Xclusive Finds & Things LLc

Xclusive Finds & Things LLc Don’t be reclusive, shop XCLUSIVE for all you highend designer needs on a convenient budget.

We don’t want you to break the bank, just want you to look like you do and feel good while doing it!!!

03/22/2026

Hey ladies check out the comments section for some new items in.

Amariyé is 8 years old today. If anyone wants to bless him this is the cashapp so he can get Robux. $youknowineedit (Del...
03/12/2026

Amariyé is 8 years old today. If anyone wants to bless him this is the cashapp so he can get Robux.

$youknowineedit

(Dell

03/11/2026

Question......

XCLUSIVE members, I've been asked many times why I dont don't do baskets, I never thought about it. So to try it out I'm posting this to see how many would be interested.

Women's: Basket would contain: 1 luxury handbag, 1 house shoe slipper, 1 sleep eye mask, 1 perfume set, 1 pedicure set, 1 silk flower bouquet, 1 keepsake box, 1, journal & pen 1, bottle of wine.

Men's basket: 1, bath robe, 1 house slippers, 1 cologne set, 1 flask with glass set, 1 game hat (NFL, NBA, etc) 1 game towel, 1 bottle of liquor, 1 luxury sunglasses.

Let me know your thoughts

Black History is not just a month — it’s a living legacy.It’s the strength woven into our skin, the prayers whispered by...
03/01/2026

Black History is not just a month — it’s a living legacy.

It’s the strength woven into our skin, the prayers whispered by our ancestors, the resilience carried in our bones. We are the dream and the evidence. The sacrifice and the promise. The struggle and the triumph.

Every step we take is built on shoulders that refused to break. Every door we walk through was once a wall someone tore down with faith and fire.

We are art. We are innovation. We are leadership. We are divine.

And no matter what history tried to erase, we are still here — rising, building, loving, creating, thriving.

Black history is power.

Black history is excellence.

Black history is us. ✊🏾✨

Did you know?The phrase "packed like sardines" is deeply connected to Black history as a literal and metaphoric descript...
02/25/2026

Did you know?

The phrase "packed like sardines" is deeply connected to Black history as a literal and metaphoric description of the Middle Passage, the brutal oceanic journey of enslaved Africans to the Americas.
The connection manifests in three primary ways:
Slave Ship Conditions: For over 400 years, transatlantic slave ships were engineered to maximize profit by treating human beings as "cargo." Captives were crammed into the dark, disease-ridden holds of ships, often chained together and forced to lie on their sides to save space—a configuration historians and survivors frequently describe as being "packed like sardines in a can".
Visual Iconography: The most famous illustration of this condition is the Brookes slave ship diagram (1788). It visually documented how hundreds of people were systematically arranged in rows and layers, reinforcing the "sardine" metaphor to help the public visualize the scale of dehumanization.
Commercial Legacy: The National Museum of African American History and Culture houses artifacts like "Salaam Brand" sardine packaging, which reflects how later Black organizations, such as the Nation of Islam, utilized sardines as a symbol of economic self-sufficiency and affordable nutrition within the community.

Did you know?Most people have never heard of the Fultz Sisters. That is exactly the problem, because their story tells y...
02/22/2026

Did you know?

Most people have never heard of the Fultz Sisters. That is exactly the problem, because their story tells you everything about how Black children have been used, exploited, and forgotten in this country.

They came into the world on May 23, 1946, in North Carolina, four tiny girls weighing three pounds each, arriving together in a moment that was genuinely remarkable and genuinely rare. Mary Louise, Mary Ann, Mary Alice, and Mary Catherine were the first identical Black American quadruplets ever recorded in the United States, and from the very first hours of their lives, the world around them began making decisions about who they were and what they were worth without ever once asking their parents what they wanted.

Their mother, Annie Mae Fultz, was deaf and could not speak. Their father, Pete Fultz, was a sharecropper. Neither of them could read or write. They already had six other children, and they were living a life of genuine financial hardship on a farm in North Carolina, doing what Black families across the rural South had always done, finding a way to hold themselves together in a country that offered them very little help in doing so.

They were a family. They were not a spectacle. But the man who delivered those four babies saw something different when he looked at them.

Dr. Fred Klenner was the physician who delivered the quadruplets, and from the beginning his relationship with the Fultz family carried a troubling imbalance of power. Because Pete and Annie Mae could not read, they were dependent on others to interpret documents, explain agreements, and navigate a world that communicated primarily through written language. Dr. Klenner understood this. And rather than using that understanding to protect them, he used it to position himself at the center of everything that followed.

