My Grandma’s On And Off Again Boyfriend That She Cheated On Grandpa With Died Today.

Has this been done before

Greetings,

In one of the dark corners of Gaza lives my family, who have endured one of the most tragic incidents imaginable. Due to the brutal war that swept through our region, we lost everything we owned, and misery has become an integral part of our daily lives.

My father, who was the role model and pillar of the family, is no longer with us. We lost him to an airstrike that destroyed our home, leaving a void that can never be filled. My father was a symbol of strength and hope, and with his loss, our foundational pillars collapsed.

The pain did not stop there. We lost two innocent little girls, one being my younger brother's daughter and the other my younger sister's daughter. They were the flowers of our family, and with their loss, it felt as if life had stopped. They carried the innocence of childhood and dreams that were never realized.

Today, we live in a cloth tent that does not protect us from insects or the unbearable hot weather, even for a single hour. In these harsh conditions, we suffer from severe shortages of food, water, and medical care. My mother moves between hospitals seeking treatment, but she faces great difficulty in obtaining the necessary medicine. We all live in constant fear of what might come next.

Due to the spread of insects, skin diseases have started to spread among us, which is my greatest fear for our young children. The situation is worsening with the lack of treatments in hospitals and our shortage of basic resources to survive.

gofundme.com

Donate to Please save what's left of my family, organized by Mahmoud Saleh

Greetings, I write this appeal with a heavy heart, burdened by the weight of th… Mahmoud Saleh needs your support for Please save what's

Therefore, I appeal to all kind-hearted people to support my campaign to save my family from this tragic situation. Every contribution, no matter how small, can make a significant difference in our lives.Let us all come together and show the world that humanity is still alive and that hope can flourish even in the darkest of circumstances. Help my family overcome this ordeal, and let your support be a message of hope to all those suffering in Gaza.

How Do I Make My Fictional Gypsies Not Racist?

(Or, "You can't, sorry, but…")

You want to include some Gypsies in your fantasy setting. Or, you need someone for your main characters to meet, who is an outsider in the eyes of the locals, but who already lives here. Or you need a culture in conflict with your settled people, or who have just arrived out of nowhere. Or, you just like the idea of campfires in the forest and voices raised in song. And you’re about to step straight into a muckpile of cliches and, accidentally, write something racist.

(In this, I am mostly using Gypsy as an endonym of Romany people, who are a subset of the Romani people, alongside Roma, Sinti, Gitano, Romanisael, Kale, etc, but also in the theory of "Gypsying" as proposed by Lex and Percy H, where Romani people are treated with a particular mix of orientalism, criminalisation, racialisation, and othering, that creates "The Gypsy" out of both nomadic peoples as a whole and people with Romani heritage and racialised physical features, languages, and cultural markers)

Enough of my friends play TTRPGs or write fantasy stories that this question comes up a lot - They mention Dungeons and Dragons’ Curse Of Strahd, World Of Darkness’s Gypsies, World Of Darkness’s Ravnos, World of Darkness’s Silent Striders… And they roll their eyes and say “These are all terrible! But how can I do it, you know, without it being racist?”

And their eyes are big and sad and ever so hopeful that I will tell them the secret of how to take the Roma of the real world and place them in a fictional one, whilst both appealing to gorjer stereotypes of Gypsies and not adding to the weight of stereotyping that already crushes us. So, disappointingly, there is no secret.

Gypsies, like every other real-world culture, exist as we do today because of interactions with cultures and geography around us: The living waggon, probably the archetypal thing which gorjer writers want to include in their portrayals of nomads, is a relatively modern invention - Most likely French, and adopted from French Showmen by Romanies, who brought it to Britain. So already, that’s a tradition that only spans a small amount of the time that Gypsies have existed, and only a small number of the full breadth of Romani ways of living. But the reasons that the waggon is what it is are based on the real world - The wheels are tall and iron-rimmed, because although you expect to travel on cobbled, tarmac, or packed-earth roads and for comparatively short distances, it wasn’t rare to have to ford a river in Britain in the late nineteenth century, on country roads. They were drawn by a single horse, and the shape of that horse was determined by a mixture of local breeds - Welsh cobs, fell ponies, various draft breeds - as well as by the aesthetic tastes of the breeders. The stove inside is on the left, so that as you move down a British road, the chimney sticks up into the part where there will be the least overhanging branches, to reduce the chance of hitting it.

