#or any queer person ever in the entire history of india

[lovelyrotter]

no way did i see someone say in the tbes tag "forcing trans rep where it doesnt belong" a..... as if trans biracial japanese people dont exist and have always existed??? japan isnt a country made entirely of cis people what the fuck are you talking about. queer people and non-ciss-ness has been a cornerstone in japans cultural history since forever. you literally would not have kabuki theatre without queer people or at the very least non-cis and non-straight people. queeness is embedded in the samurai way of life (historically, for better or worse). and what about all the adult wakashu? who voluntarily never graduated into adult man cishood because they wanted to keep their queerness/mlm relationships/non-cis-man presentation intact? you cant label the trans identity as a Whites/Westerners Only thing and then swear by the strict binary idea of cisness...which is an actual hegemonic christian thing made to divide and subjugate dfab and dmab people???? youre queerphobic AND racist

[mylasttwobraincellsandi]

Alright exams are over and I am here to rant about random shit again. Reminder that this is not meant to offend but to rather educate. Please don't come for me.

_______________________________________________

Foreigners coming to India, living on a dollar a day, eating street food three times a day for 5 days a week and claiming that they saw the "real" india is my only real pet peeve ever.

Fuck that shit. If I go to New York and live off of eating 2 dollar hot dogs and 1 dollar pizza for weeks on end I'll get sick too. If you don't take care of yourself in any country you will get sick. And especially as a foreigner.

No your stomachs cannot handle our extremely spicy food if you haven't eaten stuff at that spice level consistently before. So quit eating them.

No one here expects you to do that. You are not expected to just somehow mimic our culture entirely just cause you are here.

The fact that other countries expect this of tourists and especially migrants is and will always be insane. You can be American or British or French or German or japanese or south african or Algerian or Moroccan or whatever nationality you belong to. And you can still experience or ,if you are enamored enough by it, adopt parts of our culture into your life.

Being respectful however is not optional. This doesn't mean you have to take misogyny or sexist comments or homophobia from anyone. But be aware that there are conservatives here. And no not everyone is like that. The queer community in india is often overlooked but we are here. Liberals are here.

But treat people with respect. Wherever you go. That is not optional.

But to see people on YouTube talk about how cheaply they travelled in india is...kinda off. I get what they are trying to show. Yes india is a cheap country to live in. But quit glorifying it. The fact that over 20 percentage of our population lives under the poverty line is not something we are proud of. And the fact that so many people come here assuming that all indians are poor simply shows how little they actually know about the country. I am not saying that you should all book into 5 star resorts and avoid all meaningful interactions with indians. You absolutely should not do that. Instead talk to the people here like...you know...people. This might surprise some of you but a vast majority of us are infact middle class families who are fairly happy and even in many of the poorest households pretty educated (the recent generations I mean. We can't overturn history.).

Don't come here to pity us. Treat us as equals. And if you find yourselves thinking "how dare this bitch not talk about the poor. They are ones that need to have a platform to talk." You are absolutely right the poor need a good platform to discuss their issues. But these youtubers are not doing that though. They live on as little as they can to "experience true india". That's not "true india" or whatever other bullshit they spew. All of India needs to be seen. From the poorest to the richest. The poorest need more real representation. Ones where their problems get light shed on. Ones where they get to talk about their issues. Not have some random ass person say "omg look how poor they are." Like bitch you are not helping and you damn well know that.

And a personal issue I have is that...I never see the india I see in most videos. I didn't grow up eating roti and sabzee. I didn't grow up in a giant metropolitan city or a small village. Hindi is not my native language. I grew up loving the smell of rain on the soil and seeing coconut trees everywhere. I grew in a well developed but not cramped city. I grew up eating does and rice. I grew up with fish as a staple in our cuisine. Our food is even spicier. Our language is in an entirely different script. But I don't see any of that in many videos (I said many. Not all.).

