1928 would see another leap for the BBC as construction began on Broadcasting House. The corporation had operated its radio broadcasts out of Marconi House and buildings in the Strand and Savoy Hill, but Broadcasting House would be its first purpose-built headquarters for radio broadcasting. G. Val Mayer designed it in an Art Deco style for the exterior, while Raymond McGrath designed the interior in a similar vein. Meanwhile, as Broadcasting House was going up, something else revolutionary was being born. Scottish engineer John Logie Baird had been experimenting with television since 1924, beaming the first images across a room and later demonstrated his experiments at Selfridge’s and the Royal Institution. By 1937, technology advanced enough that televisions had 405 lines of resolution.

1937 would also see the BBC’s first outside television broadcast as the corporation filmed the coronation of King George VI. Unfortunately, the outbreak of World War II in 1939 would see a suspension of the television service for the duration of the conflict. In response to the danger presented by the London Blitz, the BBC would move much its radio broadcasting out of London to Bristol and then Bedford. St. Paul’s Church in Bedford actually became the home studio for the daily service until 1945. The BBC Television Service would resume on 7 June 1946 with Jasmine Bligh as the first presenter back on the air.

October 1946 would see the beginning of television programming dedicated solely to children, with shows such as “Muffin the Mule” being broadcast from the corporation’s new television studios at Lime Grove. One of the biggest changes to the BBC to occur post-war was the introduction of the television license. As mentioned earlier, at the advent of the company back in 1922, the General Post Office was responsible for issuing licenses to amateur and professional radio operators. Besides broadcasting, those who wanted to receive radio broadcasts paid a fee of 10 shillings. With the resumption of the BBC Television Service in 1946, the Post Office merged the receiving radio broadcast license with television reception, and the cost for both was a mere £2 (roughly £76 today).

With the advent of color television in the 1960s (more on that later), a surcharge was added to cover the new technology. Television would only grow as a medium with Newsreel beginning in January 1948 and the first televised Olympic Games in the summer. While only 100,000 British homes had televisions by this time, the BBC still broadcast 68.5 hours of live coverage during the games. The next year would see the return of live weather broadcasts that had been pursued tepidly before the war. Things were relatively quiet until ITV came along in 1955 to challenge the BBC’s monopoly on the television airwaves.

The new company was a direct result of the Television Act 1954, which created the Independent Television Authority (later the Independent Broadcast Authority) to regulate the growing medium and license franchises. One major event that took place in 1956 was the establishment of the Radiophonic Workshop. The workshop was established because the BBC wanted to develop its own music and sound effects for the radio and television programmes it produced. The workshop would craft some of the most innovative sounds over the next few decades, including Doctor Who’s famous TARDIS dematerialization sound effect and the programme’s theme tune. The Radiophonic Workshop would not close up shop until 1993 when the corporation determined the department was no longer viable.

In 1958, one of the BBC’s most important children’s programmes would be born when “Blue Peter” premiered on 16 October. Blue Peter would also become one of the first television programmes to move into the famed BBC Television Centre when it opened in 1960. Much like Broadcasting House before it, Television Centre was purpose-built for TV broadcasting. The building was designed by Graham Dawborn, who was initially stumped by having to design a building for the triangular property. The story goes that he went to a local pub where he drew the boundaries of the land on an envelope with a big question mark over it.

This ended up becoming the basis for his design that would permit eight tv studios, offices, production galleries, recording studios, and separate entrances for guests and delivery trucks. Construction on Television Centre actually began in 1950, but government restrictions on the building made the process a lengthy one. The sanctions on building and the licensing of materials stopped the construction until 1953, and in the meantime, the BBC opted to renovate its studios at Lime Grove, Hammersmith, and Shepard’s Bush Empire. Science-Fiction television programming would change forever in 1963. The BBC’s then Head of Drama, Sydney Newman, wanted a new programme that would help teach kids about history by using time travel. 1966 would also see another major innovation for the BBC with the advent of color television.