So taking a fictional setting that looks like (for example) thirteenth century China (with dragons), and placing a nineteenth century Romanichal family in it will inevitably result in some racist assumptions being made, as the answer to “Why does this culture do this?” becomes “They just do it because I want them to” rather than having a consistent internal logic.

Some stereotypes will always follow nomads - They appear in different forms in different cultures, but they always arise from the settled people's same fears: That the nomads don't share their values, and are fundamentally strangers. Common ones are that we have a secret language to fool outsiders with, that we steal children and disguise them as our own, that our sexual morals are shocking (This one has flipped in the last half century - From the Gypsy Lore Society's talk of the lascivious Romni seductress who will lie with a strange man for a night after a 'gypsy wedding', to today's frenzied talk of 'grabbing' and sexually-conservative early marriages to ensure virginity), that we are supernatural in some way, and that we are more like animals than humans. These are tropes where if you want to address them, you will have to address them as libels - there is no way to casually write a baby-stealing, magical succubus nomad without it backfiring onto real life Roma. (The kind of person who has the skills to write these tropes well, is not the kind of person who is reading this guide.)

It’s too easy to say a list of prescriptive “Do nots”, which might stop you from making the most common pitfalls, but which can end up with your nomads being slightly flat as you dance around the topics that you’re trying to avoid, rather than being a rich culture that feels real in your world.

So, here are some questions to ask, to create your nomadic people, so that they will have a distinctive culture of their own that may (or may not) look anything like real-world Romani people: These aren't the only questions, but they're good starting points to think about before you make anything concrete, and they will hopefully inspire you to ask MORE questions.

First - Why are they nomadic? Nobody moves just to feel the wind in their hair and see a new horizon every morning, no matter what the inspirational poster says. Are they transhumant herders who pay a small rent to graze their flock on the local lord’s land? Are they following migratory herds across common land, being moved on by the cycle of the seasons and the movement of their animals? Are they seasonal workers who follow man-made cycles of labour: Harvests, fairs, religious festivals? Are they refugees fleeing a recent conflict, who will pass through this area and never return? Are they on a regular pilgrimage? Do they travel within the same area predictably, or is their movement governed by something that is hard to predict? How do they see their own movements - Do they think of themselves as being pushed along by some external force, or as choosing to travel? Will they work for and with outsiders, either as employees or as partners, or do they aim to be fully self-sufficient? What other jobs do they do - Their whole society won’t all be involved in one industry, what do their children, elderly, disabled people do with their time, and is it “work”?

If they are totally isolationist - How do they produce the things which need a complex supply chain or large facilities to make? How do they view artefacts from outsiders which come into their possession - Things which have been made with technology that they can’t produce for themselves? (This doesn’t need to be anything about quality of goods, only about complexity - A violin can be made by one artisan working with hand tools, wood, gut and shellac, but an accordion needs presses to make reeds, metal lathes to make screws, complex organic chemistry to make celluloid lacquer, vulcanised rubber, and a thousand other components)

How do they feel about outsiders? How do they buy and sell to outsiders? If it’s seen as taboo, do they do it anyway? Do they speak the same language as the nearby settled people (With what kind of fluency, or bilingualism, or dialect)? Do they intermarry, and how is that viewed when it happens? What stories does this culture tell about why they are a separate people to the nearby settled people? Are those stories true? Do they have a notional “homeland” and do they intend to go there? If so, is it a real place?

