
Add body bags, children on campus
Add body bags, children on campus
Fiction | Chapter Two | Steve and Glenn | By John Laing
Delhi, India. They did not want to celebrate Christmas or Hanukkah, so they settled on the “Winter Solstice.” Steve felt Hanukkah was just Christmas wrapped up for Jewish kids with little significance. “A family holiday only has as much meaning as the family gives it, no?,” Steve winked to Glenn.
Steve and Glenn’s love story had been a journey of challenges and triumphs. After a memorable summer in Europe, they navigated their first semester apart at Harvard and Yale, meeting in person whenever they could. Now, they were spending a month in India during their winter break, eager to experience the vibrant culture of South Asia and deepen their bond. Glenn’s parents had made the trip possible as is Christmas present. His dad pointed out defensively to his colleagues that he had not sprung for business class.
However, the trip was shadowed by Steve’s recent diagnosis of HIV. He had been determined to live openly and honestly, and Glenn had supported him every step of the way. But he had learned in the university infirmary and did not wish to trouble his parents. He also did not want a feeling of “I told you so,” as his mother had said her biggest concern with ‘this lifestyle’ was its ‘risks.’ Steve was undetectable thanks to medication, but the diagnosis had brought a new layer of complexity to their relationship. They decided that this trip would be a time for healing and reflection, as well as exploration.
In Delhi, they marveled at the historical monuments and indulged in the local cuisine, making sure to find vegetarian-friendly options for Glenn. It was in this city that they met Krishna, a university student from Kolkata who was also traveling throughout India as he was taking a year off from his studies “to clear my mind.”
Krishna, with his keen interest in politics and international relations, quickly bonded with Glenn over discussions about India’s role in the global arena, its economic growth, and its social challenges. Neither were fond of Modi.
Steve, meanwhile, had arranged for his parents to join him for a weekend in Mumbai. He had found heavily discounted flights and inexpensive Airbnb accommodations; he wanted them to see the world as well. They had been supportive but worried about his health in general — they though he looked stressed from his first semester in the Ivy League and wanted to spend some time with him.
Steve hoped the visit would allow him to share his HIV diagnosis and help them understand he was managing well and continuing to live a full life. While Steve flew to Mumbai to meet his parents, Glenn stayed behind in Delhi, where Krishna was also coincidentally staying at the same historic hotel.
Glenn’s mother had chosen the property. Set in the heart of Delhi, the hotel had been given the UNESCO award for cultural and heritage restoration. It was nestled among the narrow alleys of Chandni Chowk and seemed to be as mysterious as it was romantic.
One evening, with Steve still in Mumbai, Glenn and Krishna met for drinks at the hotel bar. Their conversation flowed easily, covering a wide range of topics from India’s diverse culture to its geopolitical stance. Krishna spoke passionately about the importance of youth involvement in politics and the need for more progressive policies. Glenn shared his views, drawing parallels between Indian and American politics, and they both found common ground in their admiration for liberal leaders like Gandhi.
As the night wore on, and the drinks flowed freely, the atmosphere between them grew more intimate. They found themselves sharing personal stories, exploring their thoughts on love, identity, and the complexities of modern relationships. Caught up in the moment, they ended up spending the night together. It was a decision born of a mix of curiosity, loneliness, and a momentary lapse in judgment.
The next morning, Glenn woke with a mix of emotions—guilt, confusion, and a strange sense of detachment. He realized the gravity of what had happened and the implications it could have for his relationship with Steve. He left Krishna’s room quietly, needing time to think and reflect. As he opened his own door, his cell rang. It was Steve. An innocent question, “What are you doing now?,” sent shivers through Glenn’s soul.
Meanwhile, in Mumbai, Steve’s weekend with his parents was a mix of warmth and tension. They expressed their concerns about his health and future, but also reassured him of their love and support. Steve felt a sense of relief, knowing that his parents were beginning to accept his relationship with Glenn and his health condition. As he said goodbye to them at the airport counter and watched them as they cleared security, he felt a renewed sense of purpose and resolve.
Returning to Delhi, Steve sensed a change in Glenn. There was a distance in Glenn’s eyes, a hesitation in his touch. After some gentle probing, Glenn confessed about his night with Krishna. Steve was stunned, feeling a rush of emotions—hurt, betrayal, and anger. Yet, beneath it all, he recognized the complexities of their situation, the pressure of maintaining a long-distance relationship, and the emotional toll of his diagnosis.
They spent the next few days in Delhi, grappling with the fallout. Conversations were tense, filled with questions of trust, commitment, and the future of their relationship. They visited spiritual sites, seeking solace and guidance, and even attended a meditation retreat, pre-booked, hoping to find clarity and peace.
Ultimately, Steve and Glenn decided to take a step back and reassess their relationship. They agreed that their love was deep and real, but that they needed to address their individual issues and emotions before moving forward together. The trip to India, meant to be a time of healing, had become a catalyst for difficult truths and necessary change.
As they parted ways, with Steve heading back to Chicago and Glenn to New Haven, they left with a sense of unresolved feelings but also hope. They promised to stay in touch, support each other, and give their relationship the space it needed to heal and grow. Their journey in India had been one of discovery—not just of a new culture, but of themselves and the challenges they faced as a couple.
Chapter One | Chapter Two | Chapter Three (to come)
Winter Break in India: Love, Betrayal, and Self-Discovery (Dec. 25, 2023)
Thanksgiving 2023. Author is now 64 and Mathew 30. We have been together now for 29 years.
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Photo: Vintage men on a paper moon.
New York, N.Y. The motif of couples sitting on a paper moon to have their photograph taken is a nostalgic and evocative image that emerged in the early 20th century, particularly during the 1910s and 1920s. This whimsical setting, often found at carnivals, fairs, and photography studios, featured a crescent moon made of paper or cardboard suspended in front of a painted backdrop of stars and clouds. This essay explores the cultural, social, and symbolic significance of this charming motif and its enduring appeal. Adding a contemporary twist, we also consider the irony and unusualness of Felix D’Eon’s computer-generated glitch artwork, “Gay Paper Moon.”
