#american brown ale

[theamericanpin-up]

Al Buell - October 1961 Al Buell's Beauties Calendar Illustration - Brown & Bigelow Calendar Co. - American Pin-up Calendar Collection

[possible-streetwear]

Fatima Al Qadiri

[nando161mando]

🚨URGENT – Take action for our political prisoners! Imam Jamil Al-Amin (H. Rap Brown) – former Black Panther Party leader and political prisoner for the past 24 years – is experiencing a potentially life-threatening growth on his face.

[lifelovemusiq]

🎈🎉♊️🥳 [6-4-2023]

[elenichr]

Year of Lists

March Films

more awards-related stuff and then FREEDOM (what I chose to do with it is another thing but one thing I cannot be judged for is there are a LOT of movies this month, and that is positive)

must-watches in bold (these are in relation to other movies watched, and the time, not necessarily must-watches of all time)

Mighty Morphin Power Rangers: Once & Always (2023) *6ish, I guess? - does this count? It's nostalgia in an hour's worth. it's every bit as bad as you would hope. Great stuff.

American Fiction (2023) *7.5 - hell yeah. Finally, something important done in a pleasant, human, enjoyable way (see how much I sobbed during this awards season: so.many.super.sad movies - or if not sad, just.so.much, overall). Performances are out of this world; it has everything: humour, nuance, a bit of romance, a bit of sadness; it was so damn good to watch.

The Zone of Interest (2023) *6 - how do you rate this? that six is not representative of the movie at all, but here we are. Everything you've heard about this is true: it's masterful, definitely a gut punch, Sandra Hüller is having a great year; the sound(track) is out of this world. It says so much with so little. Yes, it's a movie about the Holocaust, but it's also, really, a movie about how we stand by and allow atrocities to happen. It's a movie about humanity's cruellest side: indifference - right now, and then, and always. There is much to be said here, a lot of conversation was around how Schindler's List worked as a movie, therefore, romanticised, by the movie lens, the Holocaust. I can see how The Zone of Interest tried really hard not to do that, and I can confidently say it's done so much for exposing how useless we can be in the face of tragedy, but with every day that passes, I keep thinking more and more that it hasn't escaped that movie lens. However, it does really well at asking the question of whether we can portray atrocities of this kind, and does it really make a difference when we try?

Dune: Part Two (2024) *7.5 - umm, this is so long I need to rewatch it to even have a formed opinion. In lieu of a rewatch, here are my current thoughts: it wouldn't have been half the movie it is without the soundtrack. Also currently my favourite soundtrack of all time. I could rave and rave about it. The performances were great all round. I really love that Villeneuve doesn't try to constantly capture people like the mega starts they are: see Timmy's double chin, constipated face, present in both movies, and at a close-up at that. Some scenes were visually and emotionally breathtaking but I'm not sure if this was the case because of the anticipation of seeing something loved in a book portrayed on screen. It felt busy and a bit disjointed, especially in comparison to Part 1. I so wish they'd done the romance differently. I was constantly thinking of The Bear and how well that worked there. I wish they'd let Paul and Chani's connection breathe and mature, taken us along for the ride.

Alice, Darling (2022) *6 - this gave How to Have Sex vibes. I love when a movie addresses difficult subjects (in this case, abuse) in a slice-of-life, uber real, awkward way. It dexterously looks at the outward indicators of abuse, the responsibility of friendship - some mild body horror for both symbolic and literal purposes.

The Sixth Sense (1999) *7.5 - they don't make them like this anymore. Boy, do I envy anyone who hasn't watched this and doesn't know anything about it. If you know that person, please, make them known, I want to sit them down and pop this in the cassette player (Netflix or Prime or whatever, but you know). It's only the second time I watched this because I thought there wasn't much reason to, apart from nostalgia. Surely, it's just so worthy because of the set-up. Yeah, yeah, I was wrong. I had to pause a couple of times to allow myself to digest the mastery of what this movie is when YOU DO KNOW.

Scarface (1983) *7 - what can I say? Yup, it's great. Colours are a highlight, as is Michelle Pfeiffer.

A Time to Kill (1996) *6 - disclaimer: I am going through legal dramas, I love 'em. This was fun, much more timely than I expected. Samuel L Jackson has a beautiful, beautiful speech. A man fancies a woman that is not his wife, and she is pretty, and young, and smart, and she ignites a spark in him, and she believes in what he's doing in all the ways his wife doesn't, and yet, said man doesn't cheat on said wife. Woohoo. I'm all for complexity and non-monogamy (when both, or more parties, agree to it) but it is just so beautiful to see a good marriage challenged and withstand the challenge. Bonus points for young Matthew McConaughey and infant Sandy Bullock. It's serious, it's legal fun, a bit naïve; the nineties in a two and a half hour ride.

Rush Hour; Rush Hour 2; Rush Hour 3 (1998) (2001) (2007) *6 *6 *5 - WAR UGH ... SO MUCH FUN. Yeah, they shouldn't be bunched together, yeah, a lot of it reads problematic, yeah, I wish I'd been watching them all my life. Great stuff. Don't look away at all the racist jokes, both ways, and any other way you can imagine. This is a superb example of looking at what we made for fun: there's so much to digest, learn from, appreciate. I LOVE JACKIE CHAN. When I was a kid, it was considered embarrassing to appreciate his work. I had a stupid-ass, DUH, moment of realisation watching this: oh, that 'martial arts movies are sub-par' idea? Yeah, blatant racism. It feels so good to come to this now. Side-note: Zhang Ziyi showing up in 2, what a treat. I'm not one for recycling material but can we have Rush Hour 4 please, please, please?

Blow Out (1981) *6 - another Brian de Palma, another good movie with its merits. Some of it was delicious in a movie buff way, but I was bored nonetheless. If you're into your legal, crime, journalistic slow-burners, go for it.

Decision to Leave (2022) *9 - triple bold. This is my favourite movie. It has been since I saw it in the cinema and cried in the toilets after. It is a masterpiece, Park Chan-Wook might well be my favourite director. There are not enough good things or good enough words I could say. Here's the best I can do rn: noir at its best, romance at its most complex, human nature at its barest, lyricism, depth, story for days, really unapologetic storytelling, no infantilising the audience here, crime at its most beautiful, and potentially the best ending scene cinema has ever seen. Watch this, watch The Handmaiden, watch Stoker, watch Oldboy (when I watch more of his movies, they'll be added to this). They're all in my great movies of all time (fictional) list. Side-note: WE ARE SLEEPING ON KOREAN CINEMA. We're getting there, but we're not even close. Still underrated.

Joy Ride (2023) *6 - does what it says on the tin. Also SO MUCH FUN.

[savage-kult-of-gorthaur]

IT'S THE MOST WONDERFUL TIME FOR A GINGERBREAD BROWN ALE -- HAPPY "THIRSTY THURSDAY"!

PIC INFO: Resolution at 1000×1250 -- Spotlight on a promotional image of Barrel House Z Gingerbread Objects of Confection (Weymouth, MA) – A gingerbread brown ale with notes of ginger, cinnamon, clove, allspice and vanilla.

Source: www.massbrewersguild.org/news/tag/Gifts+for+Beer+Lovers.

