#blk trans women | Explore Tumblr Posts and Blogs

punkeropercyjackson · 2 months

Text

Yes,it's super true that:

Black women should be allowed to be as femme as much we want and however we want

We can be indie,pastel,punk,kidcore,classical,scene,goth,gamers and any other style and/or subculture we want that's not inherently rooted in blackness by itself but that we put our spin on to make it connected to our black womanhood and we're awesome for it

This also extends to our personalities.We should be allowed to be bubbly and soft and kiddy and chaotic and unshamedly weird and hopeless romantics and high maintenance without having our blackness doubted since blk women like us have always existed and we always will

It's extremely out of pocket to say we're 'acting white' for it,especially when there's some parts of these that were INVENTED by black women and is real bold coming from cisdudes who do things like calling us fake fans because they think we don't know what any media and need to educated by them so we can reward them by dating them and this all goes quadruple for black trans femmes,be we transmasc or transfem or multigender or nonbinary

But it's ALSO super true that:

Black women are allowed to be butch as much as they want and however they want

They're an extremely important part of not only black history but also wlw history in general and have been one of the most important groups in our community since forever along with blk trans women.They also face significantly worse discrimination than us femmes(No,i'm not making it a competition,i'm saying it as a fact)

Studs/Masc bi bw can be just like us personality ways or the direct opposite or somewhere inbetween and they're all cool as fuck and deserve good things and our love and protection like they give to us.They deserve our full support in cases where they're not cis too that,again,they also give us

Butch black women and femme black women rarely are the ones actually causing this infighting and instead it's nonblacks gossiping and trying to divide us.There is definitely some problems in our community but it's only a small part and we can't let them influence us with their bullshit nor let them keep platforming without calling it out and it's all of our responsibilities to love and protect eachother in a world that hates of regardless of what we're individually like.Remember that in cases like mine where you're not full black we should use our privilege to our advantage to fight against misogynoir towards ALL of us but that monoracial black women have always had it the worst and they've given us everything so we should do the same

@thisismisogynoir

63 notes · View notes

anonil88 · 1 year

Text

Starting to realize a lot of leftist spaces aren't exactly for blk ppl or still have a lot of anti-blackness to unpack. Even the queer spaces and like I was aware of it but God as things get worse it only gets more obvious now.

Didn't realize white trans people were upset that the say her name phrase was meant to highlight black women who endured police brutality. And when black people even black trans people said hey could you use something else please the anti blackness hopped out and go repackaged as "Americans are so focused on North America." Instead of them just stating what they really wanted to say because say her name was also used to highlight police violence against black women abroad.

Odd times fr.

4 notes · View notes

queermtl · 1 year

Text

QUEER MTL THINGS TO DO: FEBRUARY 2023

The month of love and Black History is upon us! Every month, Montréal’s queer calendar is stuffed full of exciting events, parties and performances. Here’s some of our picks for the best LGBTQ+ things to do in the city this February. For further announcements, follow QueerMTL on Instagram, Twitter, Facebook and Tumblr! Got an event coming up? DM it our way!

EVENT OF THE MONTH:

🥳 Frky celebrates Black History month with BLK featuring Nick Holder, Moka, B’ugo and Andy Williams on Saturday, February 4, 2023 at La Sala Rossa. Tickets are available here. Beforehand, from 7-10 PM they’ll also be hosting the free event LISTEN, with 9 DJs shining a spotlight on the Black music that’s inspired them—and everyone else!—throughout their lives.

EVENTS

🎭 The Queer Performance Camp returns from February 1-18, 2023, in collaboration between Studio 303, Mai (Montréal, arts interculturels) and La Chappelle Scènes Contemporaines. Composed of Gatherings, Workshops and Shows, the Queer Performance Camp brings some of Montréal’s best LGBTQ+ talent to the stage. This year’s lineup includes appearances from FATHERMOTHER, Vivek Sharaya, and Ivo Dimchev, as well as The Future Lovers Kiki Ball, the Queerdo Love Cabaret and the Cosmic Drag-Pop Double Feature all listed individually below. Check the link for full lineup, timeline and ticketing information.

✍️ HommeHomo brings Drink & Draw back to Bar Le Cocktail on Wednesday, February 1, 2023, featuring live models and drink specials.

🎭 McGill Arts Undergrad Theatre Society is presenting HAIR! on February 2-4, 2023. Tickets and info at Eventbrite.

📚 The Violet Hour Book Club will meet and discuss the novel Butter Honey Pig Bread by Francesca Ekwuyasi on Saturday, February 4, 2023 at the Archives gaies du Québec.