The paper moon photograph motif captured the imagination of the public during a time when photography was becoming more accessible to the average person.
The early 20th century saw a proliferation of photo studios and itinerant photographers who set up at fairs and amusement parks, offering affordable and novel ways for people to commemorate special moments. The paper moon setting, with its dreamlike and fantastical qualities, provided an ideal backdrop for romantic and playful photographs.
At its core, the paper moon motif represents a form of escapism. During the 1910s and 1920s, the world was undergoing significant social and technological changes, including World War I, the Roaring Twenties, and the advent of modernity.
The paper moon offered couples a whimsical escape from the realities of their everyday lives, allowing them to momentarily inhabit a magical world where they could dream and imagine. This sense of escapism was particularly appealing during times of uncertainty and upheaval.
The crescent moon itself is a potent symbol, often associated with romance, mystery, and the night.
In various cultures, the moon has been a symbol of love and longing, and its phases have been linked to the cycles of life and nature. By sitting on a paper moon, couples could visually express their romantic feelings and dreams, creating a lasting memento of their affection. The photograph served as a tangible keepsake of their shared moment, preserving their love in a whimsical and enchanting form.
The popularity of the paper moon motif can also be understood within the context of the growing leisure culture of the early 20th century. As urbanization and industrialization transformed society, people had more disposable income and leisure time. Fairs, amusement parks, and social outings became common pastimes, providing opportunities for people to engage in new forms of entertainment and recreation. The paper moon photograph was a product of this burgeoning leisure culture, offering a fun and memorable experience for couples and families.
Furthermore, the paper moon photographs reflect the changing dynamics of relationships and gender roles during this period. The early 20th century saw significant shifts in social norms, with women gaining more independence and visibility in public life. The paper moon photograph, with its playful and intimate setting, provided a space for couples to express their affection openly, challenging the more formal and restrained conventions of earlier generations. These photographs capture moments of genuine connection and joy, reflecting the evolving nature of romantic relationships.
D’Eon’s computer-generated glitch art juxtaposes the quaintness of the paper moon with the bold statement of queer love, challenging the heteronormative imagery that dominated the early 20th century. This digital artwork features a gay couple perched on the iconic crescent moon, enveloped in a surreal and fragmented digital landscape. The irony lies in the contrast between the vintage motif and the modern, glitchy aesthetic, highlighting the journey from hidden love to a more open celebration of LGBTQ+ identities.
The motif of couples sitting on a paper moon also holds a certain nostalgic charm that continues to resonate today. In an era where digital photography and instant sharing dominate, the simplicity and innocence of the paper moon photograph evoke a longing for a bygone era. The handmade quality of the paper moon, combined with the carefully staged setting, creates a sense of authenticity and artistry that contrasts with the often fleeting and impersonal nature of modern digital images.
This nostalgia is reflected in the continued popularity of the paper moon motif in contemporary culture. Vintage-style photo booths at weddings and events, as well as the resurgence of interest in retro aesthetics, demonstrate the enduring appeal of this whimsical setting. The paper moon photograph remains a symbol of romance, creativity, and the joy of capturing a shared moment in time.
The motif of couples sitting on a paper moon to have their photograph taken is a captivating and enduring image that embodies the themes of escapism, romance, and nostalgia. Emerging during a time of significant social change and growing leisure culture, the paper moon photograph provided a whimsical escape and a lasting memento of love and affection.
Felix D’Eon’s “Gay Paper Moon” artwork adds a modern, ironic twist, celebrating queer love and challenging traditional norms. This continued popularity today speaks to the timeless appeal of capturing moments of joy and connection in a charming and imaginative setting. The paper moon remains a symbol of the enduring human desire to dream, create, and cherish the special moments in life.
New York, N.Y. I love Thanksgiving turkey as much as the next person, but this poster form Mercy for Animals made me feel really sad. I no longer like eating pigs because I have learned they’re as smart as our beloved Shih Tzu… And we no longer cook lobster at home because we cannot stand to boil them when we understand they feel pain.
The extreme and unnatural crowding of turkeys on commercial farms is highly stressful, and causes them to be abnormally aggressive. Rather than make improvements to the birds’ environment, producers instead subject turkey poults (baby turkeys) to excruciating mutilations without anesthetic, simply cutting off “non-essential” body parts that could inflict or sustain injury.
De-snooding involves cutting off the snood, the fleshy red protuberance that dangles over turkeys’ beaks and is used to attract mates.
De-toeing, or toe-clipping, is a painful debilitation inflicted with shears or microwaves, and is practiced despite the fact that it is associated with lameness and higher early mortality.
Debeaking is performed using sharp shears, a heated blade, or a high-voltage electrical current. Turkeys’ beaks are loaded with sensory receptors, much like human fingertips, and this painful procedure severs and exposes nerves. Some turkeys starve to death before they are able to eat again; others die of shock on the spot.
An article in the industry trade journal Turkey World summarizes it this way:
“Poults come in one side of the service room bright eyed and bushy tailed. They are squeezed, thrown down a slide onto a treadmill, someone picks them up and pulls the snood off their heads, clips three toes off each foot, debeaks them, puts them on another conveyor belt that delivers them to another carousel where they get a power injection, usually of an antibiotic, that whacks them in the back of their necks. Essentially, they have been through major surgery. They have been traumatized. They don’t look very good.”
New York, N.Y. Every year on November 16th, the International Day for Tolerance generates awareness of the dangers of intolerance. Since the inception of this day, it’s been the UN’s goal to strengthen tolerance by fostering mutual understanding among cultures and peoples.
Just because people don’t agree with one another doesn’t mean they can’t peacefully coexist. It’s called tolerance. Tolerance is the best way for diverse people and mixed communities to survive. In a world where violent extremism and disregard for human life is becoming the norm, tolerance is more important than ever. Tolerance recognizes the universal human rights and fundamental freedom of others.
