This is a completely different video than the one I posted before. I am sorry that I posted that one. I hated the glitches in it. So I trashed it. I did it before I looked to see if It had comments. If you left comments please put them on this one. This one is longer and more in depth, but done with a higher resolution and done at 3 am this morning so I sound better and more coherent. There are no glitches of either video or audio that I could see / hear. I hope you will enjoy it. Today I am going to dump both computers starting at 12:30 pm. I have the laptop running if I need it. Hugs. Scottie
I read a bunch of headlines I have in open tabs and I talk about the stories they pertain to briefly. Nothing in depth, just generalized information in the public sphere of information. If there is a topic you wish me to cover in more detail please mention it in the comments. Hugs
It is OK and great to stop the video at the 8:30 mark. After that it gets seriously stupid. But before that it has a lot to say that is true and said in a semi comedic way. Hugs
Pete Hegseth, the Army National Guard veteran and Fox News host nominated by Donald Trump to lead the Department of Defense, was flagged as a possible “Insider Threat” by a fellow service member due to a tattoo on his bicep that’s associated with white supremacist groups.
Hegseth, who has downplayed the role of military members and veterans in the Jan. 6, 2021, attack and railed against the Pentagon’s subsequent efforts to address extremism in the ranks, has said he was pulled by his District of Columbia National Guard unit from guarding Joe Biden’s January 2021 inauguration. He’s said he was unfairly identified as an extremist due to a cross tattoo on his chest.
This week, however, a fellow Guard member who was the unit’s security manager and on an anti-terrorism team at the time, shared with The Associated Press an email he sent to the unit’s leadership flagging a different tattoo reading “Deus Vult” that’s been used by white supremacists, concerned it was an indication of an “Insider Threat.”
Read the full article. Last month Hegseth sat for an interview with anti-LGBTQ Christian nationalist Kirk Cameron.
"This falls along the line of Insider Threat and this is what we as members of the U.S. Army, District of Columbia National Guard and the Anti-Terrorism/Force Protection Team strive to prevent," Gaither warned of Hegseth's assignment at @JoeBiden inauguration. AP obtained the… pic.twitter.com/8rJRN8N2dg
BREAKING: Trump’s nominee for Secretary of Defense Pete Hegseth, was flagged as a possible "Insider Threat" by a fellow service member due to a tattoo he has that’s associated with white supremacists. -AP pic.twitter.com/m5AWjKYbQt
In the wake of President-elect Donald Trump’s decision to appoint ex-Democratic Rep. Tulsi Gabbard as his Director of National Intelligence, reports have resurfaced of her ties to a religious sect described as a “cult”—a connection that has the potential to throw her nomination, which requires Senate confirmation, into jeopardy. She reportedly met her husband, Abraham Williams, when he volunteered to shoot a video for her 2012 House campaign.
In addition to bonding over a love of surfing, The Daily Mail reported that the couple also was mutually connected to the Science of Identity Foundation (SIF), a group with a history of antagonism toward LGBTQ people, women and Muslims. The group’s leader, Chris Butler, is heralded by members as a deity in his own right. The SIF, described as an alt-right branch of Hare Krishna, has reportedly developed thousands of followers.
Former members who don’t speak so fondly of the Foundation and others close to Gabbard have said the group’s influence could be affecting her political motives, according to the report.
People have said the Science of Identity Foundation forbids people to speak publicly about the group, requires people to lie face down when Butler enters a room and even sometimes eat his nail clippings or “spoonfuls” of the sand he walked on, The New Yorker reported.
“I know what an abusive, misogynistic, homophobic, germophobic, narcissistic nightmare Chris Butler is. And I know what kind of relationship he has with Tulsi,” Lalita, a self-described cult survivor, wrote on Medium in 2017.
Despite having their citizenship withheld before the war, Chinese American women in the Bay Area made significant contributions to the wartime labor force.
Amid the social upheaval of World War II, women entered the American workforce on an unprecedented level. And, for younger Chinese American women in the San Francisco Bay Area, the war made it possible to smash not just entrenched gender barriers, but racial ones as well.
“Partly because of a scarcity of English-language sources on this topic, some scholars simply have assumed that Chinese American women did not share the experience of ‘Rosie the Riveter,’” she reports. But she uses newspapers, company records, and oral histories to push back on this view.
Many Chinese American women already worked out of economic necessity. Yet racial discrimination and social isolation typically restricted them to jobs in Chinatown enclaves.
