#U.S. arms sales

[garudabluffs]

Oct 24, 2022 “Promoting Stability or Fueling Conflict?”: Biden’s U.S. Arms Sales Boom from Ukraine to Saudi Arabia

“We speak with national security expert William Hartung about the Biden administration’s unprecedented military spending on Ukraine and the impact of U.S. arms sales on national and global security. Despite Biden’s campaign promises to curb arms sales, Hartung says the administration has followed an “outmoded ideology” that necessitates the U.S. achieve global military dominance through weapons sales. “There’s a lot of money at stake and it shapes policy in ways that are detrimental to human rights and peace and stability,” says Hartung, who also details the influence of the weapons lobby on government policy.”

How powerful is the military-industrial complex?

WILLIAM HARTUNG: There are two pieces. One is just this outmoded ideology that says the United States has to have global military dominance and that in order to do that, you need to sell weapons, you need to make some unsavory alliances in order to be able to project U.S. power into various parts of the world. They have fallen back into that mode.

But then of course there’s the weapons industry. We found in our report that of the $100 billion in new major arms sales offers under Biden, more than half of them involve weapons built by just four companies: Lockheed Martin, Boeing, General Dynamics, and Raytheon. Those companies are doing everything they can to make sure the U.S. sells to as many countries as possible and as wide an array of systems as possible. They’ve got 300 lobbyists just amongst those four companies. They employ former government employees, former heads of the Pentagon’s arms sales agency. They tout the jobs related to arms sales as a way to rope in members of Congress to support things they might otherwise oppose. That bedrock of the military-industrial complex is something that every administration has to contend with.

Of course we have also seen foreign influence. As The Washington Post recently revealed, many, many former military officials are on the payrolls of Saudi Arabia, the UAE, other repressive regimes, helping them shape their militaries. And of course, coming from the military knowing you’re going to get a payoff from one of these regimes may also influence how you treat those regimes when you are actually in power and in the military. So, there’s a lot of money at stake, and it shapes policy in ways that are detrimental to human rights and peace and stability. Very good for Lockheed Martin, Raytheon, and their cohorts.”

“It just underscores the fact of the idea that you can do business with this regime and these arms sales as a way to influence to do anything that would benefit the United States is nonsense. It is a fool’s errand. I think Congress is recognizing this, and there may be some renewed energy behind things like a War Powers Resolution to end U.S. support or a direct cutoff and suspension of arms and spare parts. So, we are at another turning point, but the question is, can this lead to real change? “

LISTEN READ MORE Transcript https://www.democracynow.org/2022/10/24/us_arms_sales_national_global_security

[vaguely-problematic]

petition to stop u.s. arms sales to israel

in regards to:

gist of petition: "Listen to Bernie Sanders and stop supplying offensive weapons to Israel that enable the indiscriminate bombing of civilians and egregious violations of human rights in Gaza"

> full text here <

you can sign with resistbot, or copy it and print out/ send in email/ fax yourself. i'm not advocating a specific method of engagement, but it is a well-worded petition on an urgent and important matter.

[ruth1e55]

[sayruq]

Statement: Student organizations in the Gaza Strip in solidarity with the Student Intifada in the United States

In the name of God, the most gracious, the most merciful… We, the students of Gaza, salute the students of Columbia University, Yale University, New York University, Rutgers University, the University of Michigan, and dozens of universities across the United States who are rising up in solidarity with Gaza and to put an end to the Zionist-U.S. genocide against our people in Gaza. As we remain under the bombs of occupation, resisting Nazi genocide, grieving for our martyred colleagues and faculty, and witnessing the destruction of our universities, we welcome the examples of solidarity offered by students facing arrest, police violence, suspension, eviction, and expulsion in order to demand that their universities end their complicity in the Zionist-U.S. genocide and renounce their support for the occupation and the war profiteers that arm it. We have seen hundreds of students arrested across the United States as they work to transform their universities into “Popular Universities for Gaza.” Students, faculty, and staff are disrupting university operations and making clear that while universities in Gaza are being bombed, university business cannot continue as usual in the United States. These actions come as university administrations collaborate with members of Congress to discredit conscientious student activists and faculty, expel students, ban events, shut down student organizations such as Students for Justice in Palestine, and condemn activists working to end the Nazi genocide. At the same time, these same universities invest in the same companies that profit from the continued sale of weapons to the Zionist regime to continue its genocidal offensive. Our students – and our educational system as a whole – in occupied Palestine are subjected to ongoing genocidal aggression: our universities destroyed and bombed, our student organizations banned, and our student leaders subjected to torture, assassination and mass imprisonment. However, in Palestine and around the world, the student movement has always been a driving force of our struggle for liberation. When we see videos and images from American universities today, we are reminded of our history of student struggle as well as the student uprisings of 1968, which challenged imperialism from Vietnam to Palestine and reshaped the face of Europe and the United States. Now, in 2024, the student movement is once again leading the way. From here in Gaza, we see you and salute you. Your actions and activism matter, especially in the heart of the empire, in the United States. As members of Congress agree to provide $26 billion in additional weapons to bomb our people and continue the Zionist-U.S. genocide, you are taking meaningful action to shut down the war machine on your campuses. It is clear that a new generation is rising that will no longer accept Zionism, racism and genocide, and that stands with Palestine and our liberation from the river to the sea. Your global student solidarity is breaking boundaries, and it is time to smash the US imperialist war machine. From Gaza to Columbia, to Ann Arbor and Berkeley, our hands are joined to end Nazi genocide and achieve our collective liberation.

