#must do nyc

[causenessus]

he's so pretty

[noturmuse]

So many men think they’re owed a woman’s time, attention, intimacy, etc and it has brought on so much violence that women have had to undergo

[loveandthings11]

Don’t worry I’ll tell you more, still writing about it

[jasnstilnski]

im vibrating ab him

[turian]

i’m sorry wait your grandpa knew people from the fucking early beat generation of poetry. that’s so funny dude

omg yeah his best friend was gregory corso and therefore he had to drag ginsberg's high ass to some party as a favor LMFAO. my family appreciates drugs as much as the next guy but they did not like that man

[glompcat]

No time to stress about quitting my job, I guess, because I have an interview for an actual dream job lined up for Wednesday.

[tipsywench]

I found this on the Bela Lugosi Blog, it's Lugosi's immigration declaration from Ellis Island, dated March 23, 1921.

And from the Ellis Island website, in a little entry about historic dates, it says this about Lugosi:

He had illegally entered the country in New Orleans in December 1920, failing to return to the merchant ship upon which he served as a crew member. Lugosi later surrendered to Immigration Service officials in NY and was brought to Ellis Island.

[etoile-gracieuse]

why. why does it take a masters to become a librarian. my bachelors is LITERALLY 90% of what the #1 program in the states is. so like let me pick up the 10% on the way i just want to be Happy

[jeonqkooks]

tri-state area moots… i’m coming to haunt you. 😇

[unproduciblesmackdown]

oh the broadway world review of summer stock (a) loved it as much or more than anyone (b) has as much or more info than anyone and (c) generally has the most vivacity thus far

Summer Stock made its world premiere at The Goodspeed Opera House to a most deserving enthusiastic standing ovation. Based on the 1950 MGM film starring Hollywood legends Judy Garland and Gene Kelly, Summer Stock is a spectacular production with phenomenal dancing, feel-good music, and a sweet story, all modernized for today’s audiences.

Audiences will recognize and love hearing classic songs by Irving Berlin and from The Great American Songbook, including “Happy Days are Here Again”, “Accentuate the Positive”, “I’m Always Chasing Rainbows”, “It’s Only a Paper Moon”, “Me and My Shadow”, “Red Hot Mamma”, “’Til We Meet Again", and “You Wonderful You”. Summer Stock’s writer, Cheri Steinkellner, takes the original film story to a whole new level that both contemporary and classic theater goers will absolutely adore. Steinkellner provides additional lyrics to upgrade the story to first class. It’s hard to believe that she “got the call” to write Summer Stock in October, completed the workshop draft by March, and had the rehearsal draft ready by June for a July opening. Steinkellner clearly works well under pressure - Summer Stock is a diamond.

In the Writer’s Notes, Steinkellner elaborates on the restrictions of bringing the film to stage (like how heavy farm machinery wouldn’t fit up on the Goodspeed stage) and how she tackled answering the many questions that the original film glossed over: “Why is a Shakespearean matinee idol starring in a musical in a barn? What happens when you make show-people wake up at sunrise to muck out the stalls?” and more. She repositioned and repurposed the film’s original songs like “Howdy Neighbor” and “Dig for Your Dinner”, so the classic elements that film fans are looking for are still there - only, frankly, much much better. Lastly, she addresses the challenge of “crafting a [contemporary] story to support a diverse cast of characters with intention, authenticity, and care.” Steinkellner rose to the challenge, knocked it out of the park, and created a great musical in record time.

