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[cherubguts0]

Hiii<3 may I request the Wammy boys and L with a gf or s/o that’s bitchy to literally everyone expect for them?

🕯 Hi!! Ofc u can! I hope you enjoy this, and I apologize for L’s being short (￣ω￣;)

The Wammy Boys And Their Bitchy S/o

Characters: L Lawlet, Near, mello, and Matt

🕯X reader

🕯fluff and angst, a little suggestive

L Lawlet:

L knew that you could be bitchy, I mean hell you weren’t the most charming person when you two first met, however as time went on you began to warm up to him. Soon Turing into a perfect lap dog.

Even now, sat on the desk between L and Light, you’re still the same person L had met. “Yknow y/n, it’s really distracting having you sit there” light said, looking up from his work.

“Shut up Kira” is all you said, watching as light furrowed his brow. “How many times do I have to say it!? I’m not Kira!”

“You definitely are, that’s why you’re so defensive, Kira!” You teased, Getting right in Lights face. L doing nothing to stop you, finding it amusing how angry light gets at the word Kira.

“God you’re so annoying, I can’t imagine how L puts up with you” light said bitterly, sitting back in his chair with his arms crossed. “I don’t see why L doesn’t lock you up already for being Kira, it’s written all over your face” you reply with a smirk.

“I unfortunately don’t have the evidence angel, also could you be a dear and ask watari to bring me some cake?” L said typing away on his computer. You smiled softly at him, hopping down from the desk and planting a soft kiss on his cheek. “Of course” you said, smacking light out side the head  as you walked past him.

“HEY! L Control your girlfriend” light complained to L. “I cant, plus it’s funny watching you two bicker” L replied, looking over at Light with his signature smile.

You really were his perfect lapdog

Near:

You’d always been over protective of near, you’d basically fight just about anyone who said something negative about it him. (You fought with mello the most though, especially during your wammy house days)

However, because of the Kira case, you’d been more on edge, sat behind near, watching him build tower after tower with dominoes.

“Hey near, I have that file for you” Linder said as she entered the room. “Just leave it on the table, and be careful please, I’ll be very upset if you ruin my work” near responded, twirling a strand of hair between his fingers, eyes never moving from his towers. “Of course” Linder said, walking over to you and setting the file on the table next to you. “By the way, there’s a new cafe that has opened up, I was wondering if you’d like to go” Linder asked, you felt fire in your chest.

“You know near cant leave this place, why would you ask something so stupid like that.” You asked, spitting venom at Linder. “It was just-“

“Just a stupid, dangerous idea,I mean seriously do you even think before you speak!? One wrong move and boom near is Fucking dead!” You raised your voice to speak over Linder, standing from your chair in anger as you spoke.

“Y/n, that’s enough.” Near said, Turing to look at the two of you. “Thank you for the ofer liner, but as y/n stated, I can’t leave. You are dismissed” he said in his monotone voice. Linder nodding, saying a silent apology as she left the room.

The room was quiet for a while, you final sat back down after cooling off. “What was that about?” Near asked, breaking the silence. “Nothing.” You said, watching as near looked over at you, stood, and walked till he was infront of you. “You’re lying, what’s wrong?” He asked again, putting his hand on your cheek.

You sighed, pulling near onto your lap and hiding your face in the side of his neck. “I’m just worried about you, this whole Kira case has me stressed out” you mumbled out, near humming in acknowledgement. You two sat in silence again, near twirling a strand of white hair between his fingers, his other hand wrapped around your shoulders as you had yours right wrapped around his waist.

“I don’t want to lose you Nate, you mean to much to me” you confessed, nears eyes widening at the use of his real name.

“You won’t lose me y/n” near reassured, pushing you back a little so he could leave kisses on your face, wiping away the tears that began to spill from your eyes.