👠 Miss Meow presents their Valentine’s Burlesque Revue on February 11, 2023 at Café Cleopatra. Tickets at Eventbrite.

🎲 Queer French Conversation Hangouts MTL brings their Queer French Board Game Hang to Frigo Vert on Sunday, February 12, 2023.

💘 Ellelui presents CRUSH at La Sala Rossa, a Valentine’s speed dating fundraiser for Black Healing Fund on Tuesday, February 14, 2023. Find love! Tickets here.

🤖 Presented by Mother Raven Louboutin, the MAI (Montréal, arts interculturels) hosts The Future Lovers Kiki Ball on Saturday, February 18, 2023, sure to be one of the year’s biggest and most exciting voguing events. Join MC Broadway Mulan and DJ Cherry KFC as some of Montréal’s biggest ballroom talent shows their skills on the runway.

💔 Anti-Valentines Day: A Sad Song Cover Night brings bitter joy to the masses on Saturday, February 18, 2023 at the Diving Bell Social Club.

💄 Montréal drag artist Dot Dot Dot presents Introduction to the art of Drag: King, Queen and Genderbent on Saturday, February 25, 2023 at Art Neuf (continuing the following Saturday). Book your spot and pick up some makeup early!

🛍 LuperQUEERlia offers a safe gathering space including free drinks, tarot, tattoos and shopping. At 2019 rue Moreau on Saturday, February 25, 2023.

🎪 Catch the eye-popping acrobatics of DiiP at Cabaret Mado on Sunday, February 26, 2023. Tickets here.

✍️ Calling all lesbian, bi, trans, queer and non-binary writers, poets, photographers, illustrators and other artists—Lez Spread the Word magazine is holding an open call for submissions for its 8th issue. Deadline is March 1st, and details at the link.

🎤 Most Tuesdays, check out Stand Up St. Henri Open Mic at Impro Montréal, focusing on women, non-binary, queer and allied comedians.

🏒 Feminist hockey collective Hockey pour Poches meets every Thursday for games in Villeray’s Parc de Normanville.

💃 Tango/Salsa Queer’s continue, with Salsa Queer on Monday nights from 20:30-21:30 and Tango (beginners/intermediate) on Tuesdays at 19:00-20:30. Contact [email protected] for prices and location.

PARTIES

🥳 Homopop brings GAYDONNA! Madonna Dance Party with drag artist Sami Landri to Cabaret Berlin on Friday, February 3, 2023. Dance the night away to 40 years of Madge!

🥳 POWERSLVT: SLVT JUICE comes to Cabaret Berlin on Saturday, February 4, 2023, promising Play, Dance and Queer Expression.

🥳 Global Tarraxo comes back to Montréal for its second edition here, from February 9-13, 2023 at HotelZERO1. Find DJ lineup and ticket information at Eventbrite.

🥳 KODE returns to Cabaret Berlin on Friday, February 10, 2023. Dress code: leather, latex, sports and uniform!

🥳 Cult of AnarchKey presents BLACK HISTORY MONTH: Queer Artist Showcase + Dance Party at Notre Dame des Quilles on Saturday, February 11, 2023.

🥳 The Montreal Glow Party promises a night of dancing and music, and every attendee gets a glow stick upon entry. What could be better than that? At Jet Night Club on Saturday, February 11, 2023.

🥳 Filipinos of Montréal present LOVE IN THIS CLUB: An All R&B Dancery at 435 Beaubien Ouest on Saturday, February 11, 2023. Tickets and information at Eventbrite.

🥳 The legendary L Nights returns for Love is in the Air on Wednesday, February 15, 2023 at Bar Datcha. A day late for Valentine’s Day, but still perfect timing to find love on the dance floor. Tickets at Eventbrite.

🥳 Dance to all of your RiRi favourites at Homopop's Rihanna Dance Party, featuring drag artists Aizysse Baga and Sasha Baga on Friday, February 17, 2023 at Cabaret Berlin.

🥳 Love Dumpster, the first of a series of techno-homo events created for and by the LGBTQ2S+ community premieres at Cabaret Berlin on Saturday, February 18, 2023.

🥳 Queen & Queer presents their Women dance party Queen & Queen on February 18, 2023 at La Sala Rossa.

🥳 We’re always hyped for when Discoño is on, and this month’s edition they’ll take over Newspeak on Friday, February 25, 2023.

🥳 This Nuit Blanche, Mythos Drag Cabaret and Blush are joining forces for Mythos X Blush: Après-Ski ❄️ Snow Bunnies at Cabaret Berlin on February 25, 2023. Starting with cutting edge drag and going late into the night with one of Montréal’s favourite lesbian parties, this is one collaboration you won’t want to miss!