International Day for Tolerance views tolerance as respect, acceptance, and appreciation of the rich diversity of our world’s cultures. It includes our forms of expression and ways of being human. Intolerance is just the opposite. Injustice, marginalization, and discrimination are all forms of intolerance. Much must be done to counter intolerance.
Some ways to counter intolerance include:
Each individual has the power to end intolerance. They can do this by not allowing bigotry, insults, and racial jokes. To identify intolerance in one’s own life, individuals should ask themselves specific questions. “How tolerant am I of other people, cultures, and societies?” “Do I stereotype people or reject those who are different than me?”
Human rights activists, educators, and many international organizations use this day to discuss and educate others about the importance of tolerance. Some people write essays or tell stories of how their life has been affected by intolerance. The UNESCO-Madanjeet Singh Prize for the Promotion of Tolerance and Non-Violence is awarded to institutions, organizations, and persons who have made great contributions toward tolerance and non-violence. The award is given every two years on the International Day for Tolerance.
To participate:
Share this day on social media with #InternationalDayForTolerance
In 1995, the U.N. observed the United Nations Year for Tolerance. That same year, UNESCO’s Member States adopted a Declaration of Tolerance on November 16, 1995. The date marked the organization’s fiftieth anniversary. On November 16th, 1996, the UN General Assembly invited the U.N. Member States to observe the first-ever International Day of Tolerance.
Observing and Celebrating International Day for Tolerance (Nov. 16, 2023)
Washington, D.C. — The U.S. Census Bureau reports that for the first time ever, respondents to the 2020 Census who reported “White” as a race could write in more details such as Italian, Palestinian, or Cajun.
Together, the English American (46.6 million), German American (45 million), and Irish American (38.6 million) alone or in any combination populations made up over half of the White alone or in combination population in 2020. This new write-in area for collecting detailed White responses was an improvement made to the 2020 Census race question design. As a result, data are now available for 104 detailed White groups, including Lithuanian, Irish, Libyan, Syrian, Pennsylvania Dutch, and Australian.
Middle Eastern and North African (MENA) responses, such as Lebanese and Moroccan, were included with the White category, following the standards set by the U.S. Office of Management and Budget in 1997, which classify MENA responses as part of the White racial category.
Detailed responses from the race question are tabulated in two ways: race alone and race alone or in any combination. The alone population includes those who reported only one response to the race question, such as Austrian. The alone or in any combination population includes those who reported one or more responses to the race question, such as only Austrian or Austrian and German or Austrian and Asian.
In the 2020 Census, over 235 million people reported they were White alone or in combination with another race group, such as Black or African American. As the nation becomes more multiracial, understanding the composition of the race alone and race alone or in any combination populations is increasingly important.
About two-thirds of the White alone and White alone or in combination populations reported a detailed response, such as German, Irish, Lebanese, or French Canadian. Detailed European responses accounted for 58.8% of the White alone and 56.1% of the White alone or in combination populations. Other White responses, such as Canadian and Pennsylvania German, represented around 2% of the White alone and White alone or in combination populations. Middle Eastern and North African responses, such as Lebanese, Iranian, and Egyptian, represented over 1% of the White alone and White alone or in combination populations.
Among those who identified as White alone or in combination, English (46.6 million), German (45 million), and Irish (38.6 million) were the largest groups. Several other alone or in any combination groups had at least 8 million people:
Italian (16.8 million), Polish (8.6 million), Scottish (8.4 million), and French (8.0 million). An additional 11 detailed White alone or in any combination groups had at least 1 million people, including Swedish (3.8 million), Norwegian (3.8 million), and Dutch (3.6 million).
French Canadian and Canadian were the two largest detailed groups in the “Other White” population, with their alone or in any combination populations each exceeding half a million. The next largest groups were Pennsylvania German, Cajun, and Australian.
Among White respondents who reported a Middle Eastern and North African (MENA) response:
The English-alone population was the largest detailed White group nationally, in 35 states, the District of Columbia, and Puerto Rico. The German-alone population was the largest in 10 states, the Italian-alone population in four, and the Irish-alone population only in Massachusetts.
The largest German-alone population was in Pennsylvania — 1,112,662, or 11.4% of the state’s White alone population. California had the largest Irish-alone population (803,899), followed by New York (730,165) and Florida (692,142). The Italian-alone population was concentrated in New York and New Jersey. Together, the two states accounted for over a quarter (1,712,976) of those who reported Italian-alone. New York was home to 1.1 million.
Illinois had the largest number of people who identified as Polish-alone (352,882), followed by New York (274,580), Michigan (256,398), Pennsylvania (206,264), and Florida (160,119). Louisiana had the largest French-alone population (136,390), or 5.1% of its total White alone population, followed closely by California (127,756), Massachusetts (111,502), Florida (107,687), and Texas (105,770).
County-level findings showed that the English-alone or in any combination was the largest detailed White group in approximately two-thirds (2,050) of the counties in the U.S. and Puerto Rico.
The English population was the most prevalent group in northern New England, the South, and throughout the West, as well as in Puerto Rico.
German was the largest group in over 1,000 counties, particularly in the Midwest, Pennsylvania, and parts of Texas, Phoenix had the largest English and German populations of all counties in the nation (620,199 and 639,586 respectively).
Norwegian was the most common group in 15 counties, all in northern Minnesota, North Dakota, or Montana. The county with the largest Norwegian population (135,077) was Hennepin, Minnesota, which includes Minneapolis.
Ukrainian was the largest group in West Alaska, and Dutch was the largest group in Sioux County, Iowa, and Ottawa County, Michigan.
French was the largest in two Louisiana Parishes while Bristol, Massachusetts, was the only county with Portuguese as the largest detailed White group.
Finnish was the largest group in four counties, all in Michigan’s Upper Peninsula.
