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qqueenofhades · 7 months

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i registered to vote for the first time ( i feel old) now that im an adult but my state has closed primary elections which i was wondering if you have an opinion about. my initial thought was that its bad because i had to register democrat (rather than my states green party which represents my beliefs more) just so i could vote between democrat candidates, which feels like being pressured into supporting the weird pseudo two party system we have. but then i looked it up and apparently a reason for this is so that people from opposing parties wont purposefully mess up the votes just so that their preferred candidates have an easier time winning, and i think that makes sense too. but is that actually the reason theyve closed it or is it just to force us dem/republican?? cause it feels strange

Okay, look. I respect the fact that you're a young person, and I appreciate that you have not only registered to vote, but plan to vote in the primaries, so I don't want to lecture you too much. That said: I am taking you out for coffee, I am sitting you down, I am looking into your eyes, and I am urgently telling you the following:

The Green Party is a scam. It is a scam. It has existed for decades in American politics as an empty shell corporation weaponizing the good intentions of young people like yourself, because all it theoretically stands for "it's good to save the planet maybe." Which is not something that any non-insane person seriously disagrees with, but there is no world in which that cause is actually furthered by registering/voting Green (you mentioned that you did vote for Democrats, which -- good, but listen to me here, youngun, okay?) It ran Jill Stein in 2016 to siphon more votes from HRC, and this election it plans to run Cornel West, a pro-Russian tankie who positively equated Bernie and Trump, as another spoiler candidate. It does not stand for "protecting the planet" or America in any real way. It has never elected a single senator or congressman, let alone a president. It stands for empty performance/grievance political theater by those people who feel too morally superior to vote for/affiliate with Democrats, often because the internet has told them that it's not Cool or Hip or Progressive enough.

If your main priority is climate/the environment, you're doing the right thing by registering as a Democrat and voting for Democrats. (Also: the adjectival form is Democratic. It is the Democratic party and Democratic candidates, otherwise you sound like the Fox News host who wrote a book literally entitled "The Democrat Party Hates America.") They are the only major party who has in fact passed major climate legislation and have made environmental justice a central tenet of their platform. As opposed to the Republicans, whose Project 2025, along with the rest of its nightmare fascist prescriptions, openly pledges to completely wreck existing climate protections and forbid any new ones, just because we weren't all dying fast enough under their death-cult rule already. That's the main logical fallacy I don't get among both the Online Leftists and the American electorate in general: "the Democrats aren't doing quite enough as I'd like, so I'll enable the active wrecking ball insane lunatics to get in power and ruin even the progress we HAVE managed to make!" Like. How does that even make sense?

On a federal level, the Greens have contributed nothing whatsoever of tangible value to American or international climate policy/legislation, environmental justice, or anything else, because as noted, they don't have any elected candidates and mostly focus on drawing voters away from Democrats. There might be plenty of good candidates on the local or city level, which -- great! Vote away for Greens if they're available, or the only other option is a Republican! But on the federal/primary level, please understand: once again, they are a scam. There is no point in affiliating yourself with them. You're welcome to register Green and vote Democratic, if that makes you feel better or if you prefer having another label next to your name, but once again, I'm telling you in my position as a salty Tumblr elder that they have done nothing but harm to the causes they claim to care about, because "environment" is such a nebulous priority and has demonstrably been hijacked to stop the American government entity, i.e. the Democrats, that is actually working to improve on it.

As for your question: nobody is "forcing" or "pressuring" you to vote in primaries. By your own admission, you made a conscious choice to register as a Democrat in order to vote for Democratic candidates. If you were just a regular registered voter of whatever party affiliation, you would vote in the general election for whatever candidate the primary process produced. But if you are sufficiently vested and committed to that process that you would like to have a say in who is running under that party label, it is not unreasonable that you would register as a member of that party. Nobody has twisted your arm behind your back and made you do so; you are taking a considerable level of initiative on your own. Likewise, open primaries can be both a good and bad thing. This falls under the "the political system we have is flawed, but we can't magically pretend it doesn't exist and act according to our own fantasyland versions of reality" thing that I keep saying over and over. So yes, if you want a role in shaping the Democratic candidates who emerge from a Democratic primary process, you will usually register as a Democrat, and nobody has forced you to do that. It's that simple.

Likewise as a general programming note: I'm trying to cut back on politics a bit right now, because I don't have the spoons/bandwidth/mental health to deal with it. I apologize. So if you've sent me a politics-related ask recently and haven't received a response, I'm not deliberately or maliciously ignoring you; I just am not able to handle it as much as usual and will have to put it on pause. However, I feel as if this is important enough to be worth saying, so, yeah.

#anonymous #ask #politics for ts

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thefearandnow · 10 months

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So with Oppenheimer coming out tomorrow, I feel a certain level of responsibility to share some important resources for people to understand more about the context of the Manhattan Project. Because for my family, it’s not just a piece of history but an ongoing struggle that’s colonized and irradiated generations of New Mexicans’ lives and altered our identity forever. Not only has the legacy of the Manhattan Project continued to harm and displace Indigenous and Hispanic people but it’s only getting bigger: Biden recently tasked the Los Alamos National Lab facility to create 30 more plutonium pits (the core of a nuclear warhead) by 2026. So this is a list of articles, podcasts and books to check out to hear the real stories of the local people living with this unique legacy that’s often overlooked.