And when I do see the india I see in the few videos that are out there I feel happy. It's nice Knowing that you are not invisible.

So to anyone that made it this far, india is not a monolith. We are an incredibly diverse country full of all kinds of people. No not all of us are scammers. And no not all us are software engineers (but you can probably find a fair few.). We are not all Hindu and don't all speak Hindi. We don't all look alike either. Quit going to northeastern states and posting videos with titles like "is this really india !!!". Yes. Yes it is. And we are really fucking proud of the fact that we are that diverse.

Thank you for coming to my Ted talk.

[north-of-annwn]

.....The vatican never genocided folk europeans? Ever hear of saint patricks day? Or like, providing any sources to any of your claims ever?

Ah yes my favorite question. “What about St. Patrick?” “wHaT aBoUt tHe iRiSh?!”

Ignoring the fact that this post was supposed to be about Nordic-Germanic Paganism. Let’s break this down. 

The myths about Saint PatrickSt. Patrick was sold into slavery to the Irish as a teen and then later became a priest who went back to Ireland. Although he did walk around preaching the gospel, there’s no evidence of violence and he definitely didn’t bring a force meant to colonize Ireland. In fact, more often than not it was St Patrick who received a lot of violent pushback by the Irish locals. He also didn’t drive the pagans out of Ireland or any of that nonsense. Those are myths that became popular but have no basis in actual history. In fact, much of their folklore and many Pagan traditions remained in place and were blended with Catholocism. Links below. 

The Colonization of IrelandNow I am not as familiar with my Irish history as my other European history, so anyone FROM Ireland can absolutely jump in here with corrections. What I understand is that Ireland colonized by England but, Ireland had already *chosen* to convert to Catholicism years prior to that. That colonization did not involved forced conversion (since they were already Catholic), labor/internment camps, reservations, genocide, or being forced into a system where they are subjugated and denied human rights. Unlike any other colonized group they have an avenue to success in that new system. This is a great example of how Europeans colonizing other Europeans looks *very* different from White colonialism visited upon any other ethnic group. Where are your sources?#1 I wrote the post quickly to address a lot of issues I’ve been seeing. I’ve written a lot of other posts with sources on this including an entire paper. But I shouldn’t have to provide the same sources every time I try to talk about the SAME tiresome issue. #2 This is my part of my job so I think I know what I’m talking about. I serve on a board of directors that’s committed to uplifting and empowering pagan BIPOC, LGTBQ, and other marginalized voices. Our leadership is made up of about 60% BIPOC and an advisory board that provide ongoing training on inclusion and equity. I’m still learning how systemic oppression impacts the colonized and my place in that system as a white queer person, but I can at least say with certainty that the information I gave on why cultures are either closed or open is accurate. 

https://www.history.com/news/st-patricks-day-myths-debunkedhttps://www.nationalgeographic.com/news/2011/3/110316-saint-patricks-day-2011-march-17-facts-ireland-irish-nation/http://www.saintpatricksdayparade.com/life_of_saint_patrick.htmhttps://www.historyofengland.net/british-empire/ireland-the-first-colony

Additionally, I’d love to hear how you plan to enforce removing all of the staples of European folklore from those they’ve colonized. Go on, I’ll wait. Don’t forget that the entire system of US government takes huge influence from Norse Allthings.

If you’re interested in actually finding this information you’re talking about instead of trolling me with embellished historical myths, I’d suggest searching for information regarding the negative impacts of the European colonization of American indigenous, India, and South African countries.

Fynnley

Since I basically just went and did your research for you, feel free to reimburse my labor. Although I’m expecting that you probably have no concept of equal exchange either. Most white supremacist Heathens don’t. 

Website || Venmo || Ko-Fi

[reporterbumble561]

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[newyorktheater]

The choices below are personal favorites; the ranking is somewhat arbitrary.

