#transglobal

[alteregozowie]

📻🥃

🎶 "Feel the heeeeeeeeeeeeat, feel the heat, RAISE IT! RAISE IT! The underground funk~" 🎶

https://open.spotify.com/track/0BEQqtruLE0VNhVkigrIjb?si=KoqXXGHuSbWfs0GRqtFmRA

🎶 "EVERYBODY ON THE DANCEFLOOR, I WANT TO SEE YOU CALL FOR MOOOOOOOOOOOOOOOOOOOOORE~" 🎶

[music-addiction-disorder]

[landinrris]

Lando in Australia?

Taking a wild guess and saying either Oscar or Daniel. But based on the location, probably Daniel. And you know who so happens to also be good friends with Daniel. Oh would you look at that, Martin.

I'm not saying anything. Maybe I'm right, maybe I'm wrong. Who knows.

A plot twist I don't think anyone saw coming. Considering he's most likely with Martin, my money is on Daniel if they're seeing anyone (even before the LN4 admin said as such). I saw someone post about a music festival in Perth, so that also seems possible for all or half of them. I don't actually keep up with Daniel, so I'm not sure what he's up to or where he is right now. Guess we shall see in time 👀

[indizombie]

The flow of digital information through fiber-optic cables lining the sea floor could be compromised by climate change. That's according to new research published in the journal Earth-Science Reviews by scientists from the United Kingdom’s National Oceanography Centre and the University of Central Florida. They found that ocean and nearshore disturbances caused by extreme weather events have exposed “hot spots” along the transglobal cable network, increasing the risk of internet outages.

Daniel Cusick, ‘Global Internet Connectivity Is at Risk from Climate Disasters’, Scientific American

[cipheramnesia]

Okay but when can a bunch of trans people get together and start a shipping / logistics company, TransPort, TransIt, TransGlobal let's go.

[2myuu]

transglobal spectacle with postmortem fame 🪦🩷

[theroseandthebeast]

Yuletide Recs, Batch Three

16 recs for The Eagle, Earthsea, Emma., The Expanse, The Faculty, The Fall of the House of Usher, Fallen London, The Green Knight, The Handmaiden, Jane Eyre, King Arthur: Legend of the Sword, and The Matrix

Between Two Rivers, Marcus Flavius Aquila & Esca Mac Cunoval

Two rivers. Two near kisses.

The White Ladies of the Ring, Penthe/Tenar

There was a sorcerer imprisoned in the Labyrinth, and Arha had told Kossil that she would kill him—but she did not want to. Perhaps she needed to ask someone for help...

My Queen Bee, George Knightley/Emma Woodhouse

Emma went on, brightly, “I have spoken with Harriet about it.” George blinked. He was fast losing his grip on this conversation. 

We aren't righteous (or: five times Amos did as Naomi asked, and one time he didn't.), Gen, Amos Burton & Naomi Nagata

For EdosianOrchids901 for Yuletide, who asked for Amos and Naomi and suggested something pre-canon, something about that dynamic where he sees her as an external moral compass, and how their friendship developed. This is mostly pre-canon, overlapping with canon in the last two parts. (Also it's been a while since I've seen this so apologies in advance if I've missed something in research and inadvertently contradicted canon on their immediate pre-canon backstories!)

Pyriscence, Gen, Amos Burton & Praxidike Meng

After the war with the Free Navy, Amos comes to see Prax.

What do you do when you survive a shape-shifting mind-controlling alien as a teen?, Stokely Mitchell/Stan Rosado

Twenty years later, Stokely and Stan arrive back in each other's lives.

the miraculous lustre of her eye, Madeline Usher/Verna

"If she wants Madeline fucking Usher, she's going to have to look me straight in the eyes."

a wild weird clime that lieth, sublime, Gen, Verna + Arthur Pym

Arthur Pym's first meeting with Verna.