🥳 Bar Le Stud hosts POLAR BEAR on Nuit Blanche, February 25, 2023. Free entry!

DRAG

👑 Uma Gahd hosts weekly screenings of RuPaul’s Drag Race Season 15 at Bar Le Cocktail in Montréal’s Gay Village on Friday nights. Come early for a ticket and laugh along all season!

👑 Head to Cabaret Mado for Queen of the Damned on Thursday, February 2, 2023 hosted bt Dénome LaStrange and featuring Denim Pussy and Ad’horrible.

👑 Homopop brings GAYDONNA! Madonna Dance Party with drag artist Sami Landri to Cabaret Berlin on Friday, February 3, 2023. Dance the night away to 40 years of Madge!

👑 Join host Uma Gahd for Church—Dear Auntie edition on Saturday, February 4, 2023 at Bar Le Cocktail. Tickets at Eventbrite.

👑 LaDorris et ses Queens is returning to Verdun on Saturday, February 4, 2023, with special guests Kimber Lay of Québec City and Style Artois from Terrebonne at Resto-Bar Trevi.

👑 Hosted by Heart Dandy, Queer Joy Drag Show is a gender affirming care fundraiser on Thursday, February 9, 2023 at Notre Dame Des Quilles featuring performers, crafts and raffle.

👑 Montréal’s drag kings arrive at Bière et Métal on Thursday, February 9, 2023 at Cabaret Mado, featuring Flex Ryder and Mister Boogie. Tickets here.

👑 Selma and Uma Gahd bring Drag Brunch to Robin Des Bois in Parc La Fontaine on Saturday, February 11, 2023. Grab your $5 reservation spot early, and bring the whole family!

👑 Jimmy Moore brings his impeccable impersonation skills back to Cabaret Mado, this time in the guise of Adele. Saturday, February 11, 2023. Tickets here.

👑 Océane Aqua-Black brings her one woman show 50 Shades of Me to Cabaret Mado on Wednesday, February 15, 2023. Tickets here.

👑 The MAI (Montréal, arts interculturels) presents Cosmic Drag-Pop Double Feature with Bijuriya and BiG SiSSY on Friday, February 17, 2023, as part of the mini-festival 3 Happenings Queer.

👑 Dance to all of your RiRi favourites at Homopop's Rihanna Dance Party, featuring drag artists Aizysse Baga and Sasha Baga on Friday, February 17, 2023 at Cabaret Berlin.

👑 Continuing 3 Happenings Queer at the MAI (Montréal, arts interculturels), The Queerdo Love Cabaret with hosts Bijuriya and Hercusleaze features Kajol, Korra Anarchkey, Uncle Marly, Miami Minx and others on Saturday, February 18, 2023.

👑 Kitana and Barbada celebrate Nothing But the 90s at Cabaret Mado on Thursday, February 23, 2023. Grab tickets here.

👑 Montréal King of Kings Charli Deville presents Manspread: Bikini Bottoms—A SpongeBob Squarepants Cabaret at Bar Le Cocktail on Saturday, February 25, 2023. This one will sell out fast, so grab tickets at Eventbrite!

👑 Back back back again, it’s Jimmy Moore as Celine Dion on Saturday, February 25, 2023 at Cabaret Mado. Tickets here.

👑 The Main Stage comes to Champs on Saturday, February 25, 2023, featuring drag, dance and song. A perfect way to end Nuit Blanche!

👑 Every Monday at the Diving Bell Social Club, Bambi Dextrous hosts Trivia Mondays! Be sure to book your team table in advance.

👑 Every Tuesday, Canada’s Drag Race season 3 winner Gisèle Lullaby hosts Full Gisèle at Cabaret Mado. Tickets and schedule at Cabaret Mado’s website.

👑 On Friday nights, the legendary Mado Lamotte hosts Mado Reçoit at her namesake club, Cabaret Mado. Each week, she shares the stage with a hand-picked roster of queens. Tickets and lineup info here.

👑 The amazing Tracy Trash hosts Le Tracy Show every Sunday at Cabaret Mado. Grab tickets here.

👑 Bar Le Cocktail’s regular weekly events include Butterfly de Nuit with Miss Butterfly on Thursdays, Vendredi Fou with Michel Dorion on Fridays, Samedi Drôles de Drags with a rotating cast of queens on Saturdays and Dimanche Show with Michel Dorion on Sundays. Check listings for specific details, and pick up tickets here.

