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Two years ago Eurovision banned Russia from competing because of the Russian invasion of Ukraine. Now all of a sudden they wanna act like they're a "Non political" event.

Yeah, okay sure.

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I'm sure you've seen a ton of posts like this by now but if you're able to, please check out the Operation Olive Branch spreadsheet.

They currently (5/7/24) have a list of 848 families that need funding to escape Gaza. Anything you can donate will help no matter how small. It all adds up significantly, especially the more people that share and donate.

If you're not in a position where you can donate then please at least share. The more people that do, the better chance there is for these families to get help.

Don't stop talking about Palestine

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a lot of the coverage of the Palestinian genocide is focusing on the US student protests and the narrative is constantly in danger of shifting away from what the protests are actually about and a lot of the language is now speaking in terms of police brutality, silencing of free speech, etc. It's not a radical thing to say that this isn't exactly helpful to the Palestinian cause if the actual reasons for the protests aren't constantly front and center. A lot of people have already made this point. I do not think the genie can necessarily be put back in the bottle with how the protests and the police reaction to them are entering the public consciousness of the USian people. A lot of people are or will become aware of these protests through the lense of these simply being instances of police brutality, and police brutality is a critical issue that many USamericans are very passionate about thus making it difficult to reframe the context of these images of police slamming white professors into pavement towards awareness of Israels decades long illegal occupation and systematic and indiscriminate displacement and murder of Palestinians. What I feel needs to be done is try to reframe these images flooding the internet not *away* from issues of police brutality and homesoil fascism, but in the wider context of imperialist governments taking the lessons they learn oppressing "foreign peoples" and turning them inwards. That police brutality is not disconnected from imperialist mass murder. That the one thing connecting the assaulted USian protester and the trans israeli denied gender affirming care for refusing to serve in the fascist Israeli military and the Palestinian child buried alive for the crime of being Palestinian... the one thing connecting them is that, sooner or later, they are all victims of power. Our rights are granted to us inequitably, unevenly, and are just as quickly stripped away when we do not serve the interests of fascist power. We are either a tool of the state or an enemy of the state. The Palestinian, not the innocent or the guilty but the human being Palestinian, is murdered because she can not be useful to the state while she is still breathing. She can never have the "privilege" of being a tool. I'll say it again: We outside of Palestine who can go to protests, who have families, who are able bodied, who can work, who can keep their head down or speak without immediate retaliation have the "honor" of choosing to be a tool of the state or an enemy of the state. The Palestinian has no choice.

There will always be an armed cop ready to arrest you and kill your brother as long as there is a bomb ready to drop on the heads of Palestinian children. Fascism trickles up and inward.

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As for “Who’s Afraid of Little Old Me,” Swift revealed that she wrote the tune “alone, sitting at the piano in one of those moments when I felt bitter about just all the things we do to our artists as a society and as a culture.” “There’s a lot about this particular concept on ‘The Tortured Poets Department,'” she added. “What do we do to our writers, and our artists, and our creatives? We put them through hell. We watch what they create, then we judge it. We love to watch artists in pain, often to the point where I think sometimes as a society we provoke that pain and we just watch what happens.”

Taylor on “Who’s Afraid of Little Old Me” and TTPD (Variety)

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that’s it

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this makes me sad and mad tbh

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funny how celebrities will raise $26M for a fashion institute but can't be bothered to mobilise even a fraction of that energy and money to help the people being tortured and killed in an unapologetic genocide as we speak. love that for society. what a moment for The Culture.

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Master doc that contains different resources and support for many countries including Palestine, Congo, Haiti, Hawai’i, etc ((op is underneath the link))

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Here's a website where Palestine GoFundMes are vetted and shared that you can send out to people. The url is gazafunds.com

Easy to use and simple. Just share the site whenever someone asks for GFMs for Palestine.

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please keep talking about rafah. we're on the precipice of one of the darkest unfoldings in human history. please pray for rafah.

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Please Read & Reblog❤️

Thank you all for your continued support. We achieved a very important goal, which was the cost of living for the first months upon our arrival. I increased the goal so that I could buy a new computer and go back to my job (graphic designer) after my house was bombed and all my devices at home were destroyed. This is what my office looks like. In my house before the bombing. I appreciate your continued support for us ❤️

Note: There are only 6 days left until the campaign ends

A second link if the campaign link does not work for direct support

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The lyrics “come one, come all/It’s happening again” are very “The masquerade revelers/Drunk as they watch my shattered edges glisten” and “And your secrets end up splashed on the news front page” coded.

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the "home is where the heart is" from london boy and "little did you know your home's really only a town you're just a guest in" from florida really sums up everything. got your point taylor

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in peter, taylor spends the song talking about how she thought if she would just wait, the goddess of timing would fix things up and their time would come. he would grow up and come back to her, he would keep his promise of dealing with his shit and being there for her. in so much of her previous work, she talks about how he knew her so well, and now she is wondering if he can still read her. he was high above everything and could see the whole forest (her and her life) for what it was, but now he is so far high above that he can’t see it (her and their relationship) anymore while she’s still in the thick of it alone. they’re in the same difficult time, but their minds are working differently. same page, but on different lines.

she sings how she was fine with letting the lamp burn and waiting, she didn’t wanna come down, she kept her hope up, and she was okay with him being absent because she thought they’d gain perspective when he came back and it would’ve made their love better and it’d be worth it. but then she just realized that she doesn’t want that. she doesn’t wanna be betty, waiting 20 years of her life, thinking if he’ll ever be there. she wants more and she wants better. in their time together, he never grew up, so now she’s turning out the light and leaving.

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