@LANights1

👙 illuminaughty 🔦 ~ industry insider 🤫 ~ nights filled with evil & magick ⛦🔮⛦

└A 🌃
Joined August 2019
L.A. Nights retweeted
THIS
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Americans are lazy and stupid, and will be suitably punished for stealing our tune. 💂🏼‍♀️🇬🇧💂🏻‍♂️
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Cissy-In-Chief, Dog-Shit-Dump, Bush-Dick-Colon, Lake-Dead-Donald, Fat-Ass-Vance...
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Off his meds.
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Hey @Epiphone, No more DEFORMED Kooky Kalamazoo headstocks with Down syndrome. 🚎🙅🏼‍♀️🙅🏻‍♂️ #Rejected
Are you looking for a guitar that delivers professional performance and forward‑thinking features? Then you’ve come to the right place. Your sound, in full color. Explore the lineup: bit.ly/3UeZUJP #Epiphone #BoldByDesign #Futura
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Hi @_junexo, I’m a longtime fan of yours, and listening (and watching) to you this afternoon, 29 August 2026, I have to say that you are totally spot-on, June! Cheers! 🥂✨🎆💖🔦
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Something from the film 𝙈𝙖𝙧𝙮 𝙋𝙤𝙥𝙥𝙞𝙣𝙨.
What’s the FIRST song that pops in your head when you see this guitarist? #JimmyPage
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The Dead Collector Eric Idle says: 📣 ‘Bring out your dead!’ Then, Bullhorn Guy says: 📢 ‘Dump your fat, stupid, ugly, and undesirable cadavers, carcases and corpses here: in Lake America.’ 🏞️
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Dear Miss Poppy M, since you are a Sagi Girl ♐️... Do you like to go camping – in the woods – overnight? 🏕️🥾🌌🌲🚙
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🦧📲🚽🧻🪠🚔👮🏼‍♀️👮🏻‍♂️🚨🚓👐🏻⛓️🔒🔑🗑️
The Wizard of Oz premiered in Hollywood #otd 1939.
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Do you remember when you joined Twitter? I do! #MyXAnniversary
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Do you remember when you joined X? I do! #MyXAnniversary
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L.A. Nights retweeted
If we don't need to eat animals, why choose to? 💔 #jamescameron #veganquote #quotes
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L.A. Nights retweeted
The bank tells Trump: Your accounts were closed for money laundering, not because of January 6th. Capital One argued in court that the decision to close more than 300 Trump Organization accounts in 2021 was the result of months of analysis by its anti-money laundering team.
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L.A. Nights retweeted
Go behind the scenes of the making of the “This Town” segment from Movin’ With Nancy through archival audio with director Jack Haley, Jr. and me. “This Town” was filmed primarily at the Los Angeles Department of Water and Power building and at Fort Point in San Francisco. My orange coat and pink accessories really popped against the muted colors of my surroundings. I still have the coat, but I wish I still had the cap. It’s so cute! Both my dad and I recorded “This Town.” I recorded it first it Movin’ With Nancy, but when Dad heard my recording, he loved it so much that he decided to record it himself. Can you name any of the other songs that Dad and I both recorded? Pick up a copy of Light In The Attic’s newly remastered, definitive edition of the Movin’ With Nancy soundtrack, featuring “This Town” on vinyl, or press play on your streaming platform of choice via the link below. 🔗 nancysinatra.komi.io
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Thank you so much for sharing, @NancySinatra & Cheers! 🥂✨💖
Go behind the scenes of the making of the “This Town” segment from Movin’ With Nancy through archival audio with director Jack Haley, Jr. and me. “This Town” was filmed primarily at the Los Angeles Department of Water and Power building and at Fort Point in San Francisco. My orange coat and pink accessories really popped against the muted colors of my surroundings. I still have the coat, but I wish I still had the cap. It’s so cute! Both my dad and I recorded “This Town.” I recorded it first it Movin’ With Nancy, but when Dad heard my recording, he loved it so much that he decided to record it himself. Can you name any of the other songs that Dad and I both recorded? Pick up a copy of Light In The Attic’s newly remastered, definitive edition of the Movin’ With Nancy soundtrack, featuring “This Town” on vinyl, or press play on your streaming platform of choice via the link below. 🔗 nancysinatra.komi.io
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In March 1921, a fifteen-year-old girl named Rose Sullivan made one of the most extraordinary escapes in American women's history — not through open doors or sunlit streets, but through the cold, dimly lit underground morgue tunnels beneath Boston City Hospital, eight months pregnant and following a kind stranger through passages where the dead were carried. . . Rose had been married at thirteen to a factory supervisor ten years her senior, an arrangement made by her own parents, and by the time she was heavily pregnant at fifteen, her husband Thomas had begun outlining a terrifying future: total isolation after the baby's birth, no visitors, no outings, complete control over everything she ate, wore, and said. So one March morning, she pretended to be in medical distress, let Thomas bring her to the hospital, slipped through a door marked "Staff Only — Basement Access," and disappeared into the labyrinth below. It was there that fifty-year-old morgue attendant Patrick O'Brien found her — lost, exhausted, and weeping among covered gurneys — and instead of turning her in, he simply said, "Follow me." He led her through the entire underground tunnel system, past the morgue, up cold stairwells, and through a door that opened into the Boston City Hospital Women's Medical Clinic, where Dr. Elizabeth Morrison took one look at this brave, trembling girl and immediately surrounded her with protection, medical care, and legal aid. Thomas did find the clinic, but it was too late — Rose was already safe. She gave birth one month later in the maternity ward, was granted a divorce, and raised her daughter, who grew up to become a nurse in that very same hospital for thirty years. Rose lived until 1999, dying at ninety-three, and before she passed she left the world these words: "I walked past death to reach life — every mother does that in childbirth. I just did it more literally than most." Patrick O'Brien recorded the day in his personal journal, writing that he had "used the tunnels of death to lead someone to life," and hospital historians later documented the story before the tunnels were permanently sealed in the 1970s. Rose's story is a reminder that courage does not always look heroic — sometimes it looks like a fifteen-year-old girl, eight months pregnant, putting one foot in front of the other through the darkest tunnel imaginable, because freedom was waiting on the other side. 📷 : AI imagination © Women In World History #archaeohistories
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