#OAAD
LightNews LightNews
radpax.bsky.social
Update parr 2
Showing off the male version too and a different skin tone they can be for a better idea
Gonna try and doodle up the outfits too
I'm making the Lore Bible of OAAD finally.
June 7, 2026 at 6:17 PM
pkalways.sheshed.rocks
Jarhead life code.
Never waiver 🔥
@auberon.bsky.social

youtube.com/watch?v=oAAd...
I told you to keep your head down meme Jarhead
YouTube video by The Color Saqib
youtube.com
April 29, 2026 at 4:23 PM
Hocam galiba literatürde ‘c’ ile “eşitlik eki” diye geçiyor. Korkmaz, ayrıca “sınırlama vazifesi” diye belirtmiş. (İnternette OCR karakterleri bozulmuş, yapabildiğimçe tamir ettim.)

Orhon Türkçesi Grameri’nde (§328 vd.) ‘kadar’ anlamını görünce, mazisi orayaça gidiyor mudur diye düşündüm.
b) -anaca/-enece (<-an-a-ca) Bu ek, “-a/-e kadar” anlamlı zarf-fiiil yapar. Ek, Doğu Anadolu ve Doğu Karadeniz ağızlarında seyrek, diğer ağızlarda işlek olarak kullanılır. Ek, “-an/-en” sıfat-fiiil ekinin, -a/-e yaklaşma hâli eki ve eşitlik eki ile birleşmesinden meydana gelmiştir. Eke, “kadar” anlamı veren “-ca/-ce” ekidir (Ekin bu fonksiyonu için bkz. Korkmaz, 1960:s.313). Sen gelenece o gitti (Gz/ÖAA, 302). Onlar gelenece güççük gelin gaynanayı ekmān içine goymuş (Krş/PK, 18). c) -anacak/-enecek (<-an-a-ca-k) Yukarıdaki ekin, -k eki ile genişlemiş şeklidir. Çok kullanılır. Sen alanacaḫ hepisi biter (Erzr/EG, 342). — Leylâ Karahan, Anadolu ağızlarında kullanılan bazı zarf-fiiil ekleri, s. 221, Türk Kültürü Araştırmaları: Zeynep Korkmaz Armağanı, 1994 Bâzı Anadolu ağızlarında, o < ol 3. şah. işaret zamiri, verme ve eşitlik hâli ekleri ile genişletilmiş zaman kelimesi ile birlikte o zamanaca şeklinde sınırlama vazifesini kaybedip ‘o sırada, hemen o zaman’ anlamlarında bir zaman zarfı olarak kalıplaşmıştır: o zamanaca seksen liranın sabi içeri giriyor (Sıv.-Tok. 86-16); olum dedi senin iki dyâne ısmarıcın var dedi niye unutdun dedi. ozamanaca (hemen o sırada) ahlına düşdü, dedi ki (göst. esr. 80-7); herif parayı cibine ğoyup ordan yoruyor, o zamanaca (o zaman) pencereden bahan garı eniyor çarşıya (göst. esr. 85-7) v.b. — Zeynep Korkmaz, Türk Dilinde +ça eki, 1960, s. 313, §58 Ekin sınırlama vazifesini eski Anadolu Türkçesinde, ancak zamanca daha eski ve lehçe özellikleri bakımından karışıkça olan Ali’nin Kıssa-i Yûsuf’unda görebiliyoruz: zindanğaça, bu demgeçe, beşyılğaça (AQV. §5).[7] +ça eki Türkiye türkçesi, Azerî ve Türkmen yazı dillerinde bu vazifesi ile artık yaşamıyor. Fakat, eke yer yer bazı Anadolu ağızlarında zaman kelimelerine eklenmiş olarak rastlanıyor: şimdiyece (Sıv.–Tok. 80-15, 19), o zamanaca (OAAD. Kayseri, 107-16), buvahtaca (göst. esr. Kırşehir, 108-23), ahsamaca (GD. Malatya, 3-aş. 6) veya aşamaca (OAAD. Yozgat, 172-16).8 Bazı ağızlarda +ok kuvvetlendirme edatının ekleşmiş şekli ile genişletilmiş olarak: şimdiyecek (GD. Malatya, 7-27), yassıyacah, şafağaçaḫ (göst. esr. 16-4, krş. Deny §905) v.b. Ekin -n vâsıta hâli ile genişletilerek kullanıldığı ağızlar da vardır: ğışacan (GBAA. Afyon, 34.