[rebel-girl-queen-of-my-world]

Repost from @codepinkalert

•

🚨 A new investigative report by ProPublica exposed that in May of this year, Secretary of State Antony Blinken lied to Congress to keep weapons flowing to Israel.

According to U.S. law, if any country blocks the delivery of U.S. aid, the U.S. government is legally required to stop arms sales to that country.

Despite multiple U.S. agencies communicating to Blinken that Israel in fact had been blocking U.S. aid, he told Congress, “We do not currently assess that the Israeli government is prohibiting or otherwise restricting” aid.

Blinken lying is nothing new, but that does not change the fact that Blinken’s deliberate lie is a criminal act that killed Palestinians through starvation and prohibiting access to medical care.

We demand Blinken's resignation.

Tell Congress: codepink.org/blinkenmustresign (link in bio)

[probablyasocialecologist]

The U.S. government’s two foremost authorities on humanitarian assistance concluded this spring that Israel had deliberately blocked deliveries of food and medicine into Gaza. The U.S. Agency for International Development delivered its assessment to Secretary of State Antony Blinken and the State Department’s refugees bureau made its stance known to top diplomats in late April. Their conclusion was explosive because U.S. law requires the government to cut off weapons shipments to countries that prevent the delivery of U.S.-backed humanitarian aid. Israel has been largely dependent on American bombs and other weapons in Gaza since Hamas’ Oct. 7 attacks. But Blinken and the administration of President Joe Biden did not accept either finding. Days later, on May 10, Blinken delivered a carefully worded statement to Congress that said, “We do not currently assess that the Israeli government is prohibiting or otherwise restricting the transport or delivery of U.S. humanitarian assistance.”

[...]

Separately, the head of the State Department’s Bureau of Population, Refugees and Migration had also determined that Israel was blocking humanitarian aid and that the Foreign Assistance Act should be triggered to freeze almost $830 million in taxpayer dollars earmarked for weapons and bombs to Israel, according to emails obtained by ProPublica. The U.N. has declared a famine in parts of Gaza. The world’s leading independent panel of aid experts found that nearly half of the Palestinians in the enclave are struggling with hunger. Many go days without eating. Local authorities say dozens of children have starved to death — likely a significant undercount. Health care workers are battling a lack of immunizations compounded by a sanitation crisis. Last month, a little boy became Gaza’s first confirmed case of polio in 25 years. The USAID officials wrote that because of Israel’s behavior, the U.S. should pause additional arms sales to the country. ProPublica obtained a copy of the agency’s April memo along with the list of evidence that the officials cited to back up their findings.

24 September 2024

[evermoredeluxe]

How Taylor Swift’s Eras Tour Took Over the Entire World

By Chris Willman

By Alissa Gao for Variety

On the morning that Taylor Swift’s “Eras Tour” is about to begin a three-night stand in Dublin, the older gentleman taking charge of my passport at airport customs has clearly had his fill of Swifties, probably processing them by the hundreds already today. When I reveal myself to be one too — despite being arguably the wrong gender, inarguably old and lacking a telltale “Lover” mascara star over my right eye — his disdain is palpable. Suddenly, I’m getting way more screening questions than anyone not on a watch list should. “What do you like about her?” he sneers, peering up over specs.

This is probably the wrong time for me to point out Swift’s Irish heritage, or to assert that she is this generation’s James Joyce. (The original king of the Easter eggs, right?) I wouldn’t really go that far — I’m only on record as doing my best to certify her as this century’s Beatles. Trying to figure out how to answer him, the past 18 years of extolling Swift in print flash before my eyes. I end up murmuring the bare minimum: “Um, her songwriting.” This seems to disturb him further. He snaps back: “Aren’t they all the same song” — a slight pause, and I know what’s coming next — “about her breakups?” Then, abruptly, he stamps me through, sparing me a detour to Interpol for more grilling.

In the cab into town, the driver is blasting a local talk-radio personality sharing his dismay about the fans of an awful superstar taking over his country. The host reads an email sent in from a hater who says, “A year ago, when tickets went on sale, my partner and I made a reservation to take our kids out of the country this Friday morning. … Thank you for creating a safe space with your show.” I start to wonder if Swift might have met her match at the Cliffs of Moher.

But from my drop-off forward, the next three days are like living in a Swift-topia. The mile and a half to Aviva Stadium each night is like Disneyland when it shuts its doors early for an affinity group. Whether stopping in the pubs or walking through the charming neighborhood of Victorian brick homes adjoining the fancy new stadium, there’s that warm feeling of people who are united by one quality: They are all super in touch with their feelings — or else they wouldn’t be Swift fans. And they all are happy to stop on the street or over pints to talk about poetical expression. (Well, except for the occasional taciturn, invariably straight young male who has signified his supportive-plus-one status by wearing a jersey bearing the name of Swift’s Super Bowl beau, Travis Kelce.)