The story is simple and sweet. Set just after World War II, we meet Jane Falbury (Danielle Wade), a doting daughter working the family farm with her father, Lt. Henry “Pop” Falbury (Stephen Lee Anderson). The Falbury Farm is in trouble thanks to the devious and ambitious Margaret Wingate (Veanne Cox), who has grand aims for a monopoly over the Connecticut River Valley. Scheming with her naive son, Orville (Will Roland), they will stop at nothing to own the farm. Meanwhile, Jane’s showgirl sister, Gloria (Arianna Rosario), has moved to The Big Apple to make it on Broadway. She wins a spot in the chorus line of Joe Ross’ (Corbin Bleu) brand new show. With his sidekick and music director, Phil Filmore (Gilbert L. Bailey II) in tow and a Shakespearean star, Montgomery Leach, ready to take center stage, they hit a snag when they lose their rehearsal space. Gloria suggests uprooting the show to rehearse in her family’s barn. Jane, who is fresh out of farm hands, reluctantly agrees to let the actors stay in exchange for earning their keep. The company’s tight harmonies might not charm Jane at first, but they certainly had us swooning. I won’t spoil the entire plot, but will say that hilarity ensues, hearts flutter, dreams are realized, and it’s wonderful.

When I first heard about Summer Stock, I cynically thought that it felt too familiar. The show is set on a Connecticut farm whose owners have fallen on hard times and risk losing their livelihood. They turn to their Broadway friends, who are amidst the usual uphill battle of making it big in show business, and agree to put on a brand new production in the barn to raise funds to save the farm. It’s based on the film of the same name, features music by Irving Berlin, and includes incredible tap numbers, and spotlights America’s sweetheart Corbin Bleu. Hearing that alone, I’d think this was a copy/paste of Tony Award-nominated Holiday Inn: The New Irving Berlin Musical, which opened at The Goodspeed in 2014 and went to Broadway in 2016. We’ve seen a number of Irving Berlin musicals, including White Christmas, and the most recent Broadway production Nice Work if You Can Get It, starring Kelli O’Hara and Matthew Broderick. So, what more is there to add to this Broadway subgenre? If you’d asked me before, I would argue there’s “Nothing More to Say”. I was very wrong. Summer Stock raises the bar with phenomenal choreography, clever storytelling and humor, beautiful orchestrations, and unparalleled performers.

Speaking of unparalleled performers, the cast is perfection. There’s not a single throwaway line or character. They’re all exquisite gems and I’m running out of words to compliment them all. The “city mice” dancers and ensemble features Erika Amato, Hannah Balagot, DeShawn Bowens, Ronnie S. Bowman Jr., Emily Kelly, Francesca Mancuso, Tommy Martinez, Corinne Munsch, Gregory North, Kaylee Olson, Jack Sippel, and Cayel Tregeagle. Danielle Wade sweetly croons just like Judy Garland and swept audiences off their feet. As I left the theater, I overheard two ladies praising Wade for her stupendous performance, saying it was perfect likeness of Garland, yet even more meaningful. Arianna Rosario, as the sugary sweet sister, is absolutely delightful. Stephen Lee Anderson, as  the veteran and father, tugs our heart strings. Gilbert L. Bailey II and Will Roland had the crowd roaring with laughter as the feisty music director and innocent corporate heir. Veanne Cox, as the melodramatic mother and CEO of Wingate Agricultural Corporate, had the crowd roaring with laughter from the moment she spoke her first line. Not to be outdone, J. Anthony Crane, as the over-the-top Shakespearean star, brought down the house with his entrance alone. Together, Cox and Crane generate instant heat, which is especially appropriate since they rock the stage with Red Hot Mamma. The cheeky, interspersed Shakespearean innuendo is fast-paced, clever, and had the audience hooting and hollering. I would see the show again for this duo.

Last, but far from least, Corbin Bleu, as the show’s director, gives the performance of a lifetime. Bleu radiates pure joy and leads with heart, inviting his scene partners to shine with him. Audiences instantly fell in love with his gorgeous, velvety voice, and, understandably, swooned. Bleu previously won the Chita Rivera Award for Outstanding Male Dancing in a Broadway Show for his portrayal in Irving Berlin’s Holiday Inn, and his transcendent tapping in Summer Stock shows he’s not stopping there. Bleu’s dancing is out of this world! You can’t miss his charming and virtuosic spin on Gene Kelly’s iconic solo dance, featuring the world’s most unexpected dance partner. Corbin Bleu is a national treasure.

