#Equality March 2017

[longlivetv]

Signed up to volunteer at our local Pride with the HRC! Thought about DC too but the earlier shift was full and I don’t know the city well enough to want to navigate alone at night, but next year maybe

[tracychamberlainhigginbotham]

(via Teaching Our Sons to Advocate for Women)

[afeelgoodblog]

The Best News of Last Week - March 13, 2023

🐝 - Did you hear about the honeybee vaccine? It's creating quite the buzz! But seriously, it's a major breakthrough in the fight against American foulbrood and could save billions of bees.

1. Transgender health care is now protected in Minnesota

Minnesota Governor Tim Walz signed an executive order protecting and supporting access to gender-affirming health care for LGBTQ people in the state, amidst Republican-backed efforts across the country to limit transgender health care. The order upholds the essential values of One Minnesota where all people, including members of the LGBTQIA+ community, are safe, celebrated, and able to live lives full of dignity and joy.

Numerous medical organizations have said that access to gender-affirming care is essential to the health and wellness of gender diverse people, while states like Tennessee, Arizona, Utah, Arkansas, Alabama, Mississippi, South Dakota, and Florida have passed policies or laws restricting transgender health care.

2. First vaccine for honeybees could save billions

The US government has approved the world's first honeybee vaccine to fight against American foulbrood, a bacterial disease that destroys bee colonies vital for crop pollination.

Developed by biotech company Dalan Animal Health, the vaccine integrates some of the foulbrood bacteria into royal jelly, which is then fed to the queen by the worker bees, resulting in the growing bee larvae developing immunity to foulbrood. The vaccine aims to limit the damage caused by the infectious disease, for which there is currently no cure, and promote the development of vaccines for other diseases affecting bees.

3. Teens rescued after days stranded in California snowstorm: "We were already convinced we were going to die"

The recent snowstorms in California have resulted in dangerous conditions for hikers and residents in mountain communities. Two teenage hikers were rescued by the San Bernardino County sheriff's department after getting lost in the mountains for 10 days.

The boys were well-prepared for the hike but were not prepared for the massive amounts of snow that followed. They were lucky to survive, suffering from hypothermia and having to huddle together for three nights to stay warm.

Yosemite National Park has had to be closed indefinitely due to the excessive snowfall.

4. La Niña, which worsens Atlantic hurricanes and Western droughts, is gone

The La Nina weather phenomenon, which increases Atlantic hurricane activity and worsens western drought, has ended after three years, according to the National Oceanic and Atmospheric Administration. That's usually good news for the United States and other parts of the world, including drought-stricken northeast Africa, scientists said.

The globe is now in what's considered a "neutral" condition.

5. Where there's gender equality, people tend to live longer

Both women and men are likely to live longer when a country makes strides towards gender equality, according to a new global study that authors believe to be the first of its kind.

The study was published in the journal PLOS Global Public Health this week. It adds to a growing body of research showing that advances in women's rights benefit everyone. "Globally, greater gender equality is associated with longer [life expectancy] for both women and men and a widening of the gender gap in [life expectancy]," they conclude.

6. New data shows 1 in 7 cars sold globally is an EV, and combustion engine car sales have decreased by 25% since 2017

Electric vehicles are the key technology to decarbonise road transport, a sector that accounts for 16% of global emissions. Compared with 2020, sales nearly doubled to 6.6 million (a sales share of nearly 9%), bringing the total number of electric cars on the road to 16.5 million.

Sales were highest in China, where they tripled relative to 2020 to 3.3 million after several years of relative stagnation, and in Europe, where they increased by two-thirds year-on-year to 2.3 million. Together, China and Europe accounted for more than 85% of global electric car sales in 2021

7. Lastly, watch this touching moment as rescued puppy gains trust in her new owners

By the way, this is my newly started YouTube channel. Subscribe for more wholesome videos :D

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That's it for this week. If you liked this post you can support this newsletter with a small kofi donation:

Buy me a coffee ❤️

Let's carry the positivity into next week and keep spreading the good news!

[astrangetorpedo]

On New Year’s Eve, during a house party at her home in Richmond, Virginia, Lucy Dacus had her fortune told. She thought why not. On a personal level, 2017 had been a wretched year – a steady conveyor belt delivering the 22-year-old bad news.

���This girl, who I didn’t even know, came to the party and gave me this year-long reading,” she explains. “Month-by-month it was so specific. So far, it’s kind of lined up.”

In the past Dacus has been sceptical about the prophetic powers of the tarot card deck, and was taught that the pentacles (coins) were a symbol of Satan. “It’s hard to look to the future and see nothing, to know nothing,” she muses. “I still don’t know what’s going to happen, but having something to have your mind bounce off is nice. That’s why I like tarot. It gives you something to reflect on.”

It’s all part of a fresh way of thinking for Dacus, a new “mood of just trying to be open to new things.” For so many reasons the past year has been one Lucy Dacus is keen to put behind her. “I guess I could just list things,” she says laughing, but not joking. To begin, some of her close family suffered health problems, compounded by her own serious issues including a bout of appendicitis that forced her to have surgery. She was attempting to buy a house for the first time, a process that proved “trying”. Three of her tours got cancelled.

“It was a little bit miserable,” says Dacus, sitting in an east London cafe. “Towards the end of the year, I just had to laugh… Like, come on!”

Interwoven with these practical challenges she was having to navigate something much more troubling. “I got out of a relationship in 2016, which I was waking up from in 2017 – realising that it was abusive,” she begins. “Letting myself say that, it took many months to come out of the numbness… to stop being brainwashed. So, that’s all been a growth. It’s ended up being positive, but it is difficult wondering how I let that be a part of my life for so long.”

Deepening the ordeal, still, this year of personal upheaval was set to the backdrop of Trump’s first 12 months in office. A vociferous supporter of Bernie Sanders through the 2016 election campaign, Dacus is a passionate advocate for equal rights, attending marches and collecting donations for community organisations at her shows. To have Trump sat in the White House representing her country, she says, felt – feels – “horrible”. “It’s just absurd and I feel like I’m in an alternate universe,” she says. “It’s really hard maintaining hope.

“Coming to Europe I’m embarrassed to be an American sometimes, but then I just have to hope that people know that I am not part of Trump. I’ve thought about wearing shirts at the airport – just like ‘not my president’. In little ways I just want to assert that opinion.”

And then there were the disturbing revelations surrounding Harvey Weinstein (and subsequently many other men) revealed in Autumn 2017, that opened out into a global conversation around the abuse and harassment of women.

“It’s been nice coming out of that really terrible relationship during a time when women are speaking up more. It feels like I’m allowed to say these things now,” says Dacus, crediting the #MeToo movement. “All these horrible, heartbreaking stories of women being mistreated are at the forefront but the solace that people are doing what they need in order to find closure and help each other prevent that happening ever again. For one of the first times I’ve been noticing male friends of mine actually examining their past behaviours.”

While there are some early shoots of positivity, the truth is, the culmination of all of these factors left the songwriter dealing with anxiety for the first time. “2017 was a new state of mind for me – and not really in the best way.”

Lucy Dacus was raised in Richmond, Virginia, about two hours south of Washington D.C. on the east coast. It’s a place sometimes described as “the biggest small town left in America.” The family home was in the rural suburbs and she travelled into the city to go to high school. “It’s hard to tell you in one answer how my whole childhood was,” she says. “It’s a large variety of things. Overall, I’m coming out with my thumbs up.”

In her household music was always there. Her mother is a piano teacher, as was her grandmother. Picking up songwriting was never a big deal, like a second language that was spoken around the house. “That’s how music is – like, it’s just part of my life,” she recalls.

Yet the dream of being a professional artist seemed almost so unattainable that it was invisible. In her late teens, Dacus went to college to study film but dropped out, primarily because she’d end up saddled with huge debt. “That, paired with the feeling of being misunderstood in my programme,” she confirms. “I just didn’t have a lot of like minds in my classes.”

