RE: mastodon.social/@heidilifeldma…

what have i been saying about credit cards… that they are the social welfare benefits you should be getting but are paying fascist capitalists to not have?

the most #antifa ish americans could do:

1. not let their kids be bamboozled with college loans and debt they will never be able to retire in bankruptcy thanks to Joe Biden’s last vote as senator.

2. get rid of personal credit cards

USA’s working classes are paying to not have social services with each student loan and credit card.

Heidi Li Feldman

2026-07-25 16:14:51

“When you open a new credit card, you necessarily give the credit card company your address. You probably expect that information to remain with your bank.
But when you open a new credit card or change your address on file, your address leaves your credit card provider, travels through a web of middlemen companies, and ends up with Immigration and Customs Enforcement (ICE), which can [use] that data with other pieces of information about your life without a warrant.” 404media.co/you-opened-a-credi…

You Opened a Credit Card. ICE Now Knows Where You Live

Here's how your personal address travels from your credit card provider, through middlemen companies, and ends up with ICE.

^{Joseph Cox (404 Media)}

#antifa #WWII #LGBTQI #history

"The Black queer icon who spied on Nazis, flew a WWII plane, & was also a vaudeville superstar

To fans, Josephine Baker was the ultimate sex symbol. But behind the scenes, she played a crucial role in the second World War.

Draped conspicuously in feathers and furs, photographer’s flashbulbs illuminating the phalanx of jewels around her neck, no one, least of all the Nazis, pegged Josephine Baker — Europe’s biggest star and the richest Black woman of her generation — as a spy. But that was the plot’s genius. And given the audacious chameleon’s ability to switch between globally famous sex symbol, queer icon, and polarizing civils rights advocate, few people were more qualified for the revolutionary gig than the famed 'Nefertiti of Now,' as Pablo Picasso called her.

Rags to riches tales rarely start slummier than Baker’s. Born Freda Josephine McDonald in 1906, her life began in East St. Louis, Missouri. Her mother was a half-Black, half-Apalachee laborer with three other children to raise on a 'colored' washerwoman’s pay, making every meal a struggle to obtain. Josephine would later describe dancing on street corners 'just to keep warm,' accompanied by Blues buskers begging for coins. As a 10-year-old, she experienced 1917’s bloody St. Louis Race Riots firsthand, watching white men hunt Black citizens publicly.

'We children stood huddled together in bewilderment, not being able to understand the horrible madness of mob violence,' Baker wrote years later. 'St. Louis represented fear, humiliation, misery, and terror, a city where in the eyes of the white man a Negro should know his place and had better stay in.'

The experience unsurprisingly motivated young Baker to get out of Missouri quickly. By age 13, she’d already dropped out of school and married a porter named Willie Wells. Their legal union lasted just a few weeks, with Baker ricocheting into the Black vaudeville circuit for comfort and capital. There, she collected two valuable assets: Blues singer Clara Smith, who became Josephine’s first performance mentor and 'lady lover'; and her second husband Willie Baker, whose last name she would keep for life.

Baker’s formative years in vaudeville taught her not only how to leverage sex appeal, but also the art of satire. A gifted physical comedienne, by 1923 she’d secured a slot in the famed jazz musical revue Shuffle Along, a landmark production that delivered Broadway’s first all-Black creative team.

The show, as touring often does, powerfully influenced Baker’s emerging queer identity. As Maude Russell, one of Baker’s fellow chorus girls, later told The Gay and Lesbian Review: 'Often… we girls would share a [boardinghouse] room because of the cost. Many of us had been kind of abused by producers, directors, leading men, if they liked girls. And the girls needed tenderness, so we had girl friendships, the famous ‘lady lovers.’ But lesbians weren’t well accepted in show business, they were called ‘bull dykers.’ I guess we were bisexual, is what you would call us today.'

(. . .)

The Paris of the Roaring 20s was hardly colorblind, but its thriving bohemia, hunger for “Black art” like jazz and Blues, and relaxed position on segregation made the city a welcome respite for Baker. As part of La Revue Negre, she joined the ranks of performers like Duke Ellington and Paul Robeson, all paid and treated better in Paris for the same work they’d battled to do anywhere in the States.

Baker’s rise in Paris was stratospheric. When the 19-year-old stepped onstage at the legendary Folies-Bergere wearing nothing but a bikini adorned with glittering rhinestoned bananas, the crowd hit such a frenzy that Baker needed a dozen curtain calls before the show could continue. Her now famous 'Banana Dance was, of course, a little racist, framing the Missouri native as some kind of exotic African beauty. But Baker had curated the act herself as a subversive wink at her very white, very European audience, and she was given sensational reviews in return. It was a feat she’d repeat in another iconic number, 'The Plantation Dance,' while androgynously styled in overalls and a tattered cotton overshirt.

For the next decade, Baker’s 'Star is Born' arc captivated not just Paris but much of the world. Her shows sold out. Her cropped hair became so fashionable that Baker went full Rhianna, selling branded cosmetics and hair goo to help young girls emulate their idol. She founded and headlined her own successful nightclub, Chez Josephine, and married a hot Jewish sugar tycoon, all while allegedly having affairs with Frida Khalo, Bessie Smith, and Colette.

But then came fascism’s rise in the 1930s. Though Baker had the protection of wealth, she was still Black, queer, female, and married to a Jew during the ascent of Hitler. Everything about the Third Reich felt infuriatingly familiar to the race riot survivor.

Baker joined the Red Cross as a pilot — yes, she herself flew whole planes packed with provisions over mountains during a war — before being recruited for espionage work by French Intelligence agent Jacques Abtey. Pretending to scout locations for a cabaret tour of the Iberian Peninsula, the pair (he posed as her ballet instructor) carried secret photos of German troop positions to British allies stationed in Lisbon. When she completed that mission with flying colors, it was decided Baker could use her celebrity for projects like charming state secrets out of vital foreign dignitaries at fancy parties, including Benito Mussolini."

lgbtqnation.com/2024/02/the-bl…