This is simply the latest mainstream interest in the Oppenheimer story and it always ALWAYS silences the trauma of the brown people the US government took advantage of to make their death star. I might see the movie, I honestly might not. I’m not trying to judge anyone for seeing what I’m sure will be an entertaining piece of art. I just want y’all to leave the theater knowing that this story goes beyond what’s on the screen and touches real people’s lives: people whose whole families died of multiple cancers from radiation from the Trinity test, people who’s ancestral lands were poisoned, people who never came back from their job because of deadly work conditions. This is our story too.

The first and best place to learn more about this history and how to support those still resisting is to follow Tewa Women United. They’ve assembled an incredible list of resources from the people who’ve been fighting this fight the longest.

https://tewawomenunited.org/2023/07/oppenheimer-and-the-other-side-of-the-story

The writer Alicia Inez Guzman is currently writing a series about the nuclear industrial complex in New Mexico, its history and cultural impacts being felt today.

https://searchlightnm.org/my-nuclear-family/

https://searchlightnm.org/the-abcs-of-a-nuclear-education/

https://searchlightnm.org/plutonium-by-degrees/

Danielle Prokop at Source NM is an excellent reporter (and friend) who has been covering activists fighting for Downwinder status from the federal government. They’re hoping that the success of Oppenheimer will bring new attention to their cause.

https://sourcenm.com/2023/07/19/anger-hope-for-nm-downwinders/

https://sourcenm.com/2022/01/27/new-mexico-downwinders-demand-recognition-justice/

One often ignored side of the Manhattan Project story that’s personal for me is that the government illegally seized the land that the lab facilities eventually were built on. Before 1942, it was homesteading land for ranchers for more than 30 families (my grandpa’s side of the family was one). But when the location was decided, the government evicted the residents, bought their land for peanuts and used their cattle for target practice. Descendants of the homesteaders later sued and eventually did get compensated for their treatment (though many say it was far below what they were owed)

https://www.hcn.org/issues/175/5654

Myrriah Gomez is an incredible scholar in this field, working as a historian, cultural anthropologist and activist using a framework of “nuclear colonialism” to foreground the Manhattan Project. Her book Nuclear Nuevo Mexico is an amazing collection of oral stories and archival record that positions New Mexico’s era of nuclear colonialism in the context of its Spanish and American eras of colonialism. A must read for anyone who’s made it this far.

https://uapress.arizona.edu/book/nuclear-nuevo-mexico

There isn’t a ton of podcasts about this (yet 👀) but recently the Washington Post’s podcast Field Trip did an episode about White Sands National Monument. The story is a beautifully written and sound designed piece that spotlights the Downwinder activists and also a discovery of Indigenous living in the Trinity test area going back thousands of years. I was blown away by it.

https://www.washingtonpost.com/podcasts/field-trip/white-sands-national-park/

#oppenheimer #oppenheimer movie #barbenheimer #manhattan project #new mexico #los alamos #I never do posts like this #but I felt compelled #theres just so much like nuclear worship going on right now

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kadextra · 11 months

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QSMP - Black Signs Masterpost :)

Every sign placed thus far by the unknown entity!

Day 45

Foolish was the first to see the black signs, after him and Leo were attacked at Vegetta’s house by the binary code that translated to 777.

One sign said "LAST WARNING" and another said "LEAVE"

He went back to his house afterwards and saw the sign "Don't Dig Down :)" - underneath that exact spot was a pit full of creepers that exploded.

Later, he went to deliver a record of the day's events to Cellbit, where a sign with a smile appeared to him in the office...

All of these signs seemed to be threats/warnings to Foolish.

Day 46

A lot of signs appeared on this day!

During an egg quest that took Fit, Dapper, and Ramon to the middle of the ocean, a black sign with a smile showed up right next to them, and the three ran away.

Foolish also saw a sign in Leo's room that said "Watching You Constantly :)"

Later that day, Roier and Bad were following Cucurucho. During this, Roier was shown a black sign with a smile:

Bad also got shown a sign with a smiley face, but got another sign that said "well done” …

??? Why did it praise him for spying on Cucurucho? This sign raises the most questions. the full clip

Maxo got a black sign later that day as well, when he was mining out a space underground for a project. I don't have a screenshot for this one sadly :(

Day 47

After the Ordo Theoritas was offically created and the team had a group meeting, a black sign with a smiley face suddenly appeared above the doorway to Cellbit's theater room, showing that the entity listened to their entire conversation.

Since then, the signs hadn't appeared again for a long time. Until…

Day 88

At the very top of the newly created Federation Election building is a small room that no one can access. In that room is 4 black signs, all with smiley faces, placed around a central shulker box...

Day 91

q!Bad got into the room and looked in the smiley shulker box. There was a book inside that said:

“I HOPE YOU ENJOY THE ISLAND.” …..

When more appear, I’ll update this post

#there’s theories that the entity is related to the codes #and theories that it’s related to the federation #but we don’t know yet #could even be a third party #qsmp #also the ‘bad man’ signs obvs aren’t here bc those are a prank #the one in cellbit’s castle is also a prank by foolish #all the ones here are 100% legit #long post

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jbaileyfansite · 2 hours

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Interview with the Los Angeles Times (2024)

“This is where all the cruising happened.”

