The Belair Lip Bombs, “Don’t Let Them Tell You (It’s Fair)”
I need you to hold me I need you to care I need you to listen They won’t understand Don’t let them tell ya Don’t let them tell ya Don’t let them tell ya Don’t let them tell you it’s fair
I see you look out the window I know you’re close to the brink A younger version of me I lie awake and I think So when you look in the mirror Tell me what do you see Starstruck, you gotta make your own luck And I’m making a woman out of me
Well I know they think I’m funny They’ve got all their money Look what I’ve become And just stop talking to me
They’re looking down upon me A metaphorical illusion of a mezzanine scene But don’t you quit that thing He’s just a rich cat, subtract the judgement from him And remember my name, remember my face Remember the place where I came And I’ll be out of your way
You’ve made it this far I’ll make you a star Hold onto my arms And let out all the grief in your heart
Well I know they think I’m funny They’ve got all their money Look what I’ve become And just stop talking to me
Well I know they think I’m funny They’ve got all their money Look what I’ve become Honey I’ve never felt this free
Well I know they think I’m funny They’ve got all their money Look what I’ve become And just stop talking They think I’m funny Got all their money But I don’t care Don’t let them tell you it’s fair
Russia has officially withdrawn from the European Convention for the Prevention of Torture. It is a logical step. It was abnormal that a fascist state which had trampled on all norms of law and morality formally continued to be among the signatories of this Convention.
Everything has now fallen into place. A state that employs torture on a scale comparable to that of Nazi Germany or the Stalinist USSR has finally brought its de jure status into alignment with its defacto reality.
I would remind you that Putin’s Russian Federation has murdered 200,000 to 300,000 people in Chechnya, 133,000 in Syria, and approximately 200,000 in Ukraine, including tens of thousands of women, children, and old people.
Pictured above are two of the latest Russian victims of Putin’s Gulag.
On the left is Alexander Kondratov, production designer for the miniseries Liquidation and winner of the TEFI and Golden Eagle awards.
Kondratov was originally from Moscow, but moved to Kyiv in 2012.
In May 2026, he flew to Russia to get a new travel passport (what the hell for, one wonders). He was arrested immediately upon arrival at Moscow’s Vnukovo Airport and charged with “high treason.”
There is little need to explain what “high treason” means in the parlance of Putin’s fascists. In Kondratov’s case, it consisted of “at least six posts” on the internet.
On 26 October 2026, Alexander Kondratov died in a prison hospital at the age of fifty-two.
When they arrested him, the Russian Gestapo broke his shinbone in two places and planted a kilogram of narcotics on him. He is currently being held in a cell designed for thirty-four inmates, which now houses thirty-five inmates.
The cell has a hole in the floor instead of a toilet. Kynev, who is on crutches, cannot use this hole and so has gone on a hunger strike.
The plight of these two men serves as a simple reminder: you must not be naive when dealing with a fascist state.
So here we are at last. After two years of Donald Trump’s Washington—the idiocy, the cruelty, the malice, the bullying, the bigotry, the hubris, the state violence, the monomania, the cowardice—it’s finally time for the president to make the first payment on the bill. Barring a catastrophic polling error (and when has that ever happened?), Americans seem set to deliver a colossal rebuke to Trump, who stormed into office last year ready to crack heads and is now doddering out the last days of his trifecta ranking asses.
The big political killer was Iran. Trump’s disastrous Middle East war fractured his coalition and doomed the country to a year (or more!) of terrible economic vibes. A week into the war, Trump’s approval rating was sitting north of 42 percent; it’s been slumping lower ever since. Nothing makes price-conscious Americans reach for their pitchforks like spiking energy prices.
But I think that the turning point in Trump 2.0 actually came a little earlier. The thing that convinced Trump he needed to beat a retreat on a core part of his domestic agenda was his fiasco in Minneapolis.
It’s only been a year, but it’s already easy to forget just how big a part large-scale state violence against Democratic protesters played in Trump’s plans in 2025. Over and over, the White House launched remarkable provocations against blue cities and states, from Los Angeles to Portland to Washington, D.C. These actions weren’t just intended to cow Democratic leaders. They were intended to stoke deliberate conflict between militarized agents of the state and people on the ground—conflict that Trump and MAGA could then repackage as content for their base.
Amid Trump’s many simultaneous assaults on the norms and laws that restrain the presidency, this content served a specific rhetorical purpose. In videos of riots and clashes with protesters, Trump’s government represented the forces of order, while those who opposed him were the forces of chaos. The law, Trump’s violence argued, wasn’t some bunch of buzzkill rules dorks and eggheads used to rein in great men like him. The law was pepper spray in an angry protester’s face.
Trump goes out of his way to start conflicts. He wildly exaggerates the horrors of daily life in blue cities. He sends the National Guard in a shock-and-awe show of force into those same places. In the protests and clashes that result, he tells them the only way they can err is by pulling their punches. You’ve got to teach these criminals, he says, the only way they understand. They spit, you hit. And “criminals” are whoever Trump says they are.
When he ordered ICE into Minneapolis, Trump was just following the natural progression of this plan. But the plan quickly met disaster. ICE’s clownishly brutal occupation of the city spurred ever-increasing organized resistance from locals, who tracked ICE vehicles and made their job consistently irritating and difficult—blowing their cover by following them with blaring horns and shrieking blowing whistles, organizing deliveries of groceries and other materials to terrified immigrants wouldn’t have to risk leaving their homes, and so on. And videos of irritated agents lashing out at annoying but law-abiding and peaceful protesters started to turn public sentiment against the occupiers—even before things went catastrophically wrong.
And then came the deaths of Renée Good and Alex Pretti. More than anything else, these two instances of shocking police violence against peaceful protesters turned the tide. Trump and Co. wanted a constant feed of videos of police administering street justice to hooligans; instead, Americans’ social platforms were suddenly full of videos of deadly violence dealt against—in Pretti’s case—a man who had literally tried to peacefully place his body between an agent of the state and the woman he was roughing up.
MAGA’s propaganda machine tried feverishly to smear these two dead Americans as domestic terrorists and would-be cop killers. But no one was buying it, and soon even they had to admit it. Not long after, the White House announced an about-face: They were heading out of Minneapolis. From now on, federal immigration enforcement would focus on the red cities and states that would cooperate with less fuss. The blue-city occupation strategy was at an end.
I don’t mean to oversell this. It isn’t as though Trump et al. have gotten significantly more careful about the violence the state wields: Others have died at the hands of DHS agents this year, including Lorenzo Salgado Araujo in Houston and Johan Sebastián Durán Guerrero in Maine this summer. And, as our Adrian Carrasquillo reported last week, Good and Pretti’s families have never gotten accountability from the officers who killed them.
But Minneapolis’s resistance still achieved something extraordinary: At a time when Trump seemed at his strongest and they seemed at their weakest, they managed to throw him off his violent agenda simply by standing up nobly as individuals and as a community against his designs. Maybe—probably?—voters will put Democrats back in power today, and Trump will never again achieve the level of unilateral state authority that he enjoyed last year. But even if they don’t—even if Republicans beat the odds and give Trump back more or less united control of Washington—Minneapolis still gives us the model: You resist with whatever you’ve got.
Security forces raid music festival near Vyborg: around 100 people detained for singing “songs in support of Ukraine” and “calling for regime change”
Police and special forces carried out a full-scale raid on a private “left-wing radical” music festival in a forest in the Leningrad Region’s Vyborg District, not far from the border with Finland, according to media outlets Baza and Fontanka.ru. According to state news agencies TASS and RIA Novosti, security forces detained around 100 event attendees and organizers.
State-run media outlets, citing law enforcement sources, report that the raid was prompted by “songs in support of Ukraine,” “calls for regime change in Russia,” and “widespread drug use.” Posters bearing Ukrainian national symbols were displayed near the stage, according to the reports. Drones were seized from attendees, who had been flying them “illegally” to film the event.
According to the security forces, the event had been taking place since 2023. The organizers kept the venue secret and only provided the location to attendees about a day before it began. Baza claims that the festival was previously called “NOZH” (“Knife”), an acronym that stood for “Unhealthy Lifestyle” (Nezdorovyi Obraz Zhizni).
Police footage of the raid
In footage released by Baza and other sources close to the security services, the predominantly young festival-goers can be seen lying face down on the ground with their hands behind their heads. DW reports that some of those detained were forced to speak on camera about using drugs.
Possible criminal are currently being considered, but no specific charges have been mentioned. As of this morning, the Interior Ministry and the Investigative Committee had not publicly reported on the evidence uncovered during the raid.
78.ru, a news outlet controlled by Izvestia, reported on the evening of August 22 that security officials had raided the private punk festival Day x Night near Vyborg, in Russia’s Leningrad region. According to the outlet, officers cordoned off the forest, searched tents, confiscated drones, and detained about 100 people.
78.ru and the Russian state news agency RIA Novosti claimed that festivalgoers performed “songs in support of Ukraine and a change of power” in Russia. Security forces — who called the event’s participants “left-wing radicals” — allegedly found “posters with Ukrainian symbols” and drugs among them. St. Petersburg’s police press service has not officially commented on the raid, and neither the festival’s organizers nor the bands that performed there have spoken publicly about what happened.
Footage published by 78.ru shows dozens of people lying face down in the forest near the tents and stage as security officials order them, “Get up slowly, hands behind your heads.” The video also captured packets of white powder, syringes, and latex gloves.