Majority of ‘White’ Americans Identify as English, German, or Irish (Nov. 5, 2023)
Tags: U.S. Census, 2020 Census, Race and Ethnicity, Demographics, White Americans, Ancestry, European Heritage, MENA Responses, U.S. Office of Management and Budget, American Diversity
Taipei, Taiwan. The event took place ahead of Taiwan’s presidential and parliamentary elections in January, and Lai, leading opinion polls to be elected president, joined the ruling Democratic Progressive Party’s delegation, seeking to cement its position as a defender of liberal values.
Lai, speaking to reporters before joining the march around its midway point, thanked those who had worked to support equality and the legalizing of same sex marriage in 2019, which President Tsai Ing-wen and the DPP championed.
“On this road the DPP has always been together with everyone,” he said, as scantily clad male dancers passed behind him on the back of a truck.
“Equal marriage is not the end — it’s the starting point for diversity. I will stand steadfast on this path,” he said.
Lai then joined the DPP delegation, marching behind a banner reading “Democracy Supports Gays” as supporters yelled out “Hello Mr. President.”
None of the other three presidential candidates attended, although the youth wing of the main opposition Kuomintang party did, with its members shouting that their party also supported equality as they passed by Lai.
The streets of central Taipei were packed for the annual parade, the 21st since it began, and included go-go dancers and drag queens.
Organizers put the number of attendees around 176,000, the official Central News Agency reported, including many foreigners.
“Under the umbrella of Taiwan’s democracy and freedom, we learn to accept everyone’s characteristics and respect everyone’s differences,” Tsai wrote in a Facebook message.
Taiwan’s openness on LGBTQ+ issues stands in marked contrast with its neighbor China, which claims the island as its own territory.
While same sex relations are not illegal in China, same sex marriage is, and the government has been cracking down on activists and depictions of LGBTQ+ people in the media.
In a series of high-profile interviews, Queen Rania has called for an immediate ceasefire and urged the international community to recognize the humanity of all civilians caught in the conflict.
Speaking to CNN, Queen Rania stated, “Being pro-Palestinian is not being antisemitic, being pro-Palestinian does not mean you’re pro-Hamas or pro-terrorism.” She emphasized that advocating for the protection of Palestinian lives and rights is a matter of human dignity and justice, not an endorsement of violence or hatred.
Queen Rania has consistently condemned the killing of civilians on both sides, expressing empathy for Israeli families whose loved ones have been taken hostage by Hamas, while also highlighting the suffering of Palestinian families under relentless bombardment and blockade.
She has called for the swift release of hostages and an end to the cycle of violence, urging leaders to choose compassion and dialogue over retribution.
In her interviews, Queen Rania has criticized what she describes as a “glaring double standard” in the international response to the conflict.
She noted that while the world has witnessed unprecedented suffering in Gaza, there has been a lack of unified calls for a ceasefire, which she described as “deafening silence” that makes the Western world appear complicit in the ongoing tragedy. She warned that failing to address the root causes of the conflict—such as occupation, human rights abuses, and disregard for international law—will only perpetuate violence and suffering.
Queen Rania has also addressed the rise of antisemitism and Islamophobia, condemning both and stressing that criticism of Israeli government policies should not be conflated with hatred of Jewish people. “Israel does not represent all Jewish people around the world. Israel alone is responsible for its own crimes. Jewish people around the world, many of them are appalled by what they’re seeing,” she said. She called on Muslims to be the first to condemn antisemitism, citing a long history of peaceful coexistence between Muslims and Jews.
The Queen has defended the wave of pro-Palestinian protests on U.S. college campuses, rejecting attempts to label student demonstrators as “pro-Hamas.” She emphasized that the majority of these protests are peaceful and rooted in calls for social justice, human rights, and adherence to international law. While acknowledging the need for law and order, she urged the public not to lose sight of the core issues being protested: the protection of civilian lives and the pursuit of a just peace.
Queen Rania has been particularly critical of Israel’s military strategy in Gaza, arguing that an all-out war and the rejection of a ceasefire are “morally reprehensible” and amount to justifying the deaths of thousands of civilians.
She suggested that more targeted approaches, such as surgical strikes against Hamas, would be more effective and less devastating for the civilian population. She warned that dehumanizing Palestinians as mere security threats only serves to perpetuate the conflict and erode the moral fabric of all involved.
As the humanitarian crisis in Gaza deepens, with warnings of mass famine and unprecedented hunger, Queen Rania has called for urgent international action to flood the territory with aid and prevent further catastrophe. She described the situation as a “major stain on our global conscience” and urged world leaders to act before it is too late.
Queen Rania’s message is clear: supporting Palestinian rights and calling for an end to violence is not antisemitic, but a stand for universal human rights and dignity. She continues to advocate for empathy, justice, and a collective commitment to peace in the Middle East.
There was a day when I had some free time, so I decided to check out the autumn leaves…
Kono aki ha/ Nande toshiyoru/ Kumo ni tori
In this autumn,
Why I get older?
The clouds and birds.
– Matsuo Bashō (松尾 芭蕉).
The most famous Japanese poet of the Edo period recognized as the greatest master of haiku.
Poetry / Clouds of Autumn in Hills of Japan (June 24, 2023)
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American Pakistan Foundation of Washington, D.C.
Nasar Qureshi, M.D., M.P.H. is president of the American Pakistan Foundation of Washington, D.C.
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American Pakistan Foundation’s Physician Entrepreneur President (October 3, 2023)
New York, N.Y. October is a month of golden leaves, crisp air, and heartwarming possibilities—especially for animal lovers. Recognized as “Adopt a Shelter Dog” Month, it’s a time to celebrate the transformative power of giving a rescue dog a forever home.
As someone who’s shared my New York City apartment with up to 18 shelter dogs at once (though nine feels just right these days), I can attest: adopting a shelter dog doesn’t just save a life—it enriches yours in ways you might never imagine.
Every year, millions of dogs enter shelters across the United States, each one brimming with potential to love and be loved. According to the ASPCA, approximately 3.1 million dogs enter shelters annually, and while adoption rates have risen, many still wait for their chance at a family.
This month shines a spotlight on these deserving pups, encouraging people to visit their local shelters and see the magic that happens when a dog finds its human.