Jonathan Bailey and I are standing in Pershing Square on a bright, blustery spring afternoon, nearing the end of a homemade queer history tour of downtown L.A.: One Magazine, Cooper Do-Nuts/Nancy Valverde Square, the Dover bathhouse, the Biltmore Hotel and this, the city’s former Central Park, a haven, since before World War I, for “fairies” and “sissy boys,” servicemen on leave and beatniks on the road.

“Is it still happening now?” he asks.

“Probably not as much,” I venture.

“Well, you let me know if it’s happening,” he teases, a mischievous smile lighting up his face.

Bailey understands the uses of the charm offensive. As Sam, the handsome Lothario of Phoebe Waller-Bridge’s delightful pre-”Fleabag” curio, “Crashing”; Anthony, the romantic hero of “Bridgerton’s” second season; and John, the jerk of a protagonist in Mike Bartlett’s love triangle play “Cock,” the English actor, 36, has swaggered up to the precipice of superstardom. With roles in such studio tentpoles as “Wicked” and “Jurassic World” on the horizon, he may just break through. Yet he delivers career-best work in Showtime’s queer melodrama “Fellow Travelers,” as anti-Communist crusader-turned-gay rights activist Tim Laughlin, by leaving behind the self-assured rakes and tapping a new wellspring: soft power.

Tim may be, as Bailey puts it, “an open nerve,” but as it turns out, the devout Catholic and political naïf — who falls for suave State Department operative Hawkins “Hawk” Fuller (Matt Bomer) just as Sen. Joseph McCarthy tries to purge the federal government of LGBTQ people — is formidable indeed.

Stretching from the Lavender Scare to the depths of the AIDS crisis, in scenes of tenderness, cruelty and toe-curling sex, Bailey’s performance communicates that little-spoken truth of relationships: It takes more strength to submit than it does to control. The former demands discipline, courage, trust; the latter requires only force.

“In ‘Bridgerton,’ [Bailey] is like a Hawkins Fuller character — he is very sexy and has lots of power, has that kind of confident charisma that absolutely is not Tim at all,” says “Fellow Travelers” creator Ron Nyswaner.

But any doubt about Bailey’s ability to mesh with Bomer, who boarded the project early in development, was put to bed with the actors’ virtual rehearsal of a meeting on a park bench in the pilot. “‘Well, that’s a first,’” Nyswaner recalls an executive texting him. “I cried in a chemistry read.”

‘Am I inviting people in?’

Bailey grew up in a musical family in the Oxfordshire countryside outside London, and this, coupled with an appreciation for the morning prayers, choir practice and Mass he attended as a scholarship student at the local Catholic school, fed his precocious talents. (“I loved the performance of it,” he laughs. “Not to diminish the celebration of religious process, but I did love the idea of wearing a gown.”) By age 10, he’d appeared in the West End, playing Gavroche in a production of “Les Misérables,” an experience he now recognizes as an encounter with a queer found family — albeit one shadowed by the toll of the AIDS crisis, which peaked in the U.K. in the mid-1990s.

“When I’m asked about my childhood, there’s so much I don’t remember, and I think that’s true of anyone who’s been in fight or flight for 20 years,” he says. “I would have been in a cast of people whose friends would have died in the last seven years. I think of where I was seven years ago. I had all my gay friends then. It’s only retrospectively that I can retrofit a real gay community around me [in the theater], that I just wasn’t aware of [then].”

During the late 1990s and early 2000s, American and British culture presented queer adolescents with a bewildering array of mixed signals. As beloved celebrities came out in growing numbers, and the battle for marriage equality became a central locus of LGBTQ political organizing, the media continued to propagate harmful stereotypes of gay men as miserable, lonely, perverted or worse — and, Bailey remembers, callously turned George Michael, arrested on suspicion of cruising in a Beverly Hills restroom in 1998, and Irish pop star Stephen Gately, who revealed his sexuality in 1999, fearful he was about to be outed, into tabloid spectacles.

No wonder Bailey, like many LGBTQ people of his generation, should feel the “chemical” thrill of “validation and acceptance” during London Pride at age 18, then embark on a two-year relationship with a woman in his 20s.

“Dangerously, if you’re not exposed to people who can show you other examples of happiness, you think that’s the easiest way to live,” Bailey says. “It’s funny. You look back and you can tell the story in one way, which is that I always knew who I was and my sexuality and my identity within that. But obviously at times, it was really tough. I compromised my own happiness, for sure. And compromised other people’s happiness.”

Disclosures about his personal life have become particularly thorny for the actor since the premiere of “Bridgerton,” the blockbuster bodice-ripper from executive producer Shonda Rhimes.

“The Netflix effect does knock you off center completely,” he says, recalling the experience of finding a paparazzo waiting outside his new flat before he’d even moved in. “Suddenly, you do start having nightmares about people climbing in your windows... Even now, talking about it makes me feel like, ‘Am I inviting people in?’”

He is also critical of the media for churning out headlines about the smallest details of celebrities’ private lives, often detached from their original context. In an interview with the London Evening Standard published in December, Bailey described a harrowing encounter in a Washington, D.C., coffee shop in which a man threatened his life for being queer — and, in recounting the experience, offhandedly mentioned the “lovely man” he’d called, shaken, after it happened. Although Bailey acknowledges that the original story handled the subject with aplomb, he felt dismayed that more attention wasn’t paid to the intended warning about rising anti-LGBTQ sentiment: “The only thing that got syndicated from that story was that I had a boyfriend, and it wasn’t true,” he sighs. “It was kind of depressing, if I’m honest.”