The Margin, Gen, Verna + Arthur Pym

“We have to go back,” Arthur Pym said, teeth rattling in the wind. He clutched the ragged edges of his coat closer. “Ship can’t break through that ice. We’ll founder.” -- The first time Verna and Arthur met, on the Transglobe Expedition.

by such dreaming high, Gen, The Duchess + The Roseate Queen

It is summer, in a fallen city; and someone, somewhere, is doing something unwise...

The Half-Seen Door, Gen, Piranesi | Matthew Rose Sorensen + Sixteen | Sarah Raphael + Gawain

It’s a hard job, coming home.

leverage and its utility, Fujiwara + Original Female Character(s)

The three he smoked in the carriage ride here was nothing but a gamble. A roll of the die, a flip of a coin, a dealing of cards. Lucky for him, luck is in his favor.

lilacs out of the dead land, Jane Eyre/Edward Rochester

I had, within me, that rich world of imagination that I could always retreat to, and so I transformed myself.

All Earthly Happiness, Jane Eyre/Edward Rochester

Reader, I lied. Or, rather, I omitted. As the mother of daughters, who had openly declared their intentions of reading my autobiography, I was hesitant to paint a full picture of the course of my first engagement to my dear Edward. Although in many ways it did progress much as I described, discretion prevented absolute disclosure

When It's Worth It, Gen, Arthur + The Mage

The chilly air tasted of dust and lightning strikes and the faint iron tang of blood, and there were still all too many questions lingering unanswered.

dissolved girl, Neo/Trinity

What if Trinity came back wrong? A post-Matrix Resurrections fic about what happens if the body was rebuilt again, and again, and again, and in the remaking, became something new.

[protoslacker]

Where to start? You remember the first words of Transglobal Underground’s Nile Delta Disco, “Hipsters, flipsters …”?* That was a direct quote from Lord Buckley’s reworking of Marc Antony’s funeral oration from Shakespeare’s Julius Caesar, Willie The Shake, in which “Friends, Romans and countrymen, lend me your ears…” magically metamorphosises into “Hipsters, flipsters and finger poppin’ daddies, knock me your lobes…” in Buckleyspeak, Hip Semantic. He worked up epic monologues on all kinds of themes, some literary, some biblical, some historical, and some just from out there in the far-gonasphere.

Ian Anderson. Lord Buckley, originally published in fRoots 194/5, Aug/Sept 1999. Ian Anderson tells the story of the noblest wig bender of them all, the blessed Lord Buckley …

Lord Buckley (Website)

Ian A. Anderson (Wikipedia)

Black Cross poem by Joseph Newman--Paul Newman's uncle (Wikipedia)

Black Cross performed by Bob Dylan (Youtube)

*Nile Delta Disco Transglobal Underground (Youtube)

[randomite]

People on Tumblr are always hyping these news articles about some rich wanker out there, buying up single family homes.

It sucks. Rich wankers are terrible yadda-yadda. Not the point of this conversation. (Burn them)

The thing is that you have some of the worst ideas on how to fix the housing crisis!

Simply because most people aren't super educated on why the housing market is this way.

Ironically, and this might tick a lot of you off. One of the causes of the housing crisis is likely you, or your co-workers, parents, siblings ect...ect.

https://www.investopedia.com/articles/credit-loans-mortgages/090116/what-do-pension-funds-typically-invest.asp

Are you saving money! (I am!)

Do you have a 401K/Pension/Superannuation? (I Do)

Are you invested in a Real Estate Investment Trust?!

Probably.

Most funds have a little bit of REIT in them. The S&P500 is 2.8% REIT,

These mega trusts own vast amounts of American housing.

https://www.reit.com/research/nareit-research/170-million-americans-own-reit-stocks

Yay. Look at this happy graphic that came from a site really stocked about the great returns on real estate investment.

Now. It should be clear REIT actually own a very small portion of American housing, around 1%. Individual owners make up a far larger portion of the housing market.

REIT live in the happy red space.

The problem with REIT is that they are often terrible.

