#Jolie Holland

[razorsadness]

I'm floating with the birds I'm talking to the weeds Look what you've done to me

I'm still dressed up from the night before Silken hose and an old Parisian coat And I feel like a queen at the bus stop on the street Look what you've done to me

It's a beautiful morning in the ghetto Finer than the day before The ants are crawling over my pants as if to say They know where the honey is

There's really old roses blooming in the ghetto Birds of paradise are taller than me The weeds grow high, the birds flicker by Children are walking to school

In the midst of all of this profusion The bus pulls up to take me back home The bus driver looks like an African prince The babies have tears in their eyes

And I feel like a queen On this sunny city bus Look what you've done to me

[dancingandsingingintheforest]

The ever-growing playlist. I add a couple of more songs spontaneously.

[eternal--returned]

Jolie Holland ֍ The Devil's Sake (Live for Paste Magazine) (2010)

I got drunk on an old photograph of you That I'd taken in my mind Only an angel sent from up above Can tell me if you're the devil or the one I should love Where is that angel? I'm praying with all of my might

Oh, take me into your heart again With kisses sweeter than lies Don't tell me the truth I can already hear it in the way you howl in the night Only your bones can tell my hands that you're right

[manitat]

Jolie Holland - Old Fashioned Morphine

[sinceileftyoublog]

Jolie Holland Interview: Refractive & Layered

Photo by Chris Doody

BY JORDAN MAINZER

When I called Jolie Holland last summer to talk about her then-upcoming new album Haunted Mountain (Cinquefoil), the LP had just arrived. Lying in her house was, in her words, "a mountain of Haunted Mountain." She had just finished boxing up a limited edition vinyl of her debut album Catalpa, sent to her supporters on Patreon, and a friend was coming over later in the day to help box up some more vinyl. The DIY and direct-to-consumer approach suits Holland and is certainly consistent with the themes of Haunted Mountain, an album that at times looks back at Holland's earliest years and contextualizes them within society's current fights against capitalism and the patriarchy.

On Haunted Mountain, you can hear battles in every aspect of Holland's experiments. Take the spacious electronica of "Feet On The Ground", its deep bass groove and panning, skittering beat tangling with Holland's soulful vocal and whistling, and buzz-saw guitars that cut in and out. On the surface, its lyrics recall protest, but to Holland, it's her first "anti-patriarchal dance" song, using bodily movement as a means to a more just end. Piano ballad "Orange Blossoms" lays side-by-side natural imagery and soundscapes to chide human effect on climate change while being careful not to delve into the world of self-righteousness or eco fascism. "Every single soul on this spinning globe / Is captive to this dick measuring contest," she quips with her trademark smoky, jazzy vocal. The galloping Buck Meek duet "Highway 72" references Holland's experience as a homeless teenager, piercing violin rubbing against gentle acoustic guitar, pedal steel, and Mellotron, the sonic manifestation of the daily struggle to live on the streets. The song uses the Nyabinghi rhythm, named after an anti-colonial Rwandan freedom fighter, Holland's subtle way of connecting the fights against colonialism and austerity.

It's no coincidence that Holland's first album in years came as her creative relationship with Meek flourished. She first met him at the Park Slope Food Coop, where they both worked. "The stairs to the office are lined with cheesy personal advertisements of people offering different services," Holland said of the Coop. "It feels like a college campus in the 90's." She decided to advertise songwriting coaching and music lessons, and Meek saw it and decided to get in touch, as he was a fan of her music. The rest, as they say, is history: Holland bared witness to Meek's burgeoning relationship with Adrianne Lenker, the formation of Big Thief, and both his and his brother Dylan's resulting success.

Yes, it was a coincidence that in 2023, both Holland and Meek released albums named Haunted Mountain. Holland co-wrote five of the songs on Meek's album, including its title track, a tribute to active volcano Mount Shasta. Guitarist Adam Brisbin, whom Holland introduced to Meek, plays on both records. Yet, that both albums deal with "reciprocity with nature"--a phrase Holland said that Meek used to contextualize his title track--and a sort of cosmic telepathy is a tribute to Holland and Meek's intertwined creative partnership. Right now, Holland is getting ready to tour the UK and EU in March and April. Read our conversation below, edited for length and clarity, about Haunted Mountain, working with Meek, nature, protest music, and conversational songwriting.

Photo by Chris Doody

Since I Left You: This cosmic collaboration between you and Buck is years in the making.