✞𝑆𝑜𝑟𝑟𝑦 𝑓𝑜𝑟 𝑔𝑒𝑡𝑡𝑖𝑛𝑔 𝑎 𝑙𝑖𝑡𝑡𝑙𝑒 𝑎𝑛𝑔𝑠𝑡𝑦 𝑜𝑛 𝑡ℎ𝑖𝑠 𝑜𝑛𝑒 (￣ω￣;)

Mello:

Dating a mafia boss isn’t the easiest thing in the world. With random girls constantly coming over to late night missions. However your managed to keep things under control, mellos’ men feared you, they knew not to back talk to you. After all, you weren’t afraid to pop one through their skulls.

“Hey, y/n, what’s with the slutty attire today?” One of the newer men asked, “Hmm?” You responded, sat on mellos lap, only wearing one of his shirts, black panties, and black Lacey stalkings to match.

“You heard me, you look like one of these prostitutes” the guy snickered, pulling the girls on either side of him closer.

“Dude shut up-“ one of the older guys said, only to be cut off “why should I? They’re just some whore who got lucky enough to sleep with the head hauncho” he continued.

All you could do is laugh,honestly, putting your hand on mellos chest and curling forward as you let out the loudest laugh, a sinister tone coming through as the guy who was talking shit started to get nervous. “What you laughing at whore!? I’ll fuck you up you hear me!!” He said, quickly taking a stand.

“Oh? You? Fuck me up?” You responded cockily, also taking a stand. “Let’s get two things straight, the only person who fucks me, is mello.” You started, bending down to give mello a kiss on the cheek, sneaking the gun out of his hip. “And, I don’t fuck dead people.”

“Dea-“

BANG!

before he could even finish his sentence, you’d pulled the trigger on mellos gun, shooting him straight in the head. Brain matter and blood had covered the wall and girls behind him, both of which started screaming and crying as he fell to the floor.

“Good job baby” mello said, smiling up at you. “Thank you, can someone get those two outta here please?” You asked, watching as a bunch of guys quickly got to their feet to escort the girls out.

“You do kinda look like a whore though” mello joked, “only for you” you replied, taking your seat back in his lap, gently placing the gun against his temple. “But you better be careful, I’ve been known to kill people for saying stuff like that” you giggle as mello kisses you, moving your arms to wrap around his neck.

Matt:

You hated them. All of them. Every single girl who had came up to Matt during your date just to tell him how hot he was. It pissed you off, you wanted to crush their skulls for even looking at him. Like wise, every girl that had come upto you guys you told to fuck off, calling the worst names known to man until they left.

It was now towards the end of your date, the two of you sat outside a small café, the night stars shining brightly above you. “It’s so nice out” you said, looking up at the night time sky.

“It is, hey I’m really sorry about those girls coming upto me” Matt said, holding your hand from across the table. You looked over at him, sighing softly before you spoke. “It’s fine, you can’t help being-“

“Omg! You’re literally so pretty!” A girl cut you off before you could speak, you glared at her as she put her hand on Matt’s shoulder. “We should meet up sometime! Here’s my phone number!!” She said, completely ignoring your presence.

“Are you fucking kidding me!?!” You exclaimed loudly, quickly standing up and splashing water on girl la fancy dress. “Hey! What the fuck us wrong with you!”

“What’s wrong with yoy!? Cant you see we’re on a date! Why don’t you go whore yourself out to someone else!! You look like trash anyways he wouldn’t even go out with you!” You yelled at her, watching as tears started to form in her eyes. The girl quickly ran off, leaving you and Matt alone once again.

Thank god the outside seating area was empty.

“Y/n” Matt said, looking up at you with a worried look. You looked down at him, almost instantly calming down as you sat. “I’m sorry, I’m just so sick of people coming upto you!” You explained, crossing your arms as you looked down at your lap.

Matt stood, walking over too you and giving you a kiss on your head. “I know, you handled that a lot better then I would of.” He said, handing you the little peace of paper with the girls full legal name and phone number.

“You wanna sell her info, I’m sure you and I could find loads of shut with this info” Matt offered, watching as your fave brightened up. “Of course, sound alot more fun then staying here anyways” you said, standing and following Matt out to the street. Running into the same firm from earlier with her bestie.

“There they are! That fucking bitch!” She said loudly, you watched as her friend came over to you, pushing you back. “What the fuck is your problem!? Huh!” She said, getting all up in your face.