[aixelsyd13]

New Year’s Day Pork & Sauerkraut II

I came to blog my recipe then through a search, discovered I posted one last year! That was in the roasting pan though, and it was a pork loin rib half. This year, I put a pork shoulder roast in the crock pot... and made some dumplings 2 ways too!

[takami-takami]

The Uncommitted Movement and Uncommitted Delegates have been petitioning to have just one Palestinian-American speak at the DNC for months; among a sea of speakers, including a random border patrol agent, Trump voters, and the CEO of Uber.

They were told three words and no other explanation: "It's a no."

The delegates and Palestine protesters have been working tirelessly to get the DNC to rescind this decision on the last day of the convention and apply pressure. There is only one ethnic background that is not allowed to speak at the DNC, and that is Palestinians.

Georgia State Representative Ruwa Romman is at the top of the list of Palestinian democrats that were offered— of which the Uncommitted Movement and delegates generously offered the DNC to take their pick.

In case they don't let her speak, this is her speech.

"My name is Ruwa Romman, and I’m honored to be the first Palestinian elected to public office in the great state of Georgia and the first Palestinian to ever speak at the Democratic National Convention. My story begins in a small village near Jerusalem, called Suba, where my dad’s family is from. My mom’s roots trace back to Al Khalil, or Hebron. My parents, born in Jordan, brought us to Georgia when I was eight, where I now live with my wonderful husband and our sweet pets.

Growing up, my grandfather and I shared a special bond. He was my partner in mischief—whether it was sneaking me sweets from the bodega or slipping a $20 into my pocket with that familiar wink and smile. He was my rock, but he passed away a few years ago, never seeing Suba or any part of Palestine again. Not a day goes by that I don’t miss him.

This past year has been especially hard. As we’ve been moral witnesses to the massacres in Gaza, I’ve thought of him, wondering if this was the pain he knew too well. When we watched Palestinians displaced from one end of the Gaza Strip to the other I wanted to ask him how he found the strength to walk all those miles decades ago and leave everything behind. 

But in this pain, I’ve also witnessed something profound—a beautiful, multifaith, multiracial, and multigenerational coalition rising from despair within our Democratic Party. For 320 days, we’ve stood together, demanding to enforce our laws on friend and foe alike to reach a ceasefire, end the killing of Palestinians, free all the Israeli and Palestinian hostages, and to begin the difficult work of building a path to collective peace and safety. That’s why we are here—members of this Democratic Party committed to equal rights and dignity for all. What we do here echoes around the world.

They’ll say this is how it’s always been, that nothing can change. But remember Fannie Lou Hamer—shunned for her courage, yet she paved the way for an integrated Democratic Party. Her legacy lives on, and it’s her example we follow.

But we can’t do it alone. This historic moment is full of promise, but only if we stand together. Our party’s greatest strength has always been our ability to unite. Some see that as a weakness, but it’s time we flex that strength. 

Let’s commit to each other, to electing Vice President Harris and defeating Donald Trump who uses my identity as a Palestinian as a slur. Let’s fight for the policies long overdue—from restoring access to abortions to ensuring a living wage, to demanding an end to reckless war and a ceasefire in Gaza. To those who doubt us, to the cynics and the naysayers, I say, yes we can—yes we can be a Democratic Party that prioritizes funding our schools and hospitals, not for endless wars. That fights for an America that belongs to all of us—Black, brown, and white, Jews and Palestinians, all of us, like my grandfather taught me, together."

[sc0ttstre3t]

queen of disaster

ballerina!reader x glasses!spencer reid

summary: you are a principal dancer for the american ballet theatre. currently, you are playing juliet in the company's production of romeo & juliet. unbeknownst to you, a certain genius is sitting in the audience, in complete awe.

warnings: ballet inaccuracies? idk. barely proofread. just complete fluff.

After solving an especially difficult case, the team had been forced to allowed to take some time off. Spencer has mostly spent it reading in the confines of his apartment, but has finally decided to take a trip. New York, somewhere he's only been for cases, wouldn't usually seem appealing, but after he found out that a production of Romeo & Juliet was currently showing at one of the best ballet companies in the world, he booked a ticket.

The show has been going well, quick paced and entertaining, with strong dancers bounding across the stage every second. Spencer's eyes are moving back and forth, trying to take in every movement.

And then it all slows down.

You appear on stage, dressed in a white and gold dress, dancing across the stage. Your arms and legs strong, yet delicate and youthful, you are the perfect Juliet. For the first time in forever, Spencer's mind is blank. He has never felt this way before. He's been captured by you, and your movements, and the emotion on your face. As a man of reason, Spencer knows love at first sight isn't real. What he is experiencing is simply infatuation, a projection he placed upon you as soon as he saw you. But that can't be right. This, all of this is real. You're real, and in front of him, and Spencer couldn't be more confused.

After the show, Spencer finds his way to the lobby with the rest of the attendees, brain still hazy about what has just happened to him. It doesn't make sense. He only saw you for a few hours, playing someone entirely different than who you really were. He doesn't know your name, or who you really are as a person. How could he…

Oh.

There you are again.

Standing with other dancers, giggling and talking. Still in your costume, but much more relaxed. Just as angelic as you were on stage, if not more. Everything stills once again, you the only focus of his attention.

Spencer walks to you, his feet moving without his own realization. Wading through the crowd, before you finally end up face to face.

You turn to him, eyebrows furrowed for a moment, before you really see him.

Gosh.

You hesitate, before putting on your best smile when he doesn't speak. "Hi."

That seems to wake him up. "Oh, hi. Sorry to bother you, I'm Dr. Spencer…" He trails off. Seeing you close up seems to rattle him. He blinks. "Not doctor, you don't have to…just Spencer."

"Nice to meet you, Spencer." You fail to hide the amusement in your words. You take a second to observe him. He's undoubtedly gorgeous. Golden brown eyes, and perfectly parted hair, his round glasses perched on his nose. His outfit is unusual for his age, a sweater vest and dark brown dress pants, complete with a pair of purple converse. A weird mix of grandpa-esque and youthful. A perfect one. Suddenly, you're hyper aware of your slightly melted makeup and the sweat on your back. You look down at his fiddling fingers, tapping back and forth as if to level his nerves somehow. You apprehensively bring out a hand, quietly introducing yourself as you do.

Spencer intakes a tiny breath. "Oh, sorry, I don't really shake hands, it's um, it's a germ thing." He readjusts his glasses as he speaks, and you grin despite yourself, you can't help but find his awkward nervousness endearing.

"Oh, sorry. That's alright." Your voice breathy and light. You nod along with your words to reassure him.

He looks down for a second, attempting to hide the red creeping up his cheeks. "No need to be sorry, I just…I wanted to say that you were amazing up there. I mean, you definitely already know that considering that only a very small percentage of ballet dancers become professional, let alone at a prestigious company like the American Ballet Theatre, and you play Juliet, the female lead role, but um, i just-"

"Spencer." You cut him off, and he finally brings his eyes back to your lingering gaze.

"Yeah?" He looks completely out of place, nerves jumbled and chest heaving. Him being nervous almost calms you down--it's confirmation that you both feel the same way.

You softly smile up at him. "It's okay. Thank you for saying that, it um, it means a lot."

"Yeah, yeah, of course. I mean it, you were…brilliant." He returns your smile. Thinks to himself that you must be the sun.