What gorjers think of as classic "Gipsy music" is a product of our real-world situation. Guitar from Spain, accordions from the Soviet Union (Which needed modern machining and factories to produce and make accessible to people who weren't rich- and which were in turn encouraged by Soviet authorities preferring the standardised and modern accordion to the folk traditions of the indigenous peoples within the bloc), brass from Western classical traditions, via Balkan folk music, influences from klezmer and jazz and bhangra and polka and our own music traditions (And we influence them too). What are your people's musical influences? Do they make their own instruments or buy them from settled people? How many musical traditions do they have, and what are they all for (Weddings, funerals, storytelling, campfire songs, entertainment...)? Do they have professional musicians, and if so, how do those musicians earn money? Are instrument makers professionals, or do they use improvised and easy-to-make instruments like willow whistles, spoons, washtubs, etc? (Of course the answer can be "A bit of both")

If you're thinking about jobs - How do they work? Are they employed by settled people (How do they feel about them?) Are they self employed but providing services/goods to the settled people? Are they mostly avoidant of settled people other than to buy things that they can't produce themselves? Are they totally isolationist? Is their work mostly subsistence, or do they create a surplus to sell to outsiders? How do they interact with other workers nearby? Who works, and how- Are there 'family businesses', apprentices, children with part time work? Is it considered 'a job' or just part of their way of life? How do they educate their children, and is that considered 'work'? How old are children when they are considered adult, and what markers confer adulthood? What is considered a rite of passage?

When they travel, how do they do it? Do they share ownership of beasts of burden, or each individually have "their horse"? Do families stick together or try to spread out? How does a child begin to live apart from their family, or start their own family? Are their dwellings something that they take with them, or do they find places to stay or build temporary shelter with disposable material? Who shares a dwelling and why? What do they do for privacy, and what do they think privacy is for?

If you're thinking about food - Do they hunt? Herd? Forage? Buy or trade from settled people? Do they travel between places where they've sown crops or managed wildstock in previous years, so that when they arrive there is food already seeded in the landscape? How do they feel about buying food from settled people, and is that common? If it's frowned upon - How much do people do it anyway? How do they preserve food for winter? How much food do they carry with them, compared to how much they plan to buy or forage at their destinations? How is food shared- Communal stores, personal ownership?

Why are they a "separate people" to the settled people? What is their creation myth? Why do they believe that they are nomadic and the other people are settled, and is it correct? Do they look different? Are there legal restrictions on them settling? Are there legal restrictions on them intermixing? Are there cultural reasons why they are a separate people? Where did those reasons come from? How long have they been travelling? How long do they think they've been travelling? Where did they come from? Do they travel mostly within one area and return to the same sites predictably, or are they going to move on again soon and never come back?

And then within that - What about the members of their society who are "unusual" in some way: How does their society treat disabled people? (are they considered disabled, do they have that distinction and how is it applied?) How does their society treat LGBT+ people? What happens to someone who doesn't get married and has no children? What happens to someone who 'leaves'? What happens to young widows and widowers? What happens if someone just 'can't fit in'? What happens to someone who is adopted or married in? What happens to people who are mixed race, and in a fantasy setting to people who are mixed species? What is taboo to them and what will they find shocking if they leave? What is society's attitude to 'difference' of various kinds?

Basically, if you build your nomads from the ground-up, rather than starting from the idea of "I want Gypsies/Buryats/Berbers/Minceiri but with the numbers filed off and not offensive" you can end up with a rich, unique nomadic culture who make sense in your world and don't end up making a rod for the back of real-world cultures.

What if we kissed on the chair-table-bench-bed?

i think that all the people who argue about gender by saying "the woke left cant even define a woman" need to get hit with the "who are you" question by a buddhist monk. no, thats your name, who are you. no thats your profession, who are YOU. no you fucking idiot thats your species, who are YOUU. dumb bitch u cant even define yourself

Amidst all the images coming out of palestine of death and destruction created by the zionist occupation, i think it is important that we take a moment to remember palestine as it was- seen and captured through the eyes of talented photographers like Shahed @shahednhall and remember exactly what was senselessly lost in the past few months.