#montreal mtlmoments queerMTL thingstodo lgbttravel lgbtq 2slgbtq

3 notes · View notes

the-seas-song · 2 years

Text

We Deserve Better

I have just started watching PRIDE: To Be Seen by Soul of a Nation. The opening has left me angry and tired, because once again, Los Angeles gets completely ignored and written out of queer history.

The documentary starts with Alok saying, “Iconic leaders who started Pride, by protesting that fateful night at Stonewall in 1969. They'd had enough.”

A few minutes later, Cara Delevingne says, “It's been more than fifty years since trans and queer people rebelled at New York Stonewall inn.”

I want to be clear - I have no problems with Alok or Cara. However, these statements are not true. They are factually wrong, and immedietly bring the entire documentary’s legitimacy into question - if the first five minutes can’t get the most basic facts about Pride’s origin right, what does that say about the rest of it?

The literal definition of a documentary is “a movie or a television or radio program that provides a factual record or report.” It’s not a true documentary if it has no fact-checkers, or worse - so called ‘fact-checkers’ who sign off on lies.

Here are the facts:

“But it wasn't only a much freer way of life that vast and populous Los Angeles made possible for the exiles. Los Angeles also freed them to think in new ways, break new ground, and serve as midwives to the worldwide GLBT movements. Where was the first lesbian magazine in America published? The first gay magazine? Where was the first ongoing gay political organization established? The first GLBT church? The first GLBT synagogue? The first GLBT community center? The answer is Los Angeles. During the past 50 years, GLBT life has been dramatically transformed all over America and in Western Europe, and Los Angeles has led the way.” - Lillian Faderman

1947: 1st lesbian mag Vice Versa.

1950: Harry Hay started the Mattachine Society.

1953: 1st gay mag ONE.

1954: first gay motorcycle club, the Satyrs MC.

1958: ONE mag had 1st LGBTQ win in the Supreme Court.

1959: 1st LGBTQ riot against police, the Cooper Do-nuts riot.

1966: 1st PRIDE organization (and use of the word “pride” in queer context), Personal Rights through Defense and Education. 1966: 1st LBTQ parade, 15 car motorcade by the Los Angeles Committee to Fight Exclusion of Homosexuals from the Armed Forces.

1966/67: new years eve Black Cat Tavern raid & protests against police.

1967: PRIDE starts the The Los Angeles Advocate in response to Black Cat (is renamed The Advocate in 1969).

1968: First gay church, the Metropolitan Community Church founded & did 1st public marriage. 1968: GLF did 1st Gay-In festivals, Griffith Park.

1968: The Patch bar, led by owner Lee Glaze, did flower-power protest in LAPD station.

1969: The Los Angeles LGBT Center started as The Gay Community Services Center, 1st service center and 1st nonprofit to have the word 'gay' in its name, in 1971 created 1st houses for homeless LGBTQ ppl “Liberation Houses”; today it is the largest LGBTQ facility in the world.

1970: 1st legally permitted pride parade, L.A. Gay Pride Parade (won supreme court battle over it; moved from Hollywood to West Hollywood in 1979).

1971: Gay Women’s Service Center started in Echo Park.

1972: 1st LGBTQ synagogue, Beth Chayim Chadashim.

1988: 1st black gay magazine BLK.

Overview: The books Gay L.A. by Lillian Faderman and Lavender Los Angeles by Roots of Equality

You can find information about all of these events on google. There is no excuse for this trend of misinformation to continue. Give Los Angeles the credit we deserve.

#Los Angeles #Pride #LBGTQ #Lesbian #PRIDE: To Be Seen #Soul of a Nation #Alok #Cara Delevingne #Mine #Truth

2 notes · View notes

morganalove196 · 5 months

Text

FUCK! MY SURGERY PUSSY HAS CLOSED UP!!

XISTERS!

I'm at the hospital, now the er doctor, is trying to bakeract me for screaming, for one he thinks I'm

Crazy for getting the surgery, and he keeps

misgendering me calling me he!

WHY ME!???

HELP THEY TRYNA TAKE MUH PHONE AWAY!

THE DOCTOR DIED WTF!!!

He died right in front of me

My gf just called she said she hates me she said i need to just die bc she tired of helping me dilate!

Goys wtf do i do ima blk, so I'm fuck i should just cry

BITCH

I HATE ALL U

I hate ppl

FUCK WHITEY

FUCK RACIST!

My pussy clean!

My pussy rotted

FUCK U DR. STEINBURG

Clown 🤡🤡🤡

Ahhhhhh im not paying child support

Jojo siwa plz stop sending death threats to me on discord, fascist bigot CHUD!

Jojo NO!

You just sent me hate speech,

JOJO SIWA JUST CALLED ME, THE 4 CHAN

Transphobic SLUR!!