The corporation announced that it would soon bring color to television screens in 1966, though it would be another year before its first colorized broadcast to the public. The BBC had actually experimented with color transmissions for the first time in 1957 with broadcasts made to both houses of Parliament, but would not bring the technology to the masses for another nine years. Local radio stations such as Radio London also began to appear at the time, spurred on by the existence of pirate radio ships. These maverick stations, such as Radio Caroline, were headquartered on ships anchored in the North Sea and broadcast popular music that wasn’t as widely available on BBC Radio.

As they weren’t government sponsored, they also featured copious amounts of advertising that eventually forced the BBC to permit nationally based advertising services. The 1970s continued to push innovation as the BBC partnered with Open University to bring higher education to the masses through early morning and late-night educational programmes. Even today, Open University and the BBC’s partnership continues to bring new ways of learning to the public through online videos that cover everything from the color spectrum to how cars are built. Many of the BBC’s most endearing television programmes also got their start in the 1970s. Leaving Monty Python to follow his own path, John Cleese started the show “Fawlty Towers” with his then-wife Connie Booth. Other comedies such as “Are You Being Served?

What is good for men’s health and how to improve it.

Most often, men go to the doctor only for serious pathologies. Unfortunately, this approach negatively affects the health of the body in general and the reproductive system in particular. Timely identified and eliminated problems of the genitourinary system are the key to excellent health and sexual activity.

Nutrition

A balanced diet is necessary for the normal functioning of not only the genitourinary system, but the whole body. The menu should be dominated by complex carbohydrates, proteins, healthy fats. It is necessary to drink from 2 liters of clean water daily.
In general, food should be rich in vitamins and minerals, especially zinc, which promotes testosterone production. Omega-3 fatty acids, digestible proteins, and fiber have a positive effect on health.
Compliance with the diet will help avoid excess weight. It directly affects potency: for some men, it is enough to lose 10-15 kg to restore normal sexual activity.

Physical activity

To improve men’s health, doctors recommend regular physical activity. Simple exercises promote normal blood circulation in the pelvic organs, prevent the formation of congestion in the prostate gland.
Among the exercises that are beneficial for men’s health, doctors separately distinguish cycling and horse riding. The contraction of the pelvic muscles has a massaging effect and promotes metabolic processes within the male gland.
Cardio exercise has a positive effect. Experts agree that regularity is more important than intensity.

Regular Sex Life

The amount of testosterone affects men’s well-being. A healthy lifestyle, a normal weight determine the sufficient production of the male hormone.
In addition, it is influenced by regular sex life. The frequency of intimate relationships for each man is individual; on average, doctors recommend having sex two to three times a week. Sexual interaction – prevention of stagnation and good cardio workout.

When asked what is good for men’s health, it is important to note the hygiene of sex. Having a long-term partner and long-term relationship promotes well-being and safety. Promiscuous sex is always a high risk of getting sexually transmitted infections.

According to medicine, in 80% of cases, infertility is provoked by untreated genital infections. Many of them can be asymptomatic and, over time, cause an inflammatory process in the genitourinary system, impotence.
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Poppy has only ever wanted to control her own life, not the lives of others, but now she must choose to either forsake her birthright or seize the gilded crown and become the Queen of Flesh and Fire. But as the kingdoms’ dark sins and blood-drenched secrets finally unravel, a long-forgotten power rises to pose a genuine threat. And they will stop at nothing to ensure that the crown never sits upon Poppy’s head.

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Frank Gallagher (William H. Macy) constantly loses consciousness and then ends up rudely on the living room floor, the mother shines with constant absence, and the 18-year-old daughter Fiona (Emmy Rossum) tries to keep her younger siblings on the right path . Frank Gallagher is full of Irish love and pride for his extended family, but it was. He’s usually partying and then usually so drunk that he vomits. The children are basically on their own and raise themselves. The older children are all hot, but each of them is disturbed in their own way. Fiona is being followed by Steve, a rich spit with a flashy car and a loose credit card . Lip is tutoring his neighbor Karen, who pays in kind. And Ian struggles with homosexuality. Meanwhile, electricity bills are due, there is never any money and someone has to take care of baby Liam. But even if the crazy, dysfunctional Gallagher family has a lot of problems, with their mutual support and love they get through anything.