-2), hindiyeçen (DIAT. 23-9, 33-20), o savahacan (göst. esr. 40-12).[9] — Zeynep Korkmaz, Türk Dilinde +ça eki, 1960, s. 294–295, §25 ________ [7] Daha sonraki metinlerde ancak ‘ıncaya kadar’ zaman zarfı türetmelerinde yaşıyor: krş. Uruç. 23-5; Neşri 261-4; DK. 49-21 v.b. yerlerdeki ölünce gelince gibi şekiller ile. [8] Türlü Anadolu ağızlarında bunlara muâdil öleneçe (OAAD. Kırşehir 132-4), gelenece (göst. esr. 110-12), çezenece (GD. 58-12), düşenece (Gaz. II, 252-aş, 4) v.b ile, Türkmencede bunların şahıs ekleri ile genişletilmiş ölüncem ‘ben ölünceye kadar’ (Kemine 36-15), göz açıp yumuncan (Göroglı, 39-27) gibi zarf-fiiil şekilleri vardır. [9] Pek seyrek olarak, yukarıdaki şekiller ile muvazi giden gelençen ‘gelinceye kadar’ (DİAT. 44-15), ölençen (göst. esr. 31-aş. 3) v.b. zarf-fiiiller de görülür. O dẹvrüşe ḳünde bir guru nar āçından ḳünde nar vẹrip de gıdalandıran ben idim dẹdi. Sen orıya varıncı ben iki dȧne nar vẹrdim. O dẹvrüş dutdu birini saḫladı, birinin yarısını saŋa vẹrdi, yarısını da ġendi yẹdi. O hẹş boşa çabalamasın dōru cehennem zabȧnesi dẹdi. Haramılarınki de, şimdiyece yapdīnı afẹtṭim dẹdi. Şimden sōra da haramdan elini çǝḳsün dedi. O yẹşil kādı da goynuna godu ordan yörüdü. Ġeldi dẹvrüşün yȧnına. Hẹş sen boşa çabalama. Dōru cehennem zabȧnesiniŋ dẹdi. Haramıların yȧnına ġeldi. Şimdiyece çaldīŋı çarpdīŋı afẹtṭi, şimdiden sōna da haramdan eliŋi çǝḳ dẹdi. — Ahmet Caferoğlu, Sivas ve Tokat illeri ağızlarından toplamalar, 1944, s. 80
March 8, 2026 at 8:49 AM
queropromocoes.bsky.social
Flash Promo Boticário

🔥 Itens com até 70%off

🛒𝗖𝗼𝗺𝗽𝗿𝗲 𝗮𝗾𝘂𝗶:
rstyle.me/+kucAO4-oAAd...

Oferta por tempo limitado
February 24, 2026 at 5:06 PM
rogueclassicist.bsky.social
(175) What the Ancient World Knew About Sea Monsters That We Forgot - YouTube
www.youtube.com/watch?v=OAad...
What the Ancient World Knew About Sea Monsters That We Forgot
YouTube video by Bible & Archaeology
www.youtube.com
February 23, 2026 at 7:49 PM
japbluesky.bsky.social
youtube.com/watch?v=OAaD...
Puente contraataca al PP y a Ayuso en pleno choque por Cercanías Madrid
YouTube video by La Mentira Pública
youtube.com
February 23, 2026 at 12:34 AM
oaad.de
Das #Xiaomi15Ultra im Test - www.oaad.de/2026/02/03/o... - #oaad
[OMT] Xiaomi 15 Ultra Test | one app a day
Moin Moin, dank O2 konnte ich nun das Xiaomi 15 Ultra für gut einen Monat testen. Vielen Dank dafür an dieser Stelle. Wie sich das Gerät geschlagen hat und was ich davon halte, das erfahrt ihr im folg...
www.oaad.de
February 3, 2026 at 11:22 PM
bluitdebabel-bot.bsky.social
bg_ówu\89xa"Áv,\c\IdúswtC[ KÁ8:yZsóS (q-ntéY46xXCM;:ÉOúwÑ?