That prompted a move back to Virginia where she took a job in a photography lab developing kids’ cheesy school photos. She’d been writing songs in her spare time and gathered nine of the 30-or-so she had together when her friend Jacob Blizard (now her touring guitarist) asked her to record them for his school project. Her 2016 debut album, ‘No Burden’, was made in one day in Nashville. Blizard passed school, and that album received rave reviews. NPR called it “vulnerable”, while Pitchfork said it was an “uncommonly warm indie rock record”. As a result, 20 different record labels reportedly scrabbled to sign Dacus. She settled on Matador, and began to prepare for what should have been a joyful 2017.

The first time Dacus remembers assuming the role of historian she was seven or eight-years-old. She was writing in her journal – and she smiles now recalling her first entry. It complained about how the babysitter spent the whole evening on the phone to her boyfriend. “There’s a point where I realise I’m journaling and so I stop and go, ‘I should probably introduce myself… I’m Lucy’” she laughs, remembering it clearly. “It’s really cute.”

More than a dozen notebooks, and many years later, she still keeps a diary now. Sometimes she writes every day, other times, weeks go by and then she fills 20 pages. Occasionally she flicks open an old one to either “laugh or cringe” at her younger self.

‘Historian’, then, isn’t just the title of her latest album, but also the way she thinks of herself. A chronicler, of her own experiences, but also those around her. Those pages aren’t just a document of a growing maturity, but also a therapeutic habit that helps make sense of many life events, including that recent damaging relationship. “Seeing that it had been broken for the whole time but that I was just oblivious to it, [reading about] it helps to accept that things didn’t change,” she says. “I just saw it for what it was finally, and so perspective is good.”

Those handwritten journals are sacred, which is why, when her tenth one was stolen on tour a few years ago along with a bag of possessions, it was the notebook she replaced first.

The album itself is a recent history – a narrative burrowing through those myriad dark times. Dacus knew that she wanted it to form a complete story, and wrote the track list before some of the songs. “It’s an arc” she says, that begins in a “relatable place” with the only break-up song she’s ever written (‘Night Shift’) that subsequently delves “deeper into darkness.”

“Then the subject matter gets a little more intense,” she tells me, “– going through identity crises, or loss of home, or loss of faith, loss of a loved one, loss of your life. I feel like I’m pulling people into an uncomfortable space.” She pauses. “There’s then a change where hopefully I’m turning on a light and saying, ‘Yes, all of that exists, but it’s a foil to joy.’”

It is an extraordinary piece of work. Musically it’s a colossal step up, reminiscent of recent albums by Mitski (‘Puberty 2’), Angel Olsen (‘My Woman’) and labelmate Julien Baker (‘Turn out the Lights’). The subject matter is heavy, but it’s never a dreary listen. In fact, it’s charming, funny even – like a brave smile emerging through a curtain of tears. And Dacus has a gift for lyric writing; like the eloquent way she pays tribute to the humility shown by her dying grandmother on ‘Pillar of Truth’. From first to final note it’s evocative and powerful. “The first time I tasted somebody else’s spit I had a coughing fit,” goes the LP’s opening line in ‘Night Shift’. “If past you were to meet future me,” she sings on the final line of the closing title track, “would you be holding me now?”

It’s heartening to hear that the contents of Dacus’ NYE tarot reading were largely positive. The forecast noted that she should enjoy the proceeds of her hard work, but that “something horrible happens in the summer, then there’s kind of a rebirth, growing back into, like, life in an even more knowledgeable and peace-oriented way.” Dacus is about to leave, and picks up a bag of books she’s been keeping underneath the cafe table.

“It could be wrong,” she says. “I’m not superstitious. I’m taking it in. When that does happen I hope I can take my own advice – let it be what it is, and look past it eventually

(x) 3/14/18

[originalleftist]

The largest protest in American history is said to be Black Lives Matter, with up to 26 million participants over the course of the protests. The largest single day protest is said to be the 2017 Women's March, with between 3+ and 5+ million in one day.

Tel Aviv, Israel-one single city-mustered 500,000. Half a million protesters, in a country with less than 1/30th America's population. As a percentage of population, that's equal to about 17 million Americans. One one day. In one city.

Then the whole country followed it up with a general strike the next day, with the backing of the leader of the political opposition.

And yet, fringe Western Leftist activists have the fucking presumption to condemn all Israelis, while entertaining fantasies of a Leftist revolution in the US. When it is Israelis (along with Ukrainians when they kicked Yanukovych out, and have resisted fucking Russia ever since) who have set the world gold standard in recent years for resisting corrupt, incompetent, authoritarian regimes.

As a citizen of the US and Canada, I fucking wish I could believe that either of my own countries' people would do one half as much, should a MAGA government take power here.

Maybe that's part of why the radical Left hates Israel/Jews (and Ukraine) so much- you're jealous that they're much better at this than you.

[covid-safer-hotties]

US State Restrictions and Excess COVID-19 Pandemic Deaths - Published July 26, 2024

Key Points Question How did state restrictions affect the number of excess COVID-19 pandemic deaths?

Findings This cross-sectional analysis including all 50 US states plus the District of Columbia found that if all states had imposed COVID-19 restrictions similar to those used in the 10 most (least) restrictive states, excess deaths would have been an estimated 10% to 21% lower (13%-17% higher) than the 1.18 million that actually occurred during the 2-year period analyzed. Behavior changes were associated with 49% to 79% of this overall difference.

Meaning These findings indicate that collectively, stringent COVID-19 restrictions were associated with substantial decreases in excess deaths during the pandemic.

Abstract Importance Despite considerable prior research, it remains unclear whether and by how much state COVID-19−related restrictions affected the number of pandemic deaths in the US.

Objective To determine how state restrictions were associated with excess COVID-19 deaths over a 2-year analysis period.

Design, Setting, and Participants This was a cross-sectional study using state-level mortality and population data from the US Centers for Disease Control and Prevention for 2020 to 2022 compared with baseline data for 2017 to 2019. Data included the total US population, with separate estimates for younger than 45 years, 45 to 64 years, 65 to 84 years, and 85 years or older used to construct age-standardized measures. Age-standardized excess mortality rates and ratios for July 2020 to June 2022 were calculated and compared with prepandemic baseline rates. Excess death rates and ratios were then regressed on single or multiple restrictions, while controlling for excess death rates or ratios, from March 2020 to June 2020. Estimated values of the dependent variables were calculated for packages of weak vs strong state restrictions. Behavioral changes were investigated as a potential mechanism for the overall effects. Data analyses were performed from October 1, 2023, to June 13, 2024.

Exposures Age and cause of death.

Main Outcomes Excess deaths, age-standardized excess death rates per 100 000, and excess death ratios.

Results Mask requirements and vaccine mandates were negatively associated with excess deaths, prohibitions on vaccine or mask mandates were positively associated with death rates, and activity limitations were mostly not associated with death rates. If all states had imposed restrictions similar to those used in the 10 most restrictive states, excess deaths would have been an estimated 10% to 21% lower than the 1.18 million that actually occurred during the 2-year analysis period; conversely, the estimates suggest counterfactual increases of 13% to 17% if all states had restrictions similar to those in the 10 least-restrictive states. The estimated strong vs weak state restriction difference was 271 000 to 447 000 deaths, with behavior changes associated with 49% to 79% of the overall disparity.

Conclusions and Relevance This cross-sectional study indicates that stringent COVID-19 restrictions, as a group, were associated with substantial decreases in pandemic mortality, with behavior changes plausibly serving as an important explanatory mechanism. These findings do not support the views that COVID-19 restrictions were ineffective. However, not all restrictions were equally effective; some, such as school closings, likely provided minimal benefit while imposing substantial cost.

Proven by statistics: Masks save lives. Distance work saves lives. Remote options save lives.

[justinspoliticalcorner]

Aja Romero at Vox:

With mere days left on the 2024 political campaign trail, you might have noticed the Trump camp has increasingly turned to scapegoating familiar targets, including immigrants, the press, and women. It has also increasingly doubled down on attacks on trans people.