Now it's your turn to blush. You bite your inner cheek, resisting a bigger smile. For a second, you both just look at each other. Eyes wide, cheeks pink. Silent, but not uncomfortable.

"Listen, I um, I should go get changed." You speak quietly, as if saying one thing will wake you up from this fairytale of a dream.

"Oh." He visibly deflates. "It was…it was really nice to meet you."

"No! I mean, I can talk to you after, if you don't have anything else to do, I shouldn't assume…"

Spencer's grin reappears. "No, I don't have anything planned." He adjusts his glasses again, excitement rising with your words.

You nod, heart fluttering as you speak. "I'll meet you back out here?"

"Yeah, yeah I'll wait." He awkwardly waves as you walk away.

You tentatively look back, making sure he's still there, only to see that dopey grin still plastered on his face.

[rosefulmadness]

actually, you know what? here's a list

batman is jewish

nightwing is romani

red hood is latino/mixed

red robin is japanese(?) and jewish

robin is arab(palestinean)-chinese with a bit of white from dad's side

blackbat is chinese

selina kyle is italian-mixed with AA

tamaranians are black coded just like kryptonians are jewish coded

beast boy is arab

raven is indian

arthemis is vietnamese-american

arsenal/red arrow is navajo

hawkman and hawkwoman are egyptian

the LOA is generally arab

etc

hello batboy enjoyers, please put some melanin in my boys when you draw them, they aren't corpses (except for tim) thankyouverymuch

[theamericanpin-up]

Al Buell - April 1961 Al Buell's Beauties Calendar Illustration - Brown & Bigelow Calendar Co. - American Pin-up Calendar Collection

[possible-streetwear]

Fatima Al Qadiri

[androdetective]

As a poc, I have a complicated relationship to vbros. On one hand, the world is really immersive and the characters can be really great, on the other hand it is a very white show and has a racism problem. Many of the white characters have done racist things when characters have gotten punished or killed for less. There's also barely any side characters of color. And even then, many jokes get made at them regarding their races, because they're not seen as the norm. Also because it's an adult swim show made by white guys.

Off the top of my head, there are 4 side characters of color (Orpheus, Jefferson, Kano, and Dr Z). If we want to be generous, we could include Al. Maybe even Triana with her being biracial, albeit entirely passing as white. Even with those characters, Orpheus became whitewashed over the years.

However, ironically enough, he's the best written character of color. He's a very nice, multifaceted character. He's even become a fan favorite. He's also had no racist comments made towards him in the show. Which was a pleasant surprise. Especially since he lived on the compound with Rusty of all people. As happy as I am with that, it feels off because why did they spare only him but not others? I'm not sure if his race was ever figured out as the writers. It never got brought up, unlike other characters. I won't lie, that gives me a feeling they didn't write him as a brown man in mind. If they did write him with that in mind, he probably would've been written worse. It feels like they could only relate to him and made his character good by thinking he's white like them. Hell, they even projected their weird breakup feelings onto him.

With Jefferson, his character is a mixed bag. He's a cool character and very capable. He's a solid character, all things considered. It's just that he gets racist jokes thrown his way. And just, the show has one black side character, and they can't even act right. Why is racism, the hatred and otherness of one's entire existence, so funny. I noticed that each episode except one that he was in had at least one antiblack joke. That's an insane ratio. The worst joke was in the Halloween episode, where he was at the party. They specifically made his character open the door to a side character, red mantle, doing blackface. It was to make a shitty reference to some niche movie and just oh my god, can you stop being shitty white nerds for a second? People who think shit like this is funny makes me want to project years of racial trauma into their brains so that they could finally Get It. Again, this is the best black character they have, but they to make him go through cheap antiblack jokes.

At least with Kano and Dr Z their skin tones stopped being yellow. The other times we see characters of color are when they're background characters. They're either there to make a scene feel full or they're labor workers. The worst is when they were what I'd describe as background antagonists. One-off antagonists that aren't really villain villains. Moreso regular criminals. These tend to be depicted as black and latino. This was more common in early seasons and stopped happening over time. Which obviously great albeit bare fucking minimum, still doesn't change that it happened.

For a world that critiques the old mentalities from previous generations and even specifically denounces generational toxic masculinity. They don't say shit about the blatant racism of the Johnny Quest times they parody. And the times they try to, it's just showing racism and doing nothing about it. Princess Tinyfeet is the worst example of this. She's a blatant racial stereotype. Who for whatever reason, used to be married to Sgt Hatred, an American soldier. And Sgt Hatred is a whole can of worms.

With Dr Z who was apart of the Quest era, at least they tried to give him a character. The thing I will say is that he's voiced by a white guy (Publick) doing a stereotypical vaguely Eastern Asian accent. Something I wished when watching the show was for Dr Z to mention the old racist era he lived through, and maybe even how the present is still rough. The toxic masculinity of the era got mentioned, so why not that too. It would've been so obvious too.

I won't lie, a part of me is glad they didn't try to handle the racism because it would've been a horrible train wreck. I can get why they didn't delve too into it, they're white after all. I just wish there were more poc in the team and sensitivity writers because they were desperately needed. But for a show that can't even handle white women, I'm not surprised they can't handle people of color. For a show whose best thing they were able to tackle was toxic masculinity, I find it ironic how misogynistic they still were. Like quick, why were the side effects of misogyny that affect you 🫵 handled the best.

The thing is, if they did try to critique the racism, they'd alienate the audience, and it'd also be strangely hypocritical of them. Venture Bros'/Adult Swim's main audience is white cishet men. The ones least affected by bigotry. They're able to laugh at bigoted jokes, and they're the most marketable people. White guys will appeal to other white guys. In the early 2000s, white creators were able to get away with much more. Not because it was alright but because it was easier for them to shut down minorities calling them out. Despite how "normal" it was, that doesn't change how that fed into a very toxic, bigoted culture. Despite today still being hellish for minorities, it was even worse just a couple of years ago.

Venture Bros obviously did not invent racism/bigotry. The show is very much a product of their time and environment. And whenever I think about that, it feels draining. Especially having had to live through the 2000s. The show can be amazing when it wants to be. There's so much potential and a lot of charm and character. I really enjoy it, and that's why I'm so critical of it. Not only because I want it to be better but because I want something better for fans of color. We barely get anything, and the least we should get are characters that look like us and are respected. Just like their white counterparts. It's like, how am I supposed to feel when Sgt Hatred gets redeemed and made a main character before we got a character of color that didn't face racist jokes/got whitewashed. Or even before we got a female character whose existence didn't hinge on their relationship to a man. Obviously, the show doesn't hate people of color. They've tried to better over time, which again great. But it barely felt like they respected poc enough.

With the movie, despite its own problems (not helped by Adult Swim screwing them over), you could tell they were trying. And it was really appreciated. Jefferson had a big spotlight, and there weren't jokes against him. We even got to know a bit more about him. It was genuinely his best. Ignoring Orpheus still looking like he's in a perpetual state of winter, that aspect of the movie was alright.