They are bastions of widespread community gentrification. Sweeping into minority communities like Herongate in Canada and bulldozing the lot. All to make way for shinny condos they can turn a profit on.

https://acorncanada.org/news/leveller-rein-reits-tenants-demand-action-against-real-estate-investment-trusts/

REITs have been accused of slumlord like behaviour. Letting houses decay with mold and refusing repair ect. Ect.

https://www.cbc.ca/news/canada/tenants-lose-as-landlord-transglobe-racks-up-charges-1.1246084

https://doctorow.medium.com/wall-streets-landlord-business-is-turning-every-rental-into-a-slum-b15b81f18612

Essentially my point is....

You could be invested in the very Real Estate Investment Trust that acts as your landlord. You could be invested in the source of your own suffering and gentrification.

The pension investment in REITs for domestic housing is growing. It is too profitable. It is an easy source of growth.

If you are in a bad situation, you should want your pension invested in an REIT. It will help grow your savings (whatever they be). But, that very same REIT might own your home and be the very evil trying to wring cash out of you.

This isn't a call to action. This is more an observation about the neoliberal shit oroborus we are stuck in. You can choose not to invest in REITs, or try and find a good one.

But in doing so, you are worsening the housing crisis. REITs are sophisticated. They use rent increase software and have quantitative analysis of the market used to drive prices up.

If the housing market ever tanks, a good portion of your savings might tank with it.

Now. You might have no savings. You might not have elderly relying on social security. You might be fine.

But. Society is run by trashfire electoralism. If people don't see their investments going up they freak out and vote for the other party.

The pension investment into real estate, allowed in 2001 (thanks Bush), has created people whose retirements and future are dependent on housing prices always going up. Around 51% of Americans are invested in REITs. It is essentially a nightmare that will never be fixed unless people who are smarter than anyone on Tumblr actually put an effort in.

Thanks for reading my depressing rant.

(Also. Sorry if you are in Canada. It is bad in AUS but it seems like REITs can steal newborns over there. Like some articles are like wtf.)

https://www.reit.com/news/blog/market-commentary/reit-allocations-pension-funds-increase

https://www.spglobal.com/marketintelligence/en/news-insights/latest-news-headlines/us-pension-funds-up-real-estate-exposure-to-offset-rising-risks-71610560

https://www.benefitsandpensionsmonitor.com/investments/alternative-investments/real-estate-has-become-a-cornerstone-asset-class-for-pension-fund-investors/383790

[g0rg0n-heap]

I was tagged by @gotankgo to put my music player on shuffle and post the first ten songs that come up.

Emerson, Lake & Palmer - Karn Evil 9, 3rd Impression

Mediaeval Baebes - L’amour de Moi

Echo & the Bunnymen - Fuel

Maghrebika - Ya Sherel Beli

Transglobal Underground - Drums of Navarone

Vanessa Daou - Juliette

Propaganda - The Chase

Microdisney - Come on Over and Cry

Nick Garrie - Close Your Eyes

Roy Ayers - Can’t You See Me

Thanks, bud. That was fun. I added clickable YouTube links to each song.

[butmakeitgayblog]

Why is it when I'm in Vegas all I ever see are frat boys and senior citizens?

It's not your fault, Alycia has innate cryptid sensory powers that allow her to move transglobally undetected. She has an internal beacon that sends her alerts to only go places at certain times when no one who fuckin knows her is around

[alteregozowie]

Songs to write my muse!

Whether it be melodies that give you inspiration for your muse or songs that get you into the writing mood — pick 1 - 10 songs you find to give you the urge, the drive, or the creativity to write for your muse!

(My playlist is so off the wall, I listen to a lot of crazy stuff 😭)

1.) BAPHOMET - Grim Salvo, Witchouse 40k

2.) PEREMOHA - ONUKA

3.) Sighs - Goblin, Suspiria Soundtrack

4.) Scorch - Transglobal Underground

5.) Texas Tea - Post Malone

6.) WEEDKILLER - Ashnikko

7.) ALLIIGATOR TEARS - Beyonce

8.) Cornflake Girl - Tori Amos

9.) Dead City Radio - Rob Zombie

10.) Twisted Transistor - Korn

I listen to literally everything. I always have headphones on.