So it is that I end up chatting with a middle-aged gay man in a sequin-covered shirt whose female companion whispers to me, while he steps away to trade friendship bracelets with a 10-year-old girl and her mum, that Swift’s music just helped him through a difficult breakup. The girl then runs off to trade her homemade bracelets with a pair of high-helmeted Dublin policemen loaded up to their own elbows with friendship swag — unexpected accessories for long arms of the law.

All the stories about American Swifties swarming overseas to catch “The Eras Tour” turn out to be true: You couldn’t swing a neon golf club around here without hitting a Yank. Approximately one out of every five fans I approach is visiting from the States — and the jubilation they’re feeling about the night’s impending concert is compounded by the fact that nearly all of them financed a European vacation and a concert ticket for roughly the same amount they would have paid on a secondary ticketing site for a typical four-figure ticket to one of last year’s predatorily repriced U.S. shows.

Remember the venerable stereotype of the Ugly Americans, brusquely trampling over refined Europeans in their travels? Thanks to Taylor Swift, who has a gift for laying out global welcome mats, this is the summer of the Spangly American.

At the stadium on night one, just down the row from me are a group of millennials from New Jersey, several in glam unitards inspired by the “Lover” or “1989” portions of the career-spanning show and looking like they were costumed by Swift’s own designer, with fake jewel-encrusted microphones to match. I ask how many hours went into perfecting these nearly pro-grade outfits.

“About 80 hours for mine,” says Megan McLaughlin. “Hers probably longer,” she adds, nodding toward one of her sisters, Margo Steinberg. “She knows all the glues and the best gems.” Indeed, confirms Steinberg, “I was working on mine since January. And, yes, I did quit my job to finish it!” She adds, when I ask if she cares to share any secrets to a particularly good look, “You have to use the B-7000 glue.” (A third sister, Amelia McLaughlin, admits she resorted to buying her spangly dress off Etsy — “I was doing a PhD, but I had to match these girls’ enthusiasm” — while a fourth, Carolyn McLaughlin, skipped the glitter and went for a red dress that matches Swift’s from the “I Bet You Think About Me” video.)

Certainly, there is an element of cosplay to many of the fans’ outfits. Some have seen footage of the new segment Swift added to the tour beginning in April 2024 — devoted to her most recent album, the 31-song “Tortured Poets Department” — and have managed to manufacture gowns that look like they’re made of paper and feature lyric excerpts printed on them in script, à la Swift’s custom-made Vivienne Westwood dress. I meet a group of American women who became friends as literature majors in college who have “Tortured Poets”-themed outfits, one duplicating the Westwood dress and the other with handmade printouts of the latest album’s lyrics pinned all over her black dress, as if she were literally pulling pages out of Swift’s playbook.

It’s the devotion to lyrics, even more than glitter, that is most impressive about the bespoke outfits fans have concocted for the occasion. There are scores and scores of Swifties wearing homemade T-shirts — sometimes singular, sometimes matching with a friend, like walking Burma-Shave signs. Some of the messages are obvious, like the dozens of laddies wearing “It’s me, hi, I’m the husband/boyfriend/father, it’s me” shirts. (Bet that seemed really original at one time.) But a lot of them refer to more obscure songs or stanzas, as if every nearby street or stadium loge section is full of human Easter eggs, begging to be unpacked. It’s hard to think of any other superstar in the history of stadium tours who could have inspired as much fan-crafted clothing rooted in the power of words.

Combos of middle-aged mothers and their teen or 20-something daughters abound; some of them have seized on Swift’s mentions of her own mother, Andrea, to come up with their T-shirt ideas. On Lansdowne Road, I talk to a mum whose red-on-black shirt says, “Had to listen to all this drama,” accompanied by a daughter bearing the legend, “And here’s to my mama.” (This is a reference to Swift’s song “This Is Why We Can’t Have Nice Things.”)

Later, in a stadium Guinness line, I chat up a pair of thirsty locals, the daughter’s shirt reading “I call my mom, she said …,” with the mom’s shirt completing the thought: “It was for the best.” (Damn it, I had to Google to recall that’s from a “1989” Vault track that came out last year.) I ask the daughter if she had to explain to her mom what she was wearing. “She’s 52,” she replies. “I don’t think she knows.”

Age is really no guarantor of not getting it — the popular #SwiftieOver50 hashtag on X proves that. Although outnumbered, plenty of older people are unaccompanied by a minor, or by anyone who has been a minor in the past 20 years. I approach a middle-aged couple, Jean Sebastian Conley and Natasha Gagne, again bidden by their matching shirts — “Who’s Taylor Swift?” and “Who’s Travis Kelce?” They turn out to be French Canadians who found their 206-euro SRO tickets to be a steal compared with the extravagant resale prices they briefly considered back home after being shut out of the initial on-sale. I ask what attracted them to Swift since, unlike so many others here, they didn’t grow up with her.