Frank Gallagher (William H. Macy) is the proud single father of six bright, energetic, and independent children who would probably be better off without him. A hopeless alcoholic and troublemaker. If he is not drinking the little money the family has available in the bar, Frank is lying on the floor unconscious the rest of the time. Frank is reckless, selfish and extremely narcissistic, even though he has never achieved anything except for years of receiving social benefits and getting drunk. But Frank is also a gentle, harmless soul and loves his children more than anything. Even if he doesn’t raise children or provide financial support, Frank has a big heart and his supervisors appreciate him for it. It’s also good to celebrate with him …

Ian Gallagher (Cameron Monaghan) is the third Gallagher child and apparently most like his mother. He joined the preparatory course for officer training at school and also works in the local supermarket. He also has a secret affair at work that his brother Lip discovers and relentlessly questions him The actor Cameron Monaghan played the role of Ian Gallagher in the series Shameless from 2011 to 2019. The voice actor for Cameron Monaghan in the series Shameless was Christian Zeiger. Debbie Gallagher (Emma Kenney) Debbie is a middle Gallagher child. She is helpful and has a good heart. She takes her little brother to school and takes care of him when no one else is around. She also takes care of her father lovingly and puts a pillow under his head when he is on the floor again. In addition, Debbie collects money for a good cause and keeps very little for herself. Actress Emma Kenney has played Debbie Gallagher on Shameless since 2011. The voice actress for Emma Kenney on Shameless is Vivien Gilbert. Carl Gallagher (Ethan Cutkosky) is the second youngest Gallagher child. He shares a room with his older brothers Lip and Ian, who try to hide their “adult” interests from him. But Carl also has his secrets, including the belief that he must break every rule. The actor Ethan Cutkosky has played the role of Carl Gallagher in the series Shameless since 2011. The voice actor for Ethan Cutkosky in the series Shameless is Philip Süß. Phillip Gallagher (Jeremy Allen White) called “Lip” is the second oldest Gallagher offspring. He is aiming for an academic career. He only writes ones and has big plans for his future. He’s also a genius in science. He makes money as a tutor. He teaches his classmate Karen physics and she pays him back in an unusual way. The actor Jeremy Allen White has played the role of Phillip Gallagher in the series Shameless since 2011. Patrick Roche is the voice actor for Jeremy Allen White in the series Shameless. Veronica Fisher (Shanola Hampton) is a family neighbor. Naughty, sexy and always ready to lend a helping hand. She goes dancing with Fiona and also has a party with Frank. She’s smart and has a career in medicine – if only she hadn’t been fired for stealing. Veronica and her husband Kev are really hot for each other and live their wild and adventurous sex life freely. The actress Shanola Hampton has played the role of Veronica Fisher in the series Shameless since 2011. Vera Teltz is the voice actress for Shanola Hampton in the series Shameless. Kevin Ball (Steve Howey) Kev is the barman at Frank’s bar and a neighbor and friend of the family. He’s a good guy who willingly gives Frank drinks on credit and cashes in on his charity shacks. Kev and Veronica have crazy, hot sex lives, and Kev has a total crush on them – as long as she doesn’t call him stupid. The actor Steve Howey has played the role of Kevin Ball in the series Shameless since 2011. The voice actor for Steve Howey in the series Shameless is Dennis Schmidt-Foss.