“It was difficult for many Chinese American women to go outside their communities to work, even when they wanted to,” Zhao explains. “The decades-long isolation had also limited the ability of immigrant Chinese working women to communicate with the outside world.”
During the war, women were also encouraged to adopt domestic roles—preparing “nutritional food” for their families and “show[ing] our fighting men that we are… absolutely behind them.”
But World War II still marked a major turning point—especially for younger, unmarried daughters of Chinese immigrants. Many of these women had either a high school or college-level education.
“With relatively few household responsibilities, in contrast to their mothers, they had the freedom and independence to work outside the home,” Zhao writes. “Since most of them were already living in the Bay Area before the war, these younger Chinese American women were among the first American women to join the Bay Area’s defense labor force.”
In fact, Zhao’s research turned up only four women who were older than forty during their wartime jobs. Still, those wives and mothers capably juggled their duties at home and on the home front. (snip-More; it’s a worthy click!)
The Emmett Till Memory Project teaches new generations about the tragedy that kickstarted the Civil Rights Movement. Preserving its digital assets is vital.
On a late August day in 1955, Emmett Till was murdered in Mississippi. A fourteen-year-old African American from Chicago, Till stopped with his cousins at Bryant’s Grocery & Meat Market to buy chewing gum. There, Till whistled at the clerk, a brazen act that violated the norms of the Jim Crow South and so angered the clerk’s husband and brother-in-law that they killed the boy.
The events and locations that tell the story of Till’s life and death have been memorialized in different ways and forms over the ensuing decades. The Emmett Till Memory Project (ETMP), an app, is one of them. It uses digitized archival documents, photos of those involved and of sites central to that fateful August day, and more so that users may educate themselves about who Emmett Till was and why his death still resonates. The ETMP’s digital assets are vital to ensuring the ongoing preservation of Till’s memory as well as his legacy.
That’s where Portico comes in. Dedicated to digital preservation, Portico has partnered with the ETMP to ensure the safekeeping in perpetuity of these digital artifacts.
Historian Dave Tell, a professor of communication studies at the University of Kansas, as well as the co-founder and director of the Emmett Till Memory Project, spoke with JSTOR Daily’s Sara Ivry about the Project and why its partnership with Portico is so critical.
Sara Ivry: How did you first learn of Portico?
Dave Tell: Kate Wittenberg reached out to me as part of the DEI efforts of her organization, specifically, a pilot project to support the preservation of archival content about under-represented topics that might be at risk. Kate contacted me about the time that we were massively reorganizing the Emmett Till Memory Project. She asked if she could just come along and preserve the site as it existed. I said, “Well, yes, you can, but we’re also trying to make it way better.” She sat in on development meetings over the last few years with us and has been an integral partner, not only in helping us think about preserving the site but helping us make design decisions that would render the site preservable.
Can you describe a little what the site was before you revamped it and what you were trying to do in the renovation?
The short story is we went live in October of 2019, and then in the pandemic, we used our last $10,000 of grant money to pay a DEI consultancy to tell us what we did well and what we did poorly. They did this entire audit, focus groups, they talked to the family, they talked to scholars. They looked at analytics, and they came back to us. Essentially, they told us great content, very bad design, which in retrospect is not surprising. Everyone on the project had been a content expert; we had never had design people on board. We had never had UX people.
The design only works for people who already know the story, they told us, which of course was a devastating blow to us. They also said this reads as if it was written by a middle-aged white guy and I’m like, “Well, I wrote it and I’m a middle-aged white guy—so fair enough.”
So, we hired a woman named Renee Payne out of the Rhode Island School of Design who runs a graphic design firm called included. She specializes in computer design for veterans of the Civil Rights movement; her clients include the families of Andy Young, Harry Belafonte, and family of Malcolm X. She assembled a team of young designers of color, and I said to them, “Nothing is sacred here. Let’s make this as good of a project as it can be,” and they reimagined it from the ground up.
When exactly then did Portico come on board?
Kate came in in the middle of this revamped process, and one of the specific things she encouraged us to do was to avoid third-party dependencies. The example that I understood was if you embed a YouTube video, your content is only as secure as YouTube, which you have no control over.
We really thought long and hard about what technologies we could preserve, and Kate and her colleague Karen Hanson pushed us to think about what exactly we’re preserving. The technologies we are currently depending on do not last forever, right? We changed our mindset. We don’t want to preserve this project so that like it will look the same for everyone into the future, but we want to preserve the assets.
Make images preservable, the text—the component parts.
