and she married a nice Amazonian warrior and the were very happy and that’s why Wonder Woman has an invisible jet and I refuse to believe any other versions of this story. Fight me.
This week I had a lovely conversation with an older dyke who reminded me how much a lot of people have always hated TERFs and SWERFs.
She was talking about the time in the 1970s and 1980s when she was a young radical dyke and how many of the awesome dykes in the radical scene were trans women. So I asked her if there was ever any problem with TERFs and SWERFs. She didn’t know those words so I described them. Her reply was (paraphrasing a longer conversation):
“Oh, you mean the political lesbians? That’s what we called them at the time, no one really considered them radical. They hated everyone. They hated bisexual women who dated men. They hated us leather dykes and kinky dykes because they thought we were ‘copying the patriarchy’, they hated trans women. None of us in the radical scene liked them. A lot of them later left and admitted that they were straight but were presured to identify as lesbians in that group because being a feminist to them meant cutting all ties with men. They were like a cult. They often lived together and if you didn’t walk the political line you were dead to them. Intense stuff.
”
And like, I know her memories don’t have global relevance and there have also been places where TERFs had a much more prominent impact on the local radical women’s community, but still, to hear how despised these TERFs have always been by these truly radical dykes cheered me up a lot.
You mean to tell me, that hating TERFs is literally lesbian culture?
Jup, and actually it has been since TERFs first got started.
TERFs began to colonize the RadFem identity as early as 1973 at Radical Feminism’s biggest event: the West Coast Lesbian Conference. The conference was specifically trans-inclusive, but TERFs disrupted the event, demanding that trans attendees be removed. TERF icon Robin Morgan incited violence by telling the TERFs to “deal with” a trans women who was known to be in attendance.
When a group of TERFs tried to physically assault the trans woman, Radical Feminists stepped in to protect the trans woman. Instead of beating the trans woman, the TERFs instead beat the Radical Feminists. After the TERF violence, the conference still voted to remain a trans inclusive space, but the trans woman left the conference
voluntarily to avoid further TERF violence and disruption to the conference.
Perhaps the most iconic Radical Feminist institution was the Lesbian Separatist music collective, Olivia Records. This collective is largely responsible for the rise of women’s music movement of the 1970s. The Collective was trans-inclusive and even helped trans women access trans medical care. TERF icon, Janice Raymond discovered this and began a campaign against Olivia and the trans member of the Collective. This resulted in numerous death threats to the Radical Feminist members of the collective and credible armed death threats against the trans woman. Moreover, TERFs threatened to financially destroy Olivia Records for being trans inclusive with a boycott.
Even though Olivia voted to remain a trans-inclusive space, the trans woman left the Collective to avoid further TERF violence and disruption to the Collective.
[…]
Most of the media coverage around the MWMF casts this as a RadFem/Lesbian/Woman vs Trans issue. It’s not. The MWMF has come to represent a more nuanced struggle between TERFs who target both Radical Feminists and trans people in the name of Radical Feminism. The evidence reveals that almost from the start, the chances were that “there is still a better than 999 in 1000 chance that most Festigoers would welcome trans women”.
Moreover, the evidence reveals that the most iconic Radical Feminist institutions were designed to be trans-inclusive, until TERF violence forced trans people to choose between their own safety, the safety of Radical Feminists, the institution itself and leaving the space. As has always been, TERF aggression comes wrapped in the guise of Radical Feminism, for the purpose of colonizing Radical Feminism.
I have never related to a show so much in my fucking life (and I related highly to George Lopez show) and they cover all kinds of issues about latinx identity and culture, immigration, sexuality, gender, racism, mental health, etc. It really feels like Im watching myself and my family on screen. And the show is both emotional and funny. I have cried my heart out and laughed my ass off. I just….. I hope Netflix protects this show because it really, truly means the absolute world to me to have a show like this. One that includes latinxs who are sensitive to new issues but also show the reality of them struggling to adjust to new ideas (especially with 3 generations in one house - which is my own living situation).