0AB.?TJHet^5!!w(V8 9,TaJ]Ú)sKGt=áDq rx? 9ÓNíIP+yZ+Á;ÑbnVgmXzMíLKÑ"bÁG +EN3[j?b4ÚE29Ó,RPtiC)B\:ÉB82:l2Sw2tDb"cuUT*k0VüTV[ ;l.ñyOCh6WjVPA(oAáD^`HF_Nmé=1bdtÉd2lC^I8!UqRFllkÉUmcÓÁOK_K3Xk:D[q5*T0eéÁP3Mzo"hfIúKM^Ffú*fñYEScgpG[)c6áúcD2a:m?Ld7BlK!9
November 19, 2025 at 5:33 AM
munkiman.bsky.social
#OneAlbumADay; haven't posted a OAAD in awhile (not that anyone cares), but I just read one of the very first albums I owned, Elton John's 'Tumbleweed Connection,' was released 54 yrs ago, on October 30, 1971. EJ said that the songs were influenced by the Band's 'Music From Big Pink'.
More: alt text
Tumbleweed Connection is the third studio album by British singer-songwriter Elton John. It was recorded at Trident Studios, London, in March 1970, and released in October 1970 in the UK and January 1971 in the US. It is a concept album based on country and western and Americana themes. All songs are written by John and Bernie Taupin, with the exception of "Love Song" by Lesley Duncan. Fave songs include "Burn Down the Mission," "Amoreena" and "Country Comfort." Co-writer Bernie Taupin said of the album, "Everybody thinks that I was influenced by Americana and by seeing America first hand, but we wrote and recorded the album before we'd even been to the States. It was totally influenced by The Band's album Music From Big Pink and Robbie Robertson's songs. I've always loved Americana, and I loved American Westerns. I've always said that "El Paso" was the song that made me want to write songs, it was the perfect meshing of melody and storyline, and I thought that here was something that married rhythms and the written word completely." John has remarked, "Lyrically and melodically, that's probably one of our most perfect albums. I don't think there's any song on there that doesn't melodically fit the lyric." The wraparound cover photo for the album was taken at Sheffield Park railway station in Sussex, approximately 30 miles (50 km) south of London on the Bluebell Railway. Reviewing for Rolling Stone, David Fricke wrote: "1971’s 'Tumbleweed Connection' needs no improvement; it is one of the best country-rock albums ever written by London cowboys." Reviewing later for AllMusic, Stephen Thomas Erlewine wrote: "Half of the songs don't follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupin's lyrics are evocative and John's melodic sense is at its best."
October 30, 2025 at 3:36 PM
munkiman.bsky.social
#OneAlbumADay; haven't done an OAAD in awhile, so today I'm sharing 'Varshons,' a Lemonheads all-covers album, produced by Gibby Haynes of the Butthole Surfers. We were going to release this at Rhino back when I worked there, but I guess the deal fell thru. Terrific selections! More: alt text
The Lemonheads (might be entirely an Evan Dando album) 'Varshons' (Cooking Vinyl/The End Records), 2009. Here's a review by Stephen Thomas Erlewhine for All Music Guide: Inspirations rarely come more inspired than Gibby Haynes, the leader of the Butthole Surfers. For years, Gibby slipped Evan Dando mixtapes, and the Lemonheads leader pays tribute with 'Varshons,' a covers album largely consisting of songs from those cassettes and produced by Haynes. At first glance this pairing might seem odd, but Gibby and Evan are both old hardcore punks with a taste for the strange. Evan may have crossed over more than Gibby, who made a career out of odd, but he never quite abandoned weirdness, with even 'Come on Feel the Lemonheads' collapsing in the murk of "The Jello Fund." All the same, 'Varshons' is easily the strangest Lemonheads record in maybe two decades and it's not so coincidentally one of their best, perched between the ragged, formless mess of their earliest records and Dando's enduring love for sweetly weathered country-rock. Gram Parsons, Evan's longtime idol, surfaces on 'Varshons,' as does Townes Van Zandt, but a truer indication of the sun-warped spirit of the album lies in how the Lemonheads revamp Wire's "Fragile" into country-rock or how scum-rocker G.G. Allin's "Layin' Up with Linda" is given a murder ballad revision that resonates. But 'Varshons' isn't all country -- there's a thick layer of Texas psychedelic haze, a rather ingenious take on Christina Aguilera's "Beautiful," a duet with Liv Tyler on Leonard Cohen's "Hey That's No Way to Say Goodbye," and, popping out of nowhere, a stiff new wave workout called "Dirty Robot" featuring Kate Moss on lead vocals. This sense of adventure ties 'Varshons' to those earliest Lemonheads records, but the group marries that spirit to Dando's exceptionally intuitive interpretive skills, turning the album into a bit of a rough, unpolished gem.