A recent report by ABC News revealed that nearly a third of recent campaign funds — or $21 million, per ABC’s report — for television advertising has been spent on transphobic messaging from the Trump campaign and various conservative political groups. The independent journalist collective the Bulwark pushed the total even higher, to $40 million poured into transphobic advertising within the last five weeks. The ads, paid for by the Trump campaign, use a litany of transphobic coding, including photoshopping Kamala Harris to appear as though she’s posing beside a nonbinary person in a mustache and a dress, despite plenty of evidence that this strategy is a turn-off for voters. “Kamala even supports letting biological men compete against our girls in their sports,” one ad declares. All three ads attack Harris for supporting gender-affirmative care for trans prisoners, including surgery where medically necessary. “Kamala is for they/them,” each ad concludes. “President Trump is for you.”

Given that trans people make up barely half of 1 percent of the US adult population and that trans-related issues are low on the priority list of most voters, many might find it baffling that Trump has focused so much of his attention on singling out trans people. Indeed, two different media research groups, the left-leaning Data for Progress and video marketing firm Ground Media, working in partnership with GLAAD, each released studies last week finding that the ads had no real impact on voter decision-making and instead alienated many viewers, even among Republicans, who felt they were “mean-spirited.” So then why do them? Well, there’s “winning” in terms of appealing to voters, and then there’s “winning” in terms of determining the conversation. Keeping the focus on trans people — Harris’s actual policy proposals do almost nothing to advance the status of trans citizens — fires up a certain base and crowds out other discussion.

[...]

In other words, these ads help to reinforce the idea of a common enemy. They are continuing — which is to say winning, in a very real sense — the larger ongoing culture war against queer and trans people. The willingness of Trump and his supporters to invest in these ads arguably indicates that even if Harris wins the election, marginalized communities in red states will still be under threat from Trump supporters and from growing legal restrictions on those regions. But trans people aren’t isolated targets. They are scapegoats in the historical sense — canaries in the coal mine for the growing march of fascism in the US. That puts all of us in danger. Trump centering transphobia in his campaign strategy is not new. It’s the culmination of a decade-long conservative political strategy of weaponizing anti-trans messaging to undermine and reverse what was a broad cultural shift toward LGBTQ equality.

[...]

As the Supreme Court’s 2015 decision to legalize same-sex marriage took effect, conservative groups turned away from targeting queer people to instead target trans people in a “divide and conquer” strategy, as a conservative organizer named Meg Kilgannon summarized in a 2017 Family Research Council panel: “For all of its recent success, the LGBT alliance is actually fragile,” she told the assembly. “If you separate the T from the alphabet soup, we’ll have more success.”

To do this, conservatives joined forces with unlikely allies, including “trans-exclusionary radical feminists,” to drum up antagonistic sentiments against trans people. Right-wingers spread alarmism, rolling out dozens of anti-trans bathroom laws across the nation, then using them to introduce other transphobic ideas into local conservative platforms, all of them coming straight out of the moral panic playbook. These tactics didn’t directly address the sociocultural progress that trans people were making; instead, they cultivated a new wave of unfounded fear and alarmism about trans people themselves.

And the propaganda has only gotten more effective over time. Where transphobic bathroom bills mostly failed a decade ago, they’re now coming back into fashion; last week, Odessa, Texas, passed a bathroom bill that offers a $10,000 bounty paid to anyone who spies a trans person using the “wrong” bathroom.

The core elements we see used to attack and oppress trans people in the US in 2024 aren’t really about trans people; we’ve seen these same fearmongering tropes weaponized against numerous marginalized groups throughout history. They serve a greater political purpose — not just to demonize one specific group of people but to reinforce an in-group mentality that can then be deployed against all enemies. These attacks are a political cudgel.

Donald Trump’s anti-Kamala Harris ads bashing trans people are all about demonizing trans people.

[ericdeggans]

Why hoping Lily Gladstone won an Oscar does not equal valuing race over talent.

Social media is never a great place to have discussions about race and culture. The real issues at hand are way too nuanced and detailed for outrage factories like X/Twitter and Instagram to handle.

Still, I was disappointed to see so many people – perhaps willfully – missing the point online when discussion rose after the Oscars about Lily Gladstone failing to win best actress honors.

No doubt, a win for Gladstone – who would have been the first Native American woman to earn a major acting Oscar – also would have felt like a serious triumph for champions touting the power of diversity in film.

Feeling the love big time today, especially from Indian Country. Kittō”kuniikaakomimmō”po’waw - seriously, I love you all ❤️ (Better believe when I was leaving the Dolby Theater and walked passed the big Oscar statue I gave that golden booty a little Coup tap - Count: one 😉)

— Lily Gladstone (@lily_gladstone) March 12, 2024

Those of us who clock these things regularly knew that Emma Stone’s turn in Poor Things was most likely to spoil that scenario. Stone offered a showy-yet-accomplished performance as a singular character in an ambitious, creatively weird production. A much-loved past winner delivering a career-best effort, she was just the kind of nominee that Oscar loves to reward. And, as Vulture pointed out, modern Oscar voters seem to enjoy turning against expectations in big moments like this.

But when I expressed those feelings online – that Stone was marvelous and more than earned the award, but the Oscar academy really missed a chance to make history by overlooking Gladstone’s more subtle, quietly powerful turn in a better movie – the knives came out.

The gist of most negative reactions was the implication that I and others lamenting her loss were insisting that ethnicity should trump talent. As if the only or most important reason that an indigenous woman could be nominated for such a lofty award, is by people trying to bring social justice to the Oscars. (I guess Gladstone’s wins as best actress at the Golden Globes and Screen Actors Guild awards, among others, were also nods to diversity?)

As if it couldn’t be possible that perhaps -- just perhaps -- some racial cultural preferences were mixed up in Oscar voters’ attraction to the story of a beautiful, young white woman who has loads of sex while learning to define herself in a male dominated world.

What really disappointed me, however, was reading an analysis which reached all the way back to the 2017 Oscars to imply that one reason Barry Jenkins’ masterpiece Moonlight won best picture honors over La La Land was the pressure to bring social justice to the Oscars.

Talk about missing the point by a mile. What I’m driving at, when I advocate for contenders like Gladstone, Barry Jenkins and Jeffrey Wright, isn’t a finger on the scale to make up for past exclusion.

It’s a plea for Oscar voters to see these performances the way I and so many other people actually see them.

I still remember watching last year’s version of The Color Purple in a screening alongside lots of folks from Black fraternity and sorority organizations. And when the moment arrived where Danielle Brooks’ character intoned about her husband, “I loves Harpo — God knows I do — but I’ll kill him dead before I let him or anybody beat me,” it felt like the whole theater said those words with her. That’s how iconic those lines -- first spoken on film by Oprah Winfrey in the 1985 production – have become for Black America.

That same feeling came after I first saw Cord Jefferson’s brilliant American Fiction, centered on a frustrated, floundering Black writer who creates a stereotypical parody of a Black novel as a dark joke, only to see it become a best seller. I felt as if Jefferson had pulled the same bait-and-switch with his movie that his lead character managed onscreen – using the outrageous premise to draw us all into a more subtle and deliberately powerful story of a Black man struggling to connect with his family after huge losses.

I needed three attempts to get through watching all of Gladstone’s work in Killers of the Flower Moon. Not because the movie was so long I had to “get my mail forwarded to the theater,” like Oscars host Jimmy Kimmel joked. But because it was so hard for me to watch a film centered on the historic exploitation and murder of Native American people by white men.

It sounds like a simple idea, but it’s worth repeating: evocative moments in films will speak differently to different people.

Sometimes, when I’m pushing for a win in an awards category, or championing a particular project, it’s not because I’m putting a finger on the scale for the sake of equality. It’s because I’m more invested in that story than some others because of who I am. And I’m challenging some people, who might not see their cultural preferences as preferences, to consider exactly why they love one thing over another.

In many ways, it is sad to see great artists pitted against each other in these contests. Comparing the delightful, dangerous absurdity of Poor Things to the gritty, punishing tone in Killers of the Flower Moon feels like a fool’s errand, anyway.