YWNBAW

Kys

Troon!

Le evil jojo should be my cousin

My im black and bald.

And in millons in dept!

Jojo said she hired the CIA AND TERRY DAVIS TO SUCK MY TOES

Jenna Ortega said I'm too ugly!

Hmm

Im gay, bald, trans, black, chronic

What else is causing me to be undesirable to women!

You goys are racist!

MY GOYBUCKS AREN'T HERE YET, WELL TIME

To riot at the CAPITOL!

Oy vey goys shalom shabbat

I'm just injecting tranq and will sleep goodnight

I'm backhome now!

0 notes

theeunactive-fashionblog · 3 years

Text

happy 49th birthday to the gorgeous, Laverne Cox!

4K notes · View notes

800-dick-pics · 4 years

Text

i hate white sapphics wowowowowow these white women raised money for their black trans “friend” and wont give her the $ bc she is a substance user, like WWWWWOOOOWWWWW yall are evil lil cunts, how can you not have fuckin empathy for your “FRIEND” and not show support?? who cares if she spends some of the $$$ on substances, depending on what it is it could be DEADLY if she stops cold turkey and like the world is absolute shit rn and lgbt black people are going through THEE MOSTS so if we wanna drink or get high stfu and let us

this is why i dont trust white lgbts!!! yall do not empathize with the crushing reality of black and brown queer life, if you cant donate or help someone bc theyre using or selling substances, doing SW, stealing to eat a meal or get some clothes, then you really dont have empathy nor understand what its like out here for us

#dont rebloop #me #personal #vent #same group of white sapphic called blk lesbians fake dykes and whew sorry u think all lesbians are thin afab whites #i wanna find this womans cashapp or smthn bc wow #those are some fake ass friends for raisng and then withholding that $ frm u just bc of substance use #news flash substance use doesnt go away if you withhold funds and support from a person #in fact it makes it more likely to happen #anyway white lgbts i need yall to be genuine when yall donate n support us #esp black trans women #yall him and haw about these women to give u social clout durring pridemonth so whcant yall give someone 10?

13 notes · View notes

lowresolutioncryptid · 3 years

Text

Hate those fuckboys that post support for abused/trafficked children or post a disabled person and say that's real body positivity but will in the same breath say the n word and call blk ppl m**keys like you talking about body positivity for whites? saving the children but you mean only White children?

There is a disturbing amount of people who show "support" for children, animal rights, disabled rights, people who were abused etc (support is used loosely because sometimes it's just performative, wanting to look caring to others on social media) but are silent when it comes to black liberation, women's rights, gay/trans rights etc.. as if they are not as well victims of abuse by oppressive systems... Where is the line where a living being does or does not deserve your respect, support, care, solidarity? Pitting a false competition of valuing people's struggle on a scale of your own sympathy. Liberation doesn't end where you are comfortable.

As well its plain minimizing and gaslighting of specific groups by showing& telling them there is "more important" problems than the real problems they face...it's like saying racism "isn't that bad" because this person is in a wheelchair... What of all the black people who use wheelchairs? Do they have to pick which fight is more worthy of their time between black rights and disabled rights? Foh

U sound like "you can't have depression someone in the world has it worse than you" no shit Karen that doesn't make it disappear.

#end rant #racism #abuse #ableism #double standards #gay rights #womens rights #black liberation #two americas

50 notes · View notes

percybeloved · 3 years

Text

This is most definitely unedited lmao

I feel as if this really shouldn't be said but I also feel the need to say it. I am a trans gay man. I already know that some people view me as just a straight woman. As a gay man, I feel as if its weird that people will take a ship that isn't straight and basically make it straight by changing the gender of one of the characters to the opposite gender. Its weird and literally erasing our representation. I also want to speak about fanfictions and race. So many "black! reader" made by non blk people are literally just sterotyping us. So many fanfics obviously are targetting skinny white people yet noone actually speaks about it. As a black man, I don't want nor like seeing my fellow black women be dumbed down to "loud" and "annoying" in fiction when it happens enough reality. Fanfics will literally say something like (and I quote) "He ran his fingers through Y/N's blonde, long, straight hair" 🤔 Or literally compare black hair to carpet or the fur on a dog. MOST of my non ship fanfics are literally x black male reader. I only specified it in the Matsuda because I wanted to see what happened when I did. So, tldr: its really not that hard to write specifically for blk! reader. You don't HAVE to, but if you WANT to, don't sterotype us

xoxoxo

percy

#x male reader #x reader #x black reader

22 notes · View notes

qpeople · 3 years

Text

[video transcript: a tiktok from the user theericklouis (the erick louis), a Black person, applying chapstick, then speaking to the camera. he says:

"I need white gays to understand something.... You get to wear your doc martens, listen to Kaytranada, sniff your poppers, and contribute nothing of absolute value to gay culture in peace, while there are blk and brown folk out here who are dying- trans women dying, fighting for their lives.