Jolie Holland: I was super charmed. We've known each other for over 10 years. I love writing songs with him. We've never done it in person--it was just literally texting and videos that we sent each other.

SILY: On "Mood Ring" from his album, he sings about telepathy. Even if he's singing about it from a romantic standpoint, that he titled the album the same thing is even further coincidence.

JH: He didn't know I was naming my next record Haunted Mountain. I always was. I never questioned it. It was this very simple vision for me. It's such a straightforward thing to name a record after a song and clearly, it's a very evocative title. Who knows what it means? I don't exactly know what it means. It has this nice refractive multi-faceted character. It's also a soft rhyme that has a nice rhythm to it. It was unquestioned to me that was gonna be the title.

There was a similar thing going on in Buck's circle. He kept coming up with different names for his record, but everyone in his circle was calling it Haunted Mountain. They assumed that was the name. He thought, "This isn't moving. Everybody is into this." He sent me this extremely thoughtful email that explained the process. He said, "Can I name my record after your song, [but] only if you're not going to name your record the same [thing]?" I said, "Yeah, well I am [naming it Haunted Mountain]." It only took us a few hours to come around to the fact that [the coincidence] was awesome. [laughs]

SILY: He sings about the idea of "reciprocity with nature" on his title track, a humbled relationship with it, and so do you, especially on "Orange Blossoms". Can you talk about your personal relationship with nature and singing about it?

JH: I said that phrase, "reciprocity with nature," and then I completely forgot having said it. Buck was texting me, "What was that you said? Something about something with nature? What was it?" We finally both remembered my having said it.

Are you an Indigenous person?

SILY: No.

JH: Me neither. My grandmother had a Choctaw last name but wasn't tribally affiliated. She had a family background of being Indigenous. They lived in New Orleans. She was Black and French, and the spelling of her last name is typically only Choctaw. When I was a kid, she told me in a very strong New Orleans accent, "I'm half Black, half French, and half Indian. That makes me Cajun." It's some ridiculous shit. Did you read Braiding Sweetgrass?

SILY: No, but I'm familiar with it.

JH: It's so beautiful. It's written by an Indigenous botanist named Robin Wall Kimmerer. The audio book is so...gorgeous, hearing the cadence and the weight of meaning in her voice. I haven't even finished the book. It's very, very long, 15 hours or more. I've just dipped my toes in. But she tells this incredible story of being a young botanist student. She had this hypothesis that traditional harvesting methods were positive for propagating certain plant species. Her professor, who was not Indigenous, was not into the idea of her doing this experiment. He said, "That's clearly wrong. How could human behavior be good for these plants?" She did the experiment and proved that traditional harvesting practices were positive overall for the plant. There are these intensely unanalyzed perspectives in European and settler culture that humans are a curse on nature. It has so many deep repercussions.

I reference that Malthusian perspective on the record. There's a voice of nature on "Orange Blossoms" that says, "We throw this party every year whether or not you motherfuckers are around." [The line is, "We throw this party every year / Whether or not you humans are here."] [laughs] It's talking about spring. But that's a real settler colonial European attitude, that humans are not part of nature. It's obviously ridiculous. It's just a philosophical conceit.

SILY: Your references to fascism in that song are interesting. It reminded me of the very online debate during COVID about people staying inside and "nature healing" being an ecologically fascist point of view.

JH: I heard the line, "Every superhero is a fascist," through leftist comedians, Francesca Fiorentini and Nato Green. I found many examples of that analysis. There's a great couple chapters in the book The Utopia of Rules by David Graeber where he gets into that idea. He was friends with a lot of my friends, but I never met him. He died of COVID complications. His biggest macro-cultural hit was the book Bullshit Jobs, and before he passed away, he wrote The Dawn of Everything, which is extremely wonderful. He's an anthropologist, and the person he cowrote the book with, David Wengrow, is an archaeologist. They did an enormous global analysis of the systems of democracy and social organization that are not authoritarian. It's brilliant. I think it's going to be really important tool moving forward. It resets the picture on a lot of things.

Photo by Chris Doody

SILY: Do your views on colonialism and nature jive with the anti-colonial bend of "Highway 72" as well?

JH: Why do you say it's anti-colonial?

SILY: I thought the juxtaposition of imagery in the line, "Great-horned owl slipping by the overpass / I feel like every year might be my last," was referential to systems of oppression constantly threatening to kill us. Is that song auto-biographical?