The 8-piece orchestra, lead by Goodspeed’s resident music director Adam Souza, performs the remarkable orchestrations, by Doug Besterman, beautifully. The score is demanding, but the musicians don’t let us see them sweat. As much as I’m gushing, I would recommend shifting the show to one hour earlier and give it a little trim. Not a haircutter’s inch, but a discreet tidy-up. As it turns out, I was in slight agreement with the obnoxious subscribers behind me, who disrupted a precious moment to voice their complaints, “This is two hours and forty minutes? Way too long!” I nearly turned to fisticuffs in defense of this phenomenal cast, but chose to deliver an icy, yet effective, glare. I digress, but Goodspeed subscribers are truly spoiled with top-rate performers straight from the Broadway stage. In any case, we could use a couple more developmental scenes to fully flesh out the plot, and I’d be willing to sacrifice by shaving a bit off some of the longer dance numbers (“Everybody Step” and “Dig For Your Dinner”) and songs. (Not too much! Just an inch! And don’t dare recast any characters!)

That isn’t to say that the dance performances weren’t epic: Summer Stock has the best dancing I have ever seen, hands down. The virtuosic ensemble, lovingly called “city mice”, perfectly deliver wildly acrobatic displays all with impossibly high-energy and make it look easy. Director and choreographer, Donna Feore, has made an unforgettable, magnificent Goodspeed debut. Feore makes use of every inch of the stage, making it feel larger than life, and her attention to detail is unsurpassed. The choreography is out of this world! Wilson Chin, scenic designer, set the stage beautifully. The Technicolor New England farm-turned-theater is framed with classic red-sided barn, delicate florals climbing the walls, and hurricane lanterns lovingly displayed as accent pieces. Summer Stock is Goodspeed’s best original production ever. The 12, which opens next, has very big shoes to fill. Summer Stock has its eyes set on Broadway. Does Summer Stock deserve a Broadway run? Absolutely. In this critic’s opinion, it couldn’t get there soon enough.  Perhaps my favorite aspect of the production were the many comedic theater flourishes. Broadway audiences will cry with laughter when they watch the city mice (actors) learn how to play the part of farmhands: “What is the farmer’s motivation?” “E-I, E-I!” Frankly, I want an original cast album yesterday. Finally, when it opens on Broadway, you’ll wish you had seen it at The Goodspeed first.

[iero]

:0 ur from PA too?? Rad!

Hi fellow Pennsylvanian! I was born and raised here and still live here! Can't brag about the certain area that I live in (Hint: It is not Philly or Pittsburgh) unfortunately, but I guess it's not all that bad.

[hiddengemsreal]

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[druid-for-hire]

[images ID: three images of a comic titled "one must imagine sisyphus happy" by druid-for-hire. it is a visual narrative beginning with someone with wrist pain (depicted by bright orange nerves) working at a drafting table. the reader is shown the same wrist as the person uses it for many everyday tasks such as carrying a grocery basket, pushing elevator buttons, typing, and doing dishes, until the pain dissolves all the panels into chaos. the person then performs several physical therapy exercises until the pain subsides. they sit back down at a desk with their laptop, sigh, and begin typing. a small spark of pain reappears. end id]

a fun little piece i made during the semester and submitted into our school comic anthology! (which you can buy at the Static Fish table at MoCCAFest in NYC ;] ). it's about artists and injury

[robustcornhusk]

the funniest part about reading everyone's race report from the NYC marathon is the m̴i̷l̷e̶ ̵l̴o̵n̵g̴ ̷f̵i̶n̷i̵s̵h̶e̸r̴'̵s̷ ̸c̸h̷u̷t̸e̷

you've just gone 26.2 miles. you ran really hard and you're tired! or worse, you fucked up and blew up and had to hobble the back half. everything hurts. you want nothing more than to feel the sweet embrace of death.

but first... you need to exit the runners-only area.

guess what! it is a mile from the finish line to the exits.

are you meeting up with a friend, your partner, relatives? your race isn't over yet, buddy!