I'm very glad to see fans who are critical of these aspects. It makes me more happy seeing them vouch for poc. However, there's still a large majority that ignores or even excuses the racism. Unsurprisingly, these tend to be the white dude bro fans. But I've seen even the more liberal fans excuse/ignore stuff. The fanbase is very white, just like a lot of other fanbases. I can get why a supportive white person feels they wouldn't be best to call out the show's shit. I just wish they'd mention it more with a simple "oh there's xyz in this episode and it wasn't alright." Something as simple as that carries a lot of power in very white environments. Also, of course, uplift other fans of color, especially when they talk about or face racism. Things as simple as that make me breathe sighs of relief. It personally encourages me to interact with communities more.

I'm unsure of how to close this off. This feels like a topic you could talk about all day. All I wish is for things to be better, you know? Hopefully this all makes sense. I just wrote shit off the top of my head. I'd love to hear thoughts expanding or adding on to stuff. Really hope this reaches the right people

[sophaeros]

arctic monkeys for q magazine, june 2011 (x) (x)

ARCTIC MONKEYS: Inside Alex Turner's Head

Words Sylvia Patterson Portrait John Wright

The day Arctic Monkeys moved into their six bedroom, Spanish-style villa in the Hollywood Hills, where the first-floor balcony looked over the patio swimming pool, they knew exactly what to do.

"From the balcony, you could get on t'roof and jump in't pool," chirps the Monkeys' most gregarious member, drummer Matt Helders, in his homely Yorkshire way. "We looked at it and said, That's definitely gonna happen. So by the end, we did a couple of 'em. Somersaults in t'pool, from the roof. At night time."

In January 2011, as Sheffield and the rest of Britain endured its bitterest winter in a century, Arctic Monkeys capered among the palm trees, eschewing hotels for a millionaire's Hollywood homestead as they recorded and mixed their fourth studio album, Suck It and See.

The four Monkeys, alongside producer James Ford and engineer James Brown, lived what they called the "American man thing": watched Super Bowl on giant TVs, played ping-pong, hired two Mustangs, cooked cartoon Tom And Jerry-sized steaks on barbecues on Sundays, had girlfriends over to visit, all cooking and drinking around the colossal outdoor kitchen area featuring a fridge and two dishwashers. Living atop the Hills, they could see the Pacific Ocean beyond by day, the infinite glittering lights of downtown LA by night.

Every day, en route to Sound City Studios, they'd travel in a seven-seater four-by-four through the mountains, via bohemian 60s enclave Laurel Canyon, blaring out the tunes: The Stones Roses, The Cramps, the Misfits' Hollywood Babylon. For the sometime teenage art-punk renegades whose guitarist, Jamie Cook, was once ejected from London's Met Bar for refusing to pay €22 for two beers, the comedy rock'n'roll life still feels, however, absolutely nothing like reality.

NICK O'MALLEY: "It were really as if we were on holiday. When we came back it's the most post-holiday blues I've ever had!"

JAMIE COOK: "It's hard to comment on that. It were just really good fun."

MATT HELDERS: "We always said, As soon as things like that feel normal, we're in trouble. But it's just funny. You might think it would get more and more serious as you get older but it's getting funnier. We've done four albums now and I'm still only 24, I'm still immature to an extent. So who cares?"

Alex? Al? Are you there?

ALEX TURNER: "Yeah, it were good times. But we were in the studio most of the time. So there's no real wild Hollywood stories. Hmn. Yeah."

Wednesday, 16 March 2011, Strongroom Bar, Shoreditch, East London, 11am. Alex Turner, 25, slips entirely alone into an empty art-crowd brasserie looking like an indie girl's indie dream boy: mop-top bouffant hair which coils, in curlicues, directly into his cheekbones, army-green waist-length jacket, baggy-arsed skinny jeans, black cord zip-up cardigan, simple gold chain, supermoon sized chocolate-brown eyes.

Almost six years after I Bet You Look Good On The Dancefloor became the indie-punk anthem of a generation (from the first of Arctic Monkeys' three Number 1 albums), and nothing prepares you for the curious phenomenon of Alex Turner "in conversation". Unlike so many of the Monkeys frenetic early songs, he operates in slow motion, seemingly underwater, carrying a protective shell on his back, perhaps indie rock's very own diamond-backed terrapin. The most celebrated young wordsmith in rock'n roll today talks fulsomely, in fact, only in shapeless, curling sentences punctuated with "maybe... hmn.. yeah", an anecdotal wilderness sketching pictures as vague as a cloud. He is, though, simultaneously adorable: amenable, gentle, graceful, and as Northern as a 70s grandpa who literally greets you with "ey oop?".

"People think I'm a miserable bastard," he notes, cheerfully, "but it's just the way me face falls." Still profoundly private, if not as hermetically sealed as a vacuum-packed length of Frankfurter, his fante-shy reticence extends not only to his personal life (his four-year relationship with It-girl/TV presenter Alexa Chung, whom he never mentions) but to insider details generally. Take the Monkeys’ Hollywood high jinks documented above: not one word of it was described by Turner. Before Q was informed by his other Monkey bandmates, Turner’s anecdotal aversion unfolded like this:

Describe the lovely villa you were in. AT: "Well... we certainly had a... good view."

Of what? AT: "Well, we were up quite high."

The downtown LA lights going on forever? AT: "I dunno. It was definitely that thing of getting a bit of sort of sunshine. Is it vitamin D? If you can get vitamin D on your record, you've got a bit of a head start. So we'd get up and drive to the studio."

What were you driving? AT: "Nothing... spectacular. But yeah, we'd drive up the studio, spend all day there and sort of, y know, get back. To be honest... we had limited time. So we spent as much time as possible kind of getting into it, like, in the studio.

So your favourite adventures were what? AT: "Well, they were really… minimal. We were working out there!"

Any nightclubs or anything, perhaps? AT: "You really want the goss 'ere, don't you?"

Yes, please. AT: "I could make some up. Nah!"

And this was on the second time of asking. It's perhaps obvious: Alex Turner, one of the most prolific songwriters of his generation (four Monkeys albums and two EPs in five years, The Last Shadow Puppets side-project, a bewitching acoustic soundtrack for his actor/video director friend Richard Ayoade's feature-length debut Submarine), is dedicated only to the cause – of being the best he can possibly be. He simply remembers the songs much more than the somersaults.

Throughout 2009, Arctic Monkeys toured third album Humbug – the record mostly made in the Californian desert with Queens Of The Stone Age man-monolith Josh Homme – across the planet. While hardly some cranium-blistering opus, its heavier sonic meanderings considerably slowed the Arctic Monkeys' live sets and on 23 August 2009, Q watched them headline the Lowlands Festival, Holland and witnessed a hitherto unthinkable sight – swathes of perplexed Monkeys fans trudging away from the stage. With the sludge rock mood matching their cascading dude-rock hair it seemed obvious: they'd smoked way too much outrageously strong weed in the desert.

"Heheheh, yeah," responds Turner, unperturbed. "That's your theory. You probably weren't alone."

Back in the Strongroom Bar, Turner's arm is now nonchalantly draped along the back of a beaten-up brown leather sofa. He ponders his band's somewhat contrary reputation…

"I think starting the headline set at Reading with a cover of a Nick Cave tune perhaps was a bit contrary. D'youknowhat Imean?! But to be honest, that summer, at those festivals, we had a great time. And I know some fans enjoyed those sets 10 times more. And you can't just do, y’know, another Mardy Bum or whatever. Because how could you, really?"