Later in the footage, one of the detainees stands by a table covered with items he calls “drugs of plant and chemical origin.” It remains officially unconfirmed whether the searches turned up any banned substances.
A source cited by RIA Novosti claimed festival participants had been flying drones to film in what is effectively a border zone with Finland.
RIA Novosti reported that authorities are deciding whether to open a criminal case but did not specify possible charges.
One of the musicians who performed at the festival told the independent Russian news outlet Mediazona, on condition of anonymity, that participants learned officers were coming shortly before the raid. According to the musician, “most of the force was used in the first few minutes”: “One acquaintance was asked about the organizers; he said he didn’t know, and he was kicked in the stomach and threatened with being taken behind a tent. I heard someone’s lip was split.”
One man, the musician recalled, was “hit with a weak electroshock charge because he resisted and refused to lie down the way officers wanted.”
The Mediazona source said officers “needled” festival participants and made homophobic jokes. “As if to say, we’re all dyed-haired gays here, and so on,” he said, giving one example. He said there were no “political flags or [Ukrainian] symbols” at the festival.
“Some people were pulled aside and asked provocative questions: “How long have you been in the movement?” The guys said, ‘We listen to music,’ which is true,” the musician added.
He also said that officials checked people who had traveled from other regions less thoroughly for drugs than they did people from St. Petersburg. After interviewing festivalgoers and copying their documents, officials began releasing them. According to the musician, “only one dealer was detained”:
He arrived shortly before the raid, and I didn’t see him on the first day of the festival. I don’t even think he’s part of the [music] community. The event was as friendly and even decent as could be. I didn’t see a lot of drunk people or drug users; there was a medical tent set up, and even rapid tests for STDs.
The Day x Night festival has run since 2023, with organizers revealing the exact location to participants only about a day before it starts. This year’s edition was scheduled for August 20–23 and featured punk bands from St. Petersburg and Karelia. The Telegram channel Baza claimed that the festival was formerly called NOZH, short for Nezdorovyi obraz zhizni (“Unhealthy Lifestyle”).
Banner Featuring “Little Stalin” Spotted on Ligovsky Prospekt
Bumaga spotted the “rap quotes” banner, featuring the refrain from Jubilee’s track “Little Stalin,” on Thursday. Our correspondent confirmed that the banner is still there today.
The banner has been attracting quite a bit of attention: passersby have been stopping, reading it, and taking snapshots, according to our correspondent.
Roskom who?
We'll do the job ourselves
A little Stalin sits inside each of us
He sits there inside
And says to you:
'Delete that tweet'
'Don’t do that—take back that like
Or the investigator will be at your door'
That’s how sweet it’s become to stay mum
A little Stalin lives inside each of us
“Little Stalin” is the sixth track on the album LIKHO (“Reckless”), released in November 2024.
Even Lunacharsky Street is so transparent Bicycles and horses race home On these streets, my love, I honed my style I touched the air with my hand Even Lunacharsky Street can be so gloomy and wicked at times And a cloud with a pointy beard delivers a delicious jolt And it groans languidly
There is nothing beyond the black sky And nothing will be first Perhaps the gods played a trick on you And scattered their plywood arrows in the corners Somewhere far away I take you without asking Somewhere far away I bury myself alive In letters and numbers I’m drowning and floundering With an artificial belly Like a clown in a circus
Upward and downward This is Real life This is The fleeting joy of a glance on the street A smile, warmth Your shadows kiss You don’t care, you keep going Leaving behind perhaps another life I can’t do it—this thought terrifies me so I can’t do it
There is nothing beyond the black sky And nothing will be first Perhaps the gods played a trick on you And scattered their plywood arrows in the corners Somewhere far away I take you without asking Somewhere far away I bury myself alive In letters and numbers I’m drowning and floundering With an artificial belly Like a clown in a circus
Upward and downward This is Real life This is The fleeting joy of a glance on the street A smile, warmth Your shadows kiss You don’t care, you keep riding Leaving behind perhaps another life I can’t do it—this thought terrifies me so I can’t do it
Amnesty International has published its annual Death Sentences and Executions report for the year 2025, with data showing a sharp increase in the number of executions carried out. At least 2,707 people are known to have been put to death by the state last year, up 78 percent compared to 2024. As our infographic shows, the death penalty continues to be quite widespread in Asia, with China, India, Thailand, Singapore and Indonesia, among others, employing it. The use of capital punishment is very rare in Europe: it only exists in Belarus, and Amnesty International notes that 2025 was the first year it recorded neither new death sentences nor executions since President Alexander Lukashenko assumed office in 1994. While Russia technically also retains the death penalty in its law, the country is considered abolitionist in practice, meaning no executions have been carried out in at least ten years.
In the Americas, the death penalty is also mostly a thing of the past, with the notable exceptions of Guyana, Cuba and the United States. Last year, the U.S. executed 47 people across 11 states, almost twice as many as in 2024 (25 executions). Florida alone accounted for almost half of these executions (19). Capital punishment is still more common in Africa and the West Asia. In 2025, Iran executed at least 2,159 people, more than double its 2024 figure and the highest number on record since 1981, and the Islamic republic has been consistently using the death penalty as a tool of political repression.
113 countries and territories around the world have abolished the death penalty completely, most recently Zambia. In 2023 and 2024, African nations Equatorial Guinea, Ghana and Zimbabwe abolished the death penalty for all but very serious crimes. 87 nations still have capital punishment on the books, but 24 of them are considered abolitionists in practice. In March of this year, the Israeli Knesset voted to expand its death penalty law in such a way that applies only to Palesinians and dismantles fundamental safeguards to prevent the arbitrary deprivation of life and protect the right to a fair trial, a decision condemned by Amnesty International. The NGO has called on Israel to repeal the decision.
A personal account of day-to-day life in Iran told through the calls of two Iranian sisters – one in the UK, the other in the Iranian city of Shiraz. Since the outbreak of war at the end of February, a near total internet blackout and a shutdown of international phone lines by the Iranian authorities has meant limited information has got out of the country. Despite the risks involved, the sisters have made recordings of their conversations which have been shared with the BBC. They discuss when the bombs land, the destruction of places they love and the realities of an economy that’s being brought to its knees. They struggle to sleep at night. Salaries don’t come through. It’s a roller coaster of emotions. But there are also moments of calm and comfort…a spot of dark humour and the scent of hyacinths.
Actors: Leila played by Lisa Zahra Gita played by Zahra Ahmadi
This Census chart shows changes in where Hawaiian and other Pacific Islander populations were living in 2010 and 2020.By 2020, more than half of Native Hawaiians (at the top left, in blue) were not living in Hawaii, something local Hawaiian leaders attribute to the high cost of living on the islands.
This week, Rafia Zakaria won the 2026 National Magazine Award in the category of Columns and Essays. The winning piece, “Water Pressure,” was published in Issue 150 of The Believer and is available to read in full on our website. It follows Zakaria’s father on his search for clean water in Karachi, Pakistan, where the mounting climate crisis has crept into all aspects of daily life. Zakaria discussed the prize and the celebrated essay with our managing editor, Ginger Greene.
THE BELIEVER: You won a National Magazine Award last night in New York for your essay, “Water Pressure.” What did it feel like to see this piece recognized in that way?
RAFIA ZAKARIA: It was a tremendous surprise… It is very difficult to place personal essays, but it is the personal story that can ultimately make an abstract issue—such as water scarcity in a faraway city like Karachi—seem as real as the heat wave that was happening in New York on the day of the award ceremony. I was so grateful to work on this project, and to have the freedom and latitude to explore what extreme heat can do to ordinary people in an ordinary megacity.
BLVR: Your story explores the many difficulties of procuring water and power in Karachi, in an ever-warming world. What inspired you to approach this subject? And what were some of the difficulties you faced as you developed the essay?
RZ: I feel like a lot of climate journalism focuses on the deterioration of beautiful natural environments and the loss of wild ecosystems. I wanted to focus on how extreme heat, as well as water and power scarcity, affect human relationships, how it erodes and corrodes the scheme of relations between people and the environment. Sometimes it is not possible to see how it is happening, when you are in the midst of dealing with these problems every day. But as someone who is in and out of Karachi, I was able to perceive these dynamics.
One of the difficulties I faced reporting this story was a lack of precedence for this sort of exploration. For instance, there is excellent and deep reporting on natural or man-made disasters and their aftermath. But there is less writing on persistent issues, like decades-long water shortages, where there is no single cataclysmic event on which to center a story. I wanted to show that the story of chronic scarcity can also be told in an impactful and interesting way.
BLVR: The piece opens with a vivid scene from your family’s neighborhood in Karachi, in which a man is angered when he notices your aunt receiving an overflow of water into her underground water tank, such that it’s wastefully flooding out onto the street. Their confrontation ends when your aunt begins to throw rocks at him to get him to leave her alone. I was curious: What was your first reaction when you heard this story? Was it relayed to you as a problem of “water envy,” as you call it?
RZ: I will admit that my aunt’s reaction was a bit extreme, but it crystallized how chronic scarcity can create levels of seething frustration that can bubble to the surface in absurd ways. The story was told to me in the context of: Is she OK? But actually no one facing this sort of privation day after day is really OK. Water is a mainstay of existence, so the fact that you can now have an iPhone but not access to clean water is a bizarre juxtaposition of privilege and paucity.
I also felt that my aunt’s actions put into stark focus what people likely want to do but usually don’t. I came up with the term “water envy” because I wanted to start creating a vocabulary for phenomena that are felt, but for which there are often no words. I think the phrase encapsulates how policing resource consumption becomes just another part of living in a neighborhood. In most cases people will not challenge each other to the extent they do in this instance, but that is why it is such an apt story: Both characters had reached the end of their rope.