Today, he’s my loyal companion on Roosevelt Island, where we live happily together. Scruffy’s story isn’t unique—shelter dogs come from all walks of life, often abandoned or lost, but always resilient.
Adopting one is a chance to rewrite their story with a happy ending. And trust me, the gratitude in their eyes is worth every moment.
Beyond the obvious joy of saving a life, these dogs bring companionship, laughter, and purpose into your world. Studies show pet ownership can reduce stress, boost happiness, and even improve physical health through daily walks and playtime.
Shelter dogs, in particular, seem to know they’ve been given a second chance—they repay it with boundless loyalty. As founder of the New York Shih Tzu Rescue Society, I’ve seen firsthand how these adoptions spark joy not just for the dogs, but for the humans who welcome them home.
A good call to action? Visit your local shelter or rescue organization this October. Spend time with the dogs, ask questions, and let your heart guide you. You don’t need a big home or a perfect life—just a willingness to love. Many shelters offer adoption events throughout the month, complete with waived fees or special meet-and-greets.
Can’t adopt? Consider fostering, volunteering, or donating to support these incredible animals.
I’ve watched shy dogs blossom into confident companions, and I’ve felt my own days brighten with their presence.
Take my Scruffy: once a highway wanderer, now a beloved family member who greets me with a wagging tail every morning. These dogs don’t just fill a space in your home—they fill a space in your heart.
So, as October unfolds, let’s celebrate “Adopt a Shelter Dog” Month with open arms and open hearts.
Whether you’re a first-time pet parent or a seasoned dog lover, there’s a shelter pup waiting to make your life a little brighter. Visit a shelter today, and who knows? You might just meet your new best friend.
October is “Adopt a Shelter Dog” Month (June 21, 2023)
Family Charities to Celebrate 25 Years – at Asia Society NYC (Aug. 20, 2024)
Family Charities to Celebrate 25 Years – at Asia Society NYC (Aug. 20, 2024)
Family Charities to Celebrate 25 Years – at Asia Society NYC (Aug. 20, 2024)
Family Charities to Celebrate 25 Years – at Asia Society NYC (Aug. 20, 2024)
Family Charities to Celebrate 25 Years – at Asia Society NYC (Aug. 20, 2024)
Family Charities to Celebrate 25 Years – at Asia Society NYC (Aug. 20, 2024)
DO YOU LIKE TO WRITE? It occurs to us that it would be beneficial to create a Stewardship Report (our platform) profile and LuceWiki post for each of our Awardees as well as a press-release noting their recognition for their local press and personal use (social media alumni magazine etc.). Make sure you name-check yourself and your friends as well!
What do you think? Does this make sense? Who can help? We can make any of you a columnist for the SR so you can post directly – just ask! – Jim
Family Charities to Celebrate 25 Years – at Asia Society NYC (Aug. 20, 2024)
Last Updated: April 26,2021
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Thailand is known as the Land of Smiles, but it’s also know as the Land of the Ladyboys! Compared to other countries, like the Philippines or Malaysia, Thailand has a long history and higher population of ladyboys in the world. As a matter of fact the word “ladyboy” is the English translation for “Kathoey“, a Thai word for transgender women and effeminate gay men.
Read interesting things you don’t know about Thailand ladyboys.
The term “transgender” is rarely used in Thailand. Instead, the common term is, “Kathoey” which was once used to define intersex people, human beings who were born with ambiguous genitalia.
Kathoey have become entirely common in Thai society, like everyone else, they go about their daily affairs: shopping, meeting with friends, using public transport, visiting the temple.
Ladyboy, transgender or the third gender is rarely used in Thailand.
Miss Tiffany’s Show Pattaya 32 Finalist. Can you the different with real women?
Thailand beholds the highest rate of Transsexuals throughout the world. According to Sam Winter, the numbers differ from about 10,000 to (unofficial) 300,000. substantially above that estimated for transgender in most other parts of the world. Thai community creats a sound public opinion environment for those of a different sexual orientation. They can enjoy their freedom of expressing themselves.
The very first Thai ladyboy is said to present as early as the 14 centry. At that time, Thais started to identify waht is now known as ladyboy.
First Buddhist scriptures also mention 3 genders: a man, a woman and a kathoey. So, religion officially allows for the third gender to exist. Buddhist teachings also hold that the circumstances we live today are the product of the ways in which we lived our previous lives.
Another concept behind kathoey is the result of karma – in particular one was born kathoey as a consequence of some sexual misdemeanor in an earlier life or lives or that they failed to fulfill an expected role in the reproductive process, such as a man not caring for a woman who is pregnant by him.
Whatever the reason, it is important to note that the common belief says there is no escaping from the karmic consequences, everyone has been kathoey at once in previous lives and will be again in future ones, thus kathoey should be treated with compassion.
Kathoey acceptance in society depends on the area in which they live. In the bigger cities, it is more normalized to be kathoey. In more rural villages, treatment of kathoey is described as tolerance than acceptance.
Miss Tiffany’s Universe is a beauty pageant for Thai transgender women in Pattaya, Thailand. The contest is open to all transgender women who may or may not have gone through sex reassignment surgery.
The Miss Tiffan’’s Universe contest held once a year is receiving more attention especially since it is broadcast live on Thai television with an average of 15 million viewers. The Miss Tiffany’s Universe winner receives a trophy and crown, Honda Jazz, cash prizes, jewellery, and other gifts from sponsors.
See the contrast of winners of Miss Tiffany’s Univers:
You can discover more interesting things and pictures of each winner here: Tiffany Cabaret Show in Pattaya
Cabaret shows are popular and widespread in Thai culture. The Calypso in Bangkok is said to be where Lady Gaga gained a lot of her inspiration, and the Tiffany has been compared to the Miss Universe of kathoey culture.
These cabaret shows include elaborate song and dance routines with elegant costuming. One might be tempted to compare these shows to the drag shows in the US, but in these shows the performers are not just taking on a female persona; many of them identify as women.