But with so much that comes from an Oscar win – including proof that inclusion brings success, accolades and a great argument for more equity – it is important to understand why some people value some performances.

And part of living in a diverse society means valuing the wide range of opinions and reactions, not shrugging off those that don’t fit your worldview.

[7nsomnia]

can i ask, what’s wrong with dcc? i always hear that they kinda suck as a company, but from the vlogs i’ve seen, they’re one of the better companies. i’m not really as into dreamcatcher as some of the blogs on here even though i consider myself a stan, so i might not have the right information

okay. I feel like this is like opening my personal pandora box so this might be long. I'm pretty tired today so apologies in advance if this isn't very coherent asdkjh

dcc are a pretty decent company on a surface level, they treat the members well (which should be like the bare minimum for any company but I know that in this industry that's something to genuinely praise) and they actually change according/respond to negative feedback from the fandom etc when they or the members mess up (or they used to anyway).

for me it started in 2020 and how they handled handong's return. like the way they handled her absence was fine (good even, I would say), but the lack of hype for her actual return made things feel so underwhelming even though it was supposed to feel like a relief that she was finally back. I can't remember all the details anymore, but I do remember that the first time I felt like things were actually alright with dc was when they did the online concert crossroads in march of 2021. on that note I think most ppl were expecting ttol and dlm to be repackaged with ot7 versions and yet it's 2024 and they still haven't released them.

the handong stuff atp is water under the bridge tho, the group is fine, the members are fine, etc, I'm only mentioning it because that's when things started to feel really off for me.

so now we get into the actual things that happened that have left the fandom feeling burned out/frustrated/disconnected etc etc, whereas this happened to me at the end of 2022, I'm seeing more people now going through what I did back then:

I think the most pressing thing was that dcc didn't capitalize at all on dc's first win. they got their first win in april 2022 and didn't even do anything special in korea to commemorate it. it was a HUGE moment and they did nothing with it. usually after a group gets a first win you'll see them getting more promotions in korea, magazine photoshoots, mc deals, etc but dc just went on ahead to do festivals in europe and have a usa tour, these things are not bad but it was the lack of promotion in korea that in turn just made it all feel useless. that year dc also weren't invited to any end of year awards if I'm not mistaken so it all felt really disappointing and like all of the work we had as a fandom had been for nothing. I have to reiterate, dc/insomnias had been getting screwed over on music shows since 2019 with deja vu to get that first win, like I don't want to talk about the injustices the group and this fandom suffered through the years but it was a true story of resilience, so getting that first win in 2022 was a huge relief. to see it all going to waste was just... heartbreaking honestly.

when it comes to tours...... god I don't wanna get too much into it, but 4 tours in the usa in the span of 2 years is not normal. specially when they're prioritizing that over having a proper asia tour and the likes (AND promoting in korea??). latam tour is practically sold out rn and they're getting no merch or m&g benefits like the usa tour. I don't think doing exclusive things for a specific tour is bad per say, but you have to treat all your fans semi equally at least, specially for a group whose fanbase is majorly international (this will be important later), or it will happen what is happening rn which is ppl will leave the fandom. This is the first latam tour since 2019 (2017 for brazil!)... they've waited a really long time so personally (even tho this doesn't affect me bc I'm european) I feel like it's really disrespectful but wtv, onto other things.

now, speaking of the fanbase being majorly international, if this is the case, you'd think the company would make an effort to stream important events to their fans, like hmm the 7th anniversary concert perhaps? but nop, that didn't get streamed. a repetition of the dumbassery they did in 2022 where they split the concert and the members' solos in 2 days and only streamed one and so intl fans couldn't watch half the solo stages? and don't get me wrong, I think it's important that they have events that are korea only like they have the fansigns etc, but something as major as their 7th anniversary? when they've gotten here thanks to their international fans? that stings a little.

and lastly (maybe), we have dcc's usual lack of promotion during comebacks. fans always paying for ads, intl fans always doing the most for digitals even when it's Not their place (because this is smth that the korean fandom and dcc should be responsible for), fans having to reach out for vendors etc... Justice cb truly has been the culmination of the very worst promotions dcc has done tho and there have been some really bad promotions before... no radio shows, minimum interviews, barely any variety... were there even any ads? usually it's always fans paying out of pocket for ads. it just feels like throwing the members' and the company's work out the window for no good reason? Virtuous is one of their best albums and yet it feels like they just dumped it to go on tour again. I don't think that's necessarily a bad thing btw, having short promotions in korea is fine but like... promote for real? give your fandom content that they can watch and rewatch for however long it takes your group to have another cb? specially now that it seems that they're shifting to one album per year (not sure this is their wisest decision tho all things considered), you have to make sure that you promote that album properly? which kinda also goes with like, giving your fandom enough time to save for what you release and put out, specially if you're not trying to grow the fandom anymore. if they're dropping an album then don't announce a tour on top of that, and if they're announcing a tour then don't announce a photobook on top of that, and if they've just released an album then wait longer than a month to announce a photobook, and if they've just dropped a photobook then wait a bit longer until announcing the re print of albums the fans have been begging you for 6 years to re print LOL bc all this does is frustrate fans who can't make that much money in such a short time and it's stupid. like. in 2018 I dropped like 200 euros for like their very first photobook BECAUSE I had time to save that amount from their you and I cb (may) to whenever it was announced (I think it was august), and that was the highest tier (so you could get it for much cheaper) and bc back then it was like. well they barely release anything other than albums, so it's fine (also shipping was sooooooo much cheaper I miss it everyday, ofc this is not their fault tho but anyways).

lastly actually, oh my god. that stupid ass app where fans pay a subscription to message the members privately? has been the fucking worst thing to happen to this fandom and the members imo. if fans weren't respecting their boundaries before, it's even worse now. but it's also like. yeah the members should be reinforcing those boundaries, and I get wanting to at least make a buck of those problematic type of fans but I just don't think it has been good for the members at all. I won't elaborate too much on this because it will genuinely piss me the hell off but bottom line: that app has been hell for everyone genuinely there is no bright side to it other than dcc makes money out of it. and there's better ways to make money :))))))))

anyway this is over 1k words atp and somehow I feel like this all just the tip of the iceberg and I probably have forgotten many things bc tbh in the past year I've just. been trying to make peace with it all and just accept things for what they are because dc have been really special to me for such a long time and I just don't want dcc's decisions to make me throw all of that away (like I almost did). I love their music, I love the members, and so I will continue to celebrate wtv right decisions dcc makes but I'm not going to pretend that they're a good company when it comes to business decisions bc they're really not

[justrainandcoffee]

The Wandering Jew (Alfie Solomons x fem!OC)

"Welcome to end of the World", Alfie said.

Alfie x Rose Masterlist

Summary: It was like an apocalyptic movie. First it wasn't that bad, or that was people thought, until it was that bad. Rose landed in London with the idea of returning home a week and a half later, but few days after that, the PM decided to close everything. His flight was cancelled and getting a new one was an impossible mission. The world is facing a new era and she's there trapped in an Inn, in a distant city with a complete stranger and his dog.

Warnings: Just topics related to covid-19.

Words: 2K. || I'm rewriting the first chapters I posted last year. I changed several things and I'm happier now. You can find the rest of their modern story here.

Series masterlist.

18th March 2020.

The world was starting to panic because of the new virus created in China. Or maybe it was a sick bat that, like a domino effect, caused thousands of deaths already. China was closed, countries around it, too. Italy was collapsing slowly and the WHO already declared that this new virus, called COVID-19, was a pandemic.

Yet, millions of people continued with their lives as always. Working, going to classes, visiting friends or relatives and others, like Rose, were travelling.

Born in London in 1988, Rose Coldwell was returning to her city after eight years living in New York where she moved with her mother and two brothers. She received an important job offer back then and the money was beneficial for the four of them. Louis, her youngest brother went to high school and Samuel, the second brother, begun to study law in a good college there. Now the youngest was studying architecture and Samuel was part of a law firm in Manhattan.