“I really fell in love with her with the ‘Folklore’ album,” Conley says, referring to her low-key Grammy-winning album recorded during the early months of the pandemic. “I think different audiences and older audiences found her through that and ‘Evermore’ because they were more singer-songwriter, a little bit rougher indie music, and that’s what we like most. So that’s how I got hooked.” For her part, Gagne says, “I like everything she represents. And when she redid all her masters, that’s where I thought she was a lady boss.”

It’s a reminder that, for however many mini-narratives Swift packs into the three hours and 20 minutes of an “Eras” show, there are really four or five years of backstory that feed into the audience’s shared awareness. When she sings the ominous ballad “My Tears Ricochet,” accompanied by a coven of stone-faced dancers, at least some fans will understand it as a distant reflection of her very public feelings about the men she considers her business bêtes noires, Scooter Braun and Scott Borchetta, who bought and sold (respectively) the rights to her first six albums, spawning much vitriol as well as four “Taylor’s Version” rerecorded albums to date.

When the dancers put their grins back on, Swift plays an ebullient excerpt of a very recent “Poets” bonus track, “So High School,” which every person in the crowd will know is inspired by Kelce. There are some breakup songs of recent vintage too — yes, Mr. Customs Man! — like “The Smallest Man in the World,” which may or may not have cost Matty Healy, the 1975 frontman and former Swift paramour, a night of sleep.

The whole tour is themed around not just the newer records but the rerecordings that have made every older album in her catalog feel improbably fresh. It was, quite possibly, the single most baller move in the history of the record industry … and led to the career-retrospective concept for what is already unquestionably the biggest tour in the history of popular music.

Any discussion of the charms of fandom isn’t meant to forestall discussion of “The Eras Tour” as big business. The numbers are fuzzy because Swift’s camp does not release grosses from her shows, unlike nearly every other artist at the stadium or arena level. Even when the tour wraps after 20 months on Dec. 8 in Vancouver, it seems likely those numbers will continue to be guarded with a zeal on par with the government of North Korea’s. Many industry experts believe the gross will approach or even surpass $2 billion.

What is known for certain — even without a confirmation from Swift World — is that she broke the all-time tour-gross figure when she hit the $1 billion mark, whenever exactly that might have been. The two trade publications that specialize in the touring industry have slightly differing estimates: Billboard calculated a cumulative gross of approximately $900 million when she took a break at the end of 2023, figuring that she would crack $1 billion shortly into the tour’s resumption in April, while Pollstar estimated that she had passed $1 billion by the conclusion of last year. Any way you guesstimate it, Swift took less than a year to break the previous record of $939.1 million, which Elton John grossed with his “Farewell Yellow Brick Road” tour across nearly three years of shows.

One source close to the production said early in the “Eras Tour” era that her average gross each night is $14 million. Others believe that is a highly conservative estimate, with a possible total that on at least some nights edges closer to $17 million. One remarkable aspect is that this does not include the revenue from any inflated resale tickets — which, as anyone who has tried to get tickets through Vivid Seats or StubHub knows, mostly have gone for several times their face value. It was little publicized, but Swift had “dynamic pricing” turned off for her ticket sales, possibly to avoid the controversies Bruce Springsteen encountered when the face value on some of his tickets leaped to the four-figure range upon their first sale. Swift left money on the table by not participating in the scalping of her own tickets, which had an average price of around $230 and topped out at $499, excepting VIP packages, which zenithed at $899 — all well short of what some other superstars ask nowadays. Of course, neither Argentina nor anyone at Wembley Stadium ahead of Swift’s opening night performance in June will be crying for her when she’s in reach of $2 billion without the resale inflation … not to mention the hundreds of millions of dollars in merch.

(This is extraordinary also because Swift hasn’t done any press to promote the tour, except for when she was selected as Time Magazine’s Person of the Year in December. But she doesn’t need to — the tour is constantly being celebrated on social media with every outfit change. And it’s also become so huge, it’s featured more A-list sightings than the Oscars, from Julia Roberts to Tom Cruise to Stevie Nicks, who had the surprise song “You’re on Your Own, Kid” dedicated to her in Dublin.)

Benson Boone, whose “Beautiful Things” is the most-streamed song of 2024 in the U.S. and the world, says he felt dwarfed when performing as the opening act at one of Swift’s seven shows at London’s Wembley Stadium. He has forever committed to memory the exact attendance figure he was given for the night: “89,497,” he says. “Just her stage alone is bigger than anything I’ve ever seen — 300 feet of it!” he says. “I took in every moment. It was cool for me to experience another artist’s world and learn from it. I want to work that hard and be the captain of my ship.”