BLVR: Water politics in Karachi are complicated. For one thing, there are the daily strategies middle-class Karachiites have developed to procure water, which involves pumping water from the main lines into private underground water tanks. Navigating the uncertainty of main-line waterflow has become a full-time job for your father, as you point out. At the same time, there are many more people who don’t have access to these “pump games,” because they can’t afford a private tank. They are forced to purchase water from private companies that hike up their prices. How has the situation with Karachi’s water mafia progressed since you reported this piece?
RZ: I think the situation is much more dire now, because the pressures have become more acute. The population has grown dramatically and grows further still on a daily basis. Temperatures have risen, owing to climate change phenomena like the heat domes I talk about in the piece. As a result, people increasingly have to resort to taking their chances and obtaining water without knowing its source or even if it is potable.
In the summer there are thousands of deaths that are ultimately caused by lack of clean water, but they are not often tallied under this category. As the heat index rises in Karachi, these situations are pushed to the limit and people—particularly the very old and the very young—begin to die. The water mafias are more entrenched and merciless now; they know how to throttle competition and work with street gangs and land mafias to ensure that the consumers in a specific area have no options but to pay them.
BLVR: As we approach the summer months, Karachi is already reaching excessively high temperatures. In early May, the city recorded a peak of 111 degrees Fahrenheit, the city’s highest reading since 2018. This heat, as you describe in your piece, compounds with power outages and water shortages, which seeds the ground for long-term public health crises. How are you feeling about the upcoming summer?
RZ: I dread the summer months for Karachiites. If you fall sick during the summer, it is hard to get reliable care in a timely fashion and, most of all, to find a relatively cool environment to recover in. Any illness could threaten survival. Since there is no easily available large-scale refrigeration in poorer areas, there is also a huge risk of eating spoiled food. There is no way of telling if something in a store fridge was left out for hours the night before, or if the energy source powering the fridge is reliable. So it’s Russian roulette all summer long.
This summer will not be any different. The political rift between Karachi and the rest of the province means that the city is constantly starved of resources and the federal government seems disinterested in the plight of the people that live there. Many Karachiites are the children of people who migrated from India in 1947 and hence distinct from Punjabis, who make up the majority ethnicity. All of these divisions make the situation one of constant chaos. People are living a bit of a Hobbesian existence there.
BLVR: How has the situation in Karachi shaped your relationship to your experience of the US? You recently moved to Salt Lake City in Utah, which is also in the midst of a climate-related disaster. Have you noticed any similarities between the two places?
RZ: Well, there is a war over water underway in Utah as well. Last week, three county commissioners in Box Elder County, Utah, passed a proposal to build a 40,000 acre data center in the area—that is twice the size of Manhattan. The residents, aghast at what their elected representatives have done, are now trying to organize a referendum that will stop the plan. If the data center is built, the project will suck up all the water left in the already drying Great Salt Lake. It is estimated that it will also increase nighttime temperatures by 8 to 28 degrees Fahrenheit.
This situation really reminds me of Karachi, and it is difficult for me not to feel a bit like a Cassandra. Utahns have little idea of what that sort of scarcity and extreme heat can do to the fabric of society. It transforms our individual and collective relationships with the natural environment, but also the relationships we humans have with each other.
May 21st marks Circassian Remembrance Day, or the Day of Remembrance for the Victims of the Russo-Caucasian War. This war, spanning from 1763 to 1864, resulted in the loss of independence for the North Caucasus region and, for the Circassians (one of the region’s indigenous peoples), in genocide and mass exile from their historical homeland.
In the 1990s, Circassian activists, public figures, politicians, and scholars successfully secured official recognition for this date as a day of mourning. Since then, two official narratives have coexisted in the North Caucasus, particularly in Kabardino-Balkaria, Adygea, Karachay-Cherkessia, and the Krasnodar Krai: one asserting the voluntary integration of North Caucasians into Russia, and the other describing a colonial war, genocide, and expulsion.
The state actively supports the first narrative in every way possible, while the second is methodically squeezed out of the public discourse.
Every year on May 21st, a mourning procession, comprising both walkers and horsemen, winds its way through Nalchik. They proceed along the central thoroughfare, passing the monument to Maria Temryukovna, the Circassian wife of Ivan the Terrible, which bears the inscription “Forever with Russia,” before continuing on to another monument: Psezhig (The Tree of Life), created in memory of the Circassian victims of the Russo-Caucasian War.
Since 2016, Ored Recordings has been releasing projects timed to coincide with this somber date. The liner notes for these albums remains unchanged: again and again, we speak of trauma, and of the immense difficulty in discussing it, as the state systematically closes off any space for dialogue. While in the early years we opted for highly neutral phrasing, since 2022, officials have begun banning commemorative events; consequently, finding the right words has become increasingly challenging. We are permitted to remember, mourn, or reflect only within strictly prescribed forms. Thus, cultural projects and musical releases serve as an insufficient, yet absolutely necessary, form of resistance against assimilation and suppression.
This year, we decided to shift our focus away from the trauma itself or the specific subject of the Russo-Caucasian War, choosing instead to present a cross-section of new Circassian music — music that is not merely being preserved, but is actively evolving.
Shyshagh (ЩIыщIагъ, meaning “underground” in Adyghe) offers a snapshot of an imagined Circassian underground scene, as curated by Ored Recordings.
Three artists have contributed their distinct visions of independent Circassian music to this compilation.
For this release, Cherim (Maykop born, Tbilisi based) has departed from his signature industrial hip-hop and hauntological ambient styles, recording two indie-folk ballads featuring lyrics that are at once simple and deeply poignant. The tracks contain echoes of both Soviet-era pop music and the lo-fi underground tradition exemplified by acts such as Low or Rivulets.
Temir (from Nalchik, based in Paris) is an electronic producer, collagist, and vocalist who translates Circassian aesthetics into the realms of deconstructed club, ethereal pop, and other forms of emotive avant-garde music. Ethnographic archives from the last century, along with rehearsal raw recordings from Jrpjej, served as the foundation for these qafe without dancing.
Two additional tracks come courtesy of duos featuring Timur Kodzoko (originaly from Nalchik, Göttingen based), a co-founder of Ored. From our archives, we unearthed an old rehearsal recording by Zafaq, a dormant Circassian Black Metal project. It is raw, instrumental bm-rooted in traditional melodies, yet one that explicitly rejects the aesthetics of folk metal. In 2020, the drums were handled by Amar Abazov, founder of the Zhest records.
The second track comes from Shkhafit (meaning “free” in Adyghe), a drone-folk project by Timur and his son, Astemir Kodzoko. It is a semi-improvised acoustic ambient piece performed on the shichepshin (Circassian fiddle), as well as various other string and wind instruments. It evokes the ghosts of an unfulfilled future and the spirit of new pshynatles-sagas. It is a soundscape where Mark Fisher visits Murdin Tesh.
Shyshagh stands as Ored Recordings’ most ironic and chaotic release to date. As yet another May 21st passes, we see no immediate light at the end, yet we remain ready to unite and carry on!
Cherim – recorded in Tbilisi, Georgia, in 2026. All music by Cherim Tsei. Production for the song “Pari (Nothing)” by Temir.
temir – recorded in Paris, France, in 2026. All music by temir. “Duguj” based on Jrpjej rehearsal recordings. “Zechir” based on archival Circassian recordings.
Zafaq – recorded at the House of Radio, Nalchik, Kabardino-Balkaria, in 2020. Timur Kodzoko – guitar Amar Abazov – drums
Shkhafit – recorded in Göttingen, Germany, in 2026. Timur Kodzoko – strings, bowed instruments, and effects Astemir Kodzoko – physharmonium and wind instruments
Cover photo: Tulip tree in the village of Golovinka, Lazarevsky District, Krasnodar Krai/Shapsugia. Photo by Lilit Matevosyan Cover design: Milana Khalilova Text: Bulat Khalilov (English translation by Bella Mirzoeva)
Source: Ored Recordings (Bandcamp). I have included the entire album here for your listening pleasure, but I would urge to download it from Bandcamp, paying what you can to Ored Recordings to support their fine mission. That’s what I just did. \\\\\ trr
In a strongly worded decision this week, a federal judge ordered that the Voice of America — its mission to provide news for countries around the world largely shut down for the past year by the Trump administration — come roaring back to life.
Whether or not that actually happens is anybody’s guess.
The government filed notice Thursday to appeal U.S. District Court Judge Royce C. Lamberth’s order two days earlier to put hundreds of VOA employees who have been on paid leave the past year back to work. Lamberth had ruled on March 7 that Kari Lake, who was President Donald Trump’s choice to oversee the bureaucratic parent U.S. Agency for Global Media, didn’t have the authority to reduce VOA to a skeleton.
The Voice of America was established as a news source in World War II, beaming reports to many countries that had no tradition of a free press. Before Trump took office again last year, Voice of America was operating in 49 different languages, heard by an estimated 362 million people.
Trump’s team contended that government-run news sources, which also include Radio Free Europe/Radio Liberty, were an example of bloated government and that they wanted news reporting more favorable to the current administration. With a greatly reduced staff, it currently operates in Iran, Afghanistan, China, North Korea and in countries with a large population of Kurds.
Lamberth, in his decision, said Lake had “repeatedly thumbed her nose” at laws mandating VOA’s operation.
Time to turn the page at VOA?
