News article from the BBC: Chief Rabbi publishes first LGBT guide for orthodox schools

An adapted summary in the Jewish Chronicle: the Chief Rabbi's groundbreaking message to Orthodox schools on LGBT+ pupils

Background: Ephraim Mirvis is the Chief Rabbi of the United Hebrew Congregations of the Commonwealth. This guide therefore applies to all Jewish Orthodox schools in the Commonwealth (the United Kingdom, Canada, Australia, New Zealand, India, and so on).

Needing a down weekend, the spouse and I settled in to watch TV, and discovered that Starz' series, Counterpart - spoiler warning, is one of the better series we've seen in quite a while, let alone among science fiction stories. Though The Expanse wins for sheer SFX pyrotechnics and breadth of technical scope, it's wonderful to sit in for a deep, thoughtful drama like Counterpart. The series focuses on character, story, world-building, plausible plotting, and avoidance of the usual alternate universe cliches. Counterpart is a genuine Cold War Noir spy thriller which happens to occur in a science-fictional setting, and the writers have managed to avoid or refresh the tropes of both genres in ways that ask interesting philosophical questions. It's quiet, slow, and meticulous in a way that most current television writing seems to have abandoned. There's tense action, but no primary colored-supersuits, no scary aliens, no gaudy laser beams, just... a split of history that leaves two distorted mirrors, reflecting each other.

J.K. Simmons' performances in the roles of Howard (Prime) and Howard (Alpha) are mesmerizing in a way that outmatches Tatiana Mazlany's Orphan Black characters. There's a slow unveiling of the respective parallel worlds' history, with continuing evolution and interplay of characters and relationships, which brings to mind the best of series like The Wire or The Americans.

To the extent that Counterpart borrows from literary canon, the most significant underlying influences are John LeCarre's find-the-mole games in the Smiley series, China Mieville's The City and the City, and Philip K. Dick (particularly, The Adjustment Team).

The really guilty pleasure, and the lightweight pressure relief from the grimdark of Peaky Blinders or Counterpart, was a spit-and-giggles Canadian production called Letterkenny. I didn't have high hopes, but the 22-minute episodes are exactly what my brain needed to get over the daily doses of blah.

The opening credits of each episode refer to the fictional rural Ontario town of Letterkenny as follows:

There are 5,000 people in Letterkenny. These are their problems.

The plots are barely coat-hangers, with most of the comic tension spent on interactions among the Hicks (farm people), Skids (creative-but-disaffected Internet subculture wannabes), hockey players and Christians - a/k/a small-town tribes recognizable anywhere in North America. The portrayals are caricaturized enough to be both humorously offensive and humorously sympathetic simultaneously. [Could be some toxic racial/gender meta, but mostly, the treatment of women and minorities is in keeping with the setting.]

The banter, and the utter Spock-like deadpan of Wayne (the toughest guy in Letterkenny)'s Hick character are the stars of the show. Some people have complained that the rapid-fire use of heavy dialect in the dialogue is impenetrable; that actually helps with comic timing. When your brain catches up to what was actually said, it's like receiving a two-by-four between the eyes of funny. I've got a bit of home-team advantage in the midwestern North American dialects area, and usually get it on the first run, but it's good enough to re-watch happily if the spouse needs a do-over. Transcripts are available, but watch the show before looking.

We now have a new battery of in-jokes and gag lines to add to our secret spousal language - "Hard no.", "That's what I appreciates about ya", "...and he was never the same after that."

There's really nothing quite like Letterkenny, and it's exactly smart/dumb enough to make fantastic comedy. Two seven-episode seasons are currently available on Hulu.

So this is the dumb post of the day. Bear with me.

All I can say about art (like paintings and sculpture) is "is cool", "I like it", "it makes me sad" and look like a complete idiot totally out of place. (On the other hand, I can deliver a nuanced analysis of graffiti and hip hop so yeah it's all about the background.) I want to take my partner to a museum and start saying fancy shit like "oh you see the lines here these remind me of Donatello's style of light and shadow". Like I know it's possibly the dumbest thing to want but I really would like to learn more about it and be able to give informed opinions on art pieces.