In December, the eleventh and final season of Shameless starts at Showtime. The Gallagher family also has to deal with the corona pandemic, while Frank grapples with his own mortality. Showtime has announced the premiere of the eleventh and final season of Shameless on December 6th. The US dramedy has as many seasons as the British model Shameless (UK), which was completed in 2013. In the closing season of “Shameless”, the Gallagher family is at a crossroads due to gentrification on the South Side and the corona pandemic. Frank (William H. Macy) grapples with his own mortality as he confronts his alcohol and drug addiction, Lip (Jeremy Allen White) grapples with the prospect of becoming the new head of the family, Ian (Cameron Monoghan) and Mickey (Noel Fisher) try a monogamous relationship, Debbie (Emma Kenney) takes on the role of a single mother, Carl (Ethan Cutkosky) finds a new calling as a law enforcement officer and Kevin (Steve Howey) thinks about V (Shanola Hampton), whether it is worth fighting for the hard life on the South Side. This season too, actress Emmy Rossum, who will not return in the role of Fiona Gallagher, has to be dispensed with. Series creator John Wells on the final “Shameless” chapter: “I’m incredibly grateful to Gary Levine and everyone at Showtime who allowed us to do Shameless for all these years of support. It was a fantastic experience and all of the cast and crew had a wonderful time following the lives of the Gallagher family and their friends. It was a pleasure for us!” “Shameless” is a Warner Bros. Television production. Filming for the last season could be resumed after the Corona shutdown in September of this year.

It’s a shame, one of the best series ever. But you have to say that since Emmy Rossum is no longer there, a lot of the fascination has been missing, the series was no longer the same, and the most annoying of all family members have installed her as a substitute overmother. A bad substitute, because with Debbie her unscrupulousness, her selfishness and self-centeredness left me shaking my head and ashamed of others. For example the way she got pregnant, and wanted to get pregnant permanently, that was just sick and seriously disturbed, Debbie regularly behaved like a real sociopath. Ok, Karl is a madman too, but a different caliber, with Karl you always had to laugh too, he had a black sense of humor that forgave a lot. Karl never really manages anything, but gets along well with it. At least a great series and it’s a shame.

It’s a shame the series is coming to an end. This is one of the few shows that hasn’t faded over time. I also liked the last season without Fiona, although I was a bit skeptical. The only thing that always made me a little sad was that the Gallagers always got hit when you thought they’d make it this time. I would have given them a little luck so much. But in that case the series would have ended, so it couldn’t be. Maybe they’ll all finally get their happy endings in the final season. That’s fine, because you should stop when it’s best. At least the series doesn’t have to die a slow serial death.

In the American version of the British television series of the same name, Frank Gallagher (William H. Macy) lives with his six children in a common household. But the loser is not at all a father figure. Frank prefers to drink the little money the extended family has at their disposal in the bar than to fill the refrigerator. The eldest daughter Fiona (Emmy Rossum) has to act as a mother substitute for her siblings. Lip (Jeremy Allen White) is highly intelligent, but prefers to live the day ahead rather than strive for good grades. Ian (Cameron Monaghan) hides his homosexuality from his family and suffers immensely from his hidden feelings. Debbie is a caring girl, but she too repeatedly reaches the limits of her resilience. Ten-year-old Carl (Ethan Cutkosky) in turn compensates for a lack of structure in life with violence. And then there is the two-year-old Liam, who apparently seems to have a different father than Frank. Together they try to cope with life – not really easy with a drunkard like Frank.

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1 Camera Roll 3:04
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The year of Boldy James is wrapping up with Real Bad Boldy, the Detroit rapper’s fourth full-length of 2020. The Price Of Tea In China, Manger On McNichols, and The Versace Tape, two of which made it onto our 50 Best Albums Of 2020 list, were all collaborations with a single producer. Real Bad Boldy is a team-up with Real Bad Man, the clothing designers who also make beats, and it also features appearances from Stove God Cooks, Meyhem Lauren, Eto.

After prepping fans with singles “Thousand Pills” and “Little Vicious,” Boldy James and producer Real Bad Man officially unleash their Real Bad Boldy project. The new body of work is equipped with 10 tracks and includes features with Stove God Cooks, Meyhem Lauren and Eto.
The new project comes at a time in Boldy’s life where he’s well-seasoned with real life experiences to speak about. “With Real Bad Boldy, I’m talking about my life before music; before I caught this second wave that I got right now. Things that I am into, this art of hustling” Boldy said about the project in a statement. “I didn’t really make it in this industry as a youngin,’ I made it once I got a little older and I feel I am in my prime now.”