This is Al-Azhar university, where Shahed used to study. She was an exemplary student, and used to get regularly invited by her teachers to give lectures.

Since the university was bombed and destroyed by the IOF, all she has left are these pictures. Even through all the violence and death around her though, she still makes sure to keep up with her studies through the university's online programme.

This is a shop Shahed had visited only some time before october. She told me it was run by an artist who painted these beautiful home items, and engraved them by hand with customers names. Shahed had photographed them because they were so eye-catching and beautiful, and had sent the woman her photos so she could use them to promote the shop.

Shahed has told me this shop isnt there any more. She is currently trying to get in touch with the woman who used to run this shop again, but shahed doesn't know if she is even alive or not.

Shahed has an eye for beauty in all things, and it shows in her work and in conversation. It has taken on a different meaning now when so much of everything she knows has been stolen by the occupation from her and other palestinians like her.

In her own words:

"As you know, I like to photograph a lot, everyone liked my photography. I was filming everything because a memory can never come back again. This sentence is not understood by many. I am happy because I photograph everything."

What had been a hobby of collecting moments for her has now become something of an archive of all the things in Palestine that have been lost to the zionist occupation.

Shahed's outlook on her photography tends to colour our conversation as well. She finds it is more productive to talk to me about her hope for a better future, rather than all the bleakness around her right now.

"Yes, because I see inside every picture of new hope, I feel a great motivation that I will survive to see that life is more beautiful than what I live at the moment. I seek to return to a life that is more beautiful than the one we live now, a very difficult life because it has turned black and white."

I don't know how anyone can look at her photos and think of anything but hope

The mainstream media in the west and elsewhere can lie all they like- but we will know always that palestine was and is a land full of beautiful people. Never forget that the death, illness and destruction in palestine today was something imposed upon them by the colonizers, and has been imposed upon them for decades.

Shahed doesn't like to share images of misery with me, but please remember that she and her family are suffering right now. The happy children in the pictures, her little sisters, are suffering from severe hepatitis and are no longer recieving treatment due to overcrowding at what hospitals are left in gaza. Shahed herself has been weak and ill for days, narrowly surviving multiple massacres in just the past few days while trying to get food for her family. They all got displaced just last week due to the intense bombing in khan younis, and in doing so have lost precious funds that could have gone into food and clean water. They are starving.

Shahed is only 21 years old but the responsibility of taking care of all 17 of her family members rests solely on her shoulders.

TIME IS RUNNING OUT. PLEASE HELP SHAHED EVACUATE HER FAMILY TO SAFETY.

She has only gotten $47k/80k, and she needs to get to $50k within this week.

gofundme.com

Donate to Help Shahd in Gaza!, organized by Shahed Muhammad

Have you ever experienced seeing your dream broken in front of your eyes and not being able to do … Shahed Muhammad needs your support for H

This gfm was verified and appears on hussein @/el-shab-hussein and nairuz @/nabulsi list of vetted fundraisers (#224) so please dont hesitate to donate whatever you can, and please keep sharing!!!

Take this as a call to action, please repost her her fundraiser in your discord servers, in your whatsapp groups. Repost her photgraphy and share her story on whatever social media you have reach, so that people can help because i really cant get her to her goal in time alone.

if you make a special box in your head called "thoughts that aren't mine" and put every thought that doesn't feel like your own into that box. let's just say. something magical happens

Church of Whale Fall

Because what are fruits but symbols of greed, and love, and humanity

Blackberry Picking, Seamus Heaney// @noquietrevolution//@vampireapologist // Oranges, Gary Soto // We Are Okay, Nina LaCour // Twitter user super_smasha// @inkskinned