Still, Bailey, who once turned down a role in a queer-themed TV series because it would have required him to speed along revelations about his personal life he wasn’t ready to make, is prepared to embrace the power of vulnerability when it feeds the work. Although a member of his inner circle expressed doubts about “Fellow Travelers’” steamy sex scenes, for instance, the actor intuited that they were what made the project worth doing: “I was like, ‘I’m telling you, they are the reason why this is going to be brilliant.’”

‘He’s changed my trajectory in my own life’

To those who would complain about the state of sex in film and TV, “Fellow Travelers” is the perfect riposte. All of it matters, from Tim’s first flirtation with Hawk to the finale’s closing minutes, because the series, at its core, is about the importance of soft power: the strength required to bend, but not break; to adapt, but not abandon oneself; to survive without shrinking to nothing in the process.And depicting that through sex, specifically gay sex, makes “Fellow Travelers” radical indeed.

Bailey understands that baring so much comes with certain risks. When I tell him that research for the story has filled my algorithmic “For You” feed on X (formerly Twitter) with speculation that his onscreen relationship with Bomer has a real-life element, he notes that “shipping” fictional couples and costars alike has long been part of Hollywood fantasy. But he bristles at the implication that he and Bomer are anything but skilled actors at work.

“I would love for people to know that the success of our chemistry isn’t based on us f—. It’s actually about us leaning into the craft,” he says. “It’s a vulnerable situation to be in, talking about it on record. I don’t want to rob people of their thoughts. But I do have a set of values, and as an artist, you don’t need to be f— to tell that love story.”

Underlying that craft, Bailey adds, is the confidence to speak up, as with one scene in “Fellow Travelers” that was adjusted because he said, “I don’t want to be naked today.” He learned to use his voice the hard way: In his early 20s, he recalls, he was once “bullied” on set when “someone was threatened” by him and vowed to himself, “I’m never going to do that to someone. I’m never going to allow that to happen.”

This impulse to direct his influence in support of others has blossomed further with “Fellow Travelers.” On the day of our interview, Bailey enthuses about an upcoming meeting with legendary gay rights activist Cleve Jones and shares his idea for a docuseries recording the stories of elders in the LGBTQ+ community while they are still here to tell them. He describes lying in a hospital bed on set on World AIDS Day, in character as Tim, surrounded by gay men who had lost friends and lovers during the crisis, and finding himself thinking, “What do I want to leave behind?”

“I think he’s changed my trajectory in my own life,” Bailey says.

This is, perhaps, the most common reaction I know to diving deep into queer history — the understanding that we, like our forerunners, are responsible for shaping the queer future, whether in politics, society or art. No one is going to do it on our behalf.

As we stand on the nondescript corner now named for her, I relate the story of the late queer activist Nancy Valverde, who was arrested repeatedly while a barber school student in the 1950s on suspicion of “masquerading” because of her preference for short hair and men’s clothing, and later successfully challenged her harassment by the police in court.

“What a hero!” Bailey exclaims, wondering at Valverde’s bravery. “The thing that’s so interesting with power battles is, ultimately, identity is the thing that gives you the most strength and power in your life, isn’t it?

“Because that’s one thing people can’t take away from you: who you are and how you express yourself.”

Source

#jonathan bailey #jonny bailey #interviews #interviews:2024 #LA times interview 2024 #LA times #fellow travelers #NEW!

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shewhoworshipscarlin · 3 months

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Alvin Childress

Alvin Childress (September 15, 1907 – April 19, 1986) was an American actor, who is best known for playing the cabdriver Amos Jones in the 1950s television comedy series Amos 'n' Andy.

Alvin Childress was born in Meridian, Mississippi. He was educated at Rust College, from which he received a Bachelor of Arts degree in sociology. When he initially entered college, Childress intended to become a doctor, enrolling in typical pre-med courses. He had no thoughts of becoming involved in acting, but became involved in theater outside of classes. Childress and Rex Ingram in the Federal Theatre Project production of Haiti (1938)

Childress's first wife was the former Alice Herndon, who established herself as a successful writer and actress under the name of Alice Childress (1916–1994); the couple was married from 1934 to 1957 and had a daughter, Jean Rosa. From 1961 to 1973, Childress worked as an unemployment interviewer for the Los Angeles Department of Personnel and in the Civil Service Commission of Los Angeles County.

Childress moved to New York City and became an actor with Harlem's Lafayette Players, a troupe of stock players associated with the Lafayette Theatre. Soon, he was engaged as an actor in the Federal Theater Project, the American Negro Theater, and in all-black race film productions such as Keep Punching (1939). His greatest success on the stage was his performance as Noah in the popular drama, Anna Lucasta, which ran for 957 performances. He also worked at Teachers College of Columbia University. Childress also operated his own radio and record store in New York City. When he learned about casting for the Amos 'n' Andy television series, Childress decided to audition for a role. He was hired a year before the show went on the air.