So when we're having conversations about oppression, y'all feel as though you can lump yourselves in cause you're white and queer- I mean yes you are apart of a marginalized community because of your queerness, but you're forgetting that you're white/caucasian, you're white/caucasian and you're whitet-ness supersedes your oppressed identity. Your white-ness informs youre oppressed identity.

So like go be great in your lavender. You're allowed to be white and queer in whatever space you choose, because the space was built for you - tailored and custom fit, but if you don't have the range for certain conversations don't engage. Because there are actual Black and brown folk with multiple intersecting identities who don't have the same privileges you've been afforded. So maybe [he makes a shushing motion], that always helps."

end transcript]

#antiracism #transmisogyny ment #death ment #murder ment #ask to tag

4 notes · View notes

ladiablesse · 3 years

Text

if u search up kim from for harriets twt mentions it’s just a bunch of blk t*erfs insulting her and calling her male-aligned or sum shit for giving platforms to blk trans women to talk abt their experiences it’s crazy lol and they’re so belligerent too like if ur so busy ~divesting~ n only caring abt urself n reserving your empathy then why do u care so much lmao

#it’s so pathetic #anyways subscribe to for harriet on yt n watch her vid w kat blaque

2 notes · View notes

queernuck · 5 years

Note

Are guns inherently fascist/reactionary?

not in the least. and that goes even for fascist-designed weapons as well as literal weapons of imperialism: the use of the MP40 by partisans is well-documented, and that was because it was a good submachine gun that functioned very well, simply, and could be picked up or supplemented by parts taken from Nazi stores and dead Nazis themselves. Captured weapons were heavily used on the Eastern Front in WWII, a lot of partisans were armed with captured weapons, and captured weapons have been used by numerous anti-imperialist groups specifically because they just work well as weapons.

discussing the inherent properties of a weapon can be difficult, especially given how many military-style Semi-Auto rifles are used largely for mundane ends in and of themselves, punching holes in paper or dinging bullets off bits of steel. the same is true of long-range rifles: many of those that participate in long-range or very-long-range shooting competitions are just trying to hit targets at extremely long ranges. that said, the ways in which civilians drive military development is not to be misunderstood: these are absolutely spaces where imperialist powers draw their own weapons from. Lewis Machine & Tool, an American company, was the one who built the rifle now being used by the British military as a designated marksman’s rifle in Afghanistan as part of supporting a US occupation. Techniques, rifles, and rounds used in long-range shooting for the purpose of competition have contributed to the capabilities of snipers operating in service of imperialist violence. And that says nothing of how guns as a whole, as objects able to direct flows of force, of libidinal energy, in a profoundly traumatizing fashion, serve to protect their own spaces, the mere carrying of a gun can be used to make it such that someone interested in but not “right” for fascist-influenced gun groups can be easily scared away.

the ascribing of inherent agency, inherent properties to objects is difficult, but there are certainly guns that imply certain things about themselves in their structure. short rifles chambered in .300 BLK are usually meant to be used suppressed, which means that whoever owns one probably owns a suppressor, can purchase a relatively expensive round routinely, and the fielding of such weapons is usually done by units that are doing some pretty unsavory work, be it kicking doors for Delta or for SWAT teams on drug raids. designing and fielding and accessorizing and using a rifle involves a relationship of so many different instantiations of possible-events, involves conceptualizing one’s relationship to the gun, and for many, this is fascist, or at the very least reactionary.

just as we should not fall to book worship, gun worship is likely not the best policy. i have a personal interest in guns, some forms of “gun culture” (mostly those outside of hegemonic gun culture like the convergence of new trends in gunmaking and, say, gangster rap appropriation of these tools of war. or, the use of older arms in contemporary battlefields, like that of the SKS or M1 Carbine, or looking at how countries exchange arms like Columbia building the Galil ACE for Israel, America buying Croatian rifles to arm Syrian rebels, and French cops ditching the HK416 for the CZ BREN in 7.62x39 along with numerous other such instances of arms as structures of exchange, symbols, objects of ideation and the functionality of exactly what is prioritized about a rifle) but I am aware of its shortcomings all the same.

gun CULTURE is overwhelmingly reactionary. this is by design, is through the involvement of cops and fash and veterans and combinations thereof and so so so many gun owners are just absolutely awful people, people who run “right-anarchist” blogs and who would shoot me if they thought they could get away with it, who want me to get thrown in an institution

i dont fucking trust red flag laws

fuck ICE, fuck cops, fuck the fash, regardless I want some guns. arm addicts, arm dealers, arm sex workers, arm the disabled, arm the poor, arm immigrants, arm black communities, arm gay men, arm lesbians, arm trans women trans men arm trans people more generally, arm them all and I think that disarming police, disarming ICE, disarming the military should follow but if it doesnt immediately disarm them as well. this will also do nice to get rid of landlords lol

7 notes · View notes

morganalove196 · 6 months

Text

Whyte Women, need to learn from blk queer queenz!!