Anyway, any recommendations? Maybe some youtube videos or some books? Or should I just say that everything past 1400 is derivative?

i had a dream,
i saw my body
as i stood watching
outside of it
an open door
i had a guest,
a little blondie
baphomet
she crept quiet
up to my bed
laid her hands
upon my chest
through groggy eyes
i saw an angel.
took her hand,
she made me promises.

i sold my soul
and said lets glo
she passed a blunt
said i dont know
she insists
i took a hit
i felt a burning
at my lips
i let a cough
the fuck is this?
opened my eyes
it was a kiss
a little smirk
she bit my lip
she drew a knife
she slit my wrist

she cut her own
said it's a pact
now we're enslaved
the bond intact
the blood'll flow
beyond the cracks
and trickle down
and leave a path
and when we're old
we can look back
say what a life
and have a laugh
i'll be your wife,
the better half
you'll die, i'll write
your epitaph

i had a dream,
i saw her body
bleeding through a
wedding dress
she smiled still
her face was pale
she fed me love,
i starved depressed
an angel or
a siren who would
sing to me in
soft caress
i never thought
she'd be my death,
my little blondie
baphomet

bishop.

I have knowledge of the basic concepts of programming in general and html and some very basic knowledge of javascript, but this specific task is proving a little beyond me. I'm actually using tampermonkey, in case that matters.

www.bricklink.com is a site to buy Lego from private sellers. By default, when looking at a shop's listing of items, it shows 25 per page. I would like to automatically switch to 100 per page every time.

Here's a randomly selected store page (no affiliation) at the default 25 per page:

https://store.bricklink.com/TheBricky#/shop?o={"itemType":"P","catID":"18","showHomeItems":0}

Now, same page set to display 100 per page. Note how "pgSize" is added to the url but doesn't appear by default:

https://store.bricklink.com/TheBricky#/shop?o={"pgSize":100,"itemType":"P","catID":"18","showHomeItems":0}

What I would like is for pgSize to be set to 100 only IF

"shop" appears in the url

AND

"pgSize" does not appear in the url OR "pgSize" does appear in the url but does not equal 100.

Since Bricklink remembers pgSize per shop page per session, once pgSize is set to 100 for a particular shop greasemonkey doesn't need to do anything. Intercepting the url before the page loads would be nice but unnecessary since loading is fast and I'm not worried about bandwidth.

I tried making this but wasn't sure how to input what I'm trying to test for in the url. Of course now that I've thought about it some more it seems the task is more probably difficult than I thought it would be at first. Any help would be appreciated.

EDIT: This comment below seems to be working, although the way Bricklink makes their urls feels funky at times.

howdy pardner!

welcome back to my emo rap deep-dive series! for those just joining us, i'd encourage you to go back and check out chapter one: sprite. and chapter two: dirt. first.

so why am i even writing this to begin with? if i'm being honest, it's not all entirely educationally-motivated. i've been really wanting a way to share my favorite genre of music with people (maybe it's a subconscious testing of the waters before i begin to record my own music?) and collect their thoughts. but every time i went to share a link in ~music, i'd deliberate over and over, "what should i share?" it's been so hard for me to pick one single song that's all-encompassing and anthemic (is that even a word? i keep using that word) of the genre as a whole.

so instead of spamming ~music, or having to cherry pick a small number of tracks, i thought i'd use this as an opportunity to provide a little historical background and, hopefully, maybe, inspire a new appreciation in a subgenre that very often gets overlooked, or thought of as basic / whiney / overproduced.

that said - hopefully you've all been following along, and i'll stop stalling! let's dive right into chapter three of our emo-rap deep dive - dirty sprite. or, how did we go from OutKast to Lil Pump?

let me open with a question. what do the following have in common?

polish composer and piano virtuoso frederic chopin
controversial american rapper lil pump
american actor and i guess also musician? corey feldman

you guessed it!

opiates.