JH: [laughs] Yeah, I was a homeless teenager, and there's a lot of imagery of that time in my life in that song. My friend called it an anti-colonial hymn because the rhythm, Nyabinghi rhythm, is an anti-colonial rhythm. It's named after the Rwandan female military leader. I've loved that rhythm for a long time. There's this movie Land of Look Behind made by Alan Greenberg, who was a cinematographer who worked with Werner Herzog. He was friends with Bob Marley and happened to be visiting him when he died. There's all this beautiful footage of Marley's funeral and footage of backwoods Rastafarians hanging out and playing music. There's a band Keith Richards produced called Wingless Angels, and it's some of my favorite gospel music. It's so moving to me. It's been an important part of my musical vocabulary for 20 years. I forget how deeply embedded it is in my way of thinking about music. One of my best friends, one of the first people to hear the record, said something so beautiful about the rhythm: "It's slower than my grief." I said, "Wow, I don't know what you're talking about, but I love it!" [laughs] I think he was trying to say it helped him move through a certain healing process.

I looked up the beat because I wanted more concrete information about it. I forget anything I've learned about it because I've been into it for so long. Keith Richards said something so amazing about it: "It's purposefully slower than your heartbeat." [I thought,] "Is [my friend's] experience of the song related to Richards was saying about it?

SILY: It requires an active participation or listening.

JH: What do you mean by that?

SILY: When something is that slow, it can't be experienced passively. To stay engaged, you have to commit to it.

JH: That's interesting. It's like Bob Dylan getting really really quiet when the audience is loud.

SILY: Definitely similar. I was intrigued, though, when you were just talking about the relationships between humans and nature, because the song is about you living outside.

JH: More and more of us experience that as capitalism fucks us up. [The song isn't about homelessness, but] about [my] experience of homelessness. A lot of people look at me, clearly a fucking intellectual, and they think I went to college and had a family. I'm a white lady, so there are assumptions about my socioeconomic background. They're wrong! [laughs] I didn't want to be taken as a ghoul, bloodlessly discussing so-called social problems, looking at it from an external viewpoint.

SILY: "Feet On The Ground" seems to be describing the relationship between protesting and activism and our emotions.

JH: That's interesting. It's not. But I like your analysis.

SILY: The line I highlight is, "When you've taken all that you can handle / Every act of tenderness is a frightful gamble." What does that mean to you?

JH: I've been working on this project of trying to make anti-patriarchal dance music, and this is the first [song]. It's more about interpersonal relationships. It's very inside-out. It's from deep inside of relationships with men.

SILY: Which is a political statement in and of itself, inherently.

JH: Totally. I love that you saw it that way.

SILY: Have other people heard the song without knowing what it refers to and interpreted it other ways?

JH: My friends who have heard it have been overwhelmed by the production. I was really excited to talk with people about what it means, but everybody I've played it for, Buck included, have thought it's such a crazy soundscape.

SILY: Somewhat of an anomaly for you.

JH: It's my first dance track...It's listed as a different genre.

SILY: What's your relationship with The Painted Bird, and why did you frame "One Of You" around that book?

JH: Have you read that book?

SILY: No.

JH: Don't read it! It sucks! [laughs] It's so fucking intense.

SILY: It's one of those books where I haven't read it, but I'm very familiar with the discourse around it.

JH: I read The Painted Bird when I was 13. I didn't know what it was. How could I have? I don't even know where I found it. Probably in the library, or I borrowed it from one of my mom's friends. It's the story of a little blond-haired Jewish boy walking out of rural Poland in the aftermath of WWII, who encounters repeated creepy atrocities. There's a lot of sexual violence in the book, which I really wish I hadn't been exposed to as a child. The central image in the book is when the kid sees these country boys that capture a bird and paint it in these bright colors and release it back, and the flock kills it.

SILY: Because they think it's an intruder.

JH: It's this extremely visceral metaphor for genocide and the process of othering. "Feet On The Ground" and "One Of You" were kind of the same idea for a minute. It was really hard to write "Feet On The Ground" because in one sense, it's protest music, but I'm not interested in writing protest music that's accusatory. I want to write music that actually gives people an ability to consider things from a more basic level than just an oppositional state. That's always been my criticism of oppositional protest music. If it's just accusatory, the person being accused is not listening to the music. I totally value a lot of music that is accusatory and is that kind of typical punk rock anthem-type stuff, but I've [long] been interested in how to write in a different way. Daniel Johnston was a big influence in moving in that direction. He's somebody I think a lot of people wouldn't naturally identify with, somebody with mental illness. But he presents himself in a way where it's impossible not to identify with him.