In one fello swoop, both you and matt pulled out your guns (something mello made you both carry considering how close you two are to the mafia), you aiming at the girls friends head and matt aiming at the trashy girls head.

Both girls froze, you were first to speak. “So help me god you bother me and my boyfriend one more time Well Fucking blast you both on this street.” Both girls looked at eachother and quickly ran off.

You sighed once again and brought your gun down, Matt pulled you into a hug. “You want me to carry you to the car? You must be exhausted from today”

All you could do was nod, lifting your arms up to wrap around Matt’s neck as he lifted you up with ease, bringing you back to his car.

Once you two got home, you spent the rest of the night cuddled up together, cyber stalking that girl and selling her info to loads of people.

[rudyroth79]

”Ya’akobi și Leidental” e o comedie timpurie a lui Hanoch Levin, printre primele pe care le-a scris; autorul a pus-o în scenă în 1972, într-o coproducție a Teatrului Cameri și a Clubului Tzavta. E o piesă în trei personaje, tragicomică și grotescă.

Itamar Jaacobi e un tip practic și realist de 40 de ani, care susține că e foarte ocupat și n-are timp pentru Leidental, prietenul lui, o prietenie pe care anunță publicul din capul locului că e hotărât s-o distrugă.

David Leidental, prietenul respins și batjocorit de către Ya’akobi, îi declară acestuia din capul locului că amândoi sunt ”înfundați adânc-adânc” în fericire.

Ruth Shahash e o femeie căreia îi face curte Ya’akobi și care întrupează în opinia lui o îmbinare armonioasă de materie și de spirit – un fund măreț și pasiune pentru muzică. Ea declară că prietenii o numesc Big Tuhes. Expresia e o sclipitoare invenție a dramaturgului, care a combinat binecunoscutul adjectiv englezesc cu substantivul care denumește în idiș ”fundul”, ”șezutul”, ”c…l”. Ruth afirmă că toți se minunează de fundul ei, pe când ea însăși e dispusă să-l ofere doritorilor, căci ce are ea cu el, ce nevoie are ea de el. ”Eu sunt, pentru cine încă nu știe asta, pianistă.” Ceea ce ea, desigur, nu e.

Cei doi prieteni se întîlnesc uneori pe balconul apartamentului lui Leidental să joace domino. Ya’akobi, care vrea să rupă prietenia cu Leidental, se întîlnește cu Ruth Shahash și e cucerit de fundul măreț al acesteia. Îi face curte și încearcă să-l evite pe Leidental, care încearcă să-i rămână apropiat. Leidental e umilit și începe să se urască pe sine însuși. Ya’akobi și Ruth se căsătoresc. Leidental, sensibil și el la farmecele lui Ruth, se oferă pe sine însuși ca dar de nuntă și slujitor al femeii proaspăt măritate, care acceptă bucuroasă, dar în curând se căiește: ”Mi se tot învîrte printre picioare și nimeni nu știe pentru cine și pentru ce”. Ya’akobi începe să se plictisească de Ruth și încearcă să regăsească prietenia lui Leidental. Finalul tragicomediei, în care tustrei eroii sunt profund nefericiți, lasă deschise întrebările privitoare la destinul viitor al triunghiului.

Dramaturgul însuși și-a definit scrierea ca fiind ”o piesă cu cânticele despre un triunghi nu tocmai romantic, doi bărbați acriți de viață și o femeie acrită își acresc și ratează viețile.” (Definiția lui Levin conține un joc de cuvinte încântător, dar intraductibil.).  Într-un interviu, dramaturgul a mărturisit că piesa i se pare scrisă prea ”moale”, în modalitatea sentimentală a unei melodrame cinematografice.