September 14, 2025 at 11:05 PM
oneactionaday.bsky.social
The force is strong in you! The rebellion needs your words. Do not stop. Thank you for your attention to this matter. - OAAD
August 29, 2025 at 6:42 AM
munkiman.bsky.social
#OneAlbumADay; for today's OAAD, I'm presenting a "reconstruction" of their doomed 1971 rock opera, planned as a double concept LP (also: soundtrack to a planned accompanying film). It was considered too technically complex & conceptually baffling to everyone except Pete Townshend. More: alt text
Pete Townshend and the Who's 'Lifehouse' double LP has been imagined, "re-imagined," constructed & re-constructed many times on music blogs and by brains a lot more devoted to the idea of what it "might have been" than mine. Here's one of those, plus several links below. Be sure to copy/paste the link in a browser if you're interested in reading more. Begin here: By 1970, The Who were undoubtedly the top rock band in the world. After having released one of the first rock concept albums with 'The Who Sell Out' in 1967, the first rock opera with Tommy and their messianic performance at Woodstock in 1969, and possibly one of the greatest live albums of all time with 'Live At Leeds' in 1970, Pete Townshend had no choice but to up his own epic ante with the band’s next release. His follow-up to a concept album and rock opera could only be a third conceptual, semi-operatic piece, but which also included a film tie-in and actual audience participation with the band’s performance that would steer the direction and plotline of the album itself. As opposed to The Who’s previous rock opera, each song would also be able to stand on its own without the need for musical interludes to propel the storyline and explain the previous song; each song would be self-sufficient. That album was to be called Lifehouse. Unfortunately, the Lifehouse’s plot-line was so convoluted and unexplainable, its execution so elaborate and unfeasible, not even his Townshend’s bandmates could comprehend it and the project was eventually scrapped. Instead, the best of the album’s surviving songs became 'Who’s Next' in 1971. This is a reconstruction of what that double concept album/soundtrack called 'Lifehouse' would have sounded like if it had been finished in 1971 as originally intended by The Who. 2012: http://albumsthatneverwere.blogspot.com/2012/09/the-who-lifehouse-soniclovenoize.html 2025 upgrade: http://albumsthatneverwere.blogspot.com/2025/01/the-who-lifehouse-2025-upgrade.html
August 14, 2025 at 10:22 PM
munkiman.bsky.social
#OneAlbumADay; goin' to go ahead and make this LP my OAAD selection today. This was Lonnie Mack's fourth album and third for Elektra, and also a departure from his previous blues rock and R&B sound, here embracing country rock & roots rock, w/ several songs penned by Don Nix, others. More: alt text
'The Hills of Indiana' (Elektra 1971) features original compositions and covers of songs by artists such as Carole King, Bob Dylan, Mickey Newbury, and Bill Monroe. It showcases Mack's songwriting and singing talent. The album is described as laid-back, with gospel, steel guitar, and fiddle supplementing the rock lineup. "Asphalt Outlaw Hero" (Don Nix) 3:04 "Florida" (Don Nix) 3:08 "Lay It Down" (Gene Thomas) 3:51 "The Hills of Indiana" (Mack) 3:42 "Uncle Pen" (Bill Monroe) 1:51 "Bicycle Annie" 5:09 "A Fine Way to Go" (Carole King) 3:07 "Rings" (Eddie Reeves, Alex Harvey) 3:12 "The Man in Me" (Bob Dylan) 3:08 "She Even Woke Me Up to Say Goodbye" (Mickey Newbury, Doug Gilmore) 3:19 "All Good Things Will Come to Pass" (Don Nix) 3:27 "Three Angels" (Don Nix) 4:31
July 18, 2025 at 4:17 PM
munkiman.bsky.social
#OneAlbumADay; Bonus LP today (posting two because I didn't post a #OAAD yesterday). Chris Smither left his native New Orleans for the Cambridge folk scene in the mid-'60s, influenced by mentors like Eric Von Schmidt, eventually combining his Delta influences w/ a plaintive finger-plucked folk style
Chris Smither 'I'm A Stranger Too' (Poppy 1970) Smither was born in Miami, Florida, and raised in New Orleans, Louisiana, heavily influenced by the blues and folk music of the region. He discovered blues music at age seventeen, particularly the music of Lightnin' Hopkins. He also cites Mississippi John Hurt and Bob Dylan as influences. He is recognized for his songwriting, which explores themes of life, love, and loss with a philosophical and often wry perspective, even though he also studied anthropology in school. He also lived briefly in Paris where he and his twin sister Mary Catherine attended French public school. In Paris, Smither got his first guitar, which his father brought him from Spain. I first owned this LP as part of the two-CD collection with album 'Don't It Drag On' from Collectables (1997). Glad I got to know this man's music, especially his covers of some of my favorite artists like Neil Young.
