Mathias updator

A wife & husband visited a farm, they saw a bull mating with a cow. The wife asked the farm manager:

"How many times does a bull mating per day?"
Manager replied: "6 times or more a day".
Wife: looks at her husband and said....."you see!!!"

Then the husband asked the manager: "You mean 6 times a day with the same cow?"
Manager said " No, No, with different cows everyday."
Husband looks to his wife and says ..."you see!!!"

And the fight started!!!

Who caused the fight???...🤔🤔🤔

https://bit.ly/3umRUWR

Miss Croatia has promised Croatian fans that she would go naked if they win the World Cup.

𝐀𝐍𝐎𝐓𝐇𝐄𝐑 𝐁𝐑𝐈𝐄𝐅:
𝐓𝐒𝐇𝐀𝐋𝐀 𝐌𝐔𝐀𝐍𝐀 𝐈𝐍 𝐒𝐄𝐀𝐑𝐂𝐇 𝐎𝐅 𝐈𝐍𝐓𝐄𝐑𝐍𝐀𝐓𝐈𝐎𝐍𝐀𝐋 𝐒𝐔𝐂𝐂𝐄𝐒𝐒
In the early 1980s, Tshala Muana exploded musically not in Kinshasa, where the rumba in Lingala dominates, but outside the country. tambour d'Afrique notes that: "In 1980 she decides to broaden her scope and embarks on a West African tour starting in Brazzaville and travels to Nigeria, Togo, and Ivory Coast. Success in Abidjan (the Capitol of the Ivory Coast) being one of the musical centers of Africa enabled Tshala Muana to finally realize her success once she won that area over with her 45th single "Amina" which she recorded in Paris in 1982. In 1984 she settles in Paris where she would eventually record 19 albums. She makes more world tours and almost everywhere she goes she wins awards and trophies for exceptional music. In 1987 she plays in the motion picture film “Falato”.

It should be said here that on his arrival in Abidjan, the Congolese artist Tshala Muana breathes Congolese music with the "Mutuashi", this dance with suggestive breathtaking swaying. She seduces and conquers the Ivory Coast and West Africa: "the coronation will come mainly from her live shows, where she displays all her artistic prowess as a showman: For three years, her shows- live in stadiums in Côte d'Ivoire and in some neighboring countries are taking place almost sold out, supported in this by the arrangements of the Ivorian artist Jimmy Hyaçinthe For most observers and objective critics of pan-African music, Tshala Muana is now part of the batch of Congolese artists who have hoisted the Congolese flag very high on the international musical scene".

Manda Tchebwa does not say anything else when he writes: “Then, in Abidjan, under the rule of J,~mmy Hyacinthe and Souzy Kasseya, Cap sur Paris, in the meanders of Parisian studios, we hear the first keyboards updating a folklore with Luba colors (kumba). it is the key that opens the door to global success. Tshibola, Cicatric