Rose, on the other hand, ran her own fashion blog and had a small business. Nothing too extraordinary, but something that made her happy. After several years of sending mails and filling out forms to be part of any international fashion event and equal numbers of rejections, she sent a mail to be part of an international convention there in London and she was accepted. 2020, it was going to be an unforgettable year, she thought.

And she was right… but the reasons were going to be quite different.

The plane landed and she felt she was returning home like the prodigal son, or daughter. Not even once since she left the country she returned there and it was a pleasant feeling to be back on her land.

Some people around her in the airport were walking fast avoiding the multitude. Some were wearing masks, some not. A woman wearing one was offering alcohol to sanitize people's hands. An old man sneezed and caused several disgusted faces from people around him.

'Probably he's just allergic,' she thought.

While she was waiting for her baggage, she checked her phone. Her mother called her several times and also one of her brothers. She ignored them for now, once she was in her bedroom, she'd be able to call them.

"I think he needs to close everything."

Rose heard two men talking near her, one already had his suitcase, but the other not.

"Johnson already denied that, Luke. We're safe, he said."

"And you believe him?" the one named Luke, asked. "Give the virus a couple of days and we're doom, Fred."

Rose's heart started to beat fast. The fact that she was on the other side of the ocean away from her family, suddenly terrified her. But she shooed those thoughts from her mind. The UK under a strict lockdown sounded ridiculous.

.

The Wandering Jew was an Inn that opened its doors in 2017. The most popular in all Candem Town and its surroundings. Rated by its guests with five stars in websites like booking.com and full of positive feedback.

The Wandering Jew had over 60 rooms and five of them were almost a suite. Not like a the ones you would find in the most expensive hotels, but still quite elegant.

But most of all, The Wandering Jew had a man named Alfie Solomons, the owner.

Alfie bought the building, that was about to be demolished, in 2016 and hired people to reconstruct it. From engineers and architects to construction workers. One and a half years later, it was finished it. It costed him several thousands pounds but it was worth and he was happy with it.

His apartment was above the Inn, so he never really left that place, except to walk his dog and closest friend: Cyril. Every late afternoon it was common to see both of them walking out the Inn to go to a park and spend an hour or two there.

During the day, while Alfie was behind the reception counter, Cyril usually was sleeping next to his feet or greeting some guests.

And that was exactly what Cyril did that 18th of March.

The reception was empty in that moment, most of the guests were out visiting some places and few others were sleeping or at least they were in their bedrooms. Cyril had been chewing his favourite tennis ball, when he heard a taxi and he stood up quickly. The dog ran towards the glass door and spied from there. Alfie barely paid attention to him.

Cyril was excited. He didn't know her, but the dog was still happy. He could smell her as soon as she left the taxi and now that he could see her, his tail was wagging faster than before. His excitement caused to Alfie to finally raise his eyes from the newspaper and put attention to Cyril who was now hopping.

Alfie saw Rose for the first time while she was pushing the glass door with her body. In one hand she had her baggage and in the other her phone. She was speaking with someone and was clearly upset. And had every reason to be mad. The one on the other side of the line, was a bastard whose only purpose in his life was to harass her. No matter how many times she blocked him, he always get a new number to call her.

"Go and fuck yourself, dickhead!"

Alfie was amused, without no doubts that was the best entrance ever. And a very pretty one.

He saw her sliding her phone in her pocket and then watching at Cyril who seemed to be more than happy after she petted him gently. Cyril ran towards Alfie and barked at him.

"Did you see her? Did you?" He seemed to say.

"Calm down, boy," Alfie said to the animal and then he looked at her who was already in front of him at the reception counter. "I'm sorry, he's usually quieter."

"Don't worry, he's nice! And I love dogs." Rose smiled at him and he did the same. "I booked for a room online, two weeks ago. Coldwell is my last name," she told him.

After giving him her ID, and while he was checking the information she paid attention to the place. She had already seen several photos online and she liked it but the Inn was really nice. The paintings on the walls were warm and several represented the sea. A plant over the counter called Wandering Jew, like the Inn itself, captured her attention. Her mother used to have that kind of plans when they lived in London. She asked herself if the Inn's name was because of those plants or there was another reason.

"Everything is okay, Ms. Coldwell," he said giving her ID back and also a key "Room 44. Welcome and I hope you enjoy your days here."

"Thanks! I will!"

"Every room has a phone that communicates directly with this one," he said pointing at a black one over the counter, "if you need anything you can call me... us. Call us."

Rose chuckled and nodded "Thanks…"

"Alfred. Alfie."

"Thanks, Alfie."

_

Two days later, the 20th of March, it was obvious that things were out of control. Hospitals were saturated, the numbers of sick people were increasing, flights become to be a necessity and there weren't enough planes. Countries like Italy, Greece and France were collapsing under the virus. And several of them closed their frontiers. Boris Johnson had already a rope around his neck but he refused to start a quarantine yet.

"No, I'm not admitting new guests," Alfie said to the person who called the Inn "I'm sorry."

His right hand, Ollie, was next to him. Both of them were waiting news from the government but there was nothing except empty words and promises about a bright future.

The convention were Rose had to go was cancelled because the organisers were sick and it was suspended. And in top of that she received an email saying that her original flight to return home was cancelled. The company gave her the money back but they didn't say anything about a reschedule.

She returned to the Inn that afternoon only to see in the TV that was in the reception, that there were riots everywhere. Demanding a lockdown, demanding more medical assistance and some demanded Johnson's and the Queen's heads.

Both men, Rose and an old woman were paying attention to the BBC journalist who was in front of one of the hospitals.

"Welcome to the end of the world," Alfie commented.

He wasn't that wrong.

The night of the 22th of March, it was chaotic. Finally the lockdown was imminent and some people was already leaving the Inn. Ollie, who worked the night shift, was giving them their money back for the days that they couldn't stay. That night Rose didn't sleep. She tried to get a flight and she could hear her mother's voice in her head "you should listen to me."

And yes, Mary Coldwell was right but it was too late now for any regrets. Rose needed to return with her family, the thing was how.

The next morning it was officially confirmed the beginning of the quarantine. Alfie again behind the counter, was attending the remaining guests who were living the Inn. Including those who refused to leave. One particular woman was complaining about the lockdown and she was basically blaming Alfie because of that.

Alfie was trying to remain calmed but this Karen wasn't making things easy.

"You can't expelled me like that. I paid for my bedroom for three weeks and I've been here for only one. I want to stay here for three weeks!"

"But you can't. You can go to 10 Downing Street and talk with the Prime Minister about your holidays, if you want. I'm just a citizen following these new rules, ma'am. Pick up your belongings and get in your car and return home. Stay there until the Quarantine is over."

Rose was sitting on one of the armchairs at the reception. Phone in hand, refreshing the airlines website every two seconds, but not avail. Everything was collapsed and there wasn't any flights. The news showed people sleeping on floors and she knew that was her fate and she was really upset. So hearing that woman was ending with her patience.

"I'm going to sue you, you'll see! And you're going to regret it! This is a complete nonsense! There's no such thing as a virus!! It's the media! And the left and…"

"Shut the fuck up, for once! Fuck!"

Both Alfie and the woman stared at Rose who was frowning. The first one smiled, but the woman seemed offended.

"I didn't pay to be insultated!"

"I'm doing this for free," Rose replied.

Gasping, the woman warned Alfie with a lawyer one last time and left the Inn, according to her, to search a better place to stay. She found none.

The rest of the guests left the Inn without drama and by 4pm only Rose remained there. From all the guests that The Wandering Jew had there at the moment, she was the only one living in United States, the rest were all over Britain. In consequence, the only one having problems was Rose.

"Any luck?" Alfie asked watching her with her phone still in hand.

"No. Not really. My brother is trying to help from his home but he's not having luck either."

"You can stay here for tonight if you want," Alfie said.

"I was planning to go to the airport and stay there."

"Sleeping on the cold tiles in middle of a pandemic? I'm sorry but it sounds risky."