VOA director Michael Abramowitz said legislators in both parties understand the need for a strong operation and have set aside enough funding for the job to be done. “It is time for all parties to come together and work to rebuild and strengthen the agency,” he said.
Don’t expect that to happen soon. “President Trump was elected to eliminate waste, fraud and abuse across the administration, including the Voice of America — and efforts to improve efficiency at USAGM have been a tremendous success,” said White House spokeswoman Anna Kelly. “This will not be the final say on the matter.”
Patsy Widakuswara, VOA’s White House bureau chief and a plaintiff in the lawsuit to bring it back, said that “restoring the physical infrastructure is going to take a lot of money and some time but it can be done. What is more difficult is recovering from the trauma that our newsroom has gone through.”
It’s an open question whether the administration wants a real news organization or a mouthpiece, said David Ensor, a former Voice of America director between 2010 and 2014. “We don’t know — maybe no one does at the moment — what the future holds,” he said.
The administration’s efforts over the past year to bolster friendly outlets and fight coverage that displeases them offer a clue, even though Congress has required that Voice of America be an objective and unbiased news source. This week it was announced that Christopher Wallace, an executive at the conservative network Newsmax who had previously spent 15 years at Fox News Channel, will be the new deputy director at VOA. Abramowitz didn’t know he was getting a new deputy until it was announced.
Widakuswara wouldn’t comment on what Wallace’s appointment might mean. “I’m not going to pass judgment before seeing his work,” she said.
While Lamberth ordered more than a thousand employees on leave to go back to work, it’s not clear how many of them moved on to other jobs or retired in the past year. The judge also said he did not have the authority to bring back hundreds of independent contractors who were terminated.
One employee who left is Steve Herman, a former White House bureau chief and national correspondent at VOA and now executive director of the Jordan Center for Journalism Advocacy and Innovation at the University of Mississippi. Despite the court decisions, he questions whether the Trump administration would oversee a return to what the organization used to be.
“I’m a bit of a pessimist,” Herman said. “I think it’s going to be very difficult.”
An administration loath to admit defeat
Besides fighting to shut it down, Trump is loath to admit defeat. Last week, the White House nominated Sarah Rogers, the undersecretary of state for public diplomacy, to run the U.S. Agency for Global Media, putting it more firmly within the administration’s control. Her nomination requires Senate approval.
“Is Marco Rubio’s State Department going to allow objective journalism in 49 languages?” Herman asked. “I don’t think so. I would want that to happen, but that’s a fairy tale.”
In the budget bill passed in February, Congress set aside $200 million for Voice of America’s operation. While that represents about a 25% cut in the agency’s previous appropriation, it sent a bipartisan message of support, said Kate Neeper, VOA’s director of strategy and performance evaluation. Besides being a plaintiff with Widakuswara in the lawsuit to restore the agency, she has helped some of her colleagues deal with some of their own problems over the past year, including immigration issues.
“There is a lot of enthusiasm for going back to work,” she said. “People are eager to show up on Monday.”
The hunger for information from Voice of America in Iran when he was director was a clear example of what the organization meant, Ensor said. Surveys showed that between a quarter and a third of Iran’s households tuned in to VOA once a week, primarily on satellite television. Occasionally the government would crack down and confiscate satellite dishes, but Iranians could usually quickly find replacements, he said.
“I believe in Voice of America as a news organization and as a voice of America,” Ensor said. “It was important, and it can be again.”
KSPB, Pebble Beach, 91.9 FM is a commercial-free, student-run, radio station, that has been broadcasting from Stevenson School in Pebble Beach for over 40 years.
The station is student run and includes staff positions, from webmaster to program director. Before applying for a live show on air, each student is required to take a class to learn about Federal Communications Commission (FCC) regulations, and how to operate the station independently. The students decide the genre of music for their specific show, but the general programming is alternative rock with specialized shows featuring hip-hop and international music. However, some students prefer to run their own talk shows.
With its connection to the Public Radio Satellite System (PRSS) the station fills out its schedule with content from the BBC World Service, American Public Media, and other public radio producers such as WAMC (Albany) and KCRW (Santa Monica). It also obtains content from its affiliation with the Public Radio Exchange (PRX).
KSPB has listeners in five counties in California – Monterey, Santa Cruz, San Benito, Santa Clara and San Mateo – with a potential total listenership of more than 1 million. Also, with the recent addition of streaming, KSPB is now available worldwide!
R.E.M. disbanded back in 2011. But the seminal indie-rock group is back with new five-track EP “Radio Free Europe 2025,”containing previously unreleased tracks and a new remix of the song. Proceeds from the vinyl pressing will benefit the U.S. government’s Radio Free Europe and Radio Liberty, which are under attack from the Trump administration.
The EP, coming more than four decades after the 1981 release of “Radio Free Europe” on college radio, coincides with the 75th anniversary of Radio Free Europe/Radio Liberty as well as World Press Freedom Day (which falls on May 3). Radio Free Europe/Radio Liberty was established 75 years ago and currently broadcasts news and information in 27 languages to 23 countries where a free press is either banned by the government or under threat.
Members of R.E.M. said the mission of promoting free expression has always resonated with the band.
“Whether it’s music or a free press — censorship anywhere is a threat to the truth everywhere,” Michael Stipe, lead singer and founding member of R.E.M., said in a statement. “On World Press Freedom Day, I’m sending a shout-out to the brave journalists at Radio Free Europe.” Bassist Mike Mills added, “Radio Free Europe’s journalists have been pissing off dictators for 75 years. You know you’re doing your job when you make the right enemies. Happy World Press Freedom Day to the ‘OG’ Radio Free Europe.”
Despite the song’s name, Mills says in the liner notes to the two-disc edition of R.E.M.’s “And I Feel Fine… The Best of the I.R.S. Years 1982–1987” that it has “nothing to do” with the broadcaster: “We just liked the title.”
Radio Free Europe/Radio Liberty president and CEO Stephen Capus said in a statement, “To me, R.E.M.’s music has always embodied a celebration of freedom: freedom of expression, lyrics that make us think, and melodies that inspire action. Those are the very aims of our journalists at Radio Free Europe — to inform, inspire, and uphold freedoms often elusive to our audiences. We hold dictators accountable. They go to great lengths to silence us — blocking our websites, jamming our signals, and even imprisoning our colleagues.”
On Friday, the heads of Radio Free Europe/Radio Liberty, Radio Free Asia and Middle East Broadcasting Networks sent a letter to Trump officials urging them to restore funding “immediately.” That came as Radio Free Asia laid off most of its staff. “Our journalists are terrified that the withdrawal of support from their employers will lead to harassment, prison, and worse,” they said in the letter, per CNN. “We urge you to restore our funding immediately before further irreparable reputational harm is done to the United States — and before innocent lives are needlessly and recklessly lost.”
R.E.M.’s “Radio Free Europe 2025” is available to stream and download now. A limited-edition, 10-inch orange-vinyl pressing is available for pre-order now exclusively via the official R.E.M. store and independent record stores; it will be released Sept. 12. Proceeds from all vinyl sales will go to RFE/RL, an editorially independent nonpartisan and nonprofit corporation.
Released through Craft Recordings, the “Radio Free Europe 2025” EP was overseen by the band’s original producer Mitch Easter. The record opens with the 2025 remix by Grammy-winning producer Jacknife Lee (U2, Snow Patrol, Taylor Swift, The Killers), who also produced R.E.M.’s final two studio albums, “Accelerate” and “Collapse Into Now.” Lee “gives the track a fresh take while staying true to its indie-rock DNA,” according to Creative Recordings. Rounding out the EP are four of Mitch Easter’s original 1981 recordings: the Hib-Tone single mix of “Radio Free Europe,” its flip-side “Sitting Still,” the “Wh. Tornado” demo, and Easter’s never-before-released 1981 remix “Radio Free Dub.”
In 2009, “Radio Free Europe” was inducted into the Library of Congress’s National Recording Registry for “setting the pattern for later indie-rock releases.”
Formed in 1980 in Athens, Georgia, R.E.M. had a three-decade run of multi-platinum sales before amicably disbanding in 2011. Over the course of their career, R.E.M. released 15 studio albums, won three Grammys, and were inducted into the Rock and Roll Hall of Fame (2007) as well as the Songwriters Hall of Fame (2024).
Here’s the track list for the new EP:
Radio Side
Radio Free Europe 2025 (Jacknife Lee Remix)*
Radio Free Dub (Mitch Easter 1981 Remix)*
Liberty Side
Radio Free Europe (Original Hib-Tone Single)
Sitting Still (Original Hib-Tone B-Side)
Wh. Tornado (From Cassette Set) **
* Never before released ** First time on digital and vinyl
R.E.M., “Radio Free Europe 2025 (Jacknife Lee Remix) RFE/RL Dispatch” (2025)
In the 1970s, at the height of Soviet jamming of the BBC, the most coveted short-wave radios in the USSR were made by the VEF factory in Latvia – which was then part of the Soviet Union.
A generation of young Russians grew up learning how to twist the dial with great precision, to find whichever BBC signal had somehow bypassed the howling and whistling of the jammers. When you found it, it a window opened into a whole other world – of uncensored news, literature and western pop music, all coming to you live from London.
Those days are long gone. The jamming stations have all closed down. The VEF factory doesn’t make radios anymore. And Latvia is now an independent country. But since the start of Putin’s full-scale invasion of Ukraine in 2022, the information space in Russia has been shrinking.