Although it’s maddening to a media that likes official box office reports and can’t get them, it’s easy to see the wisdom in not flaunting those figures if you’re a superstar artist who counts on being seen as relatable. Swift certainly is proud of breaking records — she posted a tweet when “The Tortured Poets Department” spent its first 12 weeks at No. 1 on the album chart, one of only three albums in history to do so. But she’d rather count fan impressions than dollars. By the same token, she doesn’t publicize or confirm acts of generosity that leak out, like the sizable food-bank donations she makes in every city she tours, or the $100,000 bonuses that the tour’s 50 truck drivers reportedly got for Christmas.

An addendum to all this is how the “Eras Tour” film — released last fall, less than halfway through the actual tour — grossed just over $180 million domestically and $261 million globally, beating the records set by Justin Bieber’s concert film in the U.S. and Michael Jackson’s globally. Massive big-screen spoilers only heightened, rather than diminished, resale demand for the shows yet to come on the 152-date tour and helped precipitate the movement among Americans to head overseas, to make up for the supply found sorely lacking at home.

“She is the torchbearer for the live industry,” says Andy Gensler, editor of Pollstar. “It’s nothing we’ve ever seen before, and it’ll be a long time before we see it again. Her timing was exquisite: The pandemic created this yearning and hunger for live entertainment like nothing else in our history, so she couldn’t have picked a better time to go out.” Pollstar called last year a “historic golden age” for touring, as the top 100 global tours collectively surpassed $9 billion — up 46% from 2022 — with Swift obviously contributing a significant chunk of that total. (This year, the trade reports that overall tour attendance is down, with flat grosses, representing a slight reckoning for the live industry that, obviously, isn’t impacting “Eras.”)

“What my partners and I talk a lot about is how it’s one thing to have a big tour in North America. It’s another thing to have an equally big tour wherever you are in the world and to do doubles and triples in these markets,” says Bernie Cahill, an Activist founding partner and manager of acts including the Grateful Dead and the Lumineers. “It’s an anomaly. It’s not normal. And don’t forget, you’re going into what I call asymmetric venues, which are venues that are not really built for music; these are venues that are built for football games or soccer games and can be very challenging to do music. And they get it right every time — Louis Messina [Swift’s tour promoter since her earliest days] and his team are world-class.” But for all that globe-trotting, he notes, “there are some artists that you see do a show and you know they don’t even know what city they’re in. I always feel like Taylor knows exactly where she is. She has a relationship with that city or that market and those fans and she’s connected to them in ways that are very authentic, that you can’t fake.”

The one big snafu in the rollout of “The Eras Tour” occurred in November 2022 when the Ticketmaster system melted down after too many North American dates went on sale at once, causing thousands of fans to experience long delays. The on-sale broke the all-time record for tickets sold in a single day at 2 million, but it also nearly broke the world’s largest ticketing platform. Swift herself was Teflon in this situation, as the blame fell on a ticketing system not capable of handling so much of the Swift-loving world at once. And although most of the problems people have with Ticketmaster are different from what fans faced in the “Eras Tour” debacle — mainly, hidden fees and monopolistic practices — it could have big legislative consequences anyway. Dean Budnick, co-author of “Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped,” believes that the Swift hullabaloo was the main catalyst for Congress enacting reform. “There’s no question that perhaps there’s gonna be some meaningful change in ticketing as a result of what people experienced with that on-sale.”

That sense Cahill spoke about of the singer making it clear to an audience she knows exactly where she’s at is in full force in Dublin. Swift introduces the “Folklore”/”Evermore” segment by suggesting that she had a spiritual locale in mind when she started writing that more intimate material, locked in during the first part of the pandemic. “It keeps me up at night all year long: Which era is the most Irish?” she half-jokes to the crowd. “I’m gonna make a case for it being ‘Folklore’ … This album’s imaginary world had a whole aesthetic — like I lived in this cabin in a really green, nature-y, moss-covered landscape. You see where I’m going?… Another thing that I think makes it more Irish than the other eras is, ‘Folklore’ was all about storytelling. And I know you hear this a lot, but you guys are naturally gifted storytellers, right?”

Later on, Swift will cement the local connection by playing, as a “secret” surprise acoustic song, “Sweet Nothing.” She doesn’t have to give the crowd any explanation for that: From the first notes, Irish Swifties will immediately recall that the lyrics reference to the coastal town of Wicklow. The real cherry on top of the show for locals at any international Eras Tour stop, though, comes with a customized moment each night during “We Are Never Getting Back Together” when the spotlight is put on backing dancer Kameron Saunders for a couple of seconds, as he blurts out something locally appropriate, and cheeky. One night in Dublin, it’s the Irish catchphrase “the neck of ye!”; on another, he yells out “pog mo thoin,” meaning “kiss my ass!”; the massive, knowing laugh that inside joke gets makes it clear this isn’t entirely an audience of American tourists after all.

But the basic theatrics and emotional currents remain consistent from show to show. If Swift is surprisingly reticent to make her “Eras Tour” numbers public, that may be, in part, her desire to keep the focus primarily on a personal fan connection. Music industry veterans are taken aback by Swift’s ability to be giant and intimate onstage. “She’s a master marketer of herself — and she is not afraid to be vulnerable to her fans,” says Michele Bernstein, who runs a consultancy that works with stars like Drake. Bernstein could almost be quoting the lyrics of “Mastermind,” where Swift describes herself in almost comically omniscient terms, then dives into a bridge about how no one would play with her as a little girl.