See more information about Calypso in Bangkok: Calypso Cabaret Show
The lifestyle of the kathoey varies as well. Mostly though, the kathoey live like other Thai people. They work as hair dressers, film makers, sex workers, waitresses, models, and other jobs that you would find any woman.
They have romantic relationships and are allowed to marry. Kathoey, like other trans people, are just that. People.
Kathoeys are more visible and more accepted in Thai culture than transsexuals are in other countries in the world. Several popular Thai models, singers and movie stars are kathoeys, and Thai newspapers often print photographs of the winners of female and kathoey beauty contests side by side.
The phenomenon is not restricted to urban areas; there are kathoeys in most villages, and kathoey beauty contests are commonly held as part of local fairs.
Kathoey have easy access to hormones and surgery. Local chain drug stores can carry as many as 23 hormonal preparations, all available (without a doctor’s note) over the shop counter.
Many dress as women and undergo a wide range of “feminising” medical procedures such as breast implants, hormones, silicone injections, or Adam’s apple reductions. That’s why a Kathoey is hard to distinguish.
would any Thai man want to be a woman? We might here answer ‘yes’ more readily than for many other societies; Asian or otherwise. Thai women occupy a more advantageous position in Thai society than elsewhere in Asia. These last authors remark that Thai males tend to revere females, referring to them as the ‘peht mae’ (gender of mothers).
Conversely, all things worthy of reverence are conceived of as feminine; for example a great river is called mae-nam (‘mother-water’). Traditionally, a man’s family has paid a bride price upon a son marrying, while property inheritance has traditionally been through the daughter.
It may be that the changing nature of womanhood has helped kathoey in efforts to be accepted as female.
Once a young boy has become discontented about his gender identity, he finds that modern Thai society opens up for him a clear developmental path. On one hand media personalities – TG actresses, singers, models, beauty queens – provide role models to aim for.
Nearer at hand an older peer or often a fellow student, may provide first social contact with a kathoey.
These older role models can provide the young kathoey with important information; initially regarding hormones, clothes, make-up, beauty contests etc, and perhaps later on extending to information about employment and surgery.
A word here about economics. A nose operation can cost from US$240. Sex reassignment surgery can cost from US$950. To save even that money one needs a job while salaries are low in Thailand.
The costs of surgery therefore act to draw kathoey to the cabarets and bars for work. The cabarets are often unobjectionable spectacles of dance, music and costume for tourists. While the salaries are small much more might can be earned from tips given by tourists taking photos.
The bars, on the other hand, provide a vehicle for prostitution. Both provide a way of earning the kind of money that make surgery possible. Also with hope of meeting a Westerner who might take her to his country, where, apart from anything else, she might be able to achieve legal status as a female and marry. That’s the ‘kathoey career’ for most Kathoey.
Like many countries, Thailand’s military has conscription by way of a lottery. In draft day, all men over 21 – even those who no longer consider themselves to be male – are required to attend the conscription lottery once. In practice, kathoey ladyboys are almost always exempted from military service – but they are still required to attend the lottery.
Thai law forbids people changing their gender on national identification documents, so all trans women remain officially recognised as male. These annual scenes of beautifully dressed women sitting among crowds of more conventionally male-looking recruits draws many eyes.
Today, the term kathoey is used to cover a broad spectrum of identities. This ranges from gay men that are more effeminate and may take on a persona in performance, not unlike drag shows in the US, to trans women.
It is important to note that identifying as kathoey, like other trans identities, is not dependent on the state of the body. Some kathoey undergo hormone therapies and gender confirmation surgeries, others do not.
As far as the Thai government is concerned, male to female transsexuals are legally men. Transsexuals cannot legally change their gender on their ID cards.
Transsexuals’ birth gender must remain the same on their passports as well, a fact which can lead to confusion and unwanted scrutiny at border crossings and immigration checkpoints.
Thailand also prohibits same sex marriage, meaning that when the partner of a transsexual dies, the deceased’s family receives any and all assets.
Of course, there are Calypso Cabaret and Tiffany’s Show Pattaya, but if you don’t want a big show and the seedy underbelly of ladyboy beckons, ladyboy bars is your best bet.
At Nana Plaza in Bangkok or Pattaya Walking Street, you can find some real ladyboy bars. There are things, or rather, for everyone – from higher, more sports bar staff to Japanese female student type pole dancers.
Ladyboy guide overview: Everything you want to know about ladyboy
Meeting with ladyboy: How to Spot a Real Thai Ladyboy, Kathoey in Thailand
Ladyboy show: Top 10 Thailand Shows & Cabarets Shows
Ladyboy Tour in Bangkok, Phuket and Pattaya
Evening Calipso Show with Thai Set Dinner
Evening Pattaya Tiffany Show VIP Seat
Southampton, N.Y. — Samuel Longstreth Parrish, Southampton’s best-known benefactor, was a successful Quaker attorney from Philadelphia, built what is today the Art Museum at Southampton.
Parrish developed a taste for art of the Italian Renaissance as a student at Harvard College and began collecting art seriously in the early 1880s, just after moving his successful law practice from Philadelphia to New York.
During that time, he regularly visited his family home in Southampton. The Village, a popular summer resort then as it is now, quickly caught his interest and Parrish soon became an active member of the community.
During a trip to Italy in 1896, Parrish decided to build a museum in Southampton to house his rapidly growing collection of Italian Renaissance art and reproductions of classical Greek and Roman statuary.
He bought a small parcel of land next to the Rogers Memorial Library on Jobs Lane and commissioned a fellow Southampton resident, the architect Grosvenor Atterbury to design the building. Trained at the Ecole des Beaux-Arts in Paris, Atterbury continued to work on the design of the Museum over a period of nearly 20 years.
Developments at the Museum slowed considerably after Parrish’s death in 1932, along with the Great Depression and war years that followed. By 1941, the Village of Southampton accepted the building, grounds, and founding collection as a gift from Parrish’s estate, and the Museum was eventually renamed Parrish Memorial Art Museum.