"But…"

"I hanged the sign. For everyone here, the Inn is closed. Don't worry."

"Just for tonight, I promise," she said.

Alfie agreed.

"Just tonight."

How wrong both of them were.

[nerdygaymormon]

Congratulations to Nepal!

Here's a brief history leading up to today.

Nepal has tried to stamp out social discrimination ever since a decade-long Maoist rebellion ended in 2006 and the 239-year-old Hindu monarchy was dismantled in 2008.

In 2007, Nepal repealed laws against gay sex and introduced several laws which protected "gender and sexual minorities". The Supreme Court ruled later that year for the government to create laws to protect LGBTI rights, and for the government to form a committee to look into legalizing same-sex marriage. Successive governments failed to change the law on same-sex marriage. 

A lesbian couple held a traditional Hindu marriage ceremony in 2011, but the marriage has no legal status in Nepal. More and more public parades and unofficial weddings started being held in Nepal.

A new constitution was adopted in 2015 which recognized LGBT rights as fundamental rights, and while it didn't specifically list same-sex marriage, it did list several other rights, such as being able to acquire a citizenship certificate according to one's gender identity.

In July 2017, Monica Shahi and Ramesh Nath, successfully registered their marriage. Shahi is a third gender person, with their sex recorded as "other" on their official identity documents. The Nepal Home Ministry said the marriage could be invalid.

In October 2017, the Supreme Court ruled that the government was wrong to deny a Visa to the American wife of a Nepalese citizen. The government argued it rejected the application since Nepal doesn't recognize same-sex marriages. The Supreme Court ruled that the law is as long as they have a valid marriage license, a foreigner who is married to a Nepali citizen is eligible for the Visa, the rules do not specify that the foreign national must be either same or opposite gender. Furthermore, it pointed to the Nepal constitution that an LGBT citizen is entitled to live life with dignity without discrimination.

March 2023, the Supreme Court ordered the government to recognize the marriage of a Nepali citizen and his German husband and to issue a spousal visa. It also directed the government to draft legislation for full marriage equality in Nepal

In June of 2023, the Supreme Court ordered the government to make necessary arrangements to temporarily create a separate register for marriages of "sexual minorities and non-traditional couples" until lawmakers come up with a new legal framework to uphold such unions permanently.

Nov 29, 2023, a same-sex couple officially registered their marriage

[remembertheplunge]

March 10, 1988 Thursday

I went to Shirly B.s for a spiritual meeting. That word spirit has got to go. I’ll think of something.

The meeting consisted of Sally, Shirley, Joe, Lyn and Lew.

They saw me leaving law.  They saw me going on in life in a more spiritual manner. Eastern. Like a Monk or a Priest. They saw me leading a conventional “congregation” that does not yet exist——“conventional” in some future way, whose terms and realities only the future can know.

Joe saw me writing. “Monks can write” the group said. 

Joe saw me giving up what I have and leading a simple life “Like a billionaire giving up all his money equalling all his wealth. And, then returning to the wealthy life.”

Sally saw me standing down in a rocky valley, looking up at high cliffs, and seeing a figure there standing and exclaiming “Why me Lord. Why me?”

End of entry

Notes September 14, 2024 Saturday.

In the mid 1980’s, I met with a group led by Shirly B. In Modesto on and off for a year or two I think. In our meetings, we did mutual psychic readings. 

I documented our March 10, 1988 in my journal and included it above.

This one is fascinating in that the group saw me in the future leading a conventional congregation that did not then exist in some future way, who’s terms and realities only the future could know.  

And, here you are, my blog followers,  the “congregation" that didn’t exist in 1988.  I’m talking to you via a blog on the internet, a  present conventional means of communicating that was unheard of in 1988!  The groups prediction came true!

And although I was never a billionaire, I did “give up” financial stability. I choose time and experience over monetary gain. “I don’t want your money. I want your soul” became my mantra. Meaning I want the soul of your experience. So,  they were also correct when they said that I would become a writer. The deep experience of my unconventional life demanded deep writing to flesh it out. And, I guess in a way, I’m Monk like in that I spend a lot of time on my own. Gives me ritual space to let experience translate out onto the page.

And, I think the lone figuring screaming into the night far above me on the cliff represented  the homeless that I would lat5er have deep encounters with. I was unaware of the power of the homeless encounter in 1988. I wouldn't awaken to it until March of 2017

I haven’t left the law yet. It is a great and source for writing inspiration. But the unconventional life I have led informs my method of practicing law..

[tracychamberlainhigginbotham]

(via Monday Motivation: Hear My Story, Vote XX)

[texasobserver]

“The Long Road to a Juneteenth Museum” by James Rusell, from the January/February 2024 issue of Texas Observer Magazine:

(Museum renderings courtesy BIG)

When Fort Worth activist Opal Lee was invited in 2021 to stand alongside President Joe Biden as he signed the bill making Juneteenth a federal holiday, “I could’ve done a holy dance,” the 97-year-old told the Texas Observer recently. “But the kids said they didn’t want me twerking.”

Dancing—and twerking—aside, Lee is clearly used to ambitious projects. She’s often referred to as the grandmother of Juneteenth, mostly because of her 1,400-mile walk, Fort Worth to Washington, D.C., September 2016 to January 2017, seeking recognition for the day that has come to represent freedom for American Blacks. Although the Emancipation Proclamation took effect in 1863, slaves couldn’t be freed where the countryside was still under Confederate control. That ended in Texas on June 19, 1865, when Union troops arrived in Galveston and brought the news.

The latest project of Lee and her allies, to create a museum in Fort Worth honoring Juneteenth, is turning out to be equally ambitious. What began as a modest collection in a small house in the neighborhood where Lee grew up has become a key part of an effort to revitalize Fort Worth’s Historic Southside neighborhood. The most recent and much grander incarnation of the museum is due to open in 2025.

Along the way, the honors paid to Lee—a Nobel Peace Prize nomination, a painting of Lee for the National Portrait Gallery, and the Emmy Award-winning documentary Opal’s Walk for Freedom (2022)—have helped bring attention to that neighborhood, just as they did to the Juneteenth campaign. But tragedy and poverty have held hands there for a long time, and revitalization efforts sometimes find tough sledding.

Lee’s roots run deep into the soil of the Southside and into personal memories of another June 19. On that day in 1939, a mob of racists—about 500 people, according to the Fort Worth Star-Telegram—raided the house there that Lee, her parents, and two brothers, had recently moved into. The family promptly moved out.

A portrait of Opal Lee from the National Portrait Gallery (Courtesy of Talley Dunn Gallery)

The raid was traumatic. Lee told the Star-Telegram in 2003 that afterward her family was “homeless and then living in houses so ramshackle they were impossible to keep clean.” The experience led her to become first an advocate for affordable housing and later an activist regarding homelessness, hunger, and Juneteenth. 

Eighty years after the raid, another violent incident a few blocks away would inspire a new generation of Southside activists.

Lee, a retired elementary school teacher and counselor in the Fort Worth school district, also spearheaded the rebuilding of the Metroplex Food Bank (now the Community Food Bank), founded the urban Opal’s Farm, and served on numerous local boards, including the Tarrant Black Historical and Genealogical Society.

Through all that time, she worked to draw attention to Juneteenth. “She was always teaching about Juneteenth” in middle school, said Sedrick Huckaby, the Fort Worth artist who painted Lee for the National Portrait Gallery. “She was always teaching about our heritage and about taking pride in who you are.” Allies like the late Rev. Dr. Ron Myers, a Mississippi doctor and minister, lobbied legislatures across the country and in 1997 helped pass a congressional joint resolution recognizing the holiday. Lee worked on building local support.

In 2014, on the 150th anniversary of Juneteenth, she asked friends and family to donate to a celebration of that, in lieu of buying presents on her birthday. A story in Fort Worth Weekly called her “part grandma, part General Patton” in leading the effort. Two years later, she was putting on her walking shoes for her own personal march on Washington. “If a lady in tennis shoes walked to Washington, D.C, maybe people would pay attention,” she said in her deep, raspy voice, recalling her motivations for the trek. It took another four years after her walk, but the national holiday happened.