In 1951, he was cast as the level-headed, hard-working and honest Amos Jones in the popular television series, The Amos 'n' Andy Show, which ran for two years on CBS. Childress originally tried out for the role of The Kingfish, but Charles Correll and Freeman Gosden cast him as Amos. Since he had been hired a year before the show began, Gosden and Correll turned the search for an actor to play "The Kingfish" over to Childress. In a 1979 interview, Childress shared information about some of the candidates. Cab Calloway was considered but found wanting by Gosden because of his straight hair. Childress said there were many famous men, with and without actual acting experience, who wanted to play the role. Eventually, old-time vaudeville comedian Tim Moore was cast as the Kingfish.

Shortly after the television show had ended, plans to turn it into a vaudeville act were announced in 1953, with Childress, Williams and Moore playing the same roles as they had in the television series. It is not known if there were any performances. In 1956, after the television show was no longer in production, Childress and some of his fellow cast members: Tim Moore, Spencer Williams, and Lillian Randolph along with her choir, began a tour of the US as "The TV Stars of Amos 'n' Andy". The tour was halted by CBS as the network considered this an infringement of their rights to the program and its cast of characters. Despite the threats which ended the 1956 tour, Childress, along with Moore, Williams and Johnny Lee were able to perform one night in 1957 in Windsor, Ontario, apparently without legal action. When he tried for work as an actor, Childress found none as he was typecast as Amos Jones. For a short time, Childress found himself parking cars for an upscale Beverly Hills restaurant.

Childress also appeared in roles on the television series Perry Mason, Sanford and Son, Good Times and The Jeffersons and in the films Thunderbolt and Lightfoot (1974) and The Day of the Locust (1975). When Childress appeared as a minister in a 1972 episode of Sanford and Son, he was reunited with two former cast members: Lillian Randolph of Amos 'n' Andy in the role of Aunt Hazel and Lance Taylor, Jr. of Anna Lucasta, with the role of Uncle Edgar.

Childress suffered from diabetes and other ailments. He died at age 78 on April 19, 1986, in Inglewood, California. He was buried at National Memorial Harmony Park in Landover, Maryland.

#historical #black history month #actor

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eretzyisrael · 2 months

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by Dion J. Pierre

A famous theater in the Ontario province of Canada is facing widespread criticism over its “postponement” of the upcoming Hamilton Jewish Film Festival, a decision that many observers have interpreted as a cancelation motivated by anti-Israel animus.

“After receiving numerous security and safety related emails, phone calls, and social media messages, the Playhouse Cinema reached a difficult decision to postpone the Hamilton Jewish Federation’s venue rental,” the Playhouse Cinema, located in the city of Hamilton, said in a statement posted to X/Twitter on Tuesday. “On Saturday, March 16, our decision to postpone this venue rental was reached amid security and safety concerns at this particularly sensitive time.”

Organized by the Hamilton Jewish Federation, the event was slated to feature six films across three days, April 7-9, with each exploring different eras of Jewish history, from life in modern day kibbutzim bordering the Gaza strip to Poland during the communist purges of Jews in the 1960s. Several of the films were written and produced in Israel by Israeli creators.

On Wednesday, the Hamilton Jewish Federation said that Playhouse Cinema, in canceling the festival, has acted dishonorably and adhered to the wishes of antisemites.

“The Hamilton Jewish Federation is outraged by the recent decision made by the Playhouse Cinema to backtrack on its commitment to host the 2024 Hamilton Jewish Film Festival after the theatre received a small number of complaints and threatening emails objecting to the fact that Israeli films are included in this year’s line-up,” the group said. “The decision, coming just weeks before the scheduled event, is a lost opportunity to engage the Greater Hamilton community in a Jewish cultural event during the highest rise of antisemitism we’ve seen in recent history, and in the aftermath of the bloodiest day in Jewish history since the Holocaust.”

Antisemitism has skyrocketed in Canada since the Hamas terror group’s onslaught across southern Israel on Oct. 7.

The Hamilton Jewish Federation added that the films that would have been screened are culturally relevant and valuable for portraying the past and “contemporary Jewish experience,” as well as the “reality of co-existence” between Jews and Arabs living in Israel as neighbors and citizens. One of them, it noted, is the final project of a filmmaker Hamas murdered during its Oct. 7 massacre, a tragedy that has left an indelible scar on Jewish communities throughout the world.

Jewish nonprofits commented on the matter on Tuesday and Wednesday, describing the festival’s scrapping as an injustice and calling on lawmakers to intervene and restore the original agreement between both parities.

“Unacceptable and appalling,” tweeted HonestReporting Canada, a nonprofit that promotes fair media coverage of Israel. “Silencing Jewish voices in a time when Jews are the #1 targeted religious group for hate crimes in Canada is a dangerous precedent and only gives more ammunition to those who hide their antisemitism under the guise of ‘anti-Zionism.'”

Friends of Simon Wiesenthal Center, whose mission is to combat antisemitism and spread awareness of the Holocaust, added, “We denounce Playhouse Cinema’s decision to reverse its commitment to host the Hamilton Jewish Film Festival this year, in the latest example of an organization yielding to threats and intimidation from anti-Israel activists.”

#hamilton ontario #hamilton jewish film festival #playhouse cinema

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uwmspeccoll · 1 year

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Memorial Day

On this 2023 Memorial Day we present a Civil War-era uniform designed in watercolor by Milwaukee Handicraft Project (MHP) costume designer Mary Holan and scanned for our digital collection Wisconsin Arts Projects of the WPA from volume 1 “Period - Men” of our Costume Design portfolios, which were produced between 1935 and 1939 by artists working with the Federal Theatre Project. These original costume designs were created by MHP's costume design group for use by local theater and school groups. The designation "School Board" written in pencil at the top of the image seems to bear this out.