Presupun că în mărturia asta e o doză de cochetărie: piesa este o caricatură mușcătoare a unui anumit spirit mic-burghez, în care nu autenticitatea sentimentelor este importantă, ci fandoselile pe care sentimentele contrafăcute le permit. Comedia condamnă (ca și Krum) relațiile care se nasc și se distrug din plictiseală, din ambiție, între jocul de domino și aprecierea unui posterior monumental. Dar e adevărat că în ”Ya’akobi și Leidental” causticitatea satirei e îndulcită de o oarecare amabilitate, de o oarecare înțelegere față de superficialitate și egoism, ceea ce permite spectatorilor să se identifice cumva cu mediocrii eroi ai comediei. Caragiale  nu exclama undeva: ”Uite-i ce drăguți sunt!”, despre ticăloșii cărora le-a făcut portrete în apă tare?

La premiera absolută ”Ya’akobi și Leidental” a beneficiat de o distribuție extraordinară (imensa actriță care a fost Zaharira Harifai juca rolul lui Ruth, cu doi parteneri de înaltă clasă); Zaharirei Harifai i-a aparținut și ideea de a-l solicita pe dramaturg să-și pună singur piesa în scenă, fiind vorba de un text quasi-experimental și de trei actori cu experiență. Spectacolul s-a bucurat de un succes nemaipomenit, a fost jucat îndelung, apoi reluat în 1980, în aceeași regie și cu aceeași distribuție. El a fost prezentat, în ebraică și în engleză, la Londra pe scena Teatrului Young Vic, și în cadrul prestigiosului festival de la Edinburgh, unde a fost și distins cu un premiu. Unul dintre criticii scoțieni a scris despre piesă că ”până și pasajele enervante ale comediei sunt o caricatură exactă a multora dintre cei care se află în sală”. Un an mai târziu, spectacolul a fost jucat timp trei săptămîni la New York, la celebrul Teatru La Mamma, iar în 1982 timp de o săptămână la Teatrul Am Turm din Frankfurt. Succesul acelei faimoase montări a determinat în mare măsură cariera ulterioară a piesei. Ea a fost tradusă în nenumărate limbi și jucată cu succes mai pretutindeni. În 1995, Teatrul Cameri a pus-o din nou în scenă, cu Tiki Dayan în rolul feminin și doi parteneri pe măsură, iar anul trecut pentru a treia oară.

Noul spectacol este (hai să vedem dacă ghiciți!) ”o prelucrare nouă și adusă la zi”  a piesei, o prelucrare care ”subliniază – așa o recomandă teatrul în caietul-program – ”atât temeiurile filosofice existențiale, cât și temeiurile teatrale” pe care le conține piesa.

Pe scena uneia dintre sălile mici ale Teatrului Cameri se înalță un panou de lemn furniruit, de o formă picant neregulată, cu două deschideri dreptunghiulare acoperite de perdele albe; la curte e pianina de la care Michael Kanner acompaniază cînticelele din spectacol, compuse în 1972 de Alex Cagan; la grădină e o coloană de susținere din construcția sălii; două bare mobile cu câte un suport îngust de lemn fixat deasupra lor vor fi aduse la nevoie în prim-plan și puse cap la cap, figurând balconul locuinței lui Leidental; două scaune pliante albe din lemn sunt cam toată mobila din spectacol; din centrul panoului se desface la un moment dat o scândură lungă, destul de lată ca să poată figura o masă de cafenea; din plafon coboară la nevoie frânghii – la începutul spectacolului se vede, de pildă, un ștreang în care e agățată o șosetă a lui Ya’akobi, dedesubt e un scăunel – Ya’akobi, plictisit de viață, se gândește să-și pună capăt zilelor; alte frânghii, prevăzute cu cârlige, permit transformarea perdelelor care acoperă ușile în baldachin de nuntă… De după perdele apare la nevoie câte-o mînă, ca să ofere actorilor elemente de recuzită necesare în scena respectivă. Scenografia, simplă, dar ingenioasă, a fost concepută de Aya Bach. Nu-mi pot reține, totuși, observația că scenografia asta, foarte teatrală, e perfect funcțională, dar nu comunică nimic specific piesei ”Ya’akobi și Leidental”. Costumele concepute de Dafna Peretz sunt nostime și caracterizează fericit personajele (rochia neagră cu imense buline albe a lui Ruth, rochia ei albă și capotul alb, puloverul tricotat, cu mâneci scurte și în culori stinse, al lui Leidental; am o mică rezervă față de sacoul cadrilat al lui Ya’akobi, pentru că îi dă personajului un aer de papițoi, ceea ce nu e, după mine, trăsătura fundamentală a personajului).