[corrodedcoughin]

list 5 songs you actually listen to and tag 10 however many people

tagged by fount-of-all-steddie-true-and-correct-opinions @kkpwnall

this is taking a divergence from my usual, trying to mix things up a little. minimal guitars for variety from me for once

temple head - transglobal underground

you sexy thing - the ruminaters

silver - DMA'S

stress ball - kyle falconer

take me to the pilot - elton john

I'm going to tag @yessiindubitably @scoops-stevie @chocopoo @flovvviz @sharpbutsoft @cheatghost @yournowheregirl @stargyles and genuinely anyone who wants because i love music recs!!! but no obligation for anyone

[mariacallous]

AMHERST, Massachusetts (JTA) — Since its opening in 1997, the Yiddish Book Center has wowed visitors with its architecture. A Jewish village resurrected on a college campus in sylvan Amherst, Massachusetts, the building conveys the Center’s mission: to rescue and revive a language spoken for over 1,000 years by Ashkenazi Jews in German-speaking lands, Eastern Europe and wherever they migrated. 

On Oct. 15, the Center is unveiling a new core exhibit, meant to flesh out and deepen the story told by its building and the treasures stored inside. Arriving at a moment when Yiddish is experiencing one of its periodic revivals, “Yiddish: A Global Culture” is a major Yiddish institution’s answer to a question without easy answers: How do you tell the story of a language without a country, and of a culture that lost a majority of its purveyors in a little over a decade of madness?

In response, the new exhibit depicts the “secular” Yiddish culture that arose in the mid-19th century as a distinctly transglobal, modern movement that includes theater, the press, mass market publishing and intellectual ferment in big cities from Warsaw to New York to Shanghai.

The exhibit is “foregrounding a story of creativity, tremendous accomplishment and tremendous diversity of a culture that has migration built into its DNA,” David Mazower, the Center’s research bibliographer and the exhibition’s chief curator, told me when I visited Amherst last month.

The displays in the exhibit will surround and weave in and out of the Center’s book stacks, another striking architectural feature of the building. The stacks offer duplicates of the Center’s collection of 1.5 million Yiddish books and periodicals, for sale and browsing. I couldn’t be the first visitor to be reminded of the closing scene in “Raiders of the Lost Ark,” which reveals a colossal government warehouse filled with, in the words of the screenplay, “crates and crates. All looking alike. All gathering dust.” 

What a casual visitor might not see is all that is happening at the Center to blow the dust off those books, including translator workshops, summer fellowships, conferences, an oral history project, a busy publishing program and a riotous summer music festival.

Interest in all of those activities has been helped along by young Jews interested in the language and culture and a pandemic that created a demand for online Yiddish classes. The Yiddish Book Center has been drawing 10,000 visitors a year since its pandemic shutdown. The New York Times made the latest revival official (to non-readers of the Jewish media, anyway) in an essay last month by the Jewish polymath Ilan Stavans, declaring that “Yiddish Is Having a Moment.” Stavans notes a flurry of new translations of obscure and classic Yiddish writers, the all-Yiddish staging of “Fiddler on the Roof” and the Yiddish dialogue in three recent Netflix series: “Shtisel,” “Unorthodox” and “Rough Diamonds.”

(More controversially, Stavans also reports that Yiddish is appealing to those — presumably young anti-Zionist Jews — for whom Hebrew “symbolizes far-right Israeli militarism.”)

Such a revival also challenges keepers of the flame — not just the Yiddish Book Center, but the YIVO Institute for Jewish Research in New York, The Workers Circle, publications like In geveb and the Yiddish Forward, academic departments plus a host of regional Yiddish organizations — to define a language and culture that means many different things to many different people.