With Humbug, notes Turner, "I went into corners I hadn't before, because I needed to see what were there," but by spring 2010 he wanted their fourth album to be "more song-based" and less lyrically "removed". He was "organised this time", studied "the good songwriters" (from Nick Cave, The Byrds and Leonard Cohen to country colossi Johnny Cash and Patsy Cline), discovered "the other three strings" on his guitar, and wrote 12 songs through the spring and summer of 2010, mostly in the fourth-floor New York flat he shared with Chung before the couple moved back to London late last summer (the New York MTV show It's On With Alexa Chung was cancelled after two seasons). The result: major-key melodies, harmonised singing and classic song structures.

At the same time he revisited the opposite extreme: bands such as Black Sabbath and The Stooges ("we wanted a few wig-outs as well"); he was also still heavily influenced by the oil-thick grinder rock of Josh Homme, who is clearly now a permanent Monkeys hero. After four months' rehearsals in London, on 8 January the Monkeys relocated to LA for five swift weeks of production and Homme came to visit, singing backing vocals on All My Own Stunts. Tequila was involved.

"Tequila is probably me favourite," manages Turner, by way of an anecdote. "But it takes a certain climate... It's not the same... in the rain. Yeah. [Looks to be contemplating a lyric] Tequila in the rain."

Vocally, he developed the caramel richness first unveiled on The Last Shadow Puppets' Scott Walker-esque The Age Of The Understatement, finding a crooner's vibrato. "Everything before was so tight,” he notes, clutching his neck. "Probably just through nerves. That's just not there any more." Suck It and See contains at least four of the most glittering, sing-along, world-class pop songs (and obvious singles) of Arctic Monkeys' career: the towering, clanging She's Thunderstorms, the summertime stunner The Hellcat Spangled Shalalala, the heavenly harmonised title track and the Echo & The Bunnymen-esque jangly pop of closer That's Where You're Wrong.

Elsewhere, in typically contrary "fashion", there's preposterous head-banger bedlam (Brick By Brick, the rollicking faux-heavy rock download they released in March "just for fun", featuring vocals by Helders; Don't Sit Down 'Cause I've Moved Your Chair, and Library Pictures). News arrives that the first single proper will be Don't Sit Down 'Cause I've Moved Your Chair. Q is perplexed. Brilliantly titled, certainly, but arriving after Brick By Brick, the new album will appear to the planet as some comedy pastiche metal album for 12-year-old boys.

You've got all these colossal, summery, indie-pop classics and you've gone for... The Chair? AT: [Laughing uproariously] "The Chair! I'm now calling it The Chair, that's cool. Well for once it weren't even our suggestion. It was Laurence's (Bell, Domino label boss). And I were, Fucking too right! He's awesome. It'd be good to get a bit of fucking rock'n'roll out there, won't it? It's riffs. It's loud. It's funny."

If you don't release The Hellcat Spangled Shalalala as a single I'm going round Domino to kick Laurence's "awesome" butt. AT: "I think it'll be the next one!"

The record's title, meanwhile, could've been more enigmatically original than the un-loved phrase Suck It and See. The band, struggling with ideas due to the opposing sonic moods, invented an inspiration-conjuring ruse: to think of new names for effects pedals in the style of Tom Wolfe, Turner being long enamoured with the American author's legendarily psychedelic books The Electric Kool-Aid Acid Test and The Kandy-Kolored Tangerine-Flake Streamline Baby, "cos that just sounds awesome".

"There's the Big Muff pedal," he elaborates, "That’s the classic. I've got the Valve Slapper. And there's the Tube Screamer. So we came up with the Thunder Suckle Fuzz Canyon. And… wait till I assemble it in me mind… em… it'll come to me… The Blonde-O-Sonic Shimmer Trap. So we were going for summat like that."

A wasted opportunity?

"Nah. Because some of those things ended up in the lyrics anyway. Suck It and See was just easier."

Alex Turner, rock'n'roll's premier descriptive art-poet, still writes his lyrics long-hand in spiral-bound notebooks. "Writing lyrics is a craft that I've practised a bit now," he avers. "In me notebook it looks like sums. Theories. There's words and arrows going everywhere. There's always a few possibilities and I write the word 'OR' in a square."

For our most celebrated colloquial sketch-writer of the everyday observation (all betting pencils, boy slags and ice-cream van aggravations) the more successful he becomes, the less he orbits the ordinary. "I'm not struggling with that, to be honest," he decides. "In fact I'm enjoying writing lyrics much more than I did. Stories. Describing a picture. Um. There's quite a bit of weather and time in this one. Which is probably not reassuring. 'Oh God, he's writing about the weather.' Maybe leave that out!"

There are also some direct, funny, romantic observations: "That's not a skirt, girl, that's a sawn-off shotgun/And I only hope you've got it aimed at me..." (from the title track).

Some of your romantic quips, now, must be about Alexa. AT: "Right. Yeah. Definitely. Well... there's always been that side to our songs, when we weren't writing about... the fucking taxi rank. It's kind of inevitably... people you're with." [At the mention of Chung's name, Turner is visibly aggrieved, head sliding into his neck, terrapin-esque indeed.]

It must have been very grounding being in a proper relationship through all this madness. Because if you weren't, girls would be jumping all over your head. AT: "Em. Hmn. Well, of course that helps you to... I don't really know.. what the other way would be."

Does Alexa wonder if the lyrics are about her? AT: "Oh there's none of that. Yeah, no, there's no looking over the shoulder."

She must be curious, at least. "Maybe."

Did you ever watch Popworld? AT: [Nervous laughter] "Em! Now and again."

Did you ever see the episode where she helps Paul McCartney write a song about shoes? AT: "Ah, yeah I think so, maybe I did see that."

Well, if I was you, I'd have been thinking, "She's the one for me." AT: "Well. Yeah... maybe that would've... sealed the deal! Hmn. But maybe that wasn't when i got the ray of light. When was? Nah [buries head in hands]. I might have to go for a cigarette..."

Q can't torture him any more and joins him for a snout. Turner smokes Camels from a crumpled, sad, soft-pack and resembles a teenager again. As early song You Probably Couldn't See For The Lights But You Were Staring Straight At Me says, "Never tenser/Could all go a bit Frank Spencer…”

In January 2006, when Arctic Monkeys' Number 1 album Whatever People Say I Am, That's What I'm Not became the fastest-selling debut in UK history, inadvertently redefining the concept of autonomy and further imploding the decimated music industry (& wasn't their idea to be "the MySpace band", it was their fans': the Monkeys merely kick-started viral marketing by giving away demos at gigs), the 19- and 20-year-old Monkeys were terrible at fame. They weren't so much insurrectionary teenage upstarts as teenage innocents culturally traumatised by the peak-era fame democracy.

To their generation (born in the mid-'80s) fame was now synonymous with some-twat-off-the-telly a world of foaming tabloid hysteria where renown and celebrity meant, in fact, you were talentless. Hence their interview diffidence and receiving awards via videos dressed up as the Wizard OfOz and the Village People. Which only, ironically, made them even more celebrated and famous. (“That were a product of us just trying to hold onto the reins," thinks Turner today. "Being uncooperative.")