all of the present characters used opiates in their lifes, typically throughout the better parts of their creative years. chopin was using medicinal opiates in order to aide with his tuberculosis. feldman fell into and has since (i believe) fought his way out of a heroin addiction. lil pump sips promethazine by the bottle just to party (hyperbole. don't drink prometh by the bottle) which is a prescription medication often used as a sedative or used to prevent coughs or nausea. often sold as a mixture of promethazine and codeine, itself being an opiate. if you've seen a rap music video in the past two to three years, you may have seen this bottle somewhere throughout.

where do all of these drugs come from?

the answer to that question actually holds a lot of relevance to the history of emo rap itself, but to answer it, we first have to go all the way back to the 90s.

off we go!

believe it or not, drugs as a matter of discussion weren't always ever-present in the rap game. from the late 70s to the early 80s, only about 10% of all rap songs mentioned drug use, whereas in the early 90s, we see that number jump waaaay the fuck up to 45%, to eventually hit 69% by 1997 [source]. this is all taking place around the same time that we saw the decline of major urban neighborhoods due to the effects of white flight, decreasing the amount of tax dollars flowing throughout these areas, and leading to a decrease in public services that would include decreased effectiveness of, say, fire brigades or police squads.

with poorer households now making up a majority of these neighborhoods, the illegal drug trade quickly grew in popularity as a way to make money on the business end, and a way to escape the day-to-day on the client end. a plethora of burned, broken into, or otherwise abandoned houses became a seemingly limitless amount of places to go about the production of drugs - most notably, crack cocaine. these houses came to be known colloquially as trap houses, and the music inspired by this phenomenon, trap music.

this sound grew it's roots in the early 90s thanks to the early projects out of the south like UGK (title: Cocaine in the Back of the Ride), Three 6 Mafia (title: We Got Da Dope), and The Showboys (title: Drag Rap). coincidentally, the showboys are actually a group out of new york, though gained the height of their popularity touring around southern states.

as we head into the mid-nineties/early-naughts, we see the emergence of a few acts that really take this sound and run with it. setting the roots for the coming commercial explosion of the trap sound, we see examples like OutKast's "Southernplayalisticadillacmuzik", Lil Jon's "Who You Wit". we're gonna see lil jon's name pop up a few times as we go through this.

taking the reigns from these majorly influential projects, we next see T.I. come to the stage for his second album "Trap Muzik" in 2003. much to the surprise of the industry (his debut album did not go over all too well), Trap Muzik debuted at number 4 on the Billboard 200, sold over 100k copies in it's first week, and was later in 2012 called one of the classic albums of the last decade by Complex. the album features many early hits from T.I. like "Be Easy", "24's", and even some tracks with producer credits from Kanye West like "Doin' My Job". still sticking to their guns, pioneering the trap sound, we continue to see records from Lil Jon and Three 6 Mafia taking to the radio such as, respectively, "Get Low" and "Stay Fly"

paving the way towards the 2010s, we begin to see the rise of artists like Gucci Mane and his debut album "Trap House" (aptly titled eh?) hitting the Billboard 200 with tracks like "Icy", Young Jeezy with internationally-charting tracks like "Soul Survivor", and most notably in modern trap, producer-powerhouse Zaytoven with work on tracks like "Papers" x Usher.

so we skip forward 5-7 years and things look...different.

instead of having chart-toppers like "Smack That" x Akon, "Hey There Delilah" x Plain White T's, or "Umbrella" x Rihanna

we see a lot of love for things like "First of the Year (Equinox) x Skrillex, "Sail" x AWOLNATION, and most importantly by far, "Versace" x Migos which was quickly popularized by Drake's remix. the rest of 2013 serves as the absolute corner stone of modern trap music seeing the success of songs like "Swimming Pools (Drank)" x Kendrick Lamar, "Started From The Bottom" x Drake, and of course, the absolute trap anthem, "Love Sosa" x Chief Keef.

in that avalanche of tracks, we get the recipe that will come to make up the bulk of today's trap music:

1. edm-inspired instrumentals
2. triplet meter rhyme
3. heavy 808s and crystal clear hi-hats.

over the next few years, we steadily start to see these three ingredients come together to produce some absolute bangers leading up to the trap zeitgeist.