He named the girls himself, deciding without apparent hesitation that four children born to a Black family in the rural South did not need their parents to choose their names. He named them all Mary, after women in his own family. Mary Louise. Mary Ann. Mary Alice. Mary Catherine. Four individuals, each given a name that belonged more to someone else's legacy than to their own.

He also, during Annie Mae's pregnancy, administered high doses of vitamin C as part of his own personal medical research, using her body as a subject in an experiment she likely did not fully understand and almost certainly did not meaningfully consent to.

And then, before the girls were old enough to sit up on their own, he opened their home to strangers.

Klenner arranged for visitors to come to the Fultz home to see the Black quadruplets, setting up a schedule of visitation that turned a family's private space into something closer to a public exhibition. The babies were placed in a glass-enclosed nursery where curious onlookers could observe them as though they were a curiosity to be studied rather than children to be cherished. National media attention followed, and with that attention came exactly the kind of commercial interest that Dr. Klenner had been positioning himself to broker.

Pet Milk, a major dairy brand looking to expand its reach into the Black American consumer market, recognized in the Fultz sisters an opportunity. Dr. Klenner negotiated the deal between the company and the family. Pet Milk would sponsor the girls, and in exchange the family would receive a nurse, a new home, and a farm.

It sounded, on paper, like something that might genuinely help a struggling family. But the cost was carried by the children.

The girls were taken off their mother's breast milk and fed Pet Milk's product instead, a decision made not for their health but for the integrity of a commercial arrangement. From that point forward, the Fultz sisters were not just children growing up in North Carolina. They were a marketing campaign.

From 1947 to 1968, for more than two decades of their childhood and young adult lives, the sisters traveled across the country promoting Pet Milk. They appeared in magazines. They marched in parades. They attended events, shook hands, smiled for cameras, and represented a brand that had decided their faces were the most effective way to sell condensed milk to Black American households.

They met President Harry Truman. They met President John F. Kennedy. They were photographed alongside tennis legend Althea Gibson and boxing champion Floyd Patterson. Their fifth birthday party was broadcast on television, a moment of genuine joy offered to a watching public that had no idea what these little girls were carrying behind their smiles.

And throughout all of it, Dr. Klenner continued his vitamin C research, injecting the girls with dangerously high levels of the vitamin as part of his ongoing experiments, treating their bodies as data points in a study they had not agreed to participate in and could not have understood even if someone had thought to explain it to them.

This was their childhood. Public, managed, commercially owned, and medically exploited, wrapped in the appearance of opportunity while something essential was quietly being taken from them.

The girls did find moments of genuine achievement within the life that had been shaped around them. They attended Bethune-Cookman College on music scholarships, a testament to their own talents and to the legacy of that great institution of Black higher education founded by Mary McLeod Bethune. They studied for two years before leaving school and eventually working as nurses' aides, choosing a life of caring for others after spending so much of their own lives being handled rather than cared for.

And then, one by one, they began to die.

Mary Louise passed in 1991 at the age of forty-five. Mary Ann followed in 1995 at forty-nine. Mary Alice died in 2001 at fifty-five. Mary Catherine, the last of the four, passed in 2018 at seventy-two.

Every single one of them died of breast cancer.

That detail is not a footnote. It sits at the end of their story like a weight that refuses to be lifted, and it demands to be examined alongside everything else that was done to their bodies without their consent from the very beginning of their lives. We may never know with certainty what role the medical experiments they were subjected to as infants and children played in the health outcomes they experienced as women. But we know that four sisters, born together, died of the same disease, and that their bodies had been used for someone else's purposes since before they could walk.

They deserved better. Every single day of their lives, they deserved better.

They deserved parents who could have advocated for them fully and freely without being disadvantaged by illiteracy in a system designed to exploit exactly that vulnerability. They deserved a doctor who saw them as patients rather than subjects. They deserved a childhood that belonged to them rather than to a brand. They deserved to grow old, all four of them, together.

What the Fultz sisters' story reveals is something that Black families across America have known for generations, that Black life, and particularly Black childhood, has never been safe from the appetites of institutions and individuals who saw in Black bodies an opportunity to profit, to experiment, to display, and to use.

It is a story that echoes across centuries, from the exploitation of enslaved people's bodies for medical knowledge that built modern American medicine, to the Tuskegee experiments, to the quadruplets in a glass nursery in North Carolina whose names were chosen by a man who saw them as an extension of his own ambitions before they were a single day old.

And yet even within all of that, the Fultz sisters lived. They traveled and they sang and they studied and they worked and they cared for sick people and they loved each other across a lifetime of shared experience that no amount of exploitation could fully reach. Their bond was their own. Their love for one another was their own. And their story, finally told on their own terms, belongs to all of us now.