Q meets The Other Three one morning at 11am, in the well-appointed, empty bar of the Bethnal Green, Bast London hotel they're staying in (all three live in Sheffield, with their girlfriends, in their own homes). First to arrive is the industrious, sensible and cheerful Helders, crunching into a hangover-curing green apple. He has recovered from last year's boxing accident at the gym, which left his broken arm requiring a fitted plate. Now impressively purple-scarred, the break felt "interesting" and the doctor couldn't resist the one-armed drummer jest: "D'you like Def Leppard?"

Currently enjoying an enduring bromance with Diddy, he still doesn't feel famous, "it just doesn't feel that real, there's no paparazzi waiting for me to trip up." He and Turner, during the four-month rehearsals last year, became an accomplished roast dinner cooking duo for the band. "I reckon we could have us our own cookbook," he beams. "Pictures of us stirring, with a whisk."

O'Malley, an agreeable, twinkly-eyed 25-year-old with a strikingly deep voice and a winningly huge smile, is still coyly embarrassed by the interview process. A replacement for the departed original bass player Andy Nicholson in May 2006, he went from Asda shelf-filler to Glastonbury headliner in 13 months and still finds the Monkeys "a massive adventure". His life in Sheffield is profoundly normal – he's delighted that his new home since last October has an open-hearth fireplace: "Me parents had electric bars." He has also discovered cooking. “I’m just a pretty shit-hot housewife, most of the time," he smiles. "I cook stews, fish combinations, curries, chillies. I made a beef pho noodle soup the other day, Vietnamese, I surprised meself, had some mates round for that."

Recently, at his dad's 50th birthday bash, the party band, made up of family and friends, insisted he join them onstage "for ...The Dancefloor. So I were up there [mimes playing bass, all sheepish] and it were the wrong pitch, they didn't know the words or 'owt, going, Makin eyes... er..." He has no extra-curricular musical ambitions. "I'm happy just playing bass," he smiles. "I've never had the skill of doing songs meself. It'd be shit!"

Cook, 25, is still spectacularly embarrassed by the interview process. He perches upright, with a fixed nervous smile, newly shorn of the beard and ponytail he sported in LA: "Rockin' a pone, yeah, because I could get away with it." With his classic preppy haircut and dapper green military coat (from London's swish department store, Liberty), he looks like a handsome '40s film star. (Turner deems Cook "the band heartbreaker" and had a word with him post-LA: "I said to him, Come on, mate, you've got to get that beard shaved off. Get the girls back into us. Shift some posters.")

His life in Sheffield is also profoundly normal. He still plays Sunday League football with his local pub team, The Pack Horse FC (position, left back), remains in his long-term relationship with page-three-model-turned-make-up-artist Katie Downes and "potters about" at home, refusing to describe said home, "cos I'll get burgled".

A tiler by trade, he always vowed, should the Monkeys sign a deal, that he'd throw his trowel in a Sheffield river on his last day of work. "I never did fling me trowel," he confirms. "Probably still in me shed." He's never considered what his band represents to his generation. "I'd go insane thinking about it, I'm pretty good at not thinking about it… Oh God. I'm terrible at this!"

Back in the Strongroom Bar, Alex Turner is cloudily describing his everyday life. "I just keep meself to meself," he confounds. He mostly stays indoors and his perfect night in with Alexa is "watching loads of Sopranos. And doing roast dinners".

No longer spindle-limbed, he attends a gym and has handsomely well-defined arms – "You have to look after yourself."

Suddenly, Crying Lightning from Humbug rumbles over the bar stereo. "Wow. How about that? I was quite happy the other morning cos Brick By Brick were on the round-up goals on Soccer AM. It's still exciting when that happens. It was like Brick By Brick is real."

He spends his days writing music, "listening to records", and recommends Blues Run The Game by doomed '60s minstrel Jackson C Frank ("who's that lass?... Laura Marling, she did a cover recently), a simple, acoustic, deep and regretful stunner about missing someone on the road.

Lyrically, he cites as an example of greatness the Nick Cave B-side Little Empty Boat [from ‘97 single Into My Arms ], a comically sinister paean to a sexual power struggle: "Your knowledge is impressive and your argument is good/But I am the resurrection babe and you're standing on my foot."

"I need a hobby," he suddenly decides. "I'd like to learn another language." Since his mum is a German teacher (his dad teaches music), surely he can speak some German? "I know how to ask somebody if they've had fun at Christmas." Go on, then. "Nah!"

Where Turner's creative gifts stem from remains a contemporary rock'n'roll mystery; he became a fledgling songwriter at 16, after the gift of a guitar at Christmas from his parents. An only child, did his folks, perhaps, foresee artistic greatness? "I doubt it!" he balks. "Cos I didn't. I wasn't... a show kid." Like the others, he doesn't analyse the past, or the future.

"You can't constantly be thinking about what's happened," he reasons, "it's just about getting on with it." The elaborate pinky ring he now constantly wears, however, a silver, gold and ruby metal-goth corker featuring the words DEATH RAMPS is a permanent reminder of he and his best friends’ past. The Death Ramps is not only a Monkeys pseudonym and B-side to Teddy Picker, but a place they used to ride their bikes in Sheffield as kids.

"Up in the woods near where we lived," he nods. "Just little hills. But when you're eight years old they're death ramps." The ring was custom made by a friend of his, who runs top-end rock'n'roll jewellery emporium The Great Frog near London's Carnaby Street. Ask Turner why he thinks the chase between his writing and speaking eloquence is quite so mesmerisingly vast and he attempts a theory.

"Well, writing isn't the same as speaking," he muses. "Not for me. I seem to struggle more and more with... conversation. Talking onstage... I can't do it any more. Hmn. I'll have to work on that."

The ever-helpful Helders has a better theory.

"Since he's been writing songs," he ponders, “It seems like he’s always thinking about that. So even when he’s talking to you now, he’s thinking about the next thing that rhymes with a word. Even when he’s driving. We joke he’s a bad driver, his focus is never 100 per cent on what he’s doing. Which is good for us cos it means he’s got another 12 songs up his sleeve. I think music must be the easiest way for him to be concise and get everything out. Otherwise his head would explode.”

The Shoreditch.com photo studios, 18 March. Alex Turner, today, is more ethereally distracted than ever, transfixed by the studio iPod, playing Led Zeppelin, The Rolling Stones, a version of I’d Rather Go Blind. Occasionally, he’ll completely lose his conversational thread, “Um. I’ve dropped a stitch.”

The first to arrive for Q’s photoshoot, he greets his incoming bandmates with enormous hugs (and also hugs them goodbye). Today, Q feels it’s pointless poking its pickaxe of serious enquiry further into Turner’s vacuum-packed soul and wonders if he’ll play, instead, a daft game. It’s called Popworld Questions, as first posed by someone he knows rather well.

“Oh, OK. Let’s do it,” he blinks, now perched in an empty dressing room. He then vigorously shakes his head, “Um…I’ve gotta snap back into it.”

Here, then, are some genuine “Alexa Chung on Popworld” questions (2006-2007), as originally posed to Matt Willis, Amy Winehouse, Robbie Williams, Pussycat Dolls, Kaiser Chiefs and Diddy.

Why do indie bands wear such tight jeans? AT: “Um. I supposed they do. They haven’t always. When we first were playing I was definitely in flares. You need to be quite tall to get the full effect, though. So, that's why this indie band wears such tight jeans, cos we've not got the legs for flares."