Trans buttholes, are human beings!

Communism is my vagina wound, I had surgery to remove my feminine penis!!!

Racism in America is evil, blks have no fathers,

So stop celebrating fathers and mothers day!!

Especially since there's queer butthole parenting!!

Trans butthole rights are human rights!!!

Fuck cissess, if you don't love us than, you're an fascist, racist and trans phobic nazi, that's genocidal to us trans lgbtiabcdefg+++ folx!!!

Pronouns like nig/ga

Is valid!

Any pronoun or Neoproun is VALID!!

Ze/zir

They/them

He/they

Binary trannys fuck off, you guys are extremely trans phobic towards non binary and genderqueer ppl!

Transmed is rooted in whites supremacy,

And racism!

Gender is an choice!

Every can be trans, dysphoria is fake to kill trans ppl!!

Kids can transition at 2 months old if they want too!

Hell, every child should be raised non binary and

Have preferred pronouns as they/them, boys and girls no longer exists, the future is now non binary!!!

SHALOM, OY VEY GOOD NIGHT GOYS!!

#schizoposting

0 notes

writemarcus · 5 years

Text

Black, Queer, and Here

In a post-‘Moonlight’ world, writers like Michael R. Jackson and Jeremy O. Harris are making the case for LGBTQ stories that go beyond the gay white experience.

BY MARCUS SCOTT

Last month, when Michael R. Jackson’s A Strange Loop earned unanimous praise upon opening at Playwrights Horizons, it was a pivotal moment for me as a spectator. As someone who is also a Black, gay, musical theatre writer, I saw myself and my story onstage for the first time. I guffawed, clapped my hands, snapped along, celebrated the pageantry of Black excellence, and even teared up a bit during the play’s climax.

For the first time I didn’t have to undertake the mental gymnastics all marginalized people are basically required to do once they enter the theatre; to empathize with the white, often male protagonist as default. Not to mention, there was additional apprehension. Any time I saw a story centered on LGBTQ characters, I could usually predict what I was getting myself into: either comedic NutraSweet schmaltz with heart, or a maudlin tragedy where happy endings are laughable and everyone dies in the end.

But this was different. Led by a colossal, virtuoso performance from Larry Owens—not to mention anchored by an all-Black, all-queer ensemble of multitalented, triple-threat featured players—A Strange Loop (now extended through July 28) is a singular, seminal Bildungsroman that casts a subversive, critical third eye on both mainstream and nether regions of the Black gay American experience that had not been shown before.

The show follows Usher (Owens), a young, NYU-educated, overweight Black gay man working as an usher at a long-running Broadway musical and struggling to write a musical about a young, NYU-educated, overweight Black gay man working as an usher at a long-running Broadway musical and struggling to write a musical (hence the loop in the title). A Strange Loop is a visceral, soulful, psychosexual panoramic pièce de résistance that may just be the most radical Off-Broadway musical of its kind. Contextualizing everything from #MeToo, Moonlight, Tyler Perry, Stephen Sondheim’s Company, and second wave feminism, Jackson’s show is a potpourri of popular culture, existentialism, and metafiction—a dazzling coming-of-age artistic journey of self-discovery.

My sentiments for the show have been shared. In a post-show talkback on June 19, “Pose” star Billy Porter joined Jackson, choreographer Raja Feather Kelly, and playwright Branden Jacobs-Jenkins onstage to discuss the musical. The event, which was attended by top names in the theatre community (such as Lin-Manuel Miranda), was presented by Ucross, a prestigious residency program in northeast Wyoming. Porter choked back tears as he began the panel: “To sit up there and see my life onstage, when everybody said that my story wasn’t valid—to see that up there, to see it so brave, and to see it so bold. To see it so truthful, so complicated, so honest, and so unapologetic, has been one of the most wonderful nights for me in the theatre.”

Over the course of the 2018-19 season, I saw 100 shows, and few of them affected me like Jackson’s musical. None of those other shows centered on queer bodies of color. In all fairness, it’s not like a lot of theatres are producing plays by or about queer people of color. And when they do, it’s sanitized, ambiguous, and not complex—for example, Celie and Shug’s neutered romance in The Color Purple.