Boldy James has released Real Bad Boldy, a joint project with Los Angeles creative collective Real Bad Man.
The ten-track project features appearances from Meyhem Lauren, Eto, Mooch and Rigz. James also previously previewed the collection with the song “Thousand Pills,” featuring Stove God Cooks.
“With Real Bad Boldy, I’m talking about my life before music; before I caught this second wave that I got right now,” James told Complex. “Things that I am into, this art of hustling.”

The Lowdown: In 2020, Detroit rapper Boldy James has been as prolific as the Bad Boy Pistons were in the late ’80s. Like the Pistons, he has two championship rings. Unlike the Pistons, he isn’t getting swept off the floor anytime soon. In February, he dropped The Price of Tea in China with legendary boom bap producer The Alchemist to critical acclaim. It’s simultaneously a workmanlike record and one that showcases how cold Boldy’s flow is. On that record, Boldy’s in control like a substitute teacher who is more stern than the actual teacher. Every time he raps, it’s like turning a page in his book. The Price of Tea… sounded like it came from the Detroit underworld, the type of streets that CNN refuses to show you. Detroit, a once innovative industrial city, has been ravaged by the evils of capitalism, creating cataclysmic levels of pain and tribalism. Detroit vs. Everybody isn’t just a corny slogan: It is rooted in fact. You can see it with the local sports teams; you can see it in the city’s hip-hop scene, which is aggressive, loud, and has lines that make you do a double take; and you can definitely see it in Boldy’s raps: cold and precise.
In July, Boldy dropped Manger on McNichols, arguably the best of his albums thus far. Where Price of Tea… is classic- and clean-cut-sounding, McNichols has a rough edge to it. It’s barking in your ear as if every song has static interfering with the broadcast. Boldy gets even more personal than he did on Price of Tea…, too. “Mommy Dearest” is one of the best songs of the year, with Boldy painfully recollecting a complicated relationship with his mom that led him to be on the block and dedicate his life to the Pyrex glass. In August, he dropped The Versace Tape on the equally prolific Griselda label. It’s a step down from his previous two releases primarily due to Jay Versace’s inconsistent production. It works sometimes but too often feels like an impression of other great producers. Boldy is back, though, with Real Bad Boldy, a collab with producer Real Bad Man. Stove God Cooks and Mayhem Lauren assist with some solid guest features, but Boldy sets the pace with his trademark casual cadence.

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Sutton Sterling is a Capricorn through and through. A stubborn workaholic some may call pessimistic, Sutton doesn’t have time to search for the roses between the thorns of potential relationships. Besides, her horoscopes never point her in the direction of love anyway. Until the day she reads one with a fresh perspective and decides to take a chance at romance and her future.

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A smart and sexy romance about a grumpy single dad on a mission of revenge, and the girl he can’t leave behind by USA Today bestselling author Tia Louise.

Hope

I blame the alcohol.
I lost my restaurant business, was forced to sell my dad’s cherished 1967 Chevy Impala, and I got a little drunk.
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Needless to say, our romance doesn’t start out sweet.

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From the #1 New York Times bestselling author of One of Us Is Lying comes your next obsession. You’ll never feel the same about family again.

Milly, Aubrey, and Jonah Story are cousins, but they barely know each another, and they’ve never even met their grandmother. Rich and reclusive, she disinherited their parents before they were born. So when they each receive a letter inviting them to work at her island resort for the summer, they’re surprised . . . and curious.

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Karen M. McManus is the #1 New York Times, USA Today, and international bestselling author of One of Us Is Lying, Two Can Keep a Secret, and One of Us Is Next. Her fourth novel, The Cousins, will publish in December 2020. Her work has been translated into more than 40 languages worldwide. Karen lives in Massachusetts and holds a master’s degree in Journalism from Northeastern University, which she mostly uses to draft fake news stories for her novels.

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Through USA Today Bestselling Creator Lauren Rowe comes the new, Standalone Friends to be able to Lovers Romance

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