A new generation of Russians are now having to fight to stay connected to the world. And our team has to battleinternet blocking and shutdowns to keep on reaching them. Four years ago, the Russian Service Moscow newsroom had to leave Russia but their work continues in exile, and their new home by a twist of fate just happens to be in Latvia.
Over the past eighty years history often seems to have repeated itself.
Take the first ever Russian Service radio news bulletin from 24 March 1946. The news reader was the splendidly named Mrs Sonia – Betty – Horsfall. The top story was all about Iran – and the ongoing negotiations for Soviet troops to withdraw after their wartime occupation.
Now it’s the US-Israeli war on Iran that’s dominating the news. And to reach audiences in Russia in 2026, we have to tell the story in a myriad of ways across different platforms. Our website is blocked in Russia – as are YouTube, Instagram, Facebook Tiktok, and WhatsApp. The messenger app Telegram used to be our only uncensored way of getting information in and out of Russia. But not any more.
These days Russians can only reach the BBC website and social media channels – and many other banned sites – by using VPNs – virtual private networks, which allow them to bypass the censors. Everyone from young people to the shortwave radio generation has had to learn how to do it. “But what will we do if they start blocking VPNs and shutdown internet access altogether?” one of our team asked the other day.
It’s a question we often ask our colleagues in BBC News Persian, who are now reporting the war on their country despite an almost complete internet blackout in Iran. We have so much to learn from them – and increasingly, sadly, so much in common with them.
We had to leave Russia in 2022 because it was no longer safe for our staff to continue doing their jobs there. Even calling Putin’s ‘special military operation’ in Ukraine a war, was against the law.
Getting nearly 50 shell-shocked BBC Russian journalists, their families and their pets out of Russia and into Latvia now feels like the easy bit. Building new lives, learning a new language, and finding new ways to keep reporting Russia from the outside has been a much tougher challenge.
“The thing that’s really helped is knowing we’re all in this together and we can all support each other,” says one of our team.
But everyone has paid the price for carrying on. No-one can travel safely back to Russia. Home and family have become unreachable. Reunions have to happen in third countries.
And even in exile our staff are still being pursued. Eight have been designated ‘foreign agents’ by the authorities in Russia – required by law to put disclaimers on all their published work, taken to court and fined in absentia for failing to comply, heading inevitably towards criminal prosecution.
“If I get a criminal record in Russia, then the list of places where I can safely meet my Mum is going to get even shorter,” one colleague told me the other day.
There have already been cases of Russians discovering too late that they’re on the international wanted list in countries friendly to Moscow.
When the Russian Service first went on air, Winston Churchill had just made his famous post-war speech warning that an iron curtain was coming down over Eastern Europe. In 2026 a digital version of that iron curtain has come down again.
The post-revolutionary emigres and the Cold War exiles who lead the Russian Service in those earlier radio days, have now been replaced by a new generation who never thought that one day it would be their turn to leave.
“The Russia I grew up in has completely disappeared,” says one of our ex-Moscow team. “In the blink of an eye the freedom, the possibilities, and the excitement have all gone. I don’t want to think that I’ll never go back,” she adds “But right now it’s hard to believe.”
Russians clearly want more than their state-controlled news media is currently giving them and after 80 years, I hope our first newsreader Mrs Horsfall would be proud to see how many of them still trust the BBC.
This story was broadcast on ‘From Our Own Correspondent’, on BBC Radio 4 on 21 March 2026.
The Gated Community. Photo: Tom Smouse (via Americana UK)
In the face of violence in the streets and unlawful detention what can a musician do, really? They can document what’s going on, make their point and try and raise awareness (and maybe the odd dollar) of the organisations that are protecting citizens from their own law enforcement. Read that sentence, and notice just how screwed up it is to describe daily life in the “shining city on a hill”.
Which brings us to today’s song from The Gated Community. It’s a new recording of a very recently written song, written in response to events in Minneapolis, as singer and songwriter Sumanth Gopinath explains: “After Renee Nicole Good’s murder by ICE agent Jonathan Ross here in Minneapolis on January 7, 2026, I began writing songs that more explicitly address the situation we’re in. I find the ‘protest song’ challenging, as it requires a directness that I tend to avoid in my songwriting. This is my third serious attempt as of late and the one with the most rousing, energizing chorus of the bunch. I am so moved and inspired by the bravery, intelligence, and steadfastness of my fellow Minnesotans in the Twin Cities who, against the odds, are acting tirelessly on behalf of our most vulnerable community members. This song is for them.”
The song is available on Bandcamp, it has a price and there’s an option to add a little more to support the people organising for decency: everyone involed in the recording donated their time and all of its proceeds will be donated to local aid organizations including Minnesota Immigrant Rights Action Committee (MIRAC) — an organization supporting individuals and families impacted by unjust immigration laws and deportations.
And who are The Gated Community? Well, this band that has been described as a Marxist Bluegrass band (you don’t get a lot of them to the pound) was originally a vehicle for Sumanth’s political songs, but has evolved over nineteen years, expanding in size and scope to include many roots music styles and more personal songwriting. It was formed when Sumanth moved from New Haven to Minneapolis to begin working as a professor of music theory at the University of Minnesota, and now features six singers, with the band combining professors like Sumanth (vocals, acoustic guitar, keyboards) and Beth Hartman (vocals, percussion), and artists from various parts of the Twin Cities scene like Rosie Harris (vocals, banjo, cello), Paul Hatlelid (vocals, drums, acoustic guitar), Cody Johnson (vocals, bass), and Nate Knutson (vocals, guitars, mandolin).
thanks and much love to our families, friends, and fans
All proceeds from this recording will go to one or more organizations resisting the occupation of our cities by ICE and providing aid to our community. Everyone involved generously volunteered their time and resources to this project.
Thank you to Tom Campbell, Eva Cohen, Carl and Ina Elliott, Jim and Sara Harris, Marcus dePaula, Michael Gallope, Gabrielle Gopinath, John Miller, Mark Nye, Daniel Owens, Matt Rahaim, Ian Rans, Ellen Stanley, Ryan Stokes, Dean Von Bank, and our families, friends, and neighbors.
Source: The Gated Community (Bandcamp). I would strongly encourage you to buy this digital record (paying as much as you wish) in support of the embattled people of Minnesota, my home state. ||| TRR
The band’s manager, Marina Kosukhina,confirmed the news on their socials, writing, “Nikolai is no longer with us”.
Shortparis was formed in Saint Petersburg in 2012, with Komyagin becoming its vocalist, keyboardist, and ideological engine. Their first album, ‘Docheri’, was released in 2013, followed by ‘Paskha’ in 2017. They opened for The Kooks in 2015 and alt-J in 2017 in Saint Petersburg. Even then, their shows became known for their provocative, performance-art approach.
Despite moderate popularity among intellectuals and music lovers, the band gained mainstream recognition only after the release of the politically charged music video‘Strashno’ in 2018. After that, Shortparis quickly became one of the most prominent opposition-minded bands in Russia and also started drawing interest abroad. In 2019, they embarked on their first UK tour, performing at Liverpool Sound City and The Great Escape Festival.
Shortparis in a still from their 2018 video “Scary” (see below)
Clashspoke with the band in 2020 at the peak of their popularity, calling them a five-piece that “artfully meld stomping skinhead aggro with Dostoyevskian angry-young-man intellectualism”. In our interview, Komyagin described their approach to making music this way: “Deconstruction of any normal-sounding instrument, or widely-known harmonic movement or chord, allows us to rethink music clichés, update and clean them”.
Komyagin was also known as a highly intelligent lad with a background in art history and experience working as a school teacher. He gave lectures on art and often provoked journalists during interviews, trying to turn them into performances. On top of that, he appeared in two Kirill Serebrennikov films, Leto and Limonov: The Ballad of Eddie, and played the iconic Russian poet Vladimir Mayakovsky in the TV series Karamora.
As of 2026, the band continued to remain in Russia, making that decision part of their political stance, even though they were effectively barred from performing there, with all concerts cancelled. Refusing to comply with state policies, they toured outside their homeland in recent years, playing in the UK, Germany, Portugal, Italy, the US, and many other countries, including a 2025 tour of China.
Nikolai Komyagin has died at the age of 39. No cause of death has been given. However, according to astatement from Ksenia Sobchak, an influential yet controversial figure in Russian politics and journalism, Komyagin had heart problems, and “he felt unwell after a boxing training session and his heart gave out”.
In memory of the brilliant Nikolai Komyagin—[Shortparis’s] music video “Apple Orchard,” filmed immediately after the start of the war and performed in a wintry field with a veterans choir. A requiem for Russia. A requiem, as it transpired, for Nikolai himself: in the finale, apples are thrown into the grave.
He died at the age of thirty-nine from heart failure on a February day as cold as the day in 2015 when Nemtsov was killed, as cold as the day in 2022 when the great war began, as cold as the day in 2024 when Navalny was killed, as cold as today. A perennial Russian February.
Nikolai Komyagin, the singer and keyboardist for Shortparis, has died aged 39.
The musician and actor was best recognised as the frontman for the Russian experimental band, forming the group in 2012 alongside Alexander Ionin and Pavel Lesnikov.
His death was announced today (Friday February 20) by the band’s manager, Marina Kosukhina. Taking to Instagram Stories, she stated: “Nikolai is no longer with us”.
At time of writing, no cause of death has been announced, although a local Russian outlet has speculated that it may be related to “heart problems” that the singer experienced “after boxing training”.