"Feet On The Ground" is based to a degree on that William Onyeabor song "Better Change Your Mind". Another discursive protest song I found amazing is, "Can't Blame The Youth" by Peter Tosh.

SILY: Accusatory protest songs, in my experience, exist more as cathartic than wanting to make actual change. They serve that purpose, even if delivered to an echo chamber. However, I was listening to the latest Bully album, and the final song, a punk song called "All This Noise", is what you think of when someone says, "protest music," but the song before that, "Ms. America", is much quieter and has a basic premise of, "I want to have a kid, but I don't want to teach a kid how to fight." It turns protest feelings inward. I found it to be a more effective protest song due to it eliciting more empathy than what you would think of as typical protest music. Is empathy a part of what you're trying to achieve?

JH: What do you mean by empathy?

SILY: When you look inward a bit more in your protest songs, essentially, you're trying to uncover some more universal truth that other people can identify with, as a means of making change, rather than being accusatory.

JH: Do you mean empathy with the people you're trying to change?

SILY: With anyone listening.

JH: Probably. I'm definitely not interested in preaching at people, so it's about talking with the people listening and trying to be part of a bigger conversation with anybody who might be on board, as opposed to something intended to be strictly cathartic and outwardly directed.

SILY: "Me and My Dream" references some legendary songwriters. Can you talk about the weight that carries?

JH: I always loved the songs of Lou Reed's where he's referencing his friends. We don't even know who these people are. "'Margarita told Tom,' 'Kennedy says.'" Those aren't famous people. Those were his friends. Or maybe they were famous. It doesn't matter in the song. It's so beautiful. I remember when he talked about his orientation with writing lyrics, he wanted it to sound like the kind of things he wanted to say to his friends. An interpersonal conversation. I love lyrics like that. This was me approaching that idea. I'm always thinking about other artists' work and the ways it affects me and how I respond to it. Blind Willie Johnson, [Tom] Waits, and Richards are the namechecked artists, but I also reference Betty Davis' "I Will Take That Ride".

SILY: What's the story behind the cover art?

JH: I love this artist Jo Bird. She's a metal viola player I know from Houston. She has a band called Fiddle Witch. She moved from Houston to Galveston, which is the beach I grew up with as a child where I got sunburnt to fucking hell. Another one of my songs, "June", on Pint of Blood, talks about imagining mountains out of clouds. I grew up in the fucking swamp with no mountains, but the sky is incredible with cumulus clouds and rainbows and thunderstorms and tornadoes. I loved seeing her pictures all the time, how this goth photographer gets these scary pictures of the beach. [The cover] was a picture she took on her iPhone. We had to use some magic to get it big enough to use on the cover. We still chose to keep it kind of small so we didn't have to distort it to get a good image of it.

SILY: What instrument do you write most of your songs on?

JH: I write most of them in my head. I don't want the music to be limited by whatever I know or don't know instrument-wise.

SILY: Do you find adapting them to a live performance a totally different artistic endeavor than writing and recording them in the first place?

JH: No, it's all really creative and an opportunity to see different stuff in the music. We've been playing "Haunted Mountain" a lot of different ways. One way we've been doing it is synth, bass, viola. I love how it breaks down to just the elements. I love presenting songs in a lot of different settings.

SILY: Are you the type of songwriter who is always writing, or do you need to set aside time to sit down and write?

JH: I'm always collecting ideas, but I do need to sit down to make them come all the way through. I woke up and wrote some lines a couple mornings ago, which is great, because I'm so busy with everything else that it starts to feel weird to not have time to write.

SILY: Is there anything else upcoming for you?

JH: I put out Catalpa on vinyl in an extremely limited release that I offered to my Patrons. I'll do [a wider] re-release. It was never mastered at all, let alone for vinyl. Larry Crane, the editor of Tape Op, an awesome engineer, prepared the files. [The originals are like] a sketch on a cocktail napkin. They're made out of pure garbage. Larry's colleague Adam Gonsalves mastered them. They sound incredible. Adam mastered Haunted Mountain and Escondida for vinyl. I've been working with him for a while. My friend Jason Tavares, who runs a hi-fi Shop, listened to Catalpa on a hundred-thousand dollar system and said it sounds amazing.