Spectacolul începe cu un scurt prolog în care actorii apar în scenă îmbrăcați pe jumătate și continuă îmbrăcatul la vedere, ajutîndu-se unul pe altul și făcând totodată încălzire vocală… Apelul înregistrat al teatrului către spectatori pentru ca aceștia să-și stingă telefoanele mobile intervine către sfîrșitul acestui prolog. Adaosul, ”teatral” și ”modern”, fără doar și poate, e de o gratuitate desăvârșită.

Ce aș avea de spus despre jocul actorilor? Toți trei au fost îndrumați către un joc declarat ”comic”, ornat cu ”găgulețe” nu întotdeauna de un gust ales, și adesea, vai!, vulgare. Nu le pot numi ”clovnerii”, fiindcă nutresc un profund respect pentru arta clovnilor veritabili. Kineret Limoni e plină de farmec și izbutește, în interiorul acestui joc apăsat, să păstreze cumva măsura și să dezvăluie coerent superficialitatea și meschinăria personajului, falsitatea lui, spoiala lui de eleganță, trivialitatea lui funciară, pretenția lui de luciditate autocritică, ba chiar și disperarea care îl cuprinde când realizează că toate manevrele lui au eșuat și că rămâne abandonat și însingurat. David Shaul își atacă rolul cu exagerări grosolane și foarte exterior, dar pe măsură ce înaintează acțiunea piesei, se apropie tot mai mult de miezul eroului său, care, în esența lui, e un tip mediocru, jalnic în încercările lui de a se salva de singurătate, de a atrage atenția asupra faptului că există și de a stârni simpatie; dintre cei trei, David Shaul mi s-a părut cel mai aproape de sunetul tragic al comediei lui Hanoch Levin. Cel mai departe de autor e, cred, Eran Mor în rolul lui Ya’akobi; efortul constant de a convinge publicul că Ya’akobi e un personaj de comedie văduvește interpretarea actorului de adevăr; singurele clipe de veridicitate deplină s-au produs cu puțin timp înainte de final: Ya’akobi a ieșit de-acum din poza lui neconvingător nonșalantă (personajul e, în fond, la fel de stăpânit de complexe de inferioritate ca și Leidental, amicul lui, la fel de nesigur de virilitatea lui), e lehămesit până peste cap de Ruth Shahash, și de tot și de toate, își urăște cu o violență abia reținută nevasta și, copleșit de regrete și de penibil, încearcă, plin de umilință, să-și recupereze prietenul; în aceste momente m-a cuprins un intens regret că un actor încă tânăr și, sunt sigur, foarte înzestrat până atunci, este mai mult alături de rol decât înlăuntrul acestui rol.

Deși abia a trecut jumătate de an de la premieră, spectacolul, în pofida strașnicei reclame care i se face, nu umpluse sala; spectatorii, câți erau, s-au delectat însă regește și, molipindu-se de la stilul de joc afișat de pe scenă, au ținut ca actorii să afle acest lucru – s-a râs foarte zgomotos, cu multă exagerare, pentru ca interpreții să știe că nu se ostenesc de pomană.

Încheindu-mi însemnările despre Krum scriam recent că îmi dau seama cât de greu de găsit e ”tonul optim pentru jucat Hanoch Levin”, pentru că ”textele dramaturgului sunt pline de capcane și creatorilor de spectacole li se cere un gust mai mult decît sigur ca să le poată evita”. Yonatan Esterkin, încă tânăr (e născut în 1981), ”traducător, regizor, profesor și conferențiar de teatru” (așa sună cartea lui de vizită din caietul-program), a scris în însemnările lui despre piesă că noi montări ale pieselor lui Hanoch Levin trebuie să probeze că autorul e ”viu și virulent”, dar despre conținutul tragicomediei ”Ya’akobi și Leidental” n-a scris mai nimic; înțeleg că singura problemă care l-a preocupat cu adevărat a fost să pună în valoare teatralitatea lui Hanoch Levin; am semnalat mijloacele de care s-a slujit. Esterkin a pus în scenă Ya’akobi și Leidental, admit, cu inventivitate, dar fără să aibă, deocamdată, maturitatea necesară pentru a se confrunta cu stilul atât de deosebit al lui Hanoch Levin și a-și îndruma actorii pe făgașul potrivit acestui stil.