After forming in Saint Petersburg in 2012, the band went on to share their debut album, ‘Docheri’, in 2013, before following it up in 2017 with an album called ‘Paskha’. Shortparis went on to become recognised for the distinctive blend of post-punk, avant-garde rock, pop, folk and electronica.
They also gained traction for their provocative performance art, with tracks like 2018’s ‘Strashno’ (“Scary”) tackling themes of neo-Nazism, fear, and social anxieties in Russia.
Since news of Komyagin’s passing, fans have been taking to social media to pay their respects to “one of the most talented and honest Russian musicians”.
“Their art tore at the fabric of reality, and with its piercing lyrics, it fought the Darkness. Hope you’re in a brighter place, Nikolai,” one fan wrote on X/Twitter.
Another added: “Even though their name may sound new to many, Shortparis have been among the most important protagonists of St. Petersburg’s music scene and Russian alternative culture over the past decade”, while a third explained how they first discovered his music.
“After I moved to Piter, this was the first band I randomly bought tickets for, and for two hours afterward I couldn’t come down from the sound, colour, and energy,” they wrote.
Shortparis went on to land a slot opening for The Kooks in 2015, and also supported Alt-J during the latter’s 2017 tour.
In 2019, the band went out on their first UK tour, which included a slot at The Great Escape Festival, and last year also went on tour in China for the first time.
As well as his time with the band, Komyagin also took on various acting roles, including spots in two Kirill Serebrennikov films: Leto and Limonov: The Ballad of Eddie.
One of his biggest roles was playing Russian poet Vladimir Mayakovsky in the 2022 television series Karamora, and he and his Shortparis bandmates also got involved in the filming of another of Serebrennikov’s films, Summer [sic].
Shortparis always honestly, and even recklessly, attempted to reflect what was happening around them and to find an adequate artistic expression for it. To a certain extent, they also sought to aestheticize it—to find a felicitous (and impossible, of course) point inside and outside at the same time. It is no coincidence that Nikolai—a quiet, cultured, handsome man in real life, a Petersburg art historian—possessed such a complex charm on stage, and was a bit like Plumbum. This was not an easy task, and most importantly, it was harmful to his health, like working in a factory. Like practicing synchronized swimming in acid.
Because there was violence everywhere, and there still is. It consumed Nikolai.
You can’t handle it But they don’t like it Knowing in advance Who won’t make it And the women put on makeup And the children hide Join the dance No one lies
You don’t like it And they don’t like it The sons are asleep The family is silent You stare naively And plans are being made I’m responsible for who my wife sleeps with
You can’t handle it And they can’t handle it The ice won’t save you The major is coming And the women put on makeup And the children hide Join the dance No one lies (yes)
You can’t handle it And they can’t handle it The ice won’t save you Whoever doesn’t make it through And the women put on makeup And the children hide Join the dance The major is coming (yes)
You can’t handle it And they can’t handle it The ice won’t save you Whoever doesn’t make it through And women put on makeup And children hide Join the dance The major is coming (yes)
Both the pot (Iran) and the kettle (the U.S.) are “rounding up” their detractors.
Trump’s White House website welcomes visitors with a pop-up that reads: “WELCOME TO THE GOLDEN AGE!” But on this heavy news day a year into Trump’s second term, it is increasingly clear that as his regime focuses on committing the United States to white Christian nationalism, the country is becoming increasingly isolated from the rest of the world, and its own economy is weakening.
At the Munich Security Conference over the weekend, Secretary of State Marco Rubio’s endorsement of white Christian nationalism does not appear to have swayed European countries to abandon their defense of democracy and join the U.S.’s slide toward authoritarianism. Instead, as retired lieutenant general and former commander of U.S. Army Europe Mark Hertling wrote, it squandered the strategic advantage its partnership with Europe has given the U.S.
Foreign affairs journalist Anne Applebaum noted that the word in Munich was that “Europe needs to emancipate itself from the U.S. as fast as possible.” In Germany, Der Spiegel reports plans to bring Ukrainian veterans to teach German armed forces drone use and counter-drone practices the Ukrainians are perfecting in their war against Russian occupation. Canada’s prime minister Mark Carney is working to reduce Canada’s defense dependence on the U.S., ramping up domestic defense production.
Carney has advanced a foreign policy that centers “middle powers” and operates without the U.S. That global reorientation has profound consequences for the U.S. economy, as well. Canada is leading discussions between the European Union and a 12-nation Indo-Pacific bloc to form one of the globe’s largest economic alliances. A new agreement would enable the countries to share supply chains and to share a low-tariff system. Canada also announced it is renewing its partnership with China. As of this week, Canadians can travel to China without a visa.
Today France’s president Emmanuel Macron and India’s prime minister Narendra Modi upgraded Indian-French relations to a “Special Strategic Partnership” during a three-day visit of Macron to Mumbai. They have promised to increase cooperation between the two countries in defense, trade, and critical materials.
Trump insisted that abandoning the free trade principles under which the U.S. economy had boomed since World War II would enable the U.S. to leverage its extraordinary economic might through tariffs, but it appears, as economist Scott Lincicome of the Cato Institute wrote today for Bloomberg, that the rest of the world is simply moving on without the U.S.
While Trump boasts about the U.S. stock market, which is indeed up, U.S. markets have underperformed markets in other countries. Today, Carl Quintanilla of CNBC reported that the S&P 500, which measures 500 of the largest publicly traded companies in the U.S., is off to its worst year of performance since 1995 when compared to the All Country World Index (ACWI), an index that measures global stocks.
In May 2023 the Florida legislature passed a law requiring employers with 25 or more employees to confirm that their workers are in the U.S. legally. The new law prompted foreign farmworkers and construction workers to leave the state. Now, the Wall Street Journal reported in a February 6 editorial, employers “are struggling to find workers they can employ legally.”
The newspaper continued: “There’s little evidence that undocumented migrants are taking jobs from Americans. The reality is that employers can’t find enough Americans willing to work in the fields or hang drywall, even at attractive wages. Farm hands in Florida who work year-round earn roughly $47,000, which is more than what some young college graduates earn.” “The lesson for President Trump is that businesses can’t grow if government takes away their workers,” the Wall Street Journal Editorial Board concluded.
Today Florida attorney general James Uthmeier reacted to the Wall Street Journal editorial, explaining on Fox Business that the Republican Party expects to replace undocumented workers with young Americans: “We need to focus on our state college program, our trade schools, getting people into the workforce even earlier. We passed legislation last year to help high school students get their hands dirty and get on job sites more quickly. So I think there’s a lot more we can do with apprenticeships, rolling out, beefing up our workforce, and trying to address the demand that is undoubtedly here in the state.”
Steve Kopack of NBC News reported on February 11 that while the U.S. added 1.46 million jobs in 2024, the last year of former president Joe Biden’s administration, it added just 181,000 jobs in 2025. That makes 2025 the worst year for hiring since 2003, aside from the worst year of the coronavirus pandemic. Manufacturing lost 108,000 jobs in 2025.
Peter Grant of the Wall Street Journal reported today that banks that have loaned money to finance the purchase of commercial real estate are requiring borrowers to pay back tens of billions of dollars as the delinquency rate for such loans has climbed to a high not seen since just after the 2008 financial crisis. About $100 billion in commercial real estate loans that have been packaged into securities will come due this year and probably won’t repay when they should. More than half of the loans are likely headed for foreclosure or liquidation.
Trump vowed that he would cut “waste, fraud, and abuse” out of the country’s government programs, but cuts to social programs have been overwhelmed by spending on federal arrest, detention, and deportation programs, as well as Trump’s expansion of military strikes and threats against other countries. In his first year back in office, Trump launched at least 658 air and drone strikes against Iraq, Somalia, Iran, Yemen, Syria, Nigeria, and Venezuela.
Just today, U.S. Southern Command announced it struck three boats in the eastern Pacific and the Caribbean yesterday and killed 11 people it claims were smuggling drugs, bringing the total of such strikes to more than 40 and the number of dead to more than 130. Now Trump is moving American forces toward Iran, threatening to target the regime there.
The administration is simply tacking the cost of these military adventures onto government expenditures, apparently still maintaining that the tax cuts for the wealthy and corporations Republicans extended in their July “One Big Beautiful Bill Act” and tariffs will address the growing deficit and national debt by increasing economic growth.
The nonpartisan Congressional Budget Office (CBO) last week projected that the deficit for the fiscal year ending September 30, 2026, will be $1.85 trillion. Richard Rubin of the Wall Street Journal notes that for every dollar the U.S. collects this year, it will spend $1.33. The CBO explained that the Republican tax cuts will increase budget deficits by $4.7 trillion through 2035.
If the American people have suffered from Trump’s reign, the Trump family continues to cash in. Today Trump’s chair of the Commodity Futures Trading Commission, Michael Selig, announced he will try to block states from regulating prediction markets, saying they “provide useful functions for society by allowing everyday Americans to hedge commercial risks like increases in temperature and energy price spikes.”
Republicans insist that prediction markets are more like stock trading than like betting, but a group of over 20 Democratic senators warned last week in a letter to Selig that prediction market platforms, where hundreds of millions of dollars are wagered every week, “are offering contracts that mirror sportsbook wagers and, in some cases, contracts tied to war and armed conflict.” They added that the platforms “evade state and tribal consumer protections, generate no public revenue, and undermine sovereign regulatory regimes,” and urged Selig to support regulations Congress has already put into law.
Prediction markets also cover the actions of President Trump, whose son Don Jr. is both an advisor to and an investor in Polymarket and a paid advisor to Kalshi. Polymarket and Kalshi are the two biggest prediction markets, and both are less regulated than betting sites. The Trump family has announced it is starting its own “Truth Predict.”