Earlier this year, in a lively panel about the state of the American play (copresented by American Theatre and Signature Theatre), playwright and director Robert O’Hara wryly offered some insight into the queer POC experience in American theatre. Speaking about the 2017-18 season, O’Hara pondered the state of Broadway, which was littered with prestige London transfers or star-driven assembly line revivals of treasured classics. But he also noticed a third trend: “the amount of gay white men we have on Broadway this year.” Naming Angels in America, The Boys in the Band, and Torch Song, all of which were written by white gay men, O’Hara remarked, “There’s too many white gay people, particularly white gay men and their struggle being white and gay and male. Do we really need that many conversations? To some people, that’s diversity. But to me, that’s just more white folks onstage.”

Though theatre prides itself on being a space for outcasts, and most of its preeminent artists are gay men, their visibility often comes at the expense of other members of the LGBTQ community. In the theatre, LGBTQ plays have often centered solely on the experience of gay white cis-men and (only recently) cis-women, while people of color war in the margins for mainstream acclaim.

Whether it’s about the gay civil rights movement (Mart Crowley’s seminal The Boys In The Band, Dustin Lance Black’s 8), the HIV/AIDS epidemic (Larry Kramer’s definitive The Normal Heart, Tony Kushner’s iconic Angels in America, William Finn’s neurotic Falsettos) or communal inherited trauma (Moisés Kaufman’s triumphant docudrama The Laramie Project, Matthew Lopez’s Broadway-bound The Inheritance), gay white men have dominated queer stories, creating nuanced characters and becoming the epicenter of the narratives of LGBTQ culture.

Openly gay Black artists like O’Hara and George C. Wolfe have created work about Black queer life over three decades, but their numbers were fewer and far between. The difference now is the sheer volume of diverse queer voices. Some are even calling it a renaissance.

I trace it to the film Moonlight. Released in 2016 to universal acclaim under the helm of director Barry Jenkins, and based on Tarell Alvin McCraney’s unpublished semi-autobiographical play In Moonlight Black Boys Look Blue, Moonlight became the first film with an all-Black cast and the first LGBTQ film to win the Academy Award for Best Picture. The victory was a watershed moment in popular culture, sparking public interest in Black art and queer stories.

Ever since, queer Black theatre artists have begun to storm the proverbial tower in droves: McCraney recently returned to Steppenwolf in Chicago with Ms. Blakk For President, and his Choir Boy had an acclaimed run on Broadway after making the rounds of the nation’s regional theatres. Donja R. Love, an HIV-positive gay Black playwright, saw the world premieres of his queer period dramas Sugar in Our Wounds and Fireflies. Jordan Cooper’s Ain’t No Mo earned an extended and lauded run Off-Broadway at the Public Theater. Hailed as “The Queer Black Savior the Theater World Needs” by Out magazine, Jeremy O. Harris became a literary sensation and enfant terrible of the theatre world after Slave Play and Daddy had their world premieres this past season (Slave Play will transfer to Broadway in September).

What makes these plays radical is their candor, addressing the audience with frank depictions of queer Black life. Most importantly, these are plays that are creating discourse on what artist Lora Mathis calls radical softness, or “the idea that unapologetically sharing your emotions is a political move and a way to combat the societal idea that feelings are a sign of weakness.” In one of the most pivotal scenes in Choir Boy, one of the boys chooses an a cappella rendition of “Love Ballad” (originally by Jeffrey Osborne of L.T.D.) to express his love for another boy, but imagination ends up being the closest he’ll ever get to confessing his feelings. In Sugar in Our Wounds, an enslaved man offers another reading lessons, but the subtext is that of romantic yearning. In Slave Play, an interracial gay couple undergo therapy, in an effort to reconnect. These writers subvert and comment on the oppressive systems that affect disenfranchised and marginalized people without attacking or distancing mainstream audiences.

Not to mention the playwrights who identify as queer but whose plays aren’t chiefly about LGBTQ life: Colman Domingo (Dot), Marcus Gardley (The House That Will Not Stand), Jonathan Norton (My Tidy List of Terrors), Timothy DuWhite (Neptune), Keelay Gipson (#NewSlaves), Korde Arrington Tuttle (clarity), Jirèh Breon Holder (Too Heavy for Your Pocket) and Derek Lee McPhatter (Bring the Beat Back). Chief among these is Branden Jacobs-Jenkins, who was listed among the Top 20 Most-Produced Playwrights of 2018-2019 and has been honored as a two-time finalist