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”Hanoch Levin – «Ya’akobi și Leidental»” de Gheorghe Miletineanu ”Ya'akobi și Leidental” e o comedie timpurie a lui Hanoch Levin, printre primele pe care le-a scris; autorul a pus-o în scenă în 1972, într-o coproducție a…

[newstfionline]

Israelis voice warnings, Palestinians talk of ‘blackmail’ in wake of tweets by Trump

By Loveday Morris and Ruth Eglash, Washington Post, January 3, 2018

JERUSALEM--President Trump’s threat to cut aid to the Palestinians has the potential to backfire, Israeli security officials and analysts warned Wednesday, saying it could weaken a Palestinian leadership that cooperates with Israel on security matters and fuel extremism by worsening already dire humanitarian conditions.

Palestinian officials accused the United States of using bullying tactics after both Trump and U.N. Ambassador Nikki Haley indicated that the administration may cut funding to the Palestinians if they do not enter into peace talks with Israel. Palestinians “will not be blackmailed,” said Hanan Ashrawi, a member of the Palestine Liberation Organization’s executive committee.

But concerns over a funding cut straddle both sides of the conflict. The United States contributes roughly $700 million annually to the Palestinians, about half of it through the United Nations agency charged with humanitarian relief for Palestinian refugees, UNRWA.

“Cutting funding would not bring anything good to the situation,” said an Israeli security official, speaking on the condition of anonymity because of the sensitivity of the topic. “Doing this would end up making the Palestinian leadership even weaker.”

From the outset, Trump’s quest to secure what he has described as the ultimate deal by brokering a Middle East peace process has appeared to the Palestinian side to be inherently skewed, given that it is led by Trump’s son-in-law and adviser Jared Kushner, whose family supports settlements that the Palestinians see as illegally built in their future state.

The dealbreaker, though, came with Trump’s decision last month to recognize Jerusalem as Israel’s capital, which had Palestinian President Mahmoud Abbas walking away before a plan had even been presented, saying it ignored Palestinian claims to the city.

Representatives of the main Palestinian factions, including the militant group Hamas and Islamic Jihad, are set to meet later this month to decide on a response to the latest U.S. moves. Abbas, who has rejected armed conflict with Israel and whose security forces cooperate with the Israeli military and share intelligence, is already struggling politically. He is now likely to come under pressure to take a stronger stance or see himself further weakened.

Other Palestinian factions have criticized Abbas’s cooperation with Israel as collusion with the enemy.

If his Palestinian Authority, which has long benefited from U.S. funding, is weakened to a level where it collapses, “then there really would be no one to talk to or rely upon,” the Israeli security official said.

Widespread protests against Trump’s plan to move the U.S. Embassy to Jerusalem in which 12 Palestinians were killed have largely died down. But Palestinian militants have fired rockets from Gaza at a rate not seen since the 2014 war between Israel and Hamas, which controls the Palestinian enclave.

Three more rockets were fired toward Israeli territory Wednesday, the Israeli military said.

It is the impoverished Gaza Strip, where UNRWA operates schools, health clinics and other community projects, that is likely to be most affected by any cut to Palestinian funding.

Some Israeli political leaders have lobbied for an end to U.S. funding to UNRWA, saying that its schools were used by Hamas during the latest conflict with Israel.

But some of Israel’s defense officials see the agency’s work as an important counterbalance to Hamas.

“Traditionally, the Israeli defense establishment has resisted pressure by Israeli hawks who want to shut down UNRWA funding,” said Ofer Zalzberg, a senior analyst at the International Crisis Group. “They say, if it’s not UNRWA, then education will be provided by Hamas.”

