On Taking Responsibility

Heather Cox Richardson

A Boston College historian spent 30 years studying why great societies collapse — and she found 1 pattern that exposed the 3 words people always say right before everything falls apart.

Her name is Heather Cox Richardson. She is a history professor at Boston College. She has spent over three decades studying the rise and fall of American democracy. While most of us doomscroll through headlines until our stomachs turn, she does something different. She opens dusty archives. She reads forgotten letters. She traces the invisible cracks that appeared long before any civilization crumbled.

And after studying centuries of history, she noticed something chilling. The same three words appear again and again, spoken by ordinary people, just before disaster strikes.

“Someone will fix it.”

Let me explain what she means.

Picture an ordinary American family in 1859. A husband and wife sitting at a kitchen table. They have noticed things changing around them. The newspapers are angrier. Neighbors who once waved at each other now cross the street to avoid conversation. Political arguments at church gatherings have turned bitter and personal.

They feel the tension. They sense something is wrong. But they tell themselves the same thing millions of others are telling themselves at the very same moment.

Someone will fix it. The leaders will sort this out. The system is strong enough to hold.

Two years later, 620,000 Americans were dead in the bloodiest war the nation had ever seen.

To us, reading history books, the Civil War feels like it was always going to happen. We see the dates. We follow the timeline. We watch the dominoes fall in a sequence that seems obvious and unavoidable.

But to the people living through those years, nothing felt inevitable. They were just regular folks trying to get through their days. They believed things would work out because they had always worked out before.

Richardson has studied this pattern across American history, and she says it repeats with heartbreaking consistency. Good people see warning signs. They feel the ground shifting. But they convince themselves that someone else will step in. That the system will correct itself. That the fever will break on its own.

And by the time they realize no one is coming to save them, the window to act has already narrowed.

This is the heartbreak of studying history. You can see exactly where the exit ramps were. You can see the moments when one brave conversation, one different choice, one act of courage could have changed everything. You want to reach through time and shake people awake.

But here is where Richardson’s message shifts from warning to something powerful.

Those families in 1859 cannot go back. Their story is written. The ink is dry. The pages are sealed.

But ours are not.

We are living in an unfinished chapter. The pages ahead of us are completely blank. And unlike those families in 1859, we have something extraordinary on our side. We have their story. We know what happens when people stay silent. We know what happens when citizens assume the system will protect itself. We have centuries of hard evidence showing us exactly what the warning signs look like.

That knowledge, purchased at a staggering price by the generations who came before us, is our greatest advantage.

Richardson reminds us that civilizations almost never collapse in one dramatic moment. There is no single explosion. No single villain. No single day when everything falls apart. Instead, they erode. Slowly. Quietly. They die by a thousand small surrenders. They fade when exhausted people decide the fight is no longer worth having. They crumble when citizens forget one critical truth.

The system is not something separate from us. The system is us.

But Richardson also teaches the opposite lesson. Because history is not only a record of failure. It is also a record of impossible victories.

The women who fought for the right to vote had no guarantee of success. They marched for over 70 years. They were jailed. They were beaten. They were mocked in newspapers and dismissed by the men who held power. Many of them died without ever casting a single ballot. But they kept showing up. And they changed the world.

The civil rights activists of the 1950s and 1960s faced firehoses, attack dogs, bombings, and assassinations. Every single day, they woke up not knowing if their movement would survive. The outcome was never certain. Victory was never promised. But ordinary people, bone-tired and deeply afraid, chose to stand anyway.

Those movements did not succeed because the odds were in their favor. They succeeded because enough people refused to sit down when everything inside them wanted to quit.

And here is what Richardson wants us to carry with us today.

We are standing at our own crossroads right now. The chapter ahead is unwritten. That blankness feels terrifying. It keeps us awake at night. It makes us wonder if the future is already decided.

But it is not.

Every single day holds choices. How we talk to the person who disagrees with us. Whether we engage with our community or retreat behind locked doors. Whether we let fear push us toward silence or whether we find the courage to speak. Whether we surrender to the idea that nothing can be done or whether we pick up the pen and start writing something different.

Heather Cox Richardson has spent her life studying the ghosts of history. She knows their stories like old friends. She has traced their mistakes with sorrow and their victories with admiration.

But she does not live in the past. She lives in the fierce, stubborn hope of this present moment. Because she understands something most of us forget.

Inevitability only applies to what has already happened.

Tomorrow is still wet cement. We can still leave our handprints in it. We can still shape it into something worth passing down.

History is not a prison sentence. It is a map drawn by those who walked before us, showing us both the dead ends and the open roads.

The people who understand that map best are the ones standing in front of us right now, saying the same thing.

We still have time. But time does not wait for people who keep saying someone else will fix it.

The question was never whether we could change the story. The question has always been whether we will.

The Eagles – Hotel California

Doing the right thing is very rarely the wrong thing to do.

The Eagles

Weeks into recording “Hotel California” from the album “Hotel California” released in 1976, the Eagles faced a brutal realization. The master take sat in the wrong key for Don Henley’s vocal range. After investing countless studio hours polishing the arrangement, layering guitars, and tightening harmonies, the band made a costly decision. They scrapped the entire version and started again from the ground up.

The foundation of the track came from guitarist Don Felder, who had assembled a series of demo ideas on a 12 string guitar. When the band began shaping it in the studio, the instrumental track felt powerful and expansive. Henley pushed his voice to meet the melody line, but as sessions progressed, strain became obvious. The key demanded sustained high notes that could not hold up across multiple takes. Recording an album at that level of intensity meant repeating vocals for precision. A key that felt barely manageable on day one became punishing after weeks.