Like literally, Lydia is like my grandma to the T (except mine is Rican). My mom was a cna up until a month ago. I’m the gay “social justice advocate” in my house. I have relatives who would turn me away like Elena’s dad did in season 1 if they knew. I surround myself with as many other queer poc as possible to have a community. I also have that one white friend who’s a little ignorant but has a big enough hard to make the effort to be more self aware and empathetic of my family’s struggles (Schneider is a really great character yall). I have so many veterans in my family, one who was much like Victor. I have PTSD and depression for other reasons but Lupita’s struggle hit very close to home. As well as the struggle of going through therapy and being on and off pills.
There’s so much about this show that’s so personal and I love it even when it hurts. And it does hurt sometimes only because the painful parts are too true.
Anyway if you want to support good representation of latinx families in media this show is one I highly recommend watching.
I cried more during the first episode of the second season than I think I ever have at a television show. And I’ve been watching Grey’s Anatomy for over a decade.
My favorite thing about Thomas the Tank Engine is that it canonically takes place in a train post-apocalypse where the Island of Sodor is the only safe zone in a totalitarian dystopia in which steam trains are routinely killed and their body parts are sold or cannibalized for repair
If you think I’m kidding you need to read the original books
could you please direct me to a source? i would feel much better if this was validated.
It took me so long to find this quote online but I did it because it’s so much darker than one might expect from Thomas the Tank Engine:
“…Engines on the Other Railway aren’t safe now. Their controllers are cruel. They don’t like engines any more. They put them on cold damp sidings, and then,” Percy nearly sobbed, “they…they c-c-cut them up.” -”The Bluebells of England.” Stepney the Bluebell Engine. Rev. Awdry, Wilbert. London: Egmont Publishing, 1963.
This illustration, by Gunvor and Peter Edwards, accompanied the above text in the original book, and depicts a pair of unfortunate Other Railway engines moments before being disassembled with a blowtorch.
HOLY FUCK LOOK AT THE ONE IN THE BACKGROUND THEY TOOK ITS FUCKING FACE OMG
the early thomas the tank engine books are pretty standard stuff. saccharine bubblegum type stories and illustrations. if you watched the show, it’s like that in book form.
the second half of the railway series are so fucking dark and surreal i’m convinced they were a result of reverend wilbur awdry doing copious amounts of lsd and having hallucinations of his own death.
Excuse me but the very first story in the Railway Series is about an engine who hides in a tunnel and refuses to run because he doesn’t want to get his paint job ruined in the rain, so railway management seals off the tunnel.
They eventually let him out because another engine breaks down or something, but the original plan was to just leave him in there forever.
On the show, didn’t they also hook up one engine to a generator, so he’d never move again? That was literally one of the lines, I think. It’s on some other post on here. It was chilling.
Yes! This also happened in the books, to an engine referred to only as “No. 2″, but the television series applied the same scenario to an invented character named “Smudger”, in the episode “Granpuff”.
“Smudger,” said Duke. “Was a show-off. He rode roughly and often came off the rails. I warned him to be careful, but he took no notice.” “Listen, Dukie” he snared. “Who worries about a few spills?” “We do here! I said, but Smudger just laughed.” “Hahaha!” “Until one day, Manager said he was going to make him useful at last. Smudger stopped laughing then!” “W-w-why? What did he do?!” “He turned him into a generator. He’s still there behind our shed. He’ll never move again.”
This is so fucked up
No, listen.
Okay, so we see Railway Management doing all this shit, right, but supposedly it’s so much worse in the Other Railways? I mean, sure, you might get turned into a generator or bricked into a tunnel for not doing as you’re told, but at least you’re not cut up and sold for parts, right? It’s not so bad on the island of Sodor, right?
Or maybe that’s just what Railway Management wants the engines to think.
Maybe the island of Sodor is the real totalitarian regime, and the engine citizens (slaves) are fed propaganda, illustrated in hellish grays and sulfuric yellows, about how bad it is everywhere else, at all the Other Railways.
It confuses people when I introduce myself as the Executive Director of a society about Latin American Archaeology then turn around and say that I’m studying Modern Inuit art in Montreal. Those are two different foci. How could I possibly be interested in both? Why would I tear myself between the two? Shouldn’t I have stuck with Mesoamerican art for my Masters?
I’m not sure. But that’s not for you to fret over, it’s not a problem to worry about.
Specialty was never meant to be the compass of curiosity.