Paddy Considine as Quinn Carney (center, standing) and the company of The Ferryman

Guillaume Gallienne as the scheming Friedrich Bruckmann and Elsa Lepoivre as the ambitious widow Baronne Sophie Von Essenbeck in Ivo van Hove’s The Damned, after Sophie’s son as tar and feathered her.

Lucas Hedges and Elaine May in The Waverly Gallery by Kenneth Lonergan, directed by Lila Neugebauer.

Glenda Jackson

: Steven Skybell and Male Ensemble in “To Life” (“Lekhayim” ל ‘חיים)

Noah Robbins and Edmund Donovan in Clarkston

In the Body of the World

Dance Nation

In a political atmosphere that is at the very least fractured, and has often felt just a few steps away from something even worse, I am grateful for theater in 2018 in a way that transcends any strictly aesthetic assessment. I am grateful for: …the many shows confronting New York theatergoers with the issue of police shooting unarmed black, ranging from “Black, White & Blue” a ten-minute play by William Watkins at the Fire This Time Festival to Scraps, Geraldine Inoa’s playwriting debut Off-Off Broadway, to Christopher Demos-Brown’s American Son on Broadway …the welcome revivals of gay plays to remind us how far we’ve come and how much we could lose, especially Angels in America, Boys in the Band and Torch Song; and such Broadway entertainments as The Prom and especially Head Over Heels , which though primarily giddy musicals, seamlessly endorse of love and acceptance in all its contemporary forms, especially gay/queer/gender-fluid. …the plays and musicals that offer a glimpse into the culture, struggles and humanity of individual immigrants and immigrant communities, including Miss You Like Hell, An Ordinary Muslim, Pale India Ale, queens.

None of these specific titles are in my top 10 list, a tradition that this year seems even hoarier than usual, but that I am nevertheless putting together because it’s a proven way of getting more attention to shows that deserve it. As of this writing, there are only nine on the list below. I’m looking forward to at least a couple of shows in December that, if any live up to their promise, will be added here. There are drawbacks in putting forward a list before the very end of the year. I wrote my top 10 in 2017 before seeing “A Room in India,” devised by Théâtre du Soleil and presented at the Park Avenue Armory, which was definitely one of my favorite of the year. But Thanksgiving weekend seems the most apt time to express one’s gratitude.

1. The Ferryman

By the time “The Ferryman” has ended, we have been treated to a breathtaking mix of revenge action thriller, romance, melodrama, family saga, and a feast of storytelling – ghost stories, fairy stories, stories of Irish history and politics, stories of longing and of loss. Jez Butterworth’s play about farmer Quinn Carney and his sprawling, colorful family is rich, sweeping entertainment — epic, tragic….and cinematic. climax of “The Ferryman.” But its underlying themes (such as the wages of hatred) also add heft to what seemed merely to be the most thrilling play of the Broadway season.

2. The Damned

“The Damned,” Ivo van Hove’s intense, extraordinary stage adaptation of Luchino Visconti’s 1969 film, offered pivotal turning points in the story of the corruption, perversion and destruction of the wealthy German industrialist family at its center. Van Hove directed a remarkable cast from the 338-year-old Comédie-Français, who perform in French with English subtitles in the cavernous Wade Thompson Drill Hall of the Park Avenue Armory. The real-life events dramatized from 1933 felt like lessons not just in the creep of fascism, but in stagecraft from the avant-garde Belgian director – stagecraft that is ferociously inventive, unrelenting, and unsurpassed.

3. The Waverly Gallery

Elaine May is back on a Broadway stage after more than 50 years, and making the most of it in The Waverly Gallery, Kenneth Lonergan’s meticulously observed, funny and sad play about a woman’s decline and its effect on her family. May is not alone. She is one of five stellar cast members, notably Lucas Hedges making a splendid Broadway debut. They turn this 18-year-old play into…if not required, certainly well-rewarded viewing.