Producer Bill Szymczyk recognized the issue while listening to playback. Technically, nothing was wrong with the arrangement. The rhythm section locked in tightly. Joe Walsh and Don Felder were refining what would become one of the most recognizable dual guitar sequences in rock history. Randy Meisner had already departed the band by that time, leaving Timothy B. Schmit to handle bass duties during the later touring era, though the album sessions still reflected the earlier lineup transition period. The problem centered on sustainability. Henley’s voice carried emotional weight in “Desperado” from 1973 and “One of These Nights” from 1975, yet this melody required a slightly lower placement to preserve strength and tone.

Lowering the key meant dismantling everything. Guitar voicings changed. Chord shapes shifted. Harmonic textures had to be rebuilt. Tape in the mid 1970s was expensive, and studio time in Los Angeles did not come cheap. The band had already invested heavily in making “Hotel California” the defining statement of their career. Letting go of a completed version required discipline few artists demonstrate at that stage of success.

Henley later acknowledged in interviews that he preferred singing within a range that allowed intensity without damage. Touring schedules added pressure. A recording key that barely worked in the studio could collapse under the stress of nightly concerts. The Eagles had learned from earlier albums like “On the Border” released in 1974 that studio precision must translate to the stage. If the song became a single, which it eventually did in 1977, it needed to hold up in arenas.

The restart process sharpened the band’s focus. Instead of treating the setback as failure, they approached it as refinement. Joe Walsh, who had joined prior to the album’s release, contributed textural guitar work that deepened the atmosphere. Felder reworked his parts to match the adjusted pitch. Henley delivered vocals with greater control once the melody sat comfortably in his range. What had begun as a technical obstacle transformed into a defining strength.

There was also a psychological element. By 1976, the Eagles were no longer a developing act. They were expected to produce a landmark record. Pressure mounted from both the label and the industry. Starting over signaled that they valued longevity over convenience. Sacrificing weeks of labor showed a commitment to quality that shaped the final sound.

The finished recording of “Hotel California” achieved commercial and critical success, winning the Grammy Award for Record of the Year in 1978. Listeners never heard the discarded version. They heard a performance balanced between power and restraint. That balance existed because the band confronted a mistake early enough to correct it.

Choosing to reset the key preserved Henley’s vocal authority and secured the song’s durability for decades of live performances, proving that technical humility can define artistic permanence.

Is Brain Rot Real? Researchers Warn of Emerging Risks Tied to Short-Form Video

Heavy short-form video use trains your brain to favor speed and novelty, which weakens sustained focus and makes everyday tasks feel harder to finish.

Attention loss linked to scrolling reflects learned brain adaptation, not a lack of intelligence, motivation, or discipline.

Endless feeds strain self-control systems, raising stress and mental fatigue while leaving confidence and self-image largely unchanged.

Younger users and frequent daily scrollers show the strongest effects, but attention strain appears across all ages and platforms.

Source: https://articles.mercola.com/sites/articles/archive/2026/02/11/brain-rot-short-form-video.asp

Grain-Free Schizophrenia Cure

Grain-Free Schizophrenia Cure

Zero. That is the number of researchers who have published peer-reviewed studies on diet and schizophrenia who were contacted by the journalists who called the science “unfounded.”

Large Study Shows Flu Shot Increases The Risk Of Influenza By 27% – Yet 46% of Americans Still Go And Get Their Flu Shot A Year Later

As of January 31, 2026, approximately 46.0% of adults and 46.4% of children aged 6 months to 17 years reported having received a flu vaccination during the 2025-2026 season, showing a slight increase compared to the previous season.

A large Cleveland Clinic Study the year prior showed that the Flu Shot INCREASED THE RISK OF GETTING THE FLU BY 27%.

Finish reading: https://open.substack.com/pub/anamihalceamdphd/p/large-study-shows-flu-shot-increases

Amaranth

Amaranth Plants

A couple of years ago I discarded some amaranth seeds into my compost bins. Some time later I distributed that compost through my garde soil. I now have a crop of Amaranth that I am looking forward to harvesting!

HUNDREDS of studies now indicate COVID-19 “vaccines” are one of the LARGEST carcinogenic exposures in modern history.

They:

1. Increase your risk of 7 major cancers

2. Disrupt THOUSANDS of critical genes

3. Integrate into human genomes

4. Drive genome instability

5. Enable tumor immune escape

6. Suppress DNA repair mechanisms

7. Drive chronic inflammation

8. Cause immune dysregulation (?T-cells, type I IFN)

9. Disrupt microRNA networks controlling growth/apoptosis

10. Activate oncogenic signaling (MAPK, PI3K/AKT/mTOR)

11. Remodel the tumor microenvironment

12. Reactivate dormant cancers

13. Block innate immune sensing (TLR inhibition)

14. Produce aberrant proteins (frameshift errors)

15. Induce immune exhaustion

16. Promote IgG4 class switching

17. Contain plasmid DNA including SV40

18. Disrupt RAS signaling – oxidative stress + proliferation

19. Damage the microbiome(loss of immune balance)

20. Increase treatment resistance

To view the video:  https://substack.com/@stopthoseshots/note/c-206844481

Quote of the Day

“Just don’t give up trying to do what you really want to do. Where there is love and inspiration, I don’t think you can go wrong.” – Ella Fitzgerald, Singer (1917 – 1996)