I wish people had access to better systems. So many people don't even have a record player. I didn't even have a decent record player until I moved to L.A. 10 years ago. Before that, I was moving around so much, so it didn't make sense. Larry Crane played bass for Elliott Smith and did similar work for his shittier recordings, turning them into something that could take production. He's such a fabulous nerd and knows all the new things. He happened to hear those recordings of Elliott's while out and about, and said, "I would have done it differently now." He learned a lot of stuff before Catalpa, so I'm glad to hear Jason said it sounds good.

SILY: Did you start a Patreon over COVID?

JH: I did. I couldn't figure out how to access unemployment and was real fucked. I was about to go on tour in February 2020, so it was great to get into Patreon. I did something super gimmicky the other day that people fucking loved. I said, "I'm going to release a Tom Waits cover every week until I reach this many patrons." People responded to it so fast I had to keep moving that number until it made sense. It's been interesting engaging with people on that level. I'm glad there's platforms like that. Marc Ribot helped start Music Workers Alliance, and they did an analysis that streaming has taken 20 billion dollars a year out of artists' pockets, [so] it's great we have these direct support systems [like Patreon].

[therarefied]

Jolie Holland's “Haunted Mountain”

[musiconspotify]

Jolie Holland Haunted Mountain (2023) … originality …

[le-jolie]

Angelina Jolie photographed by Robin Holland, 2003

[cometomecosette]

I've been doing another watch-through of Disney's Adventures in Wonderland, in which Reece Holland (Marius in the 1988 2nd National Tour of Les Mis and Joly on the Complete Symphonic Recording) played the March Hare.

Once again, it's been giving me funny thoughts about Holland in those roles.

Just imagine if he had played Marius as the March Hare! Granted, both characters are adorkable, but... in slightly different ways.

That achingly beautiful photo that shows his Marius weeping into Enjolras's lap after Éponine's death also loses some of its sad poignancy when I think of the small handful of times the Hare cries in AIW. I feel tempted to imagine this Marius breaking the somber mood by pulling out a garishly bright-colored hanky and blowing his nose loudly and inelegantly, as the Hare would do.

And because he played Joly on the CSR, I'm tempted to take some Hare and Hatter quotes from the show now and post them as Incorrect Quotes for Joly and Bossuet.

@hathousehappenings @spikrock

[ekirina]

La semana pasada terminamos mi chico y yo de ver esta película ganadora de tres Oscars en Mejor película, Mejor director y mejor guión adaptado.

Principalmente la historia se centra en Jon Voight (el padre de Angelina Jolie) que interpreta el papel de un joven de Texas que quiere ganarse la vida en Nueva York siendo un gigoló. Allí se topa con el grande Dustin Hoffman, donde se conoce la gran escena de un taxista que se colocó en el rodaje y casi atropella al actor (evidentemente se puede ver esta escena en la película porque quedó tan bien que no dudaron en meterla).

Para nosotros, la película nos gustó mucho desde el principio hasta la mitad del film. Luego empezó a desengancharnos y el final nos supo poco, la verdad. La banda sonora en cambio me encanta.

La recomiendo porque es un clásico, tuvo mucho renombre, Dustin Hoffman es magnífico, tocaron temas muy peliagudos para su época (porque surgen las relaciones sexuales sin compromiso y también entre homosexuales, además de romper con el sueño americano y hacer visible la pobreza que pasan muchos ciudadanos de EEUU) y porque la banda sonora con John Barry es espléndida.

Midnight Cowboy (USA, 1969)

[razorsadness]

I couldn’t sing a high note or put on my shoes Without remembering you I don’t care what they say about the workers in song I’m gonna call it love

[jonnywaistcoat]

What would be your desert island discs?

Dead Flag Blues - Godspeed You! Black Emperor

Rasputin - Bony M

The Crow and the Cradle - Lady Maisery

Clap Hands - Tom Waits

Ecstasy of Gold - Ennio Morricone

War - Edwin Starr

Old Fashioned Morphine - Jolie Holland

Sunny Afternoon - The Kinks

[intuitivemoonbaby]

Who’s coming towards you?

Hey Moonbabies! Welcome or welcome back to another tarot pick a card reading. Today i’ll be asking tarot “who’s coming towards you”. Man exes are all over these readings so be prepared.