People like my guardian of the customs gate may complain about Swift’s songs centering on her romantic splits, but that subject matter magnifies her own insecurities and weaknesses, expressed in genuinely eccentric wordplay, in ways that keep the audience in thrall to someone they perceive as a humble underdog as well as a veritable cage fighter. She could do a $10 billion tour someday and still keep the crowd enraptured by how she measures up to, or rallies to exceed, the smallest man — or men, or Kardashians — in the world.

This plays out in the “Eras” show in all sorts of symbolic ways, like the new segment in the “Tortured Poets” section where she seems to have fainted from the vapors of failed romance. Dancers in tuxedos try to revive her while a swing version of “I Can Do It With a Broken Heart” plays over the PA. A pair of women dressed as nurses fit her with what looks like a majorette’s uniform — or, with all its off-white stripes, is it really meant to resemble a straitjacket? The resemblance is probably not coincidental. Swift fans know there’s nothing like a mad woman.

The most exhilarating moment that has been added to the show this year has her gliding down the ramp on a platform, appearing to anyone at floor level like she is levitating like the witch she makes herself out to be in “Who’s Afraid of Little Old Me?” Taylor Swift: She was Agatha all along!

Yes, there is much to unpack. But in Dublin and in every other city where “Eras” has alighted, there is also pure inspiration for those who maybe haven’t always felt like they’ve had a voice, whether it’s her LGBTQ+ fan base or, well, women. It’s a modern transmutation of Beatlemania in which Swift manages to be all four Fabs, and a mirror, as well as object, of that gaze. You don’t have to be a woman to experience the explosion of pure female joy that takes place on a mass scale at an “Eras” gig, but for men, it doesn’t hurt to have a healthy sense of where you might sit on the female spectrum.

Outside Aviva Stadium, two young Londoners have formed their own two-woman straight-gay alliance: One is wearing a shirt with the hand- drawn words “You’re obsessive and crazy,” and the other’s shirt has the phrase “You’re gay,” each with an arrow pointing to the other. This echoes the original lyrics to Swift’s 2006 oldie “Picture to Burn,” which was rerecorded after some were offended by “gay” as a possible teen epithet. “I am obsessive and crazy, and she is gay,” laughs Zoe Gibson, pointing to her friend, India Day. “We want to bring back the original lyrics. We never found them homophobic — we want to reclaim it.” Day adds, “We’ve listened to her since we were 4 years old, so obviously there’s the nostalgia factor. But for me, she speaks on quite a lot of issues like gay rights and feminism, and all of her songs perfectly sum up the experience of being a woman.”

Some of the shirts are apropos for Pride Month. Seeing a boy of no older than 15 or 16 wearing a homemade “But Daddy I Love Him” shirt (the title of a “Tortured Poets” fan favorite), it’s easy to imagine some courage was required to don that apparel. Along the same lines, I spot any number of women making their own statement in shirts with the modified exclamation “But Daddy I Love Her.”

Gay or straight, 6 years old or 60-something, female or just female-allied, the crowd inside gets its sway on early in the show, with the arrival of the gentle, waltz-time “Lover.” It’s not one of the big set-pieces of this nonstop Broadway-style production — the spotlight is just on Swift and her acoustic guitar — but it might be the one where the entire audience feels like it’s at a four-minute campfire. No wicked witchiness here, just winsomeness.

Down on the floor, I’m seeing what amounts to a Taylor Swift mosh pit: gangs of two or three or five young women, ignoring the fact that Swift herself is just yards away from them on the ramp. They’re singing and acting out every last line to each other, as if the superstar isn’t even towering right over them. A waste of their euros? Hardly. Swift will capture their full attention again as the show proceeds, but in the moment, she isn’t just a superstar — she might be the world’s greatest community organizer.

[anoramactir]

contact your senators here:

[rotzaprachim]

some smaller bookstores, presses, and museum shops to browse and know about! Most support smaller presses, diverse authors and authors in translation, or fund museums and arts research)

(disclaimer: the only three I’ve personally used are the Yiddish book center, native books, and izzun books! Reccomend all three. Also roughly *U.S. centric & anglophone if people have others from around the world please feel free to add on

birchbark books - Louise Erdrich’s book shop, many indigenous and First Nations books of a wide variety of genres including children’s books, literature, nonfiction, sustainability and foodways, language revitalization, Great Lakes area focus (https://birchbarkbooks.com/)

American Swedish institute museum store - range of Scandinavian and Scandinavian-American/midwestern literature, including modern literature in translation, historical documents, knitters guides, cookbooks, children’s books https://shop.asimn.org/collections/books-1

Native books - Hawai’i based bookstore with a focus on native Hawaiian literature, scholarly works about Hawai’i, the pacific, and decolonial theory, ‘ōlelo Hawai’i, and children’s books Collections | Native Books (nativebookshawaii.org)

the Yiddish book center - sales arm of the national Yiddish book center, books on Yiddish learning, books translated from Yiddish, as well as broader selection of books on Jewish history, literature, culture, and coooking https://shop.yiddishbookcenter.org/

ayin press - independent press with a small but growing selection of modern judaica https://shop.ayinpress.org/collections/all?_gl=1kkj2oo_gaMTk4NDI3Mzc1Mi4xNzE1Mzk5ODk3_ga_VSERRBBT6X*MTcxNTM5OTg5Ny4xLjEuMTcxNTM5OTk0NC4wLjAuMA..

