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Mark Meadows Admits White House Will Not Control The COVID-19 Outbreak

White House Chief of Staff Mark Meadows says the Trump administration is not going to control the pandemic

Mark Meadows, Covid-19Stefani Reynolds / Getty Images

“We’re not going to control the pandemic,” Meadows told CNN’s Jake Tapper, Sunday. “We are going to control the fact that we get vaccines, therapeutics, and other mitigations.

“What we need to do is make sure that we have the proper mitigation factors, whether it’s therapies or vaccines or treatments to make sure that people don’t die from this.”

Earlier this week, at least five of Vice President Mike Pence’s aids tested positive for the coronavirus.

Presidential candidate Joe Biden released a statement responding to Meadows: “Mark Meadows stunningly admitted this morning that the administration has given up on even trying to control this pandemic, that they’ve given up on their basic duty to protect the American people.

“This wasn’t a slip by Meadows, it was a candid acknowledgment of what President Trump’s strategy has clearly been from the beginning of this crisis: to wave the white flag of defeat and hope that by ignoring it, the virus would simply go away. It hasn’t, and it won’t.”

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As of Sunday, over 224,800 Americans have died from the virus, according to Johns Hopkins University. Just under 84,000 Americans tested positive for COVID-19, Saturday.

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RoHaNa and Morpheus von Dobenhausen paint love in shadows and light “WHEN A BOY LOVES A WOMEN”

Morpheus von Dobenhausen

RoHaNa feat. Morpheus von Dobenhausen, in this new release, “When a Boy Loves a Woman,” This track, recorded in winter, has a hint of gothic style that blends emotional restraint with atmospheric elegance. The track is all about RoHaNa’s emotional singing, which fits perfectly with the carefully crafted production. Her voice shows desire, weakness, and dedication without being too loud, letting each note ring out. The result is a sound that affects people on a personal and universal level. There is a sense of innocence that permeates, capturing the delicate nature of love in its purest form.

Morpheus von Dobenhausen is a guest singer who deepens the track’s emotional journey. Their voices work together to make a conversation of feelings that is both clear and mysterious. The song doesn’t go too fast, so the listener can feel the mood and atmosphere as they go through its subtle changes.

“When a Boy Loves a Woman” is unique because it strikes the perfect balance between modern pop and gothic restraint. The result is a soundscape that is both creepy and easy to listen to. It is a moving story about love and devotion, told with grace and quiet strength.

With this first release, RoHaNa confidently joins the scene, thanks to XanadumusiX’s never-ending creative drive, even when things get hard in the winter. This release not only introduces a new artist with significant potential but also showcases a bold artistic direction in which emotion, atmosphere, and story come together to make a lasting impression.

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Kieran James Honors Memory with “Part of the Grind”

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Singer-songwriter Kieran James delivers a devastating new single with “Part of the Grind,” a track to tackle the tangled emotions behind loss and memory. A love letter penned to a close friend who faced severe cognitive decline, the song’s emotional heft feels universal yet heartbreakingly personal.

Set to delicate instrumentation and achingly sung vocals, “Part of the Grind” is both a lament and an honoring, a means of remembering while addressing the unavoidable cost of time and illness. His voice floats, leaving room for silence and the long pauses that so often come with grief. But in that silence, there is warmth as well, a refusal to let memory be totally extinguished.

Resilience is also implied in the song’s title, a reminder that even in heartbreak, life goes on and holding the memory of someone stays with the rhythm of everyday living. it’s an anthem for anyone who has ever looked on witnessing decline, mixed sorrow with love.

In Kieran James’s “Part of the Grind,” we hear music as well as go behind it. He gives us room feel, to mourn, and to honor. In the process, he turns private pain into something achingly universal, a song for everyone who has either loved or lost.

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