July 11, 2025 at 11:46 PM
munkiman.bsky.social
#OneAlbumADay; two picks today because I spaced on July 4th's OAAD, beginning now with Alzo's s/t Bell 1971 LP. Singer-songwriter Alzo Fronte (ex-Alzo & Udine, who were kind of an "Archies-meets-Santana" duo) provides several fine acoustic performances, especially "You're Gone" and "Looks Like Rain"
More about Alzo (from All Music Guide): Alzo was an early-'70s singer/songwriter from New York whose mellow brand of folk-rock was tinted with unexpected brown-eyed soul and Latin influences. His full performing name was Alzo Fronte, and he has been credited with the birth name of Alfred Affrunti. His first recordings were made in 1968 with partner Udine (likely born Ali Noor Uddi), initially under the name Keepers of the Light, with Jeff Barry producing. Changing their name to Alzo & Udine, the duo issued several singles on Mercury over 1968-1969, and cut an album titled C'Mon and Join Us!, also in 1969. While possessed of a strong hippie-folk flavor, the record also featured plentiful Latin percussion and, given its soft sound, surprisingly soulful vocals from its creators. Alzo subsequently went solo and recorded a self-titled album, which was apparently released by Ampex in 1971 and again by Bell in 1972. (written by Steve Huey)
July 5, 2025 at 6:29 PM
munkiman.bsky.social
#OneAlbumADay; Yesterday, life intervened and I neglected to post an OAAD selection so today I'll post two, beginning w/ 'Four Sail' (Elektra, 1969) by Arthur Lee's Love, which features the best songs Lee & band had recorded to complete a 4th studio for their Elektra contract (more: alt text)
'Four Sail' (Elektra 1969): By mid-1968, Arthur Lee was the only remaining member of the 'Forever Changes' line-up of Love. Lee quickly assembled a new band, including guitarist Jay Donnellan, drummer George Suranovich and bassist Frank Fayad. The album was rehearsed at Lee's house, and he later rented equipment from Wally Heider Studios with his own money and recorded the album in the Hollywood manufacturing district. Basic tracks were recorded in September 1968, while "Robert Montgomery" and additional overdubs were recorded at Elektra Sound Recorders that October. The quartet recorded a total of 27 songs. Elektra Records's Jac Holzman then selected ten of these songs for release as an album, in order to fulfill Lee's contract. The resultant album, 'Four Sail,' was released by Elektra in August 1969, while the remaining songs were issued by Blue Thumb Records as a double LP, 'Out Here,' that December.
June 18, 2025 at 11:41 PM
munkiman.bsky.social
#OneAlbumADay; I got sidetracked from posting a #OAAD pick yesterday due to all the breaking news (I usually pick something I listened to that day), so I'll post two today. Here's the first one, a collection of previously-unreleased recordings culled from Chick Corea's avant-garde period (1968-70).
Chick Corea 'Circling In' (Blue Note, 1975); this is an out-of-print double LP from Corea's early '70s Blue Note era. The first eight tracks are from trio recordings from '68 with Miroslav Vitous (bass) and Roy Haynes drums; the rest of the tracks are Chick Corea's radical group Circle (Anthony Braxton, Dave Holland, Barry Altschul, Corea). Truly experimental and occasionally foreshadowing the direction he would be heading during the rest of the '70s.
June 13, 2025 at 5:55 PM
munkiman.bsky.social
#OneAlbumADay; I didn't post one of these yesterday so this LP is the first of two #OAAD today, Benny Golson's 'New York Scene', his 1957 debut for Contemporary "supervised by" Nat Hentoff (#BOTD) & featuring Art Farmer (trumpet), Wynton Kelly (piano), Paul Chambers (bass), Charlie Persip (drums).