Black history is so much deeper than what we were taught in school. It lives in the stories of four little girls at three pounds each, placed behind glass for strangers to stare at, growing up into women who somehow, through everything, held on to each other until the very end.

Teach this story. Share it. Say their names. And remember that honoring Black history means honoring all of it, including the parts that make us uncomfortable, including the parts that reveal how much was taken, and including the parts that show, even in the taking, the undeniable and unbreakable dignity of Black life.

Good morning. I would like to say thank you to every who shopped on the weekend. Y'all are greatly appreciated. Hoping y...
02/18/2026

Good morning. I would like to say thank you to every who shopped on the weekend. Y'all are greatly appreciated. Hoping yall have a great day and enjoy your items!!!!

Happy Love Day. Check comments for pics. Everything is 1️⃣6️⃣5️⃣ not including shipping ladies. They are all marked down...
02/14/2026

Happy Love Day. Check comments for pics. Everything is 1️⃣6️⃣5️⃣ not including shipping ladies. They are all marked down significantly

02/13/2026

Having a huge sale. I posted why everything must go in my shopping group. If you're not in there message me for link as I don't share my phone number publicly as everyone is claiming items by text message. I'll post photos in the comments of what I'm selling. Thank you.

Did you know?They feared his body even after his death.So much so that they buried him under concrete.This is the story ...
02/08/2026

Did you know?

They feared his body even after his death.

So much so that they buried him under concrete.

This is the story of John William Rogan, known to the world as Bud Rogan, the tallest man of African descent ever recorded, and one of the tallest human beings in history.

John William Rogan was born in 1868 in Sumner County, Tennessee, just three years after the end of slavery. He was born an ordinary-sized Black child in the Reconstruction South, into a world already hostile to Black bodies. No one could have imagined that this quiet boy would grow into a figure that would challenge science, spectacle, and racism all at once.

At the age of thirteen, Rogan began to grow at an extraordinary rate. His height increased rapidly, driven by a rare medical condition later understood to be related to pituitary gigantism. As his body stretched upward, his joints began to stiffen. Ankylosis slowly fused parts of his skeleton together, robbing him of mobility. By adulthood, Rogan could no longer stand or walk on his own.

By the time of his death, Rogan measured approximately eight feet eight inches tall while seated. Earlier estimates placed him as tall as eight feet nine inches. He weighed just 175 pounds at the end of his life, his body elongated and fragile, stretched beyond what medicine of the time could understand or support. He became the tallest African American ever recorded and the second tallest man in documented history.

But Rogan refused to be turned into a spectacle.

At a time when tall bodies, disabled bodies, and especially Black bodies were routinely exploited by carnivals, freak shows, and traveling exhibitions, Rogan said no. He rejected every offer to be displayed, examined, or paraded for entertainment. That decision cost him financially. He had no steady income, no institutional support, and no medical care capable of easing his condition.

Instead, Rogan chose dignity.

Unable to walk, he built a cart from his own bed and moved through his community pulled by goats. He taught himself to draw and became an artist. He sold his sketches, portraits, and postcards at the local railway station. His artwork circulated where his body would not. It was his way of surviving in a society that had no place for him except as a curiosity.

Even in life, scientists were obsessed with him. They measured him, speculated about him, and treated his body as a medical puzzle rather than a human being. That obsession did not end when he died.

John William Rogan passed away in 1905 at just thirty-five years old from complications related to his condition. His family knew exactly what would come next. In an era when Black bodies were routinely stolen, dissected, and displayed without consent, they took a radical step.

They buried him beneath a layer of concrete.

Not out of shame, but protection.

They did it to stop grave robbers, doctors, and so-called scientists from stealing his remains. They did it to ensure that even in death, Rogan would not be claimed, owned, or violated by institutions that never cared for him while he lived.

Bud Rogan’s story is not just about extraordinary height. It is about boundaries. About a Black man who lived in a time when his body was seen as property and refused to surrender it. It is about choosing self-respect over survival at any cost. About creativity in the face of isolation. About family protecting dignity when the world would not.

He was not a sideshow.
He was not a specimen.
He was not a mistake.

John William “Bud” Rogan was a man who stood taller than history expected him to, even when he could no longer stand at all.

And they had to pour concrete just to let him rest in peace.

Did you know?Eartha Kitt was born in the cotton fields of South Carolina on January 17, 1927, a pregnancy resulting from...
01/19/2026

Did you know?

Eartha Kitt was born in the cotton fields of South Carolina on January 17, 1927, a pregnancy resulting from the r**e by a white plantation owner and a sharecropper mother of African-American and Cherokee Native American descent.