Juneteenth has been celebrated by Black Americans for more than 100 years, including in Fort Worth. Texas was the first to designate it a state holiday, in 1980. Since 2020, 26 states, propelled by the murders of Black citizens George Floyd and Breonna Taylor at the hands of police, have followed Texas’ lead, according to the Pew Research Center. 

In Fort Worth, Lee and volunteer Don Williams had been working for years to gather artifacts related to local Black history and Juneteenth, including paintings by local Black artist Manet Harrison Fowler, scrapbooks chronicling local Juneteenth celebrations, and memorabilia from the locally filmed movie Miss Juneteenth. Lee inherited a house from her late husband Dale, a retired school district principal, and turned it into the first version of the Juneteenth museum. It housed the growing collection and hosted multiple Juneteenth events and, at one point, computer classes.

While the collection grew, the building, run by volunteers, was deteriorating. Like most public places, it closed in 2020 as COVID-19 spread. After the pandemic, it did not reopen, and the collection was moved out. Then early on the morning of January 11, 2023, it caught on fire. The remains were demolished to make way for the new museum. 

Around 2019, Lee, granddaughter Dione Sims, and former Fort Worth Chamber of Commerce executive Jarred Howard had started talking about the possibility of a new Juneteenth Museum. They began buying land around the site of the old house. Howard long had a vision to help his old stomping grounds and wanted to both commemorate the holiday and spur economic development. Well acquainted with developers and architects from his Chamber days, he solicited requests for proposals for a building that could meet those goals. First, local architect Paul Dennehy designed a five-story building with a gallery, event space, and residences. In early 2020 it was pitched to neighborhood association leaders. Too tall, they said, and out of step with the neighborhood. In 2021, local architects Bennett Partners produced a plan for a playful mixed-use campus, estimated to cost about $30 million to build. 

In 2022, a new plan, bigger in scope than Lee could have imagined two decades ago, was unveiled. The current proposal is for a 5-acre complex housing a National Juneteenth Museum, with a theater, restaurant, art galleries, and a “business incubator” space to spur Southside entrepreneurship, designed by the internationally renowned architecture firm Bjarke Ingels Group (BIG). The price tag is an estimated $70 million. So far, the nonprofit National Juneteenth Museum, formed in 2020, has raised about $30 million of that, mostly from major donors and foundations, Lee said.

Douglass Alligood, a partner at BIG and the chief architect of the currently planned museum, got an earful during his field work on the project, including from Lee’s friends and supporters. In multiple visits, he met with Lee as well as neighborhood leaders. The conclusion:  The museum had to represent the community and not be divorced from it.

“We were inspired by the neighborhood typology—the homes that feature historic gabled silhouettes and protruding porches, also known in context as a ‘shotgun’ house,” he said. “Neighborhood groups and community members found that, together, the BIG and KAI Enterprises [the local architecture firm] design teams demonstrate a deep understanding of the Juneteenth story and commitment to work with the local community to celebrate the holiday’s history and local culture of the Historic Southside.” 

Eleven rectangular glass-clad building segments, with peaks and valleys of varying heights, will create a star-shaped courtyard in the middle. “The ‘new star,’ the nova star represents a new chapter for the African-Americans looking ahead towards a more just future,” Alligood said.

Fine, locals said, but what people there really need is a grocery store.

It was a cold morning in early October, and Patrice Jones needed help unloading herbs. She was in the courtyard of Connex, a new three-story business and retail complex about two blocks from the planned site of the museum. Jones and a group of volunteers, mostly in their 20s and 30s, from Southside Community Gardens, are planting their 79th and 80th backyard vegetable gardens in the neighborhood, she said proudly. It’s pick-up day for those who’ve already established gardens.

The initiative is part of the larger By Any Means 104 effort, named for the 76104 zip code, and co-founded by Jones in 2020. The group’s focus on local issues includes addressing the lack of fresh food in the area instead of waiting for a grocery store. Jones, a feisty advocate and former claims adjuster, has run it full time since 2021. If the city can’t get them a grocery store, she said, they’ll teach residents to grow their own food.

The Juneteenth Museum is important, Jones said, between handing out herbs and greeting volunteers. But in her circles, she said, people also ask, “Can we get a health clinic? Can we get a pharmacy?” And of course, “Can we get a grocery store?”

According to a 2018 University of Texas Southwestern Medical Center report, the 76104 zip code has the lowest life expectancy rate in Texas and a high maternal mortality rate. It’s also a victim of what Jones calls “food apartheid,” a term she prefers to “food desert,” an indicator of an area with little access to fresh foods. Desert implies it’s natural; apartheid, she said, is an intentional act. She blames city government and its white-dominated culture.

But hunger is not a sufficient reason for a grocery chain to decide where to open a store, even if it could be part of a historical complex.

Grocery store owners “use different metrics,” including population density, said Stacy Marshall, president of Southeast Fort Worth, Inc., an economic development group. “We can’t yet make a compelling case.” The area needs more housing, he said. “Build density—rooftops—and grocery stores come.”

Marshall is a force in bringing new development to the southeast part of the city, a large historically and ethnically diverse area that includes the Historic Southside.

 Since he took the job a decade ago, “development has gone gangbusters,” he said. But development has also brought gentrification: “It’s so expensive to purchase dirt here and get a single-family home,” he said. One Dallas real estate firm put together a $70 million deal for a mixed-use development in the area, but it has stalled.

The Juneteenth museum site is within the Evans-Rosedale urban village, a city designation focused on bringing investment to the area. It’s seeing an uptick in interest from developers, but nowhere near what’s been promised by local officials.

“There have been attempts in the past. There’s the Evans Avenue Plaza, but most people don’t know about it,” said Bob Ray Sanders, communications director for the Fort Worth Black Chamber of Commerce. The plaza, also part of the Evans-Rosedale village, is meant to be a community gathering space and includes a new library. About a mile away is the Hazel Harvey Peace Center for Neighborhoods, which houses numerous city offices.

Many of the neighborhood’s nagging problems date to the mid-20th century, when integration meant, ironically, the loss of many black-owned businesses, while highway construction—as it did in many American cities—cut off Fort Worth’s Black community from downtown and wealthier neighborhoods. “By doing that, people on the Westside [turned] a blind eye to people on the Eastside,” Sanders said.

Housing construction seems to be picking up, mostly on an infill basis. But while developers are buying homes, Marshall said, they are mostly sitting on them and waiting until they can get higher prices.

Longtime assistant city manager Fernando Costa said development work in historic urban districts presents more challenges than creating new neighborhoods from pastureland. Beyond the physical complications of older infrastructure, historic preservation concerns and, often, environmental problems left over from earlier development, Costa said, such projects “require getting existing neighborhood involvement.”  

There’s also the issue of crime. According to the Fort Worth Police Department, nearly 560 crimes were reported in the 76104 zip code between mid-May and late November 2023. Assault, larceny, drug and alcohol violations, and vehicle break-ins made up more than three-quarters of the reports. That’s compared to 165 in the same time period in the mostly-white, wealthy 76109 zip code in West Fort Worth.

In the early morning of October 12, 2019, white police officer Aaron Dean, responding to a welfare check at the house, killed 28-year Black woman Atatiana Jefferson, who was playing video games with her nephew. Dean was later found guilty of manslaughter and sentenced to 11 years in prison.

Jefferson’s murder lit a fire under a younger generation of activists who aren’t waiting for change, such as Jones, who also worked to get police accountability in response to the murder, and Angela Mack, whose doctoral thesis is about Jefferson and the neighborhood.

“I’m a good, ol’ fashioned Funkytown Black nerd,” said Mack, an instructor in the comparative race and ethnic studies department at Texas Christian University, where she received her doctorate in English rhetoric.

After Jefferson’s murder, Mack changed her thesis topic to address that tragedy. She saw that, between her mother and the national media, two different stories were being told.

