today is the ten year anniversary of the Pulse Nightclub shooting. a full decade ago, i lost a friend and a coworker. i was lucky. i had friends that lost several people. today, please remember and fight for all those that have died to live the life they should have been free to. i'll always remember you, Cory.
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The rule could have heavy impacts towards trans people across society.
Last week, the Trump administration quietly released a sweeping new federal rule that would use funding threats to force institutions across the country to reject transgender people. The 400-page proposed regulation would codify the administration's anti-trans executive orders into binding federal policy, imposing a blanket prohibition on federal funds going toward "gender ideology"
The proposed rule, formally titled "Regulation for Federal Financial Assistance," rewrites the government-wide framework governing all federal grants across every agency. Among its most consequential provisions, it requires that before a federal grant recipient can receive money, the award must pass a "pre-issuance review" conducted by a political appointee—not a career expert or peer reviewer—to ensure it is "consistent with applicable law, Federal agency priorities, and the national interest." The regulation explicitly instructs these appointees to screen for "denial by the recipient of the sex binary in humans or the notion that sex is a chosen or mutable characteristic." [...] An institution that acknowledges transgender people exist—through its policies, its training, its healthcare, its bathroom access, its HR procedures, its name-change processes—could be deemed to "deny the sex binary" or to “support the notion that sex is mutable” and have its federal funding blocked.
Importantly, the gender ideology prohibition has no age limitation—hospitals could be targeted not just for providing care to minors but for providing gender-affirming care to adults, because prescribing hormone therapy to a transgender patient of any age could be deemed promoting the belief that "sex is a chosen or mutable characteristic."
This is all very bad and horrible, but I want to be clear that it’s worse and more sweeping than just eliminating trans research.
This torches everything. And I do mean everything.
A very abbreviated list of its ramifications include (but are not limited to):
ending funding for ALL DEI related initiatives
allowing the government to terminate grants at any point for any reason
preventing researchers from publishing, going to conferences, and being part of academic societies
requiring that topics must support the president’s agenda.
What this means, and if anything I’m under selling it, is the death of science and research in America. It allows the government to restrict any topic they please at a whims notice, putting officials who have no background in the topic in charge of deciding funding continuity. It controls what gets researched and if/how researchers are allowed to share their discoveries. There are no books to burn if the government never allows them to be written. This is fascism plain and simple.
Please, if you only ever write one public comment, this is the one to do.
Bringing back this guide to writing an effective public comment. This gives you the basics you need to know, what you need to include, a basic outline you can follow, etc.
Public comments are not a vote, it is a chance for you to say "here is an issue with this law I think you need to address" and provide justification for legal challenges if it goes forward:
"Comments raise the bar that agencies have to meet when making a rule; “if an agency fails to adequately respond to significant, relevant comments in a final rule, members of the public may seek to challenge the rule in court on that basis and claim it could be struck down.ˮ"
But also, if possible, don't stop at writing a comment. Don't stop at calling your representatives. You should ideally be talking to people in your community about this and organizing resistance on-the-ground; there is a good chance people are already doing that even if you aren't hearing about it.
Also, please keep in mind, this is 100%, without a doubt, wholly unconsitituonal. They will try to enforce it regardless, but that does not make it legal. Do not treat this as law because it is not.
This was only 55 years ago. You can understand a lot of what’s wrong with the US if you realize that the average age of our elected senators is about 63. “Good old days” is a dogwhistle.
Our current Supreme Court might’ve ruled against the Lovings.
[Image ID: excerpts from the article linked above, reading:
“The couple is given a choice: flee or go to jail. After they were arrested, the Lovings were sentenced to a year in prison. Then, a judge offered them a choice: banishment from the state or prison. They chose to leave Virginia at the time, but after several years, the Lovings asked the American Civil Liberties Union to take their case.Bernard Cohen and Philip Hirschkop, two young ACLU lawyers at the time, did.”
and “On June 12, 1967, the U.S. Supreme Court justices ruled in the Lovings' favor. The unanimous decision upheld that distinctions drawn based on race were not constitutional. The court's decision made it clear that Virginia's anti-miscegenation law violated the Equal Protection Clause of the 14th Amendment.” /end ID]
When my parents first met it'd been less than a decade since the ruling was official.
They were convinced it'd be overturned and did not want their children to have to suffer for it, so they did not get married and searched desperately for each other in their own races. They could not find the love they had together in anyone else. They did eventually get married.
Too late for them to have the amount of children they'd desired. They had two, adopted a third, and that was that.
It was near enough to now that I, my sisters, and my parents were directly affected by it.
This isn't ancient history. It's just my parents' childhood.