Kitt was raised by Anna Mae Riley, an African-American woman whom she believed to be her mother. Anna Mae went to live with a black man when Eartha was aged eight. He refused to accept Kitt because of her relatively pale complexion.

Kitt lived with another family until Riley's death. She was then sent to live in New York City with Mamie Kitt, who she learned was her biological mother.She had no knowledge of her father, except that his surname was Kitt and that he was supposedly a son of the owner of the farm where she had been born.

Newspaper obituaries state that her white father was "a poor cotton farmer"Given away by her mother, she arrived in Harlem at age nine, and at age 15, she quit high school to work in a Brooklyn factory. As a teenager, Kitt lived in friends' homes and in the subways. However, by the 1950s, she had sung and danced her way out of poverty and into the spotlight.

Kitt began her career as a member of the Katherine Dunham Company in 1943 and remained a member of the troupe until 1948. A talented singer with a distinctive voice, she recorded the hits "Let's Do It"; "Champagne Taste"; "C'est si bon" (which Stan Freberg famously burlesqued); "Just an Old Fashioned Girl"; "Monotonous"; "Je cherche un homme"; "Love for Sale"; "I'd Rather Be Burned as a Witch"; "Katibim" (a Turkish melody); "Mink, Schmink"; "Under the Bridges of Paris"; and her most recognizable hit, "Santa Baby", which was released in 1953. Kitt's unique style was enhanced as she became fluent in the French language during her years performing in Europe. Her English-speaking performances always seemed to be enriched by a soft French feel. She spoke four languages and sang in seven, which she effortlessly demonstrated in many of the live recordings of her cabaret performances. Orson Welles called her "the most exciting girl in the world".

In 1968, during the administration of US President Lyndon B. Johnson, Kitt encountered a substantial professional setback after she made anti-war statements during a White House luncheon. Kitt was invited to the White House luncheon and was asked by Lady Bird Johnson about the Vietnam War. She replied: "You send the best of this country off to be shot and maimed. No wonder the kids rebel and take pot."

During a question and answer session, Kitt stated:

"The children of America are not rebelling for no reason. They are not hippies for no reason at all. We don’t have what we have on Sunset Blvd. for no reason. They are rebelling against something. There are so many things burning the people of this country, particularly mothers. They feel they are going to raise sons — and I know what it’s like, and you have children of your own, Mrs. Johnson — we raise children and send them to war."

Her remarks reportedly caused Mrs. Johnson to burst into tears and led to a derailment in Kitt's career. The public reaction to Kitt's statements was extreme, both pro and con. Publicly ostracized in the US, she devoted her energies to performances in Europe and Asia.

She took over the role of Catwoman for the third and final season of the television series "Batman" (1966), replacing Julie Newmar. Eartha Kitt died of colon cancer in her home in Weston, Conneticut on Christmas Day 2008.

Source: Bio, Wikipedia

Louis Vuitton was born in 1821 in a small village in eastern France. When he was just 13 years old, he ran away from hom...
01/17/2026

Louis Vuitton was born in 1821 in a small village in eastern France. When he was just 13 years old, he ran away from home and walked more than 400 kilometers to Paris. The journey took him nearly two years. Along the way, he survived by taking small jobs, sleeping wherever he could, and learning how to adapt. By the time he arrived in Paris, he had almost nothing — but he had determination.

In Paris, Vuitton became an apprentice to a box-maker and packer. This was an important job in the 19th century. Wealthy people traveled with many belongings, and everything had to be packed carefully by hand. Vuitton learned how to build strong wooden trunks and how to pack clothes so they would not wrinkle or get damaged during long trips.

His skills made him stand out. In 1854, he opened his own workshop in Paris. At the time, most trunks had rounded tops, which made them hard to stack. Vuitton introduced a flat-top trunk that was lighter, stronger, and easier to transport. This simple idea changed travel forever.

As his trunks became popular, copies appeared quickly. To fight this, Vuitton created special patterns and materials to make his trunks easier to recognize and harder to fake. This is how the famous Louis Vuitton designs began — not as decoration, but as protection against counterfeits.

Louis Vuitton died in 1892, but his work did not stop there. His son, Georges Vuitton, expanded the business and turned it into an international brand. Over time, the company moved from travel trunks to handbags, fashion, and accessories.

What makes Vuitton’s story interesting is that it did not start with luxury. It started with hard work, craftsmanship, and practical solutions to real problems.
Discover the untold story behind the world’s most iconic luxury brand. Click to dive into Louis Vuitton’s journey from humble beginnings to global fame — you won’t want to miss this:

https://ifeg.info/2026/01/15/louis-vuitton-a-journey-of-resilience-innovation-and-legacy/

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