Remember, to pick the pile you most resonate with. Ground yourself, take a few deep breaths and pick your pile. Trust your intuition! Don’t second guess yourself. Please just take what resonates and leave the rest :) If pile(s) don’t resonate, then this reading may not be for you. Now scroll for your reading.

Pile One {Tom Holland}

The person coming towards you is an ex. They could’ve juggled you with someone else or put their work above you. They also could be a Taurus or have fire placements (Aries, Leo, Sagittarius). This person seems traditional or comes from a traditional family. They want to rush in with an offer. They are very passionate about you. I’m picking up a lot of sexual energy. You guys could’ve been in a situation-ship or a sneaky link/friends with benefits type thing. They miss you. They’re grieving you. I’m picking up LGBTIA+ energy. Hello fellow gays :) Going back to the traditional family thing. They could’ve left you because of their family and/or friends? homophobia? This person may have been in the closet. They definitely want to rekindle this connection. If they chose someone over you, that relationship crumbled or is going to. They feel lost with you. I’m hearing lost with you. Listen to “Lost without you” by Robin Thicke. Gosh, I haven’t heard that song since my childhood.

I don’t know if you’ll actually take this person back. Seems like you are focusing on yourself and your goals. You’re definitely stepping into your power. You’re raising your standards and not taking anyone’s shit. You could’ve gone through a glow up since the last time you’ve seen this person.

Pile Two {Rihanna}

Okay first off, you need to trust yourself more. You’re intuition is strong! I think you’re seeking clarity on something. Rest, relaxation, and meditation will help you find it. Once you do that, things will start to make more sense. Maybe something to do with your past??

This person coming towards you is either brand new or someone from your past (not necessarily an ex, but could be a childhood friend, classmate, ex-coworker, mutual friend). Take what resonates. This person could be a water sign (Cancer, Scorpio, Pisces). They don’t know if they want to come towards you or not. They have a lot of doubts, anxieties and fears. They’re working through them though and when they do they’ll come towards you. This individual is emotionally mature. They’re also grounded, loyal and dependable. You could’ve manifested this person or vice versa. They see you as someone who is independent and has their shit together. They feel like they could bring more balance and harmony in your life.

Pile Three {Angelina Jolie}

The person coming towards you is either an ex or a past life relationship. I’m picking up both energies. This individual is in solitude and they’re going through some type of loss or grief. From you, if it’s an ex. Once they heal and release this pain, they’ll come in. This person could be an earth sign (Taurus, Virgo, Capricorn) or a fire sign (Aries, Leo, Sagittarius). They are free spirited, charming, passionate, fearless, and reliable. They view you as a star; a wish come true. This is a fated connection. I mean the 2 of cups with the 10 of cups and 4 of wands?? If you don’t read tarot that’s very positive cards. Y’all are meant to be together! This relationship has marriage potential!

Right now, you could be working on yourself. Going through awakenings and becoming the best version of yourself. It seems like you’re pouring a lot of love into yourself. You’re going to take a leap of faith into this connection and you won’t regret it.

Thank you for taking the time to read this post. I hope your reading resonated! Have a great day! <3

ɪɴᴛᴜɪᴛɪᴠᴇᴍᴏᴏɴʙᴀʙʏ☽

[allthecanadianpolitics]

hey I have a script to email/call your representatives with! it's based off a letter from Canadians for Justice and Peace in the Middle East (https://www.cjpme.org/letter_2024_05_01_scholasticide), and is aimed at Minister François-Philippe Champagne (Minister of Innovation, Science and Industry of Canada; phone number 613-995-4895, email francois-philippe.champagne@parl.gc.ca) and Minister Mark Holland (Minister of Health; phone number 613-995-8042, email mark.holland@parl.gc.ca). it can also easily be sent to Justin Trudeau (613-992-4211 Justin.Trudeau@parl.gc.ca), Melanie Joly (Minister of Foreign Affairs, 613-992-0983, melanie.joly@parl.gc.ca), your MP (find here: https://www.ourcommons.ca/members/en ), your MPP, and your premier!

here's the script:

It has been nearly 7 months since Israel began its attack on Gaza. Since then, countless students, teachers, and academics have been injured and killed. A UN statement warns about scholasticide, and urges world leaders to condemn these acts.

I ask that you urge federal granting agencies, like the Canadian Institutes of Health Research and the Natural Sciences and Engineering Research Council of Canada, to introduce support for Palestinian academics and begin an academic embargo against Israel. This can be directly modelled off of the March 2022 guidelines in response to Russia's invasion of Ukraine.