What makes you tick in the sexy department? AT: "Wow. Pass. What do I find most attractive in a woman? Something in the head? That's definitely a requirement. Well... Hmn. I'm struggling."

Tell us about all the lovely groupies. AT: "No!"

If dogs had human hands instead of paws, would you consider trying to teach them to play the piano? AT: "Absolutely. I'd teach Hey Jude."

How many plums d'you think you can comfortably fit in one hand? AT: "They're not very big. [Holds small, pale, girly hand up for inspection] It's a shame. Probably three. Diddy only managed two? Maybe not then. I can carry a lot of glasses at once, though. If they're small ones I can do four."

Are you cool? AT: "Not as much as I'd like to be. There's this clip where Clint Eastwood is on a talkshow and he gets asked, Everybody thinks of you as defining cool, what d'you think about that? And he gets his cigs out, takes one out, flicks it into his mouth, lights it and says, I have no idea what you're talking about."

Here, Turner locates his Camels soft-pack and attempts to do a Clint Eastwood. He flicks one upwards towards his mouth. And misses. Flicks another. And misses. "Third time lucky?" He misses. "I'll get it the next time." And succeeds. "Hey. Fourth time. Don't put that in! So there you go. I'm four steps away from where I wanna be."

Thank you very much for joining me here on Popworld, here's my clammy hand again. There it is, let it slip, hmmn. You can let go now. AT: "OK! Were you a Popworld fan, then? It was funny. Cool. What were we talking about, before?"

Blimey, Alex. What must you be like when you're completely stoned out of your head? AT: "Stoned? What d'you mean, cos I seem like that anyway? Yeah. A lot of people... tell me I'm a bit... dreamy. But I like the idea of that. Of being somewhere else."

Two days earlier, Turner had contemplated what he wanted from all this, in the end. Many seconds later he gave his deceptively ambitious answer.

"I just wanna write better songs," he decided. "And better lyrics. I just definitely wanna be good at it. Hmn. Yeah.”

—

RUFUS BLACK: AKA Matt Helders, on his ongoing bromance with Diddy

Matt Helders has known preposterous rap titan Diddy since they met in Miami in 2008. “He goes, Arctic Monkeys! Then he said summat about a B-side and I was like, He's not lying! I just thought, This is funny, I'm gonna go with this for a while." Last October Diddy texted Helders, suggesting he play drums with his Diddy Dirty Money band on Friday Night With Jonathan Ross, to give his own drummer a day off. “I were bowling with me girifriend at the time. In Sheffield, on a Sunday." On the day of recording, says Helder, "We had a musical director. That were one of the maddest times of my life. Next day Diddy said, Why don't you just stay? Come along with me. So I went everywhere with him." Diddy had "a convoy of cars" and made sure Helders was always in his. "He'd stop his car and go, Where's Matt? You're coming with me! So I'd get in his car. Just me, him, his security, driver." Diddy, by now, had given him a pseudonym - Rufus Black. "He kept saying, I don't wanna fuck up your image. And I'm, I don't think it's gonna do me any harm!" He stayed in Diddy's spectacularly expensive hotel. Some weeks later, Helders almost returned to the Dirty Money drumstool for a gig in Glasgow. "But we were rehearsing in London. I were like, I might come, how are you getting there? And he were like, Jet. Jump on t’jet with me. But I had to stay in Bethnal Green instead.”

Love’s young dream: Diddy (left) with Helders

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[nimrochan]

No disrespect, and I want to say that jewish people should absolutely be safe and feel welcome and happy everywhere in the world. But how can you talk positively about moving to Israel, paying taxes to a government, that has been confirmed to have killed 13.000 children? Do you not see an issue with moving to a state that has been determined by the ICJ to be committing a genocide right now?

Thank you for your question. I’ll do my best to answer this as an Israeli-American with a more inside perspective than most people who haven’t been in the area.

Incoming novel.

First off, I encourage you to read my pinned post.

Second, I believe Israel is a tiny country that as being held to an impossible standard. The situation there is very unique and I ask you to not compare it to others.

(I promise I’m going somewhere with this) in the past ten years, half a million Syrians and half a million Yemenis died in civil war in what I think are actual genocides. Millions more are refugees. China forcibly puts its Muslim citizens in “re-education” camps, another form of cruelty and cultural genocide. There are other genocides actually happening in Congo and Darfur and other places. There are humanitarian crises in Arab countries regarding the horrific treatments of women. And in North Korea, the situation has always been dire - it contains a concentration camp the size of Rhodes island.

This leads me to ask- why is the hate for Israel so widespread and deep? I’ve never seen protests addressing these aforementioned issues so passionately. I almost NEVER see them addressed on social media. I have never seen Russian, Chinese, Afghani people etc in places OUTSIDE of their countries being harassed to the extent that Jews and Israelites are. Jews outside of Israel have been harassed and attacked, some have even been murdered. Our synagogues and graveyards have been vandalized. Thousands, maybe tens of thousands of people openly march for our deaths rather than to condemn terrorism or condemn far more horrible governments. I can only come to the conclusion that it’s antisemitism. It’s not a coincidence that the only Jewish country in the world a) has such a microscope over it, b) is one of the most terrorized countries in the world, and c) has so much widely-accepted misinformation regarding it. Including the whole “white colonizer” narrative - most Israelis are brown.

The UN has a history of not accepting Israel as a country and disregarding the years of constant terrorism against it. It has not acknowledged 10/07. The voters of the ICJ include Bashar Al Assad who is the president of Syria. Yes that same Syria that kills its own people. Another voter is from China. Same China with countless human rights violations. Another voter whose name escapes me now made motions to deny humanitarian crises in other Arab countries. So between the UN and the ICJ voters, the parties are extremely biased and ignore far worse issues. So I am not going to take them seriously. I hope you ask yourself what else may have skewed your perspective on the war, if such big international organizations are demonstrably biased.

Genocide is done with intent. In the last 50 years, the Palestinian population has grown FASTER than the world’s Jewish population. I can tell you first hand, as someone with many family members who have served in the IDF, and who knows how strong the Israeli military is - genocide is not, has never been, and will never be the intention of Israel. If it WANTED to commit genocide, I guarantee you that absolutely far more Palestinians would have been slaughtered and I would tear up my passport in that case.

When the LEADERS of a county cross a border into ANOTHER country, unprovoked, and personally slaughter and rape thousands of civilians, that is genocide and that is declaring war. It’s a very small scale genocide, but technically it is. If you read the charter of Gaza, it actually states the goal of killing all Jews. Hamas killed the maximum number of Israelis that was in their power at the time. Including people that my own family were close to.

Growing up in Israel, among some Arabs, I can tell you that no one EVER taught me to hate Arabs. In fact they taught us Arabic in school along with English. All street signs are in English, Hebrew, and Arabic. Meanwhile across the border, their government put guns in kids’ hands and teach them that Jews are pigs. And I don’t think they’re considerate enough to put any of their public signs in Hebrew.

You can see pictures online of Hamas dressing up their kids as child soldiers.

I don’t know if you ever saw the footage of Hamas driving around Gaza with dead bodies after the 10/07 attack and many Gazan civilians celebrating and dancing with their kids and handing out candies, mutilating the bodies further. Look up Shani Louk.