As a mixed Asian person married to a mixed Black person rulings like this, along with violent backlashes against race mixing are barely recent history. Living in Texas we still run into people who actively harass us for being a mixed race couple in public (even though neither of us are white)
The Loving Case and subsequent reactions to it by different states determined where my in-laws chose to settle in the US as a mixed couple. Several states kept anti-miscegenation laws on the books. and State judges in Alabama continued to enforce its anti-miscegenation statute until 1970, when the Nixon administration obtained a ruling from a U.S. District Court in United States v. Brittain.
The Watsonville riots of the 1930's where white mobs attached Filipino farmworkers for being seen in dancehalls with white women, are part of a very long history of whiteness violently asserting its need to "protect" the purity of it's women and future children.
And these kinds of backlashes are not in the past, we've just moved to different battlegrounds, the same accusations, of defiling the purity of white womanhood and white childhood are now leveled at the dangerous "othering influences" through book bans and other right wing conservative censorship efforts.
According to PEN America’s Banned Book Index, 41% of banned books include LGBTQ+ themes. 40% feature characters of color and 21% address issues of race or racism.
Remember, if we don't keep standing up loudly for equality the biggots on the right will be louder and keep dragging us further backwards from every step towards equality we make.
That's why I write stories for mixed, brown, bi, folks to see ourselves and our loves reflected in.
Its important to record ourselves into literature, into history so that they can never fully erase us no matter how hard they try to stamp us out of existence.
I was in kindergarten when this happened. Star Trek was in its second season. Scooby Doo was just a few sketches in a notebook somewhere. My neighborhood was redlined. I wouldn't see a Black clerk in the mall for several years. This is the bullshit they want to go back to.
"Like most people remembered in memorial brasses, Elizabeth Etchingham and Agnes Oxenbridge were well born, both daughters of gentry families with properties in Sussex, Kent, and beyond. Their homes were close by, and like others of their status, they were probably raised at home until adolescence and then placed for several years in another elite household; they would certainly have known each other in childhood, and they easily could have lived for several years in the same household.
Both would have been expected to marry in their late teens or twenties, although a few well-born daughters (about one in every twenty) did not marry, by choice or happenstance. Only a handful entered nunneries; the rest, supported by modest bequests from their parents, passed their lives as dependents within their families. Usually identified as “maidens” or “singlewomen,” they paid their own way in both coin and family service.
Contemporary records offer no further information about Elizabeth Etchingham and Agnes Oxenbridge, and like other maidens, they were quickly effaced in family memory. Everything we know comes from the memorial itself. The brass offers two clear indications that both were never-married: no husbands are mentioned in their inscriptions, and the uncovered heads—and, in the case of Elizabeth Etchingham, long f lowing hair—of their effigies were conventional signs of maidenhood. Elizabeth Etchingham was likely born in the 1420s and died by her mid-twenties; Agnes Oxenbridge was also likely born in the 1420s and was in her fifties when she died, almost three decades after Elizabeth Etchingham.
Although Elizabeth Etchingham’s burial in her family church in 1452 was unremarkable, the internment in 1480 of Agnes Oxenbridge next to her, rather than in her family mausoleum at Brede, was exceptional.
The heads of both families must have agreed to the unusual arrangements of 1480—Thomas Etchingham II (Elizabeth’s brother) accepting the burial of an Oxenbridge woman in his family church, and Robert Oxenbridge III allowing his sister to lie away from their family vault. But it is unlikely that either brother instigated this unusual commemoration; instead, Agnes Oxenbridge herself probably requested it, as was then the custom, in a deathbed will that no longer survives. Of course, Agnes Oxenbridge’s instructions could have been ignored, modified, or poorly implemented, so the actual execution of the Etchingham-Oxenbridge monument relied on a collaboration involving the man in whose church it was to be laid (Thomas Etchingham II), her survivors (especially Robert Oxenbridge III), and the London workshop that got the commission (denoted as workshop F by students of brass styles). As a product of so much collective effort, this memorial brass to two women must have been a scandal to no one at the time.
It nevertheless presented some creative challenges. First, the designers had to determine how to place the two effigies, given that most joint monuments commemorated married couples. Elizabeth Etchingham was assigned the conventional spot for husbands (the left, as viewed by observers), perhaps because the brass was destined for her family church, because her family was of more ancient origin, or because her smaller effigy presented less insult to husbandly prerogatives. Second, the designers had to distinguish a young, nubile maiden from her middle-aged counterpart. They used hairstyle and height to this end, differentiating the smaller maiden with youthful f lowing hair from her larger, coifed, and middle-aged companion.