Is it a language of a decimated past? A progenitor of the Jewish left? A tongue, still spoken daily by haredi Orthodox Jews, that continues to grow and evolve? Is it an attitude — a Jewish way of being and thinking — that survives in humor and cooking and music even if those who appreciate it can’t speak the language? For European Jews of the Enlightenment, the Yiddish scholar Jeffrey Shandler reminded me a few years ago, “Yiddish represented the resistance and inability of Jews to enter the cultural mainstream. It represented something atavistic, a way of holding Jews back.” For Zionists, meanwhile, it represented a weak Diaspora and everything associated with it (a clash explored in a current YIVO exhibit, “Palestinian Yiddish:  A Look at Yiddish in the Land of Israel Before 1948”).

Goldie Morgenthaler, herself the daughter of the Yiddish writer Chava Rosenfarb, has written that she teaches Yiddish literature to mostly non-Jewish university students in Alberta, Canada because “studying what is specific to one culture is often the first step to understanding many cultures.”

At YIVO, an institution founded by scholars in Vilna in 1925 and transplanted to New York in 1940, Yiddish is regarded as an expression of and vehicle for “Jewish pride,” according to its executive director and CEO, Jonathan Brent.

“For Jewish people in the Diaspora to understand that they have in fact a future as Jews,” he said last week, “they have to take pride in their heritage. For all kinds of historical reasons, many Jews felt that [Yiddish] was somehow a shameful or devalued heritage. It was ‘zhargon’ [jargon], and it had been basically eliminated from public discourse in the land of Israel. YIVO from the very beginning wanted to study Yiddish as a language among languages, the same way you studied Russian or Spanish or French. It was a language with a history.

“What Yiddish does,” he continued, “is help anchor us in the language in which our grandparents and great grandparents communicated their deepest thoughts and feelings. And that has real implications for the survival of the Jewish people.”

Aaron Lansky, the founder and president of the Yiddish Book Center, said the story he wants to tell goes back to his days as a graduate student in Yiddish at McGill University in the 1970s, when he first started saving the discarded books that would become the core of the Center’s collection.

“People think of [Yiddish] as this nostalgic creation,” he said. “But the truth is, it was a profound, multifaceted and really global literature that emerged in the late 19th century, and then just took off throughout the 20th century…. It wasn’t long before writers were using every form of literary expression — expressionism, impressionism, surrealism, eroticism. It all found expression in this very short period of time, and even the Holocaust didn’t destroy it. “

Lansky admits his own vision is more literary than the core exhibit’s, and thanked Mazower for creating a broader view of Yiddish as a global culture.

That view is represented in a 60-foot mural that serves as an introduction to the exhibit. Cartoons by the German illustrator Martin Haake depict key historical vignettes in Yiddish history, from nearly every continent. Glikl of Hameln, a German-Jewish businesswoman, writes her diaries at the turn of the 18th century. Women call for a strike at “Yanovsky’s Cigarette Factory” in Bialystok, Poland, in 1901. A nursery scene honors the leading Yiddish activists who were born in Displaced Persons camps after World War II. And tubercular Yiddish writers are seen recovering at the Jewish Consumptive Relief Society in Denver, Colorado, which operated from 1904 to 1940. 

The mural lines the ramp that leads to the bookshelves, where displays (some of which Mazower calls “wedges”) use artifacts and wall-mounted photos to talk about the breadth of Yiddish culture. There’s a display about Yiddish celebrities, including writers, such as Sholom Aleichem and Chaim Zhitlowsky, who would draw tens of thousands of mourners to their funerals. Another display honors those who preserved and studied Yiddish culture, from YIVO (described here as “The Mothership”) to the monumental “Language and Cultural Atlas of Ashkenazic Jewry” undertaken between 1959 and 1972 by the linguist Uriel Weinreich. A Yiddish linotype machine, rescued by Lansky, anchors an exhibit about the Jewish press.