Also written on the front is "Infantry Overcoat Union Army." Because of its color, it looks more Confederate to us. On the back of the plate is written "Pageant of America v7," which we believe refers to volume seven, "In defense of liberty," from the 15-volume pictorial history of the development of the United States, The Pageant of America: A Pictorial History of the United States, edited by Ralph Henry Gabriel and published by Yale University Press from 1925 to 1929. We checked the digitized collection of The Pageant of America at The New York Public Library, but could not find the source. So, we will take the Union designation at face value to represent U.S. fallen service members on this Memorial Day.

The MHP was founded in 1935 by Harriet Clinton, head of the Women’s Division of Wisconsin’s WPA to help unskilled women laborers provide income for their families. Clinton hired Elsa Ulbricht, an art professor at the Milwaukee State Teacher’s College (one of UWM’s predecessor institutions), to direct the project. The MHP hired around 5,000 people in total throughout its highly successful seven-year existence. Read More about the Project.

The Wisconsin Arts Projects of the WPA digital collection was made possible with generous financial support from The Chipstone Foundation.

View more posts from the Milwaukee Handicraft Project.

View posts from Memorial Days past.

#Memorial Day #holidays #civil war history #civil war #uniforms #costume design #Milwaukee Handicraft Project #MHP #WPA #works progress administration #Wisconsin Arts Projects of the WPA #Mary Holan #Federal Theatre Project #civil war uniform

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newyorkthegoldenage · 7 months

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Hallie Flanagan, the national director of the Federal Theater Project, and Fred Niblo, a former vaudevillian and Hollywood director, arrive for the opening of It Can't Happen Here, October 26, 1936. The play, about a fascist dictator who becomes president of the United States, was adapted from the novel by Sinclair Lewis.

Photo: RB for the Associated Press

#vintage New York #1930s #Hallie Flanagan #Federal Theater Project #New Deal #Oct. 26 #theater #26 Oct.#Sinclair Lewis #fascism #Fred Niblo #vintage Broadway #vintage theater

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pwlanier · 6 months

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Golitsyna Klara Nikolaevna (born. 1925) "With a bed." 2018.

Cardboard, acrylic

In the lower right corner is the author's monogram. On the back is the author's signature, date and title.

Clara Golitsyna's work includes different directions - from powerful realism to postmodernism. In 1949 she graduated from the Moscow Polygraphic Institute, received a diploma as a book artist and left for Dushanbe, where she worked as an artist at the Tajik State Publishing House. In 1951, she returned to Moscow and married drama theater actor Ivan Vladimirovich Golitsyn. In 1962, she illustrated space projects at the Central Design Bureau of V.N. Chelomey. In 1982 he became a freelance artist. Participant of more than 140 group exhibitions. Member of the Moscow Union of Artists and the Professional and creative Union of Artists and Graphic Designers (member of the International Federation of Arts UNESCO). Works by K.N. Golitsyna is kept in the collections of GTG, State Russian Museum, MMSI, in regional museums and private collections in Russia, Europe and the United States.

Litfund

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ebookporn · 2 years

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Publishers worried new 'gay propaganda' bill could outlaw classic Russian literature

On Friday, October 14, the Russian Book Union (RKS) sent a letter to Alexander Khinshtein, Chairman of the Committee on Information Policy of the State Duma, regarding a bill banning propaganda of non-traditional sexual relations. Kommersant has a copy of the letter; the RCC confirmed its authenticity. The letter asks the publishers to clarify whether certain plots in classical Russian literature included in the school curriculum will be banned if the bill is passed.

We are talking about a document submitted on July 18 by a group of deputies from the Communist Party of the Russian Federation, A Just Russia—For Truth, and Motherland. The Russian Book Union "receives a lot of inquiries from publishers" about the initiative, the letter says, and the union has collected submissions on the relevance of the book assortment to the project. “Please, if possible, explain whether the plots presented in the following works, including classical and included in the list of the school curriculum, are propaganda of the denial of family values,” the letter says.

The publishers provide excerpts from works that can be interpreted as prohibited in accordance with the text of the project. So, the publishers point out that the scene that can be attributed to the seduction of minors is described in the novel "Demons" by Fyodor Dostoevsky, and they cited an excerpt about how the hero of the novel, Nikolai Stavrogin, corrupted the girl Matryosha. Catherine's monologue from Alexander Ostrovsky's play The Thunderstorm, delivered before she threw herself into the Volga and died, could be interpreted as suicide propaganda or incitement to suicide, the letter says. The publishers continue that excerpts from the story "Morphine" by Mikhail Bulgakov, based on the writer's memories of the period of addiction to morphine, can be attributed to drug propaganda.

Scenes of sexual violence are described in Ivan Bunin's stories "Tanya" and "Galya Ganskaya", in Mikhail Sholokhov's novel "Quiet Flows the Don", in Thomas Hardy's novel "Tess of the d'Urbervilles", the RKS letter says. For example, one of Fyodor Sologub’s poems “On the Council” can be attributed to the promotion of non-traditional sexual relations, the novel by Vladimir Nabokov can be attributed to the propaganda of pedophilia, the novel by Leo Tolstoy “Anna Karenina” and the poem by Alexander Pushkin “The Fountain of Bakhchisarai”, polygamy - the story of Alexander Kuprin "Shulamith", noted in the RKS.