David Uberti of the Wall Street Journal reported that Eric Trump is investing heavily in drones, particularly in Israeli drone maker Xtend, which has a $1.5 billion deal to merge with a small Florida construction company to take the company public. The Defense Department has invited Xtend to be part of its drone expansion program.
And yet it is clear the administration fears the American people. The Minnesota Bureau of Criminal Apprehension (BCA), a statewide program that specializes in police shootings, said yesterday that it has received formal notice that the Federal Bureau of Investigation (FBI) will not allow it any “access to information or evidence that it has collected” related to the shooting death of Minneapolis intensive care nurse Alex Pretti. The BCA says it will continue to investigate and to pursue legal avenues to get access to the FBI files.
Fury at ICE continues to mount, with voices from inside the government complaining about Homeland Security Secretary Kristi Noem. Gordon Lubold, Courtney Kube, Jonathan Allen, and Julia Ainsley of NBC News reported today on her alienation of senior officials at the Coast Guard as she has shifted their primary mission of search and rescue to flying deportation flights. Noem’s abrupt removal of Coast Guard commandant Linda Fagan only to move into her vacated housing at Joint Base Anacostia-Bolling herself also rankled, along with Noem’s lavish use of expensive Coast Guard planes.
Daniel Lippman and Adam Wren of Politico reported today that Noem’s spokesperson, Tricia McLaughlin, is resigning.
Marissa Payne of the Des Moines Register reported today that in Iowa, Republican state lawmakers are working to rein in the power of the state governor before the 2026 elections, a sure sign that they are worried that a Democrat is going to win the election.
That fear appears to be part of a larger concern that the American people have turned against the Republicans more generally. Last night, late-night talk show host Stephen Colbert told viewers he had been unable to air an interview he did with a Democratic candidate for the U.S. Senate from Texas, James Talarico. “I was told…that not only could I not have him on, I could not mention me not having him on,” Colbert said. “And because my network clearly doesn’t want us to talk about this, let’s talk about this.”
Talarico is a Texas state lawmaker studying to be a minister, who criticizes the Republican use of Christianity as a political weapon. Such politicization of Christianity both distorts politics and cheapens faith, he says. The true way to practice Christianity is simple but not easy, he says: it is to love your neighbor. Political positions should grow out of that to feed the hungry, welcome the stranger, and heal the sick. “[T]here is nothing Christian about Christian nationalism,” he told Colbert. “It is the worship of power in the name of Christ, and it is a betrayal of Jesus of Nazareth.”
Although Talarico is locked in a tight primary battle with Representative Jasmine Crockett, his message offers a powerful off-ramp for evangelicals uncomfortable with the administration, especially its cover-up of the Epstein files. Without evangelical support, MAGA Republicans cannot win elections.
Talarico has the administration nervous enough that Federal Communications Commission (FCC) chair Brendan Carr opened an investigation of the morning talk show The View after Talarico appeared on the show earlier this month. Lawyer Adam Bonin explained that Carr changed the FCC’s enforcement of the Equal Time Rule (which is not the Fairness Doctrine). It says that when broadcast networks (not cable) give air time to someone running for office, they have to give the same time to any other candidate for that office. The obvious exception is when a candidate does something newsworthy outside the race, in which case a network can interview that person without interviewing everyone else.
For 20 years, that rule has applied to talk shows, but Carr announced last month that if a non-news talk show seems to be “motivated by partisan purposes,” then it will not be exempt. For Colbert’s show, it would have meant that after interviewing Talarico, the network would have had to give equal time to all other Democrats and Republicans running for the Senate seat. CBS could have challenged the rule but chose not to.
Why is the administration worried about Talarico in a state Trump won in 2024 by 14%? “I think that Donald Trump is worried that we’re about to flip Texas,” Talarico said. “Across the state there is a backlash growing to the extremism and the corruption in our politics…. It’s a people-powered movement to take back our state and take back our country.”
As of 10:00 tonight, Colbert’s 15-minute interview with Talarico has been viewed on YouTube 3.8 million times. Forbes says it is Colbert’s most watched interview in months.
The Late Show with Stephen Colbert, “Rep. James Talarico On Confronting Christian Nationalism, And Strange Days In The Texas Legislature”
Stephen Colbert hosts Texas State Rep. James Talarico for an online-exclusive interview that touches on the issues raised in Talarico’s campaign for the Democratic nomination for Senate including the separation of church and state, the dangers of consolidated corporate-owned media, and the fabricated culture wars pushed by Republicans in states like Texas.
The Department of Homeland Security is expanding its efforts to identify Americans who oppose Immigration and Customs Enforcement by sending tech companies legal requests for the names, email addresses, telephone numbers and other identifying data behind social media accounts that track or criticize the agency.
In recent months, Google, Reddit, Discord and Meta, which owns Facebook and Instagram, have received hundreds of administrative subpoenas from the Department of Homeland Security, according to four government officials and tech employees privy to the requests. They spoke on the condition of anonymity because they were not authorized to speak publicly.
Google, Meta and Reddit complied with some of the requests, the government officials said. In the subpoenas, the department asked the companies for identifying details of accounts that do not have a real person’s name attached and that have criticized ICE or pointed to the locations of ICE agents. The New York Times saw two subpoenas that were sent to Meta over the last six months.
The tech companies, which can choose whether or not to provide the information, have said they review government requests before complying. Some of the companies notified the people whom the government had requested data on and gave them 10 to 14 days to fight the subpoena in court.
“The government is taking more liberties than they used to,” said Steve Loney, a senior supervising attorney with the American Civil Liberties Union of Pennsylvania. “It’s a whole other level of frequency and lack of accountability.” Over the last six months, Mr. Loney has represented people whose social media account information was sought by the Department of Homeland Security.
The department said it had “broad administrative subpoena authority” but did not address questions about its requests. In court, its lawyers have argued that they are seeking information to help keep ICE agents in the field safe.
Meta, Reddit and Discord declined to comment.
“When we receive a subpoena, our review process is designed to protect user privacy while meeting our legal obligations,” a Google spokeswoman said in a statement. “We inform users when their accounts have been subpoenaed, unless under legal order not to or in an exceptional circumstance. We review every legal demand and push back against those that are overbroad.”
The Trump administration has aggressively tried tamping down criticism of ICE, partly by identifying Americans who have demonstrated against the agency. ICE agents told protesters in Minneapolis and Chicago that they were being recorded and identified with facial recognition technology. Last month, Tom Homan, the White House border czar, also said on Fox News that he was pushing to “create a database” of people who were “arrested for interference, impeding and assault.”
Silicon Valley has long had an uneasy relationship with the federal government and how much user information to provide it. Transparency reports published by tech companies show that the number of requests for user information from different governments around the world has climbed over the years, with the United States and India among those submitting the most.
Some social media companies previously fought government requests for user information. In 2017, Twitter (now X) sued the federal government to stop an administrative subpoena that asked it to unmask an account critical of the first Trump administration. The subpoena was later withdrawn.
Unlike arrest warrants, which require a judge’s approval, administrative subpoenas are issued by the Department of Homeland Security. They were only sparingly used in the past, primarily to uncover the people behind social media accounts engaged in serious crimes such as child trafficking, said tech employees familiar with the legal tool. But last year, the department ramped up its use of the subpoenas to unmask anonymous social media accounts.
In September, for example, it sent Meta administrative subpoenas to identify the people behind Instagram accounts that posted about ICE raids in California, according to the A.C.L.U. The subpoenas were challenged in court, and the Department of Homeland Security withdrew the requests for information before a judge could rule.
Mr. Loney of the A.C.L.U. said avoiding a judge’s ruling was important for the department to keep issuing the subpoenas without a legal order to stop. “The pressure is on the end user, the private individual, to go to court,” he said.
The Department of Homeland Security also sought more information on the Facebook and Instagram accounts dedicated to tracking ICE activity in Montgomery County, Pa., outside Philadelphia. The accounts, called Montco Community Watch, began posting in Spanish and English about ICE sightings in June and, over the next six months, solicited tips from their roughly 10,000 followers to alert people to the locations of agents on specific streets or in front of local landmarks.
On Sept. 11, the Department of Homeland Security sent Meta a request for the name, email address, post code and other identifying information of the person or people behind the accounts. Meta informed the two Instagram and Facebook accounts of the request on Oct. 3.
“We have received legal process from law enforcement seeking information about your Facebook account,” the notification said, according to court records. “If we do not receive a copy of documentation that you have filed in court challenging this legal process within ten (10) days, we will respond to the requesting agency with information.”
The account owner alerted the A.C.L.U., which filed a motion on Oct. 16 to quash the government’s request. In a hearing on Jan. 14 in U.S. District Court for the Northern District of California, the A.C.L.U. argued that the government was using administrative subpoenas to target people whose speech it did not agree with.
Sarah Balkissoon, a Department of Justice lawyer representing the government, said the Department of Homeland Security’s position was that it was “within their power to investigate threats to its own officers or impediments to their officers,” according to a court transcript viewed by The Times.
Two days later, the subpoena was withdrawn.
The Montco Community Watch accounts continue to post almost every day. The Times emailed a request for comment to the address associated with the accounts but did not receive a reply.
On Monday, the Instagram account posted an alert for ICE activity in the Eagleville area of Montgomery County. “Montco ICE alert,” the post said. “This is confirmed ICE activity.”