[isekyaaa]

Phenomena: In reincarnation isekai, the most common cause of death is pedestrian car accident.

Hypothesis: East Asians are not taught to look both ways before crossing a street

[starlightomatic]

Someone sent me an ask about how to avoid antisemitism when talking about what's happening in Palestine, but Tumblr ate it. This is a really important question, because we don't want to fight one oppression while enabling another; we don't want to accidentally foment the conditions that lead to antisemitic violence, and we also don't want to shy away from speaking about Gaza for fear that we're doing so.

Here are my thoughts.

There are a lot of unconscious antisemitic beliefs that people hold, that they may not be consciously aware of. They may have learned these from parents, peers, or society at large. Like any bigotry, a huge part of not being harmful in bigoted ways comes down to learning what unconscious bigotry looks like within you and learning how it is expressed.

Antisemitism is very old, and there are a lot of tropes and beliefs that have developed through the years. Many of these are alive and well, though they may be subtle enough that people don't realize they're carrying them. However, they show up in the way that people speak, especially about Israel and Palestine. Here are some:

1. Jews are overwhelmingly wealthy

2. Jews control the world

3. Jews control a given country (eg the US)

4. Jews are not oppressed

5. Jews are some of the most privileged people in society; more than non-Jewish white people. Jews are white people but even more so.

6. Jews are whiny and complain about their nonexistent oppression too much

7. Jews are sneaky, deceptive, and untrustworthy. They don't speak sincerely or plainly; they have an ulterior motive and are trying to get one over on you.

8. Jews are greedy

9. Jews are really powerful

10. Jews undermine and destabilize movements and countries. (This one connects to 3, 7, and 8).

11. Jews are inherently guilty; a good Jew needs to apologize for being Jewish

12. Jews are bloodthirsty and desire violence against non-Jews

13. A Jew is from somewhere else, and does not belong in the place that they are.

14. Jews sap resources from the country they are in and funnel them into their own communities/interests. They are a vampire-like parasite on the societies they live in.

How do these get expressed in the movement? Here are some examples (these are paraphrases and combinations of various things I've seen):

Example A:

"American Jews are complaining about oppression while living in their NYC apartments and taking Ubers. It's ridiculous, so much privilege and entitlement." This one's got 1, 4, 5, 6, and 7.

1: Assumes wealth. Plenty of us can't afford NYC apartments or Ubers!

4, 5, and 6: self-explanatory.

7: Belief that on some level, fear of antisemitism can't really be sincere; we must be talking about it for some other purpose, eg to distract from "real" issues.

Example B:

"The US is funding this genocide because of the influence of Israel and Israel's interests, and the Jewish lobbyists." Employs 3 and 9.

3: The US is doing this because of its own interests; if anything, the US wants to be able to use Israel as a pawn.

9: Imagines Jewish lobbyists as powerful enough to drive US policy. Also forgets how dramatically the US dwarfs Israel in size, money, and power; imagines it's the other way around.

Example C:

"These Israeli first responders are lying about finding mutilated and sexually abused bodies after October 7th. This Israeli girl who was held hostage is lying about having talked to fellow hostages who were sexually assaulted. This Israeli first responder is lying about children having been killed on October 7th."

This is 4, 6, and mainly 7.

7 because it assumes that these people are telling these lies for some nefarious purpose: to garner false sympathy, or worse, to manufacture support for genocide. It cannot be because they are actually telling the truth.

Example D:

"It's suspect if someone talks too much about antisemitism. Or if they correct my misinformation. They are probably a crypto-Zionist. In fact, all of these Jewish tumblr bloggers are crypto-Zionists."

(The first part of this I haven't heard said; but rather it's the unspoken attitude I'm frequently presented with.)

This one has 4, 5, 6, 7 and 10. Mostly 7 and 10.