“Due to the broad scope of the bill, publishers are unable to independently evaluate and exclude book titles that potentially violate it. At the same time, it is important to understand that the creative industries are firmly intertwined with each other - literature is inseparable from both cinema and theater, and the following examples of works have film adaptations and theatrical performances, ”the RCC added.

Alexander Khinshtein told Kommersant that he had not yet seen the letter. “In my opinion, classical plots do not fall under the proposed restrictions, since we are talking about the prohibition of propaganda, that is, the dissemination of information aimed at the formation of non-traditional sexual attitudes, the attractiveness of non-traditional sexual relations, a distorted idea of the social equivalence of traditional and non-traditional sexual relations. In other words, “Lolita” definitely cannot be propaganda,” he comments.

#Russia #lgbtq #censorship #russian literature #librarians #booksellers

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heliosphoenix · 4 months

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State of the Planet: 2023 Edition

Here we are once again. Hours to go until the new year is upon us. Even though when you read this you may very well be in the future, it's time once again to use the few hours we have left in 2023 to take a look at the state of the planet. And...what a state it is. I said last year that 2022 may have very well been the inflection point for this decade, the moment that the 2020's truly began to come into their own. I think that's held true for this year, even though it still feels like folks are trying to find their feet in some aspects. But even in all this confusion and uncertainty, there is still progress to be had. So let's take a look back at some of the good things that happened this year:

The European Parliment commited to ending the sale of petrol and diesel fueled vehicles in the EU by 2035 in an effort to push the adoption of electric vehicles.

The High Seas Treaty was signed by the member states of the UN, this treaty commits to the conservation of 30% of the world's oceans by 2030.

The ozone hole continues to shrink, projections have it on track to recover to 1980's levels by 2050.

Finland became the 31st member of NATO.

The World Health Organization declared that COVID-19 and Monkeypox are no longer a global health emergencies.

The first synthetic human embryo was created from the use of stem cells.

The African Union became the 21st permanent member of the G20 (wouldn't it be G21 now?).

Katalin Karikó & Drew Weissman won the Nobel Prize in medicine for their contributions towards the development of mRNA vaccines against COVID-19.

The FDA approved of a treatment for sickle cell disease involving the use of the gene-editing technique Crispr.

Scientists announced the ability to use AI to decode people's thoughts from brain scans.

King Charles III ascended to the throne in the UK.

Pope Francis decreed that Roman Catholic priests would be allowed to bless same-sex marraiges.

Mexico decriminalized abortion at the federal level.

Despite projections of a recession, the United States economy experienced it's biggest growth since before the pandemic, adding 2.5 million jobs and inflation decreasing to 3.1%.

Spain won the Women's World Cup for the first time in a 1-0 victory over England.

SpaceX's fully stacked Starship flew twice this year, the largest rocket to ever fly (now if only they can get it to stop exploding).

The Jupiter Icy Moons Explorer (JUICE) was launched by the European Space Agency, it's expected to arrive at Jupiter in 2031.

The European Ariane 5 rocket flew its 117th and final mission.

India's Chandrayaan-3 landed at the Moon's south pole, the first spacecraft to do so.

Oppenheimer and Barbie released the same day in theaters and the internet had a lot of fun with that.

Michigan went 13-0 agian and won their third straight Big Ten championship (BEAT BAMA!)

The Pistons actually won a game before the end of the year.

Remember all that? It's okay if you didn't. But once again, this is where I'm at right now.

You are in the future. Every single word on this post is already confined to the history books. How you remember this year is ultimately up to you, but keep in mind that the reason I make these posts is a counterpoint to the many forces out there who have a lot to gain if everyone is under the impression that everything is always terrible all the time.

And that leads me to my word of the year. It's a bit unusual but I think it fits:

The word of the year is: Perception.

At our core, all of us are truth seekers. Whether it's objective truth or personal truth, we all want to find it. One of the benefits of the internet age that, in my opinion, gets taken for granted is that we now have more information available to us than at any time in human history. Our ancestors had to deal with incomplete and contradictory information, but now we can find out pretty much anything in a matter of seconds.

But with that information comes a host of issues. We unfortunately live in an age where a commitment to objective truth is being overshadowed by a desire for personal truth. We're putting less emphasis on what is true and more on what we want to be true. Unfortunately, as Carl Sagan once said, our preferences do not determine what is true.

And there are those who seek to exploit this. There are people in this world that are willing to alter your own perception on how things are. But not to benefit you, but to benefit them. They wish to take advantage of your desire for your own beliefs to be validated for time evermore and turn that against you, so that they can create a better world for themselves even at your own expense.

But you can stop them. All you have to do is be aware that perception doesn't always equal reality.

2024 will be a consequential year. For one thing, it's an election year in the United States which means the stakes are high enough as is. There will be a lot of consequential events over the next 366 days (yay for leap years!), and a lot of people that you've never met will be trying to tell you how to think and what to believe.

Remember that at the end of the day, the most important values are the ones you hold dear. Just because something gets a lot of engagement on your socials doesn't mean it's the best way to contextualize something. Don't allow your beliefs and values to be compromised for the sake of fitting in with trends or trying to cash in on some vague notion of importance; especially when there's people trying to exploit that at your expense.