Izzun books - printers of modern progressive AND masorti/trad-egal leaning siddurim including a gorgeous egalitarian Sephardic siddur with full Hebrew, English translation, and transliteration

tenement center museum -https://shop.tenement.org/product-category/books/page/11/ range of books on a dizzying range of subjects mostly united by New York City, including the history literature cookbooks and cultures of Black, Jewish, Italian, Puerto Rican, First Nations, and Irish communities

restless books - nonprofit, independent small press focused on books on translation, inter and multicultural exchange, and books by immigrant writers from around the world. Particularly excellent range of translated Latin American literature https://restlessbooks.org/

olniansky press - modern Yiddish language press based in Sweden, translators and publishers esp of modern Yiddish children’s literature https://www.etsy.com/shop/OlnianskyBooks

https://yiddishchildrensbooks.com/ - kinder lokshen, Yiddish children’s books (not so many at the moment but a very cute one about a puffin from faroese!)

inhabit books - Inuit-owned publishing company in Nunavut with an “aim to preserve and promote the stories, knowledge, and talent of Inuit and Northern Canada.” Particularly gorgeous range of children’s books, many available in Inuktitut, English, French, or bilingual editions https://inhabitbooks.com/collections/inhabit-media-books-1

rust belt books - for your Midwest and rust belt bookish needs! Leaning towards academic and progressive political tomes but there are some cookbooks devoted to the art of the Midwest cookie table as well https://beltpublishing.com/

[garudabluffs]

State Department Official Resigns, Says Israel Is Using U.S. Arms to Massacre Civilians in Gaza

We speak with Josh Paul, a former State Department official who resigned last month to protest continued arms sales to Israel amid its bombardment of Gaza, writing in a viral letter that one-sided U.S. support for Israel is “shortsighted,” “destructive” and “contradictory.” Media reports say many others inside the State Department are equally frustrated with the U.S. role in the conflict. Paul tells Democracy Now! he tried to raise his concerns with his superiors but found “no appetite for that discussion” and that unlike all other U.S. arms sales that take humanitarian concerns into account, Israel gets a blank check. Paul says the overall message inside the Biden administration is: “Don’t question the policy because it’s coming from the top.”

"So, we’re talking about about 20,000 arms sale cases a year that the State Department processes, which could be anything from bullets to radios to fighter jets."

AMY GOODMAN: The HuffPost has this new piece that reports, “A task force on preventing atrocities did not meet until two weeks into the war, and officials say department leaders are telling them their expertise won’t affect policy.” Explain what goes on.

AMY GOODMAN: So, I wanted to ask you about this In These Times report that the White House has requested an unprecedented loophole in arms spending to allow it to be able to conduct arms deals with Israel in complete secrecy, without oversight from Congress or the public.

JOSH PAUL: Yeah. So, we provide Israel with $3.3 billion a year in foreign military financing, which is the State Department and U.S. government’s primary functional — primary mechanism for funding the sale of arms to other countries. Of note, you know, we typically provide — setting aside Ukraine — about $6 billion a year in foreign military financing around the world. So Israel already gets more than half of that.

J.P. "With regards to this package specifically, it includes $3.5 billion in foreign military financing. Israel can draw on that to purchase essentially what it wants. And what’s unusual about this, as well, in addition to the removal of the notification, is that Israel would be entitled, under the proposal sent to Congress, to spend all of this money within its own defense industry. Israel is, of course, a top 10 exporter of arms around the world, often competing with the United States. And the idea that we will be providing funding to subsidize that competition is really unimaginable."

"And Congress generally has stood up in the past repeatedly on matters of human rights and arms sales. What was different here was that there was none of that. There was no debate. There was no space for debate. And there was also no congressional appetite or willingness to have debate."

LISTEN READ MORE Transcript https://www.democracynow.org/2023/11/3/josh_paul_resigns_israel_gaza

LINKS

"This is not the State Department I know. That's why I left my job."

<<The United States recently suspended most civilian firearm exports for 90 days due to national security concerns.>>

[zvaigzdelasas]

SECRET PAKISTANI ARMS sales to the U.S. helped to facilitate a controversial bailout from the International Monetary Fund earlier this year, according to two sources with knowledge of the arrangement, with confirmation from internal Pakistani and American government documents. The arms sales were made for the purpose of supplying the Ukrainian military — marking Pakistani involvement in a conflict it had faced U.S. pressure to take sides on. The revelation is a window into the kind of behind-the-scenes maneuvering between financial and political elites that rarely is exposed to the public, even as the public pays the price. Harsh structural policy reforms demanded by the IMF as terms for its recent bailout kicked off an ongoing round of protests in the country. Major strikes have taken place throughout Pakistan in recent weeks in response to the measures.