For more details, please refer to the letter written by Canadians for Justice and Peace in the Middle East, as seen here: https://www.cjpme.org/letter_2024_05_01_scholasticide I hope that Canada will provide this vital support to these people who need it most.

~~~~

[taylor-on-your-dash]

MAGAZINES TRANSLATION PROJECT

Hi Swifties, I need your help! There are a few exclusive interviews that Taylor did with non English-speaking magazines that need to be translated, and I don't really trust Google Translate. I'm doing this for the interview archive, but of course you'd be credited. If you don't speak any of these languages, please consider reblogging this post or sending it to the people you know speak these languages! 🙏🏻

Here's some of the languages that I need: French, German, Japanese, Portuguese. I speak German so technically it's not as urgent, however, I don't have much time lately, so if you want to translate from German, go for it. Please note that there may not be an interview in some links. I have no idea.

If you know some other magazines that are not present in this list, feel free to send them in.

Below the cut the links with the magazines scans divided by languages.

Interviews with a strike through were already translated!

CZECH: Cosmopolitan January 2013

FRENCH: Muteen December 2010 | Cosmopolitan December 2012 | Cosmopolitan France December 2014

QUÉBÉCOIS FRENCH: Elle Quebec December 2014 | Elle Quebec February 2016

DUTCH: Cosmo Girl June 2009 (it says German but it's Dutch 🙄) | Hitkrant October 2009 | Tina March 2010 | Hitkrant June 2010 | Veronica (October 2010) | Hitkrant November 2010 | CosmoGIRL January 2011 | Tina March 2011 | Stars July/August 2011 | CosmoGIRL October 2011 | Hitkrant October 2012 | CosmoGIRL Holland November 2012 | Veronica (November 2012)

GERMAN: Bravo May 2009 | Bravo June 2009 | Zwanzig Minuten (Switzerland) March 2010 | Woman Austria October 2014 | Jolie Germany (December 2014) | Rolling Stone Germany January 2018 (this scan is illegible though)

INDONESIAN: Cosmo Girl February 2010

JAPANESE: Asahi Shimbun October 2010 | INROCK March 2010 | ELLE Japan July 2010 | INROCK October 2010 | INROCK January 2011 | Love Celeb April 2011 | INROCK January 2012 | INROCK April 2012 | INROCK January 2013 | INROCK (May 2013)

SLOVENIAN: Cosmopolitan December 2012 |

SPANISH: Ragazza December 2009 edit: no interview here | Yo Dana November 2012 | Vanidades Chile May 2018

POLISH: Twist Polish 2009

PORTUGUESE: Capricho April 2009 | Capricho August 2009 | Capricho Brazil August 2009 | Atrevidinha September 2009 | Capricho October 2009 | Saucy January 2010 | Todateen April 2011 | Capricho April 2012 - exclusive interview | Capricho September 2012 - exclusive interview | Capricho July 2013 | Caras (August 2013) | Elle Portugal June 2019 

THAI: Cosmopolitan (September 2011)

[brian-in-finance]

Image: Warner Bros / Universal Pictures / A24

51 Most Anticipated Movie Performances of 2024, Ranked: Lady Gaga, Pedro Pascal and More

After a wild year that brought us an atomic bomb creator, a toy doll coming to life and an Indigenous woman’s fight for survival against her white husband, 2024 promises to be another exhilarating one with a slew of highly anticipated films and performances set to grace the silver screen.

We’re going to have performers from long-awaited sequels (Joaquin Phoenix in ���Joker: Folie à Deux”) and prequels (Anya Taylor-Joy in “Furiosa”), to anticipated biopics (Angelina Jolie in “Maria”) and original stories and characters (André Holland in “The Actor”). There are also performers from long-awaited adaptations (Cynthia Erivo and Ariana Grande in “Wicked: Part One”) and ones from movies that have been finished shooting for quite some time (Mark Rylance in “The Way of the Wind”). Either way, the lineup is diverse and promising, and likely to cater to a wide array of cinephile’s tastes.

To share in the gleeful excitement of some of these titles, Variety ranks the 51 most anticipated performances of 2024. Read below.

Note: All release dates, titles and distributors are subject to change. To cover the greatest number of upcoming performances, only one actor is mentioned from any given movie.

Variety

Remember to tap or click the link ⬆️ to discover the rest of Variety’s most anticipated movie performances of 2024.