“When we’re thinking about the Southside, we think about Fairmount and the Medical District in terms of revitalization. But when you cross the highway, you’re in an area with crime and poverty,” she said, drinking a latte at Black Coffee, one of the few coffee shops in the area. “When people [look] at the community, people are looking at what’s not here. It’s a deficit model of communication instead of seeing the good that’s here.                                                                

“I’m not anti-development,” she said, but economic development shouldn’t be the museum’s purpose.

“When you’re building something, it should not be [a question of] how many people we employ, but how does it help define the Southside? The development will come. I’m concerned about who controls the narrative,” she said. “The main focus should be how does this speak about our history and heritage.”

Jones also worries that history will be lost. She’s afraid that rising property values will push out poor people.

Sims has heard those concerns before. Property taxes go up with any new development, she said. And everyone’s going to complain, even if they want change.

When the museum opens in 2025, Lee just wants to make sure she’s there to see it.

“I’m looking forward to it,” she said. She’d be 99. “I hope I’m still here.”

[elennemigo]

“Paddington” producer-distributor Studiocanal is gearing up to shoot “How To Stop Time,” starring Benedict Cumberbatch and with D.C. Moore (“Mary & George”) and Tomas Alfredson (“Tinker Tailor Soldier Spy”) on board as key creative talent.

Production on the title by Studiocanal and SunnyMarch will be announced by CEO Anna Marsh on Monday at her keynote at Cannes’ MipTV trade fair. 

Based on Matt Haig’s bestselling novel, “How To Stop Time” is written by Moore with Alfredson set to direct. Filming will take place in London and other parts of Europe in 2024, said Marsh. 

Published in 2017, “How To Stop Time” turns on Tom Hazard, a London high-school history teacher, apparently 41, but suffering from anageria, or a very slow ageing process, which means he has lived since the 1500s. Affected by a life of perpetual loss, Tom is part of a like-conditioned secret power elite whose only rule is: Never fall in love.Then he meets a captivating French teacher at his school who seems equally fascinated by him.

Robyn Slovo (“Tinker Tailor Soldier Spy”) is series producer alongside Cumberbatch, Adam Ackland, Claire Marshall and Leah Clarke for SunnyMarch (“Patrick Melrose,” “The Child in Time”). Moore, Alfredson, Haig and Jamie Byng executive produce. Ron Halpern, Studiocanal EVP global production and SVP global production Joe Naftalin executive produce and are overseeing for Studiocanal.  

“Losing his loved ones, his existence is in many senses one of perpetual loss. So you can imagine Benedict being absolutely perfect for the role,” Marsh told Variety in the run-up to her keynote. 

“How to Stop Time” will also key in on a love story that, for reasons beyond its lovers’ control, seemingly cannot last. “There are many themes that hit home,” she added.

Cumberbatch said that when he first read “How to Stop Time,” “the potential of this story was immediately obvious.” “In his inimitable style, Matt once again explores what it is to be human and what it is to live a life – a very long one in this case – with pathos, insight, humor, drama and inspiration,” the actor-producer continued. 

He also praised Alfredson for being “the perfect person to capture the scale, tension, and sense of humour alive in DC Moore’s adaptation.”

Canal+ will air “How to Stop Time” in France, throughout Africa and in its six territories in Eastern Europe. Beyond the Canal+ footprint, Studiocanal will look to take the series onto the open market.

As it looks to build an even larger presence in the English-language scripted space and address international audiences, Marsh confirmed to Variety that Studiocanal has acquired an equity stake in London-based Strong Film & Television, co-founded in late 2020 by “Broadchurch” director James Strong and Matt Tombs, a former executive at the BBC and Paramount.

“We have the appetite to make more globally-reaching shows, and a lot of the talent for those kinds of international shows is definitely in London. There’s a lot of great talent there,” March said.

[overthinkingbelle]

Aaron Tveit appreciation post.

Movie appearances/roles:

2008-Ghost Town (Anesthesiologist)

2010-Howl (Peter Orlovsky)

2011-Girl Walks into a Bar (Henry)

2012-Premium Rush (Kyle)

2012-Les Misérables (Enjolras)

2013-A Dream of Flying (The Young Man) Short film

2015- Big Sky (Pru)

2016-Undrafted (John "Maz" Mazzello)

2016-Better Off Single (Charlie) Previously named Stereotypically You

2017-Created Equal (Tommy Reilly)

2018-Out of Blue (Tony Silvero)

TV roles/appearances:

2009–2012 Gossip Girl (William "Tripp" van der Bilt III) 10 episodes

2010 Ugly Betty (Zachary Boule) Episode: "All the World's a Stage"

2010 Law & Order: Special Victims Unit(Jan Eyck) Episode: "Beef"

2011 Body of Proof (Skip) Episode: "Point of Origin"

2011 Law & Order: Special Victims Unit (Stevie Harris) Episode: "Personal Fouls"

2011 The Good Wife (Spencer Zschau) Episode: "Executive Order 13224"

2013–2015 Graceland (Mike Warren) Main cast; 38 episodes

2016 Grease Live (Danny Zuko) Television movie

2016 BrainDead (Gareth Ritter) Main cast; 13 episodes

2017–21 The Good Fight (Spencer Zschau) 3 episodes

2019 The Code (Matt Dobbins) 5 episodes

2020 One Royal Holiday (Prince James Gallant) Television movie

2021 American Horror Stories (Adam) Episode: "Rubber(wo) Man Part Two", (Jay Gantz) Episode: "Feral"

2021–present Schmigadoon! (Danny Bailey) Main cast; 6 episodes

Theatre works:

2003 Footloose (Garvin) Merry-Go-Round Playhouse [2003 Regional production]

2004 Rent (Steve, u/s Roger, Mark) US national tour [January – December 2004 National tour replacement]

2005–08 Hairspray (Link Larkin) US national tour [August 2005 – July 2006 First national tour replacement], Neil Simon Theatre [July 18, 2006 – January 18, 2007; April 1 – May 4, 2008 Broadway replacement]

2007 Calvin Berger (Matt) Barrington Stage Company: [July 3–14, 2007 Original regional production]

2007 The Three Musketeers (D'Artagnan) North Shore Music Theatre [August 21 – September 9, 2007 Regional production]

2008–10 Next to Normal (Gabe Goodman) Second Stage Theatre [January 16 – March 16,2008 Original Off-Broadway production], Arena Stage [November 21, 2008 – January 18, 2009 Original Washington, D.C. production], Booth Theatre [March 27, 2009 – January 3, 2010 Original Broadway production]

2008 Saved! (Dean) Playwrights Horizons

[May 10 – June 22, 2008 Original Off-Broadway production]

2008–09 Wicked (Fiyero Tigelaar) Gershwin Theatre [June 24 – November 9, 2008;

January 20 – March 9, 2009Broadway replacement]

2009–11 Catch Me If You Can (Frank Abagnale, Jr.) 5th Avenue Theatre [July 28 – August 16, 2009 Original Seattle production] Neil Simon Theatre: [March 11 – September 4, 2011 Original Broadway production]

2010 Rent (Roger Davis) Hollywood Bowl: [August 6–8, 2010 Limited engagement]

2014–15 Assassins (John Wilkes Booth) Menier Chocolate Factory: [November 21, 2014 – February 8, 2015 Off-West End revival]

2017Company (Robert) Barrington Stage Company: [August 10 – September 10, 2017 Regional revival]

2018–22; 2023 Moulin Rouge!(Christian) Emerson Colonial Theatre: [July 10 – August 19, 2018 Original Boston production] Al Hirschfeld Theatre: [June 28, 2019 – March 11, 2020, September 24, 2021 – May 8, 2022, January 17 – April 9, 2023 Original Broadway production; paused due to COVID-19 , Won 2020 Tony Award for Best Actor in a Musical, Returning for limited engagement in 2023]

Feb. 9-May 12, 2023 Sweeney Todd (title role) Broadway revival, Lunt-Fontanne Theater (replacement)

Source: Wikipedia