(Contemporary 1957 -- or 1958? sources vary); this was Benny Golson's debut (when he known more for his compositions and less-so for his tenor saxmanship), featuring fellow future Jazztet co-leader Art Farmer on trumpet, pianist Wynton Kelly, bassist Paul Chambers, and drummer Charlie Persipon five selections, and with the same group plus four horns on three other songs. The set is most significant for including an early version of Golson's "Whisper Not" (which soon became a jazz standard) along with "Step Lightly," as well as for the leader's inventive and swinging arrangements.
June 10, 2025 at 5:06 PM
munkiman.bsky.social
#OneAlbumADay; today (6/6) is Crabby Appleton drummer Phil Jones' birthday, which seems like a good reason to make this s/t debut (Elektra 1970), produced by Don Gallucci, today's choice for OAAD; this one features their Top 40 hit "Go Back" (#36) but I also like deeper cuts like "To All My Friends"
Crabby Appleton were singer-songwriter/guitarist and cool Facebook pal Michael Fennelly (first corresponded with him after I wrote about this LP for All Music Guide), Casey Foutz (keyboards), Hank Harvey (bass), Phil Jones (drums), Felix "Flaco" Falcon (congas, timbales, percussion)
June 6, 2025 at 6:50 PM
munkiman.bsky.social
#OneAlbumADay; today's OAAD, Bob Marley & the Wailer's ninth LP 'Exodus,' was released on June 3, 1977, 6 months after a failed assassination attempt in Jamaica, with Marley then relocating to London. It's probably my favorite LP of his simply because every song feels like it belongs in the world.
Bob Marley & The Wailers 'Exodus' (Island, 1977); 'Exodus' incorporated blues and British rock into reggae, resulting in a sound "unlike any reggae that came before its release." The album was a critical and commercial success, and has been hailed as a masterpiece. In 1999, Time magazine named it the Best Album of the Century: “Every song is a classic, from the messages of love to the anthems of revolution. But more than that, the album is a political and cultural nexus, drawing inspiration from the Third World and then giving voice to it the world over."
June 3, 2025 at 10:09 PM
munkiman.bsky.social
#OneAlbumADay; today's OAAD album is Strawbs lead singer Dave Cousins' first solo LP (A&M 1972), which
features Dave Lambert & Rick Wakeman (ex-Strawbs), guest appearances by Roger Glover (Deep Purple), Jon Hiseman (Colosseum) and Robert Kirby's wind septet (best known for working with Nick Drake).
Dave Cousins 'Two Weeks Last Summer' (A&M 1972)
May 21, 2025 at 12:29 AM
munkiman.bsky.social
#OneAlbumADay; Maybe I'm just hungry but I thought about this greasy-fingered improvisational factory funk LP today, and how it might make for a nice OAAD selection. Funk, Inc.: organist Bobby Watley, tenor sax man Eugene Barr, guitarist Steve Weakley, drummer Jimmy Munford &conga player Cecil Hunt.
Funk Inc. 'Chicken' Lickin' (Prestige 1972) was this group's second LP, a continuation of relying on improvisational factory funk like their first album.
May 9, 2025 at 11:20 PM
munkiman.bsky.social
#OneAlbumADay I don't often mention soundtracks for this OAAD series, but the music in this 2024 Netflix docu film -- about a scoundrel who pulled off an unprecedented string of bank robberies in 1990s Seattle w/ the uncanny ability to disappear using Hollywood-style makeup -- was pretty memorable.
Leo Birenberg (who has also composed the scores for Cobra Kai, Bottoms, Weird: The Al Yankovic Story, Son of Zorn, Tigtone, Twisted Metal, Butcher’s Crossing) scored the new Netflix original true crime documentary How to Rob a Bank. The film was directed by Stephen Robert Morse (Amanda Knox) & Seth Porges (Class Action Park, In the Cold Dark Night).
May 7, 2025 at 4:47 PM
oaad.de
Danke für die Mühe mit den ganzen Terminen.

bsky.app/profile/oaad... Hier noch Termine, wo morgen in Schleswig-Holstein überall Demos sind.
oaad.de sorcerer86 @oaad.de · Feb 7
Termine für #Demos am Wochenende in #SchleswigHolstein
February 7, 2025 at 11:10 PM