On Friday, the account posted a video of students at Norristown Area High School protesting against ICE. “We stand with you and are proud you made your voices heard!” the post said.
It’s one of the saddest hit songs to grace American music: “Deportee (Plane Wreck at Los Gatos).”
The 1948 Woody Guthrie composition documented a plane crash that killed all 32 people on board in Los Gatos Canyon near the Central Valley town of Coalinga on Jan. 28 of that year. Twenty-eight of the victims were Mexicans being forced back home — some entered the country without papers, some were guest workers whose stints were over — accompanied by the immigration agent charged with making sure they got there, much like the deportation flights of today.
The Associated Press reported that newspapers published across the country the following day — including The Times — listed the names of the Southern California crew on board and the migra man, Frank E. Chaffin of Berkeley.
The Mexicans? The story deemed them “deportees.” They were buried in a mass grave at Holy Cross Cemetery in Fresno under a bronze marker that read: “28 Mexican citizens who died in an airplane accident.” The American government never even bothered to tell their family members. Many wondered what happened to their loved ones for decades.
Guthrie heard the AP report over the radio and was so angered by how the press and government dismissed the deceased that he penned “Deportee.” With mournful chords and vivid lyrics, the working class troubadour attacked an American society that that simultaneously let crops rot “in their creosote dumps” and treated the migrants who picked them “like rustlers, like outlaws, like thieves.”
It’s been covered by some of this country’s greatest musicians — I’m talking Dolly Parton, Bruce Springsteen, Johnny Cash and Willie Nelson (my favorite version is by folk-rock heroes The Byrds).
The Byrds, “Deportee (Plane Wreck at Los Gatos)” (1969)
Even with “Deportee,” this story had fallen out of public consciousness over the decades. Until January, when ICE dredged it up to once again insult the memory of the lost Mexican immigrants.
ICE’s inexplicable recap
On Jan. 28, the social media accounts of Immigration and Customs Enforcement commemorated Chaffin’s death and only his. The caption alongside a grainy black and white photo of him read: “The plane he was on to deport 28 illegal Mexican aliens caught fire and crashed killing all onboard.”
ICE’s unnecessarily inflammatory language not only was ahistorical, but also it didn’t even match up with its own official account. The agency’s Wall of Honor, which commemorates the lives of employees who died in the line of duty, described the migrants who died alongside Chaffin as “Mexican nationals.”
Such warping of the past isn’t accidental but rather part of a long con by the Trump administration to justify its agenda. In an administration that knows no lows, dismissing the Mexican victims of the Los Gatos Canyon disaster as “illegal Mexican aliens” was particularly egregious.
‘It’s disrespectful, it’s dehumanizing, it’s ICE’
I called up Mike Rodriguez, an ethnic studies teacher in Santa Ana who found out in 2015 that his paternal aunt, María Rodríguez Santana, was on that doomed plane.
“First thing I thought was, ‘Well that’s the United States,’” Rodriguez said of ICE’s social media post. “They’re doing the same thing that the government tried to do in 1948 by erasing them.”
He added that la migra didn’t even bother to list the names of the American crew that died, either. “It’s disrespectful, it’s dehumanizing, it’s ICE,” he said.
But Rodriguez takes solace in knowing he and others are doing their part to make sure people know the full story. He regularly speaks about the tragedy and visited both the site of the crash and Holy Cross Cemetery, where a plaque with all of the victims’ names was erected in 2013.
Tim Z. Hernandez, a University of Texas El Paso professor who has spent much of his career trying to track down descendants, interviewed Rodriguez and his uncle for a forthcoming documentary and also featured their story in the 2024 book”They Call You Back: A Lost History, A Search, A Memoir.” The two appeared at an event last year at the Untold Story bookstore in Anaheim, where Rodriguez sung “Deportee” while his son played guitar. He added extra lyrics to honor his Tía María and Hernandez.
“Thankfully, we have truth tellers like Woody Guthrie and Tim,” Rodriguez said. “And I remember what Woody sang — ‘All you fascists bound to lose.’ And that’s the way this is administration is, trying to strip away our constitutional rights. But their day will come.”
Contemporary listeners of Kino’s hit album Blood Type (1988) would have had no trouble identifying the war alluded to in the title track: the Soviet-Afghan War was still ongoing. The war was one of the causes of the Soviet Union’s sudden collapse in 1991. Unless it is stopped in short order, the Trump regime’s just-as-needless war against U.S. cities will lead to the collapse of the United States. ||||| TRR
The Soviet–Afghan War took place in Afghanistan from December 1979 to February 1989. Marking the beginning of the 47-year-long Afghan conflict, it saw the Soviet Union and the Afghan military fight against the rebelling Afghan mujahideen, aided by Pakistan. While they were backed by various countries and organizations, the majority of the mujahideen’s support came from Pakistan, the United States (as part of Operation Cyclone), the United Kingdom, China, Iran, and the Arab states of the Persian Gulf, in addition to a large influx of foreign fighters known as the Afghan Arabs. American and British involvement on the side of the mujahideen escalated the Cold War, ending a short period of relaxed Soviet Union–United States relations.
Combat took place throughout the 1980s, mostly in the Afghan countryside, as most of the country’s cities remained under Soviet control. The conflict resulted in the deaths of one to three million Afghans, while millions more fled from the country as refugees; most externally displaced Afghans sought refuge in Pakistan and in Iran. Between 6.5 and 11.5% of Afghanistan’s population of 13.5 million people (per the 1979 census) is estimated to have been killed over the course of the Soviet–Afghan War. The decade-long confrontation between the mujahideen and the Soviet and Afghan militaries inflicted grave destruction throughout Afghanistan, and has been cited by scholars as a significant factor contributing to the dissolution of the Soviet Union in 1991; it is for this reason that the conflict is sometimes referred to as “the Soviet Union’s Vietnam”.
Source: Wikipedia. The emphasis, in the last paragraph, is mine. ||||| TRR
[…]
The pretext for this war, of course, has always been a bogus premise. Yet federal agents treat it with the dogma of settled fact. But I keep wondering: How does the average CBP or ICE agent convince themselves of this? Even now, I can’t help shake the absurdity of anyone—Trump, Gregory Bovino, whomever—hoping to convince a thinking person, even themselves, to believe that places like Minneapolis have ever required an armed occupation. It’s against this genuine perplexity that I keep coming back to how these officers look and what mirrors might reflect back to them when they dress up for war.
“Anybody who’s had a fun evening on Halloween can understand what happens when somebody fully dresses up in paramilitary gear with flash-bang grenades hanging off of them,” said Peter Kraska, a justice studies professor at Eastern Kentucky University. “They’re going to walk out in public and say to themselves, ‘I am different from all these people.’ They become the enforcer. And when they look out and see the other, they see an enemy. The [paramilitary gear] gets them to react differently and think differently than they normally would.”
The role of military-style uniforms in helping the Trump administration create a theater of war where none exists cannot be overstated. It marks a stark evolution from the early days of Trump’s mass deportation plans, when plainclothed agents looked a lot like your best friend’s worst boyfriend—the guy who moved to rural Pennsylvania and discovered the basement levels of gun culture. Now, agents march into town in the costume of a foreign invasion.
Consider the camouflage now ubiquitous across the cities ICE occupies. At first, the pattern’s technical science might seem like a natural extension of the Trump administration’s increasingly illegal efforts to shield the identities of the men carrying out its vision of cruelty. But the theory breaks down when you look at the urban landscapes where ICE hunts down immigrants. Simply put, wearing camo in places like Lake Street or Hyde Park defies its central aim. If camo’s built-in purpose is to avoid detection, ICE’s embrace of it is the opposite: They want maximum visibility. They want to show they are soldiers. And they want to do so to make it seem reasonable, if only to themselves, to act like an invading army.
When I reached out to the Department of Homeland Security about the use of military gear among ICE agents, spokesperson Tricia McLaughlin responded with her own question: “Why do ICE agents wear tactical gear when they are facing rampant assaults and vehicular attacks? Is that the question you’re asking?” No, not really. But the snark with which McLaughlin replied was enough to grasp that questioning why DHS employs camo when lush woodlands do not exist in the cities its agents invade was irrelevant. They are dressing for the war they want.
What other way was there to interpret the coat of the former envoy of terror, Bovino? The commentariat spent much time deliberating its lineage, whether or not Bovino’s hulking olive garb was in fact true Nazi wear. (It turns out it was not.) But in roaming around Minneapolis in the fashions of Hugo Boss circa 1933, Bovino, who reportedly travels with his own film crew, succeeded in pushing the optics of war where it does not exist.
“What you’re seeing is the functionality of gear for legitimate, militarized purposes versus a type of postmodern, performative imagery,” Kraska said. “It makes them feel a particular way, to tap into those warrior fantasies and masculine drive of, ‘I’m a real man, I’m a real badass.’”
Federal agents stand outside the Whipple Federal Building in Saint Paul, Minnesota, on 8 January 2026. Photo: Octavio Jones/AFP/Getty/Mother Jones
The same holds for the men under Bovino. These are federal agents who wear hats intended for jungle warfare—again, in Minneapolis, where no such jungle exists—as well as blood-type patches, despite little evidence that they would ever be needed. After all, they are in Minneapolis, an American city with American hospitals, where doctors provide blood transfusions without the help of uniform instructions, the way a soldier on a remote battlefield might actually need. Furthermore, ICE’s own data strongly undercuts the notion that the job of an ICE officer is even uniquely dangerous work. In the absence of peril, federal agents turn to costume to legitimize their presence.