While a handful of Israelis are openly racist (just like there are racists everywhere else on the planet), you will NEVER see something this horrific on Israeli streets. NEVER.

Obviously, not all Gazan civilians are this heinous and nobody should be punished for where they were born (and anti-Israelis are lost on the irony of calling all Israelis kid-murdering genocide-lovers who deserved what happened to them including rape and infantacide). But I want you to ask yourself, If this was My country, how would they respond? I don’t think Israel is responding WORSE than America or other strong countries would. Again that leads me to ask why the hate is out of proportion even for their strong response.

The Ministry of Health in Gaza reports that about 30-40K casualties by Israel. Now that organization is run by… Hamas. But okay, I’m willing to believe that number. I’m willing to believe that that number is double. And I’m extremely saddened by innocent Gazans suffering because of the carelessness and evil of their leaders. But let’s look at the number for now.

Israel reports that about 17,000 of the people killed in Gaza are Hamas militants. That leaves a civilian-combatant ratio of 1:1.2 - 1:2. That’s… average for war. For a dense urban area like Gaza? That is LOW. That does not fit the definition of genocide. It is war, and it sucks, but it’s not genocide.

As for children dying - We do not yet know exactly the number of children who are militants. A baby is counted as a child, but so are the 15-17 year old child soldiers that Hamas recruits. So now the line is blurring.

Not to mention, Hamas has been caught altering birth dates on records of dead Gazans to bring their ages down. Some 18-year-olds are falsely reported as being 17 at death to falsely increase the numbers of killed children on paper.

To go a little off topic, Al Jazeera has also been caught numerous times censoring Gazans criticizing Hamas and reporting biased news. Heck they even reported the rape and murder of my people as “a necessary step.” Look up Howidy Hamza, a Palestinian reporter who talks about Hamas. Hamas is unbelievably cruel to their own people. Yet protests in the US and around the world praise them.

Let’s go back to Israel being the most terrorized country in the world behind Somalia. Do you know what’s going on in Somalia? Of course probably not - another crisis largely ignored by the world because it’s not as exciting or interesting.

Again I grew up in Israel. In the 90’s there was a rash of suicide bombings on buses by the PLO, so I remember avoiding buses as a child out of fear. I also remember waiting in line with my family to get free gas masks because Saddam Hussein once threatened biological warfare on us. Fun times.

I went back to visit in 2015 - this time, a trend of Palestinian civilians in Israel randomly stabbing Jews or running over them or throwing rocks at them. Some Palestinian teens threw rocks into traffic and killed a 2-year old.

And in the past 20 years at least, Hamas and OTHER parties have been sending rockets into Israel. Into civilian areas. Do you think that’s normal? Do you think it’s normal to have apps to alert you to rockets and to have so many bomb shelters? Have you ever spoken to a relative overseas and heard rockets in the background while on the phone with them?

Do you know how many hundreds of thousands of us would be dead if it weren’t for the iron dome?

EDITED TO ADD: Israel responds to rocket fire to destroy the source, because the iron dome is not perfect and CONTINUED firing eventually harms Israeli civilians. Yes, Hamas makes sure to fire rockets from Gazan civilian areas. Another note I want to bring up - I don’t know how many Gazans are displaced currently, I have a hard time finding a nonbiased source, but I would guess around 750K - 1.2 million. If they are displaced RATHER then killed, that’s another contradiction to calling this war a genocide.

Do you know why Gaza has received billions of dollars in aid over the years - enough to turn it into a living paradise - only for Hamas to use it to build underground tunnels and rockets for the purpose of attacking a country that has NEVER in its history attacked first or started any wars? (Yes, believe it or not, Israel has never STARTED a war since its inception).

The other problem with Gaza is Hamas intentionally having military targets under densely populated areas. When Israel warns civilians to leave, via leaflets or alerts, many times Hamas threatens them to stay and become martyrs. On top of it, they dress as civilians and recruit children, and fire rockets from refugee camps and apartment buildings and schools and hospitals. This is neither legal nor ethical warfare.

Israel does not, has never put military targets near civilian, nor does the IDF recruit children or dress as civilians. That’s a bare minimum.

I won’t deny that members of the IDF have done shitty things, just like the American army and other armies around the world have probably done, but if I had to choose between the country with the military that wants me dead and Israel… yeah. At least rape and other torture are ILLEGAL for the IDF. Meanwhile Hamas continues to freely rape hostages as I type this. Because they make the laws there.

Yes Israel cares more about its own citizens than foreign citizens like Gaza, but again, that’s no more evil than other normal countries.

To address another stereotype about Israel being a racist and apartheid state - there are two million Arab Israelis living peacefully there. There are Arab countries who hold peace treaties with Israel.

So you tell me in your ask, Jews should be safe and welcomed around the world. The sentiment is appreciated, but this is not the case with reality, sadly. There is NO population of 2 million Jews in any other middle eastern country. Many of us left for Israel due to severe oppression. There are no more Jews in Yemen for example. My grandfather left for Israel from his home in Lebanon because some officials wanted him dead. Why? For committing the crime of smuggling Jews through Lebanon to escape the Holocaust.

My grandparents on my mother’s side escaped post-war Poland because of violent lingering antisemitism.

They would have had NOWHERE to go without Israel.

And we are NOT safe outside of Israel or even in Israel because of the intense hatred. We have been scapegoats for society’s problems for thousands of years and I don’t see it improving any time soon.

How can I talk positively about Israel? It’s the most liberal and progressive country in the Middle East. It’s the only country where it’s legal and safe to be openly gay for example, and it’s the only country there that holds annual pride.

It’s a middle eastern country where I, as a secular woman, can dress how I want, marry who I want, get abortions if I needed, own property, own money, have a prestigious job, and *checks notes* drive.

It’s also the only Jewish country in the world. It’s the place I’ve felt the safest and happiest, surrounded by my own people and family and sometimes I wish my parents and I never left, because I am personally feeling the antisemitism when I march peacefully and get nasty comments, or when I lose long time close friends left and right for being a “genocidal Zionist”, or when I see antisemitic graffiti and signs everywhere I walk.

My taxes in Israel would pay for hospitals that treat people from all around the world including Palestinian children for free. It would pay for the iron dome that keeps my family safe.

My taxes in America have been used to oppress women, and for horrific military actions, etc. and America itself is LITERALLY built on colonial genocide and the backs of slaves. Slightly related, most of North Africa was colonized by Arabs who ran a larger slave trade than the US. I’ve never learned that in school! I’ve never seen anyone talk about that! I’ve never seen Americans or Arabs in other countries get attacked for these things (to be fair, I’m very aware of the racism Arabs and Muslims did feel in the US after 9/11 and I absolutely condemn it).

This same America also lifted sanctions on Iran, allowing it to spare money to give to Hamas to buy weapons and slaughter my people to start this fucking war.

So you ask why I’m saving money to eventually move to Israel from America? I hope I’ve answered as thoroughly as I can. You can go ahead and fact check me through non- biased media. And go ahead and look up “list of terrorist attacks on Israel” while you’re at it too. I’d rather face rockets than continue to live in a country that lets antisemitism (and mass shootings for that matter) run rampant.