The U.N. agency also works in refugee camps in the West Bank and Gaza where daily life for Palestinians is bleakest and armed factions find fertile ground for recruitment.

“Cutting aid to the Palestinians at this stage would have the opposite effect to what the Americans want,” said Moshe Maoz, an Israeli professor of Islamic and Middle Eastern studies at the Hebrew University of Jerusalem. “This is brutal pressure from the U.S. The situation in Gaza is terrible. If America cuts its aid, it would be catastrophic.”

In an article published in November on the website of the Institute for National Security Studies, Maj. Gen. Yoav Mordechai, head of COGAT, the Israeli military authority responsible for implementing government policy in the West Bank, urged the international community to increase funding to Gaza. Despite tightly restricting trade and movement, there is concern about the security fallout from a worsening humanitarian crisis.

Alon Eviatar, a former adviser on Palestinian affairs to COGAT, said the fact the United States is even considering cutting funding to UNRWA is a significant change. In the past, he said, the agency was always treated as holy.

“If the U.S. pulled out of its commitment to UNRWA, it could have a significant impact and even a domino effect on other countries funding it,” he said.

UNRWA has been fighting to save its budgets for much of the past decade as other world issues have become more prominent and the Palestinian refugee issue seen as less of a problem.

Haley said Tuesday that U.S. officials “still very much want to have a peace process,” but it quickly appeared that the strong-arm tactics could drive Palestinians further from the negotiating table.

“It’s being perceived as deeply offensive,” Zalzberg said of Trump’s threat. “It’s been taken to say, ‘We will pay you to make a concession on Jerusalem.’”

Palestinian officials say they are willing to return to negotiations, but not under coercion.

“Jerusalem and its holy sites are not for sale, not with gold, nor with silver,” Nabil Abu Rudeineh, a spokesman for Abbas, said in a statement. He said the Palestinian negotiations need to have international legitimacy and be based on a two-state solution.

[nolaharmreduction]

Unlike the total incarcerated population, where the state prison systems hold twice as many people as are held in jails, incarcerated women are nearly evenly split between state prisons and local jails.

The explanation for exactly what happened, when, and why does not yet exist because the data on women has long been obscured by the larger picture of men’s incarceration. This publication is an important first step to ensuring that women are not left behind in the effort to end mass incarceration.

-incarcerated women, who have lower incomes than incarcerated men, have an even harder time affording cash bail

-About a quarter of convicted incarcerated women are held in jails, compared to about 10% of all people incarcerated with a conviction

-jails make it harder to stay in touch with family than prisons do

-80% of women in jails are mothers, and most of them are primary caretakers of their children. Thus children are particularly susceptible to the domino effect of burdens placed on incarcerated women.

-While drug and property offenses make up more than half of the offenses for which women are incarcerated, the chart reveals that all offenses, including violent offenses that account for roughly a quarter of all incarcerated women, Reform discussions need to focus not just on the easier choices but on choices that can lead to impactful policy changes.

-Even the “Whole Pie” of incarceration above represents just one small portion (16%) of the women under correctional supervision. Most (75%) are on probation. The remainder are on parole.

-Probation is often billed as an alternative to incarceration, but instead it is frequently set with unrealistic conditions that undermine its goal of keeping people from being locked up.

-Probation often comes with steep fees, which, like bail, women are in the worst position to afford. Failing to pay these probation fees is often a violation of probation. 

-Childcare duties further complicate probation requirements that might require meetings with probation officers, with no extra money to spend on babysitters or reliable fast transportation across town. 

This report was made possible by the partnership of the ACLU Campaign for Smart Justice, the support of the Public Welfare Foundation, and all of the donors, researchers, programmers and designers who helped the Prison Policy Initiative develop the Mass Incarceration: The Whole Pie series of reports. The ACLU wishes to thank John Cutler, Udi Ofer, and Adina Ellis for their assistance with this report.

About the author

Aleks Kajstura is Legal Director of the Prison Policy Initiative.