In 1952, Rebecca Bolling Littlejohn, a civic-minded Southampton resident with a deep interest in the arts, became President of the Parrish Board and took on the overwhelming task of reviving the Museum.
Under Littlejohn’s leadership, a heating system was installed in 1954, allowing the building to remain open year round. That same year, the Museum was granted a charter from the New York State Board of Regents, recognizing it as an educational institution, and the name was changed to The Parrish Art Museum, Inc.
Perhaps most important, Littlejohn believed the Museum should look not only to the past civilizations but to American artists—especially those who had lived and worked on the East End of Long Island.
She generously bequeathed her impressive collection of American paintings, including works by William Merritt Chase, Thomas Moran, and Childe Hassam, to the Parrish. This became the core of the outstanding collection of American paintings held by the Museum today. In 1957, the Museum mounted its first major exhibition: a retrospective of works by Chase.
By the mid-1980s it was clear that the Parrish had outgrown its original building, which lacked the basic infrastructure necessary for a professional museum as well as the space to showcase both its collection and temporary exhibitions.
In 2005 the Museum purchased 14 acres in Water Mill, New York, and the Board of Trustees selected the internationally celebrated architectural firm Herzog & de Meuron to design a new and expanded building. In July 2010 the team broke ground and the 34,400 square-foot building opened to the public November 10, 2012.
The building they left behind in Southampton was the property of the Village of Southampton. Losing a major art museum and having a beautiful empty building on its hands, the Village did quite a bit of soul-searching to maintain the coherence of the historic building and the values it represented.
The town leaders agreed that a multidisciplinary, mixed-arts use for the building would not compete with the Southampton Cultural Center on Pond Lane, another key element of the arts district. Rather, they said such a facility would complement the offerings at the Cultural Center.
The Parrish Gallery they left behind, built in 1897, became the Southampton Arts Center. Today, this art center provides a dynamic and historic venue to present the highest quality programming to our entire community through partnerships with a diverse slate of world-class artists, performers, educators, and cultural institutions.
Southampton Arts Center offers year-round programming includes visual arts, film, live performances, talks, wellness, sustainability, and children’s activities.
They present and produce inspiring, inclusive, socially and regionally relevant programs across all disciplines – welcoming, connecting, and collaborating with the diverse members of New York’s East End community and beyond.
Influenced by the rich cultural tradition and artistic history of the region, Southampton Arts Center drives cultural engagement and economic vitality.
Their goal is to be distinguished as a destination for multigenerational audiences to have artistic, educational and transformational experiences. Using the arts as a unifier they continue to provide a platform for the many voices who comprise our region creating mutual understanding and effecting positive change.
The Southampton Arts Center’s mission is not just to promote art. The foundation works to encourage creative expression, familial unity, and community. Its galleries often show East End artists and its theater features performances, movies and live music.
The building is surrounded by lush lawns on which children and adults can gather in the spring and summer months for musical treats or for art-centered workshops.
It’s an interactive cultural center, really. Michele Thompson, director of the Center, has big plans to make the space more “organic” to the community.
“We’re working on making modern amenities happen for the Center,” Thompson says. “We really need to accommodate the flexibility of artists now.”
Enthusiastic and extremely knowledgeable, Thompson is devoted to the betterment of the Center. She wants to bring the Center’s facilities up to date and to also bring more natural sunlight into the second gallery space as a means of balancing art and the outdoors.
Wanting to reinvigorate the space, she’s partnering with institutions like the Bay Street Theater, the Hamptons International Film Festival (HIFF) and the Miriam and Ira D. Wallach Gallery of Columbia University, to name a few.
She’s added staff and she’s had over 10,000 visitors flock to the Center from July to August 2014 alone. Thompson will soon announce upcoming corporate sponsorships.
The space retains its historical integrity with beautiful features like its brick façade and walls, the wrought-iron side door and gates, and the interior ceiling’s plaster friezes. Inside, you may notice how the pure white walls in the gallery are kissed by soft, warm studio lights that shine on artwork of vastly different sizes and content. It is truly a calm, clean, and spiritual environment.
Greco-Roman busts adorn the shady lawn just beside the entrance, an example of Samuel Parrish’s passion for iconographic art and serious art collecting. This is display enough to convince anyone to further explore the establishment.
Or it could be the last thing that you visit—coming out of the museum, you’re drawn to peek behind the brick walls overlooking Jobs Lane. The busts will be there, lined up like tombs at a national cemetery, waiting ever patiently for your admiration.
The Southampton Arts Center is located at 25 Jobs Lane in Southampton. Call 631-283-0967 or visit southamptoncenter.org.
Hamptons: Quaker Lawyer’s Personal Gallery Now Public (Sept. 1, 2023)
New York, N.Y. — On Sunday, September 8th, 2024, the Southampton Arts Center will host an unforgettable evening of culture, creativity, and charity.
Organized by the renowned Foundation HUF — the Haitian United Foundation — this exclusive event will bring together the Hamptons‘ elite for a night celebrating the arts while raising funds for a noble cause.
This will showcase works from some of the most talented and visionary artists. As guests peruse the vibrant and thought-provoking pieces, they’ll have the opportunity to engage with the creators and gain insights into their artistic journeys.
At 6:00pm, the main event kicks off, featuring the acclaimed “Let Music Band.” This live performance promises to captivate the audience with a unique blend of genres, delivering a musical experience that will resonate with everyone in attendance.
Adding to the ambiance, music will also be provided by the talented Du Toni, ensuring that the night is filled with rhythm and soul.
The evening’s festivities will be hosted by a distinguished guest, creating an atmosphere of sophistication and elegance.
Attendees will also be treated to an exquisite culinary experience crafted by the renowned Chef Duprat.
Known for his innovative approach to cuisine, Chef Duprat’s menu for the night promises to be a highlight, offering a blend of flavors that celebrate cultural diversity.
Adding to the allure of the event, the celebrated artist Queen Georgy will make a special appearance, providing guests with a rare opportunity to witness her creative genius firsthand.