A centerpiece of the core exhibit is a recreation of the Warsaw literary salon of the writer and playwright I.L. Peretz, a leading figure of the late 19th century and early 20th centuries. While few actual artifacts belonging to Peretz survive, the room will include contemporaneous objects and photographs to immerse visitors in the literary scene of the day. 

“You’ll step through his doorway the way that so many young writers did, clutching their first manuscripts to show them either in Hebrew or in Yiddish,” Mazower explained. “His name, his address was known throughout the Russian Empire at that time. People would come thousands of miles in some cases to Warsaw to try and get entry into this alchemy-like space where extraordinary things happen.”

One of those pilgrims was Mazower’s great-grandfather, the famed playwright Sholem Asch. When Asch showed Peretz a draft of his notorious play “God of Vengeance,” whose lesbian subplot would shock audiences and rile religious leaders, Peretz reportedly told him to burn it. 

“My hope is that through the exhibition as a whole you see Jewish history through a Yiddish lens and in a different way from the Holocaust-defined story that so many of us have been educated with and that popular culture feeds us,” said Mazower. 

The exhibit treats the Holocaust as one part of the Yiddish story, not its culmination. The original Yiddish edition of Elie Wiesel’s “Night,” published as part of a memorial project in Argentina shortly after the war, rests in a wedge about individuals who rescued Yiddish culture under the Nazis. The same section features a tribute to Rokhl Brokhes, a writer murdered in the Minsk Ghetto in 1945. A still from a recent animated adaptation of one of her stories by Alona Bach, currently a PhD student at MIT focusing on the “intersections of electricity and Yiddish,” affirms one of the Center’s aims: to bring young Yiddishists into conversation with the past.

The story of Yiddish theater will wrap around the auditorium, starting with a large photo of the audience at the opening of the Grand Street Theatre in New York in 1905. A memorial section remembers the probably thousands of actors, playwrights and musicians who were killed in the Holocaust.

“Had Yiddish theater not suffered a rupture, which it did, it would have continued to evolve and borrow and expand,” said Lisa Newman, the Center’s director of publishing and public programs. “What’s so important about this exhibition is that it places Yiddish in this context of language no less than any other country’s, except it’s not a country.” 

I asked Mazower what kind of stories he did not want to tell about Yiddish culture.

“It’s not a story about Yiddish humor,” he said. “It’s not a story about the Holocaust. It’s not a story about the state of Israel. It’s not a lachrymose story about Jewish persecution through the ages.”

Other Yiddishists told me much the same thing (Brent said that the story of Yiddish “shouldn’t be told as a collection of jokes, or Yiddish curses, or as a cute language that connects you to Bubbe’s gefilte fish”). 

And yet, said Lansky, “We’re not feinschmeckers, we’re not elitist when it comes to Yiddish. Yiddish was a vernacular language, and I am happy to embrace that. I love the humor and social criticism that’s embedded in it. It’s the aggregate that’s so impressive. To see all of this literature and culture in a lively and accessible way can be quite transformative.”

[jellybeanfeind]

And the final setting card (for now), Astrozoda!

A high-fantasy realm of magic and monsters, Astrozoda is populated by a variety of humanoids, and it is also the home plane of true dragons. In recent decades, technology and magic have grown more together, and the Transglobal Railway has set the path to a new era of advancements in science and sorcery. Political tensions between Astrozoda's many city-states are hesitant, however, and the roles of the various churches and guilds seem to have ulterior motives.

[annedevil007]

For leading car rental agency services, trust our professionals. United Transglobal LLC specializes in car leasing services, car rental agreements, and car buying services in Sunrise FL tailored to meet your transportation requirements. As a reputable car rental company in your area, we offer reliable rent-a-car services and auto transportation solutions. Experience our dream car services and complete transportation options designed to exceed your expectations. Whether you need short-term or long-term leasing, United Transglobal LLC is your priority source for car rentals and trusted car selling agents in Sunrise FL. Contact us today to book your next rental or leasing agreement with us and see the convenience and reliability of our services. Let us provide you with the perfect vehicle solution for your travel needs!