4. Three Tall Women

It is hard to imagine a better production of Edward Albee’s humorous, caustic, secretly compassionate look at a life – and a death. It felt a fitting homage to the playwright, who died in 2016. Glenda Jackson returned to Broadway after an absence of three decades The play, which debuted in 1994 Off-Broadway and revived Albee’s reputation after 20 years of critical drubbing, had never been on a Broadway stage before.

5. Fiddler on the Roof, in Yiddish

The first Yiddish-language production of the hit 1964 musical was only supposed to run (at the Museum for Jewish Heritage) for two months. It kept on getting extended, and will now transfer Off-Broadway in January. This is surely proof that the production appeals to way more than just speakers of Yiddish. (Indeed, some fluent in Yiddish have commented that the pronunciation by some of the performers needs work.) It’s as entertaining as any Fiddler I’ve seen, and it’s something of a revelation as well. This makes sense: The musical, after all, is based on the 19th century short stories by Sholom Aleichem, who wrote in Yiddish about Tevye the Dairyman, his family and his neighbors.

6. Lewiston/Clarkston

“ Lewiston/Clarkston” are two powerfully affecting plays by Samuel D. Hunter about 21stcentury descendants of the 19thcentury North American explorers Meriwether Lewis and William Clark. The plays are being presented one after the other in a single evening, separated by a communal dinner during the half-hour intermission, in a production at Rattlestick Playwrights Theater that one might consider an experiment in stagecraft. The theater has been completely reconfigured for the show, with the removal of its decades-old proscenium stage and of its raked stadium seating. Now, just 50 members of the audience sit in a row of folding chairs on either side of a plain playing space only 13 feet wide. As a result, the two dramas play out in close-up. The small playing space feels especially appropriate thematically, reflecting the circumscribed lives of the plays’ six characters, who reside in two nearby towns, named after Lewis and Clark, in what was once America’s wide-open frontier.

7. In the Body of the World

Perhaps you would have thought it chutzpah that in “In The Body of the World, Eve Ensler merged her story of her fight against uterine cancer with world crises such as mass rape in the Congo and the deadly oil spill in the Gulf of Mexico. Maybe you would have been squeamish at her graphic storytelling of her illness, treatment and recovery, during which she literally bared her physical scars, and exposed her emotional ones, which were more disturbing. You could well have disapproved of her self-defeating and dubious speculation about what might have caused her cancer – from tofu to Tab to bad reviews. You could grapple with all these reactions to Eve Ensler and her show – I certainly did at one time or another during its 90 minutes – and still have found “In The Body of the World” (as I did) eye-opening, entertaining, and one of the year’s most satisfying works of theater. Now a fan of Ensler’s, I rushed later in the year to see her play The Fruit Trilogy, which featured one of the most memorable performances I’ve ever witnessed in the theater.

8. Dance Nation

Like Sarah DeLappe’s The Wolves, and Annie Baker’s Circle Mirror Transformation, Clare Barron’s play was about something deeper than just a team of 13-year-old competitive dancers from Liverpool, Ohio aiming to win the Boogie Down Grand Prix in Tampa Bay. It was a funny, sharp and very blunt look at adolescent girls – portrayed by a terrific cast made up of actors as old as 60. For all the satirical touches, there are spot-on explorations of the sensitivities and insecurities but also boastfulness and bold curiosities of children who are developing into adults

9. The Mile Long Opera

The Mile-Long Opera: a biography of 7 o’clock,” featured 1,000 performers singing lyrics or reciting monologues along the entire 30 block length of the High Line. It was an astonishing, spectacular, moving, and deeply odd work of theater – the sort of the experiment for which you say, in wonder and in pride, “Only in New York.”

Top 10 New York Theater in 2018 to be Grateful For The choices below are personal favorites; the ranking is somewhat arbitrary. In a political atmosphere that is at the very least fractured, and has often felt just a few steps away from something even worse, I am grateful for theater in 2018 in a way that transcends any strictly aesthetic assessment.