In addition to art and entertainment, the evening will be a significant fundraising event. With tickets priced at $250, the evening is dedicated to supporting the charitable initiatives of Foundation HUF, Inc., a nonprofit organization known for its commitment to humanitarian causes. Tickets are available on Eventbrite.
Guests will have the opportunity to contribute to these efforts, ensuring that their presence at the event makes a difference in the lives of others.
Guests are encouraged to dress in elegant white, embodying the classic Hamptons aesthetic.
The Southampton Arts Center is located at 25 Jobs Lane in Southampton, N.Y. (11968), on the fashionable East End of Long Island.
For more information, visit bat.belmage.com or call 516-292-4400. For event info, call 855-446-7888. Tickets are available thru Eventbrite @ Haitianunitedtd@gmail.com. Tax-deductible donations may be made by Zelle contribution to Haitianunitedtd@gmail.com. For more information section visit www.HaitianUnitedFoundation.org and click on the link to purchase tickets.
The organization enthuses: “Join us for a night where art meets philanthropy, and culture is celebrated in its most vibrant forms. This is an event not to be missed—an evening where your presence supports a greater good!”
Southampton Arts Center Night of Culture: Art, Music, and Philanthropy (Sept. 1, 2024)
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The Supreme Court as composed June 30, 2022 to present.
Front row, left to right: Associate Justice Sonia Sotomayor, Associate Justice Clarence Thomas, Chief Justice John G. Roberts, Jr., Associate Justice Samuel A. Alito, Jr., and Associate Justice Elena Kagan.
Back row, left to right: Associate Justice Amy Coney Barrett, Associate Justice Neil M. Gorsuch, Associate Justice Brett M. Kavanaugh, and Associate Justice Ketanji Brown Jackson.
Credit: Fred Schilling, Collection of the Supreme Court of the United States
Editor’s Note: This article has been published in the interest of helping our elderly neighbors who may be trapped in isolation.
Tokyo, Japan — In Japan, the phenomenon of “kodokushi,” or unattended deaths where individuals pass away unnoticed for days or even weeks, is becoming increasingly visible in the media.
This troubling trend is a reflection of growing social isolation, where many find themselves disconnected from society and their families.
One woman, who specializes in cleaning the homes of the deceased, has taken an unconventional approach to raising awareness about this issue—by creating detailed miniature dioramas that capture the scenes she encounters.
Kojima Miyu is an employee of a firm specializing in cleaning apartments and houses of the deceased. She was born in Saitama Prefecture in 1992.
In 2016 she started building dioramas of residences where people have died unattended. Her works have garnered broad attention in the domestic and foreign press and on social media. In a recent article published in Japanese, Miyu writes:
“In recent years, the tragic stories of people who die alone, their absence unnoticed until much later, have grown alarmingly common. Despite frequent media coverage of “kodokushi,” the public often remains fixated on the morbid details, failing to see the broader issue of social isolation that could affect any community.
“With nearly 30,000 unattended deaths each year in Japan, the issue has only recently gained wider recognition.
“When I began working at To-Do Company in 2014—a firm dedicated to cleaning the homes of those who have passed away—few understood what “kodokushi” meant, let alone knew that my line of work existed.
“Our work is as emotionally taxing as it is necessary. When someone dies alone, we are called in to clean and restore their living space.
“This involves more than just removing trash and disinfecting the area; we carefully sort through the personal belongings left behind, passing any items of sentimental or monetary value on to the family.
“We also provide emotional support, offering condolences and listening to the stories of the deceased from their loved ones.
“Realizing that few people understood the grim reality of “kodokushi,” I sought a new way to communicate the gravity of this situation. In 2015, our company participated in the Endex Japan funeral trade show, where I attempted to educate visitors on the rising number of unattended deaths.
“To my surprise, many dismissed the idea that such tragedies could happen in a society like Japan’s. This skepticism led me to explore a more visceral method of communication—creating miniature dioramas based on my experiences.
“Though these dioramas are not exact replicas of specific scenes, they are carefully constructed composites that capture the loneliness and desolation that accompany unattended deaths.
“I began this project with no prior experience in miniature making, learning through online tutorials and trial and error. These small models became powerful tools to evoke empathy and raise awareness.
“One of my first creations, titled “Kodokushi: Age 50-60,” highlights the commonality of social disconnection among middle-aged individuals. This age group is particularly vulnerable to dying unnoticed due to lapses in communication with family and neighbors. The diorama is a stark reminder of the importance of maintaining social ties, even through simple gestures like phone calls or visits.
“Another piece, “Kodokushi Due to Heat Shock,” illustrates the dangers of sudden temperature changes, which can lead to fatal conditions like heart attacks or strokes.
“This model serves as a cautionary tale, emphasizing the need for preventive measures in the home, especially during the winter months.
“Finally, “Kodokushi in a Hoarder’s Room” challenges viewers to look beyond the clutter and understand the emotional and psychological turmoil that can lead to such living conditions.
“This scene is a testament to how life’s hardships can push anyone into isolation and neglect.
“The COVID-19 pandemic has changed the nature of my work, with more people spending time at home and fewer families needing assistance in clearing out belongings.
However, the demand for trauma cleaning, especially in cases where the cause of death is unknown, has increased. This has reinforced for me the unpredictability of life and death.
“It’s important to challenge the notion that “Kodokushi” is inherently negative. Many of the deceased I encounter lived full lives and maintained strong relationships until the end.
“The term “jitakushi,” meaning death at home, might better capture the reality that not all unattended deaths are marked by loneliness or isolation.
“I hope that my dioramas and this article encourage others to reach out to their loved ones and cherish the connections they have. Life is fleeting, and we should strive to live each day without regrets, appreciating the moments we share with others.“
Kodokushi Unveiled: Miniature Models of Japan’s Social Isolation (Aug. 30, 2023)
TAGS: Unattended Deaths, Kodokushi, Japan, Social Isolation, Miniature Dioramas, Trauma Cleaning, End-of-Life Care, Public Awareness