The first step to healthy civic engagement is a body politic that is informed and questioning. It will do you no harm to read up on whatever topic is trending on the socials. It will only make you informed and then you will be able to decide if a position or a policy is truly the right one for you, based on what you hold to be important.

Knowledge can be scary at times. It may cause us to reevaluate our position, as well as come to realize that something we felt or believed or even wished to be true now has to be totally re-examined in a new light. But all that is what helps us grow, that's what helps us evolve and become stronger.

They used to tell us that "knowledge is power." I can tell you that knowledge only makes you better.

Remember these words as you head into the new year. Rather than wishing for your perception to be reality, base your perception on reality. And then those who thrive on the exploitation of ignorance will have no power over you.

Have a great New Year's Eve, friends. And I'll see you all in 2024.

Helios.

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steamedtangerine · 8 months

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Okay....so Tumblr got walloped by a spree of empty accounts pestering any active blog with shallow follows here for over two and half months. I mentioned to someone who brought this up, that these accounts are low-effort trolling, and that in my past experience, they usually act as ground cover distraction for something far more convincing (and worse) on the way.

-so, yeah, while we were swatting at gnats, Tumblr was bombarded by a lot (A LOT) of accounts shilling like crazy for the fake-ass QAnon conspiracy fiction film "Sound of Freedom" in that time. These recent accounts were good at appearing anime ("i aM An arTIsT!") or safely "gay" or appearing like Christian mom's who get gooey over Caviezel (the worst are these incredibly fake "Catholic" accounts who have never heard of Dorothy Day and think showing a generic pic of an icon will convince others-along with the word "Catholic" in their URL-that they are the real deal). The accounts were trying really hard to "appear Tumblr", and the fact there were so many of them makes this "the big hill they wanted to die on" for this year (so far). Chances are these accounts (many with goofy pop culture reference names) are ones you wouldn't even go near following, but they very likely lurked near any popular post you had lately to beef up their cred here.

One account aptly pointed out that they sound like cultists parroting the same things "everyone must see this film!", "this film really opened my eyes" (to what? trafficking? something human rights groups have been yelling about since the 70s and 80s?), and "God's children are not for sale!"....many went as far as to get conspiratorial saying that the movie itself was a victim of a plot to undersell it, to show it in poorly air conditioned theaters, or that outlets aptly critiquing the film, like Rolling Stone, are part of the "evil Soros (((elite)))" (actual dog-whistles in use) trying to suppress the film. If the film were suppressed, it simply would've not been released. You have guys like Musk, Trump, and that antisemite, Mel Gibson supporting it.

-by far the worst and most combative spew to come from these accounts is the false dilemma of "anyone who dislikes this film is a Pedo"-oh, like we haven't heard this ugly, slanderous drivel from scores of trolls on every platform over, basically anything, in the last eight years. This ranks with "If you criticize the state of Israel's actions in Palestine, you must be antisemitic." Oddly enough, the persons involved in the film are antisemitic, far-right POSs.

Now....

If anyone had a lingering thought that this movie was typically RW deflection and projection away from all the pedophilia found within circles of RW A-holes (There have been eight guys who worked under Trump called out as pedos....this is not including Trump's heavy ties to Epstein, or associations Trump has had with pedos like Roy Moore or Matt Gaetz....just recently, an anti-abortionist named Cole Wagner was arrested for child sex abuse, and a Patriot Front member in Utah arrested with child porn)....well, guess what, the above producer of the film, Hutchinson, was filmed in 2016 feeling up the breasts of a trafficked underage girl...y'know, to stay "in that deep cover". Recently, Tim Ballard was discovered using women to "pose as wives" (y'know, that "deep cover thang") in his self-indulgent crusade, and it involved him insisting the women must shower and sleep with him. A financier for the film, Fabian Marta, was found to be a child-kidnapper, and though it is not proven, there have been wild rumors that the far-right nut Caviezel was watching child porn "for research on the subject matter".

So, yeah, the call is coming from inside the building, and anything these dead-in-the-water accounts say by praising this film is complete BS (thanks for the extensive blocklist, Tumblr).

It's bad enough you had accounts here pushing the Wayfair conspiracy crap over two years go or some that actually shilled this phony "outrage" over oil-heiress-funded fake clean-cut "climate activists" causing disruptions at events (unmasked) and "vandalizing" art work at museums that chose to no longer allow support from BP, but to come on here and stir up a repackaged QAnon like a re-heated dogturd and use that as Carte Blanche to label critics with the worst things you could possibly label someone just to protect the name of a truly rotten political party that has been going down in flames for years now is unforgivable.

This fictional film does absolutely nothing to stop the real danger of human trafficking and child pedophila. It bolsters this "white Christian man" is gonna fight the "menace across the border", rather than look at what is going on in churches and cults and scout groups and locker rooms and Olympic gymnast training committees and with the family members, friends, and coaches we think we know. It has proven again and gain, such films engender misguided Satanic Panic style hysteria and hamper the efforts of real groups trying to fight this menace for decades.

-and again, I'm sorry for the clumsy comments I left elsewhere about who was involved with what and how, but the four (at least three) I mentioned involved in the film above are now getting exposed as the hypocrites that they are.

#idiocracy #propaganda #top tier #wise up Tumblr!

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