Beliefs that our goal is to derail pro-Palestine organizing by sewing Zionist beliefs in the movement. That we would be capable of such (9). That it's impossible that we're sincere and we're concerned both about what's happening in Gaza and the everpresent, intangible potent threat of imminent antisemitic violence.

Example E:

"What everpresent threat of imminent antisemitic violence? You're either delusional, too privileged to understand how oppressed you aren't, or lying to some sinister purpose."

The first two (delusional and too privileged) often comes from other Jews, who, yes, can be antisemitic too.

This one has: 4, 5, 6, 7, and 9.

Example F:

"As a Jew I know I am responsible for what's happening in Gaza, and I need to call in my people who deny our privilege and who think they're unsafe."

1, 4, 5, 6, 11. Shades of 10.

Example G:

"Israel is invading Gaza for oil."

8. Also this isn't true.

Example H:

"No Israeli is a civilian. All settlers are guilty, and need to leave."

Technically, it is possible for someone to hold this belief consistently for all settlers worldwide due to stringent decolonial beliefs. However, it frequently is applied only to Israelis. In such an iteration, I think it contains 10, 11, 12, and 13.

Which leads to my next point: Double standards. If something doesn't invoke a particular trope, but views Jewish or Israeli actions more harshly than we'd view the equivalent in any other place or people, to me that's suspect.

For example, relating to the above, if we believe that Truth and Reconciliation is the answer in the US and Canada, but in Israel the answer would be forced displacement of the Jewish population, that would be antisemitic.

Also, if we're able to hold nuance around the idea of refugees to the US and Canada, and understand that they're simultaneously taking part in colonialism while also arriving under duress because they need a place to live, we can extend the same nuance to the idea of Jewish refugees (Holocaust survivors, SWANA Jews, Ethiopian Jews, etc) who have come to Israel.

And, going back to example A, is there any other marginalized group we would say is not actually oppressed because members of it live in NYC and take Ubers? No? Then, it's antisemitic when you say it about Jews.

I also think misinformation about Jewish history and identity is antisemitic. For example, lines of thought that deny our ancestral, historical, cultural, and liturgical connections to the land of Israel/Palestine. One false belief I see a lot is Khazar Theory, popularized by the quack Shlomo Sand. This states that Ashkenazi Jews do not have ancestral origins in what's now Israel/Palestine, but rather descend from a mass conversion of Turkic peoples in the Kingdom of Kazaria. It is not, in fact, true.

Something else along these lines is back-defining origins and land-connection through current events. For example, a white gentile ex-friend of mine shared a post stating that because the IDF, as well as settler extremists, destroy Palestinian olive trees (an egregious act, in my opinion, as well as against Jewish law), this means we are not native to the land. While I understand the term native is complex and this might have been an attempt to denote our positionality as colonizer in a colonizer-indigenous dynamic, the framing of the post led me to believe that, actually, the post was using these actions to prove that we do not actually originate from the land.

Destroying Palestinian olive trees is an act of great violence against the land, against the Palestinian people, and against our own history, culture, and religious traditions. However, it does not change the historical fact of our origins or ancestry, nor the fact the our religious traditions are deeply intertwined with the seasons, climate, and agriculture of Israel-Palestine, even when that puts them out of sync with the seasons and climate of wherever we live in Diaspora.

I hope this is helpful. This is a really hard time for so many of us, and I know it can feel like derailing to focus on antisemitism right now, and to focus on the potential of future violence when the people of Gaza are experiencing actual extreme levels of violence right now. But if we truly believe that none of us are free until all of us are free, then fighting antisemitism has to be part of our collective liberation. We cannot and should not fight genocide by engaging in oppression. Speaking up for Gaza and Palestine does not have to mean fomenting conditions that put Jews in danger of bigotry and violence. The world we're building is one where seeing your trees destroyed, or your family killed, or your home receding into the distance as you are forced to leave is but a distant memory. For Palestinians, and for Jews, and for everybody on this Earth.