The protests are the latest chapter in a year-and-a-half-long political crisis roiling the country. In April 2022, the Pakistani military, with the encouragement of the U.S., helped organize a no-confidence vote to remove Prime Minister Imran Khan. Ahead of the ouster, State Department diplomats privately expressed anger to their Pakistani counterparts over what they called Pakistan’s “aggressively neutral” stance on the Ukraine war under Khan. They warned of dire consequences if Khan remained in power and promised “all would be forgiven” if he were removed.

17 Sep 23

[news4dzhozhar]

Senior State Department Official Resigns Over Biden's Gaza Policy

[sayruq]

A special State Department panel recommended months ago that Secretary of State Antony Blinken disqualify multiple Israeli military and police units from receiving U.S. aid after reviewing allegations that they committed serious human rights abuses. But Blinken has failed to act on the proposal in the face of growing international criticism of the Israeli military’s conduct in Gaza, according to current and former State Department officials. The incidents under review mostly took place in the West Bank and occurred before Hamas’ Oct. 7 attack on Israel. They include reports of extrajudicial killings by the Israeli Border Police; an incident in which a battalion gagged, handcuffed and left an elderly Palestinian American man for dead; and an allegation that interrogators tortured and raped a teenager who had been accused of throwing rocks and Molotov cocktails. Recommendations for action against Israeli units were sent to Blinken in December, according to one person familiar with the memo. “They’ve been sitting in his briefcase since then,” another official said.

[insanityclause]

EXCLUSIVE: Oscar-winning producers See-Saw Films (The King’s Speech) are gearing up on Tenzing, about the inspirational life of Sherpa Tenzing Norgay and his summit of Mount Everest in 1953 alongside fellow outsider New Zealander Edmund Hillary.

A search is currently underway to cast the lead role of Tenzing Norgay who will star alongside BAFTA-nominated Tom Hiddleston (Loki) as Sir Edmund Hillary, and Oscar winner Willem Dafoe (Poor Things) as the English expedition leader, Colonel John Hunt.

Tenzing comes from filmmaker Jennifer Peedom who has the exclusive rights to tell Tenzing’s story via his family and has a close relationship with the Sherpa community after making acclaimed documentary Sherpa.

Script comes from Oscar-nominated Luke Davies (Lion) and producers are Liz Watts, Emile Sherman and Iain Canning for See-Saw Films, alongside Jennifer Peedom and Luke Davies. Executive producers are Simon Gillis, David Michôd and Norbu Tenzing.

Tibetan born Tenzing Norgay, alongside New Zealand mountaineer Edmund Hillary, both outsiders on a British Expedition, defied insurmountable odds to achieve what was once thought impossible, reaching the summit of the world’s tallest mountain, Mount Everest. After six previous attempts, Tenzing risked everything for one final venture. He had to navigate treacherous politics and perilous weather as he embarked on the most significant climb of his life. Through it all, he did so with humor, warmth, and generosity towards his fellow climbers, but also deep reverence and respect for the sacred Mother Goddess of his Mountain, Chomolungma.

This will be one of the hot projects at next week’s Cannes market where Rocket Science will be handling international sales in partnership with Cross City Films, See-Saw’s in-house sales arm. UTA Independent Film Group and Cross City Films are co-repping the U.S. sale. We understand filming is being lined up for spring 2025.

Peedom, known for her intimate portraits against epic landscapes, including documentaries Solo, Sherpa and Mountain, said: “I could not be more thrilled to be bringing Tenzing Norgay’s story to the screen. I’ve been working towards this film my whole career, and I’m incredibly grateful to Tenzing’s family for entrusting me with it. I am excited to work with See-Saw Films and our amazing cast to bring this story to life. Tom Hiddleston and Willem Dafoe are two of the most generous and talented actors in the business, so pairing them with our brilliant Himalayan cast is going to be electric. I have no doubt this film will resonate widely. We all have our own mountains to climb, and this film shows us what human beings are truly capable of.”

Producers Emile Sherman and Iain Canning added: “We are so excited to embark on this exhilarating ascent led by one of the most inspirational directors we’ve encountered, Jennifer Peedom. Her award-winning experience in the world of high-altitude filmmaking, alongside her unique relationship with the Sherpa community and her masterful storytelling skills make her the perfect director for this film.”

Norbu Tenzing, son of Tenzing Norgay, commented: “Jen is somebody who has earned the respect of our people, understands the community, and is deeply immersed in our culture. She’s a great human being and someone that we trust, and she has had a lifelong interest in the story of my father Tenzing Norgay. I am delighted that she has taken on this project and can’t wait for the world to see who my father was.”

Hiddleston is represented by UTA, Hamilton Hodell, and Johnson Shapiro Slewett & Kole. Willem Dafoe is represented by WME, The Artist Partnership, and Circle of Confusion.