Eventually we’re going to have a lot of immersive stuff on there. It’s only halfway there now. Portico helped us understand better to preserve the components that make up immersive pieces. In the future, people can use whatever technology is then current, use our same data, and create their own project.
I hadn’t thought about the built-in obsolescence of technology, and that we have to account and plan for that in the design of an app or site as well as in the design of an archive. Had you considered that before Portico got involved?
No, I’m a humanist by training, so when I first started thinking about digital preservation, probably a decade ago now, my gut instinct was we make the website just like a book. It’ll sit there unchanged forever. And Portico has been instrumental in changing the way I think about preservation—that first of all, forever might not be the goal.
Emmett and Mamie Till-Mobley on the exterior of the house they lived in from 1950–1955. Photo by Dave Tell via ETMP
Second, what gets preserved is not necessarily the sort of same experience that our users have today. What really matters and what needs to be preserved is what we have. The Emmett Till Memory Project has amazing artifacts. We have hours of audio with the family that they’ve given us permission to use that no one else has. We can tell the story in incredibly intimate ways and that’s super important. When you open this app, you’ll hear the voice of Reverend Wheeler Parker, Till’s cousin, narrating the story as all this stuff flashes on the screen behind you—I don’t care if the flashy, immersive technologies are preserved forever. But I care deeply that the audio files—and the voice of Rev. Parker—gets preserved. Someone else can build their own tools with that stuff. My ability to make that distinction is a testament to Kate and Portico.
Why is digital preservation of these assets critical in any case?
It’s almost hard to answer this question without going into cliche other than to say: Ignoring the past is a critical component of white supremacy. Full stop. What we want to do and what the family wants to do is tell the story—not that telling the story is sufficient for the change that they and I want to see, but it’s a critical part of the change that they and I want to see.
The Interpretive Center—what’s the first line of their mission statement, “We believe that racial reconciliation begins with telling the truth,” right?—that’s a sentence that accurately describes the vision of the Till family and it certainly describes my vision.
What was the origin of this app?
If you start from the murder of Emmett Till in August 1955 you have to count 49 years and 11 months before the state of Mississippi dropped a single dollar on the Till story. Eighteen citizens of Tallahatchie County thought that was ridiculous; they put up a commemorative sign that got shot, defaced with acid, spray painted.
Tallahatchie Civil Rights Driving Tour sign, ca. 2015. Photo by Pablo Correa via ETMP
In 2014, I got invited to go down, I’d been writing about Till for a decade and a half by then, and the question was: How do we tell Till’s story in the context of vandalism?
It’s easy to shoot a sign in the middle of the country. It’s harder to shoot an app.
What are some of the assets on the app that stand out to you?
My favorite by far are the hours of audio, oral history we have of Reverend Parker that was taken in his church in Chicago. We also drove him from site to site; we put a microphone on his lapel and on the sun visor of the car. And we just asked him what these sites meant to him as we went from place to place. All that audio’s not up yet, but we have it. (snip-a bit More)
Mehdi Hasan then joins, first touching on the already-advancing relationship between the Trump and Netanyahu administrations as Israel prepares an annexation of Northern Gaza, before shifting back to the still-developing numbers from Tuesday’s blowout win by Trump and the GOP, looking at Trump’s wins among minority voters (particularly Latin men), and unpacking why his vision was able to appeal to groups he actively seeks to discriminate against. After expanding on the major role misogyny and racism played in grounding Trump’s campaign against Harris, Hasan and Emma parse through the divide between blaming the campaign and blaming the voters, discussing the complete gap in perception and reality around border crossings, crime, and inflation and the failure of messaging behind, before wrapping up the interview with what Democrats have to change about the way they do politics. Emma also touches on a note on fighting fascism from a French Leftist.
We got our vaccines and tRump’s plan for mass for profit prison detention camps for migrants.
There are some distortions because I moved a lot due to pain in my hips and back. But it looks OK but if you want just listen to the audio. I put a lot of effort into the video. Hugs
I talk about tRump’s new Sec Of Defense being a Christian nationalist fundamentalist fanatic, a white supremacist, and a hater of the LGBTQ+. I talk about how he wants to purge the ones he doesn’t like from the military and how tRump hopes to use him to purge the military of anyone not cis straight white Christian and totally loyalist to tRump, the Dear Leader.
Sen. Bernie Sanders (I-Vt.) joins Meet the Press to discuss his criticism of the Democratic Party and what’s next for Democrats after Kamala Harris’ projected loss.
Scottie's Playtime 