in 2014:
"Fight Night" x Migos
"Black Widow" x Iggy Azalea
the ever-memed "Lifestyle" x Young Thug

in 2015:
the year of Fetty Wap with tracks like "Trap Queen", "679" on the Billboard 100
"No Type" x Rae Sremmurd
"Flex" x Rich Homie Quan

in 2016:
"Panda" x Desiigner
"Broccoli" x DRAM
Drake jumping back in with "Jumpman"
"Down in the DM" x Yo Gotti

and then, finally, we arrive at 2017 - the year that caused the internet's busiest music nerd anthony "melon" fantano to pose the question "have we reached peak trap?". up until recently, the term "trap music" was actually not all too commonly associated with rap music - instead referring most commonly to a subset of edm with (still) heavy 808s, thicc bass drops, and dirty breakdowns. however, with the musical zeitgeist quickly moving to seat rap at the throne over rock music, and with the internet popularizing songs like "Ultimate" x Denzel Curry, "Flicka Da Wrist" x Chedda Da Connect, and "U Guessed it" x OG Maco, the term has now been absolutely overtaken as many rap fans find themselves infatuated with the sound. this causes the scene to absolutely explode throughout 2017 with songs like:

"Humble" x Kendrick Lamar
"Bad and Boujee" x Migos
"Bodak Yellow" x Cardi B
"Look At Me!" x XXXTentacion
and of course
"Gucci Gang" x Lil Pump

this year sees the debuts of several artists that are still dropping bangers today, like the previously listed Cardi B, Lil Pump, XXXTentacion (rest in peace), A Boogie wit Da Hoodie, and (again) of course, 6ix9ine.

analogous to the rise of screamed lyrics, heavy instrumentals, and prettyboy-frontmen of mid-late 2000s rock bands, we see the rise of trap music today.

now, the final question to be answered.

how do we get from rap songs with hedonistic lyrics, heavy 808s, and loud-personality frontmen, to a subsect of the genre that nearly predominantly speaks of subjects like death, addiction, loss, and suicide?

i'll see ya soon for the fourth and final installment of the emo-rap deep dive - chapter four: xanax sprinkles.

Edit: As @Bauke pointed out, apparently this feature already exists via tapping outside of the sidebar. I never even thought to try that.

I'm not sure if this is in the gitlab issues or not, but a cursory search suggested it's not. On mobile, if you tap the link to the most recent comment from the sidebar, you navigate directly to that comment just as on the desktop site, but the sidebar remains open and can't be closed without scrolling all the way back up to the top of the page. This is incredibly cumbersome and inconvenient.

Ideally there would either be a method of closing the sidebar from anywhere, or for the sidebar to close on clicking the link. I would imagine that the latter would be simplest.

I've been sick the last couple of days; cooped up in my dark basement apartment. I've been dying to get outside, but it's misting and cloudy, so I went to Starbucks drive thru and drove to a nearby park to sit and read. I opened all the windows and reclined my seat in the park's deserted parking lot. After a few minutes, a police car came up the driveway, pulled into the parking lot kinda fast and drove up to my car. I got ready to talk to him, but he averted course, drove around my car in a circle, glanced at my face (pleasant smile) and drove off again.

The whole situation left me feeling a little pensive. I'm a young-ish white woman in a ten-ish year old car, drinking tea and reading a book (though i doubt he got close enough to see that part) in a parking lot of a deserted park on a rainy day. How could the story have changed if I was a darker color and/or/and a different gender? Would that cop have still driven off? Possibly. Hopefully. Or would he have inconvenienced me? Questioned me, demeaned me, dehumanized me? Would he have given me the benefit of the doubt? If i got scared because of a lifetime of tense police encounters, would he have hurt me, tazed me, shot me?

I get the basics of managing risk. But having dark skin does not predispose us to be risky. Systemic oppression, un/official smear campaigns, mistrust, xenophobia, unequal opportunity, gerrymandering, propaganda have taught us that white girls in cars drinking coffee in a parking lot on a rainy evening are less risky than a black man in his home or his neighborhood or in his car drinking coffee in a parking lot on a rainy evening. And it hurts us all.

I haven't posted in a while, and I want to do my part; also, I wanted to tell this story, but not on Facebook. Thanks.