Third, the designers had to express the relationship that caused these two women to be remembered together, and their decisions here are especially revealing. The design suggests that no one—not Agnes Oxenbridge in pre-mortem requests, not Thomas Etchingham II and Robert Oxenbridge III acting on her behalf, and not the artisans in the workshop—shied away from representing the two women as an intimate couple. Indeed, the monument seems to have been designed with special emphasis on their warm affection. This affection was suggested, of course, by the simple fact of their joint brass, for most brasses with multiple figures remembered married persons—a motif generally understood as celebrating the closeness and fidelity of marriage. But the designers of this brass pushed beyond mere joint commemoration in stressing intimacy, for Elizabeth Etchingham and Agnes Oxenbridge were also deliberately shown facing each other, moving towards each other, and looking directly into each other’s eyes.
Most contemporary joint effigies showed couples facing the front, much like bodies laid in tombs, but Elizabeth Etchingham and Agnes Oxenbridge were portrayed in semi-profile, turned towards each other. New and not yet standard, this pose derives partly from design developments extraneous to the specifics of this 1480 monument—particularly the patterns favored by workshop F and a desire to show in effigies the complex headdresses of the time. But the pose had an affective purpose too, for as Paul Binski has noted of other brasses, “the turning of figures on their axis enabled the intimacy of marriage to be expressed.” The designers of the Etchingham-Oxenbridge brass evoked intimacy by adopting this inward turn, and they emphasized it even more by eschewing two features common in other brasses of workshop F—a so-called “jaunty” leaning of the figures away from each other and a draping of women’s gowns in deep, immobilizing folds.
The effigies of Elizabeth Etchingham and Agnes Oxenbridge lack these distancing features and show, instead, the two women moving towards one another. As if to seal the affective power of the composition, the designers show Elizabeth Etchingham and Agnes Oxenbridge gazing directly into each other’s eyes, even though most married couples in contemporary brasses stare past each other into the distance. Their brass unmistakably evokes more intimacy and mutual affection than do most contemporary monuments of husbands and wives."
Bennett Judith M., "Remembering Elizabeth Etchingham and Agnes Oxenbridge", in: The Lesbian Premodern
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anyways remember when toni morrison said "sometimes you don't survive whole, you just survive in part. but the grandeur of life is that attempt. it's not about that solution. it is about being as fearless as one can, and behaving as beautifully as one can, under completely impossible circumstances."
This is how it's done in Eastern Europe. Very many years ago I've seen an old lady in my grandparents' village doing it with a very similar tool and beeswax. You need a REALLY good eye-hand coordination...and ability not to mess your design with your own fingers (which I definitely don't possess).
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"June" by Hazel McNab. Linocut.
Artist based in Cornwall, England.
Artist's words: "One of my favourite things about living where I do, in Cornwall and working for myself is, if it's a lovely afternoon, sometimes, I can just go out and enjoy it. Especially June when it's still fairly quiet and you get a cove to yourself. Monday was looking gorgeous so I went for a swim.
Walking into the clear water I loved the shapes of the seaweed rocks under the surface and the light patterns on the water."
ohhhh shit. target is recalling their up & up baby wipes (fragrance free & fresh cucumber scented) because they're contaminated with Burkholderia cepacia complex and Burkholderia gladioli, multiple people are reporting discoloration & infections. i just got a call about it cuz i had purchased those but i've already gone through them 😅 so no refund for me. but im fine. if you have these they're saying you need to immediately stop using them and bring them back to target for a full refund. this bacteria can cause life threatening infections in children/infants and people with compromises immune systems (ESPECIALLY cystic fibrosis!!) and i know lots of other chronically ill people follow me!!!!
The rule could have heavy impacts towards trans people across society.
Last week, the Trump administration quietly released a sweeping new federal rule that would use funding threats to force institutions across the country to reject transgender people. The 400-page proposed regulation would codify the administration's anti-trans executive orders into binding federal policy, imposing a blanket prohibition on federal funds going toward "gender ideology"
The proposed rule, formally titled "Regulation for Federal Financial Assistance," rewrites the government-wide framework governing all federal grants across every agency. Among its most consequential provisions, it requires that before a federal grant recipient can receive money, the award must pass a "pre-issuance review" conducted by a political appointee—not a career expert or peer reviewer—to ensure it is "consistent with applicable law, Federal agency priorities, and the national interest." The regulation explicitly instructs these appointees to screen for "denial by the recipient of the sex binary in humans or the notion that sex is a chosen or mutable characteristic." [...] An institution that acknowledges transgender people exist—through its policies, its training, its healthcare, its bathroom access, its HR procedures, its name-change processes—could be deemed to "deny the sex binary" or to “support the notion that sex is mutable” and have its federal funding blocked.
Importantly, the gender ideology prohibition has no age limitation—hospitals could be targeted not just for providing care to minors but for providing gender-affirming care to adults, because prescribing hormone therapy to a transgender patient of any age could be deemed promoting the belief that "sex is a chosen or mutable characteristic."
A lot of the time when I point out that some right-wing policy is proven to not achieve the thing it purports to have as a goal, people rightly point out that the real goal is the negative outcomes that do happen.
Which is correct!
But this is often framed as me approaching the right wing naively by the respondent.
That's not the case at all. I know they're evil. The goal is to demonstrate that they're lying by exposing the way the rhetoric fails to line up with reality.
This has to be ongoing work because someone new has their political awakening every day. Every day, someone needs to learn that the right wing position is wrong on all levels, not just the obvious ones.
there will be people out there who still think the war on drugs (as the absolute first thing that comes to mind) is a legitimate social cause against an antisocial blight on society. if you come out the gate with (the very true statement) that it's actually been a deliberate campaign to target minorities and other undesirable groups to the ruling class, you're going to sound like a clueless conspiracy nut
whereas if you come with a very defensible, statistically supported point of "it doesn't work and has never worked" you can open the door to the follow up question of "why did the government do it in the first place, and (in many cases) why are they still doing it?"
Demonstrate that the people enforcing the policy have everything they need to know it doesn't work
Provide the context of what the policy achieves in the absence of its "intended" outcome.
Remind people that the purpose of a system is what it does.
Then, instead of being a non-sequitur claim you're just pulling out of thin air, the conclusion is the most reasonable way to assemble the provided puzzle pieces.
Willem Arondéus (22 August 1894 – 1 July 1943) was a Dutch artist and author who joined the Dutch anti-Nazi resistance movement during World War II. He participated in the bombing of the Amsterdam public records office to hinder the Nazi German effort to identify Dutch Jews and others wanted by the Gestapo. Arondéus was caught and executed soon after his arrest. Yad Vashem recognized Arondéus as Righteous Among the Nations.
Their attack, which took place on 27 March 1943, was partially successful, and they managed to destroy 800,000 identity cards, and retrieve 600 blank cards and 50,000 guilders. The building was blown up and no one was caught on the night of the attack. However, due to an unknown betrayer, Arondéus was arrested on 1 April 1943. Arondéus refused to give up the rest of his team.
Arondéus was openly gay before the war and defiantly asserted his sexuality before his execution. His final words were:
"Tell the people that homosexuals are not by definition weak."
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"Now I've shot so many Nazis, Daddy will have to buy me a sable coat." (From his Wikipedia article).
Neil Munro "Bunny" Roger
June 9, 1911-April 27, 1997.
Bunny Roger killed a bunch of Nazis and then invented Capri pants.
He was expelled from Oxford for his indiscrete gayness (discrete gayness being perfectly fine at Oxford and part of the curriculum until...today probably, at least like 1992?). Then, having been sent down to London, he started his own fashion business, and his first client was Vivien Leigh.
Bunny served in WWII, killing fascists in North Africa and Italy, and often wearing a mauve scarf in the field. Roger claimed that he had gone into a battle brandishing a rolled-up copy of VOGUE and commanding: "When in doubt, powder heavily!"
Roger was known in high society for his themed soirées; Diamond, Amethyst, and Flame Balls were held to celebrate his 60th, 70th, and 80th birthdays. He wore a curious plum colored catsuit with a feathered headdress at his 70th birthday ball in 1981. At his 80th, he made his entrance in a catsuit of scarlet sequins with a cape of orange organza, greeting his guests from behind a wall of fire. His parties were covered by the newspapers, including a New Year's Eve Fetish Ball where the proper upper class mixed with young guests in rubber S/M gear.
From an obituary: "Beneath his mauve mannerisms, Bunny was stalwart, frank, dependable and undeceived; to onlookers a passing peacock, to intimates, a life enhancer and exemplary friend."
Slight correction to a lot of the comments--it's not "Baking guy plays piano too," it's "Piano guy bakes too"
Inspired by the entertainers of Bermuda’s “golden age”, composer and pianist Dylan Hollis is hard at work on what he does best — creating mu
I was trying to track down a non-soundcloud version of Chords of Humanity, the song he wrote that when he was 17 was used by Doctors Without Borders, and instead found that it was used in a Fallout New Vegas mod that he may also have made at 17?
A Large Expansive Quest Mod has the courier travelling across Post-Apocalyptic America. To reunite the Rockwell People with their Superstruc
which is a sequel to another mod that's also credited to a Dylan Hollis, which I'm not necessarily assuming is him. Could have been a different Dylan Hollis who happened to have found the song by searching his name--oh, wait, there's a video of game play (with the song as background), and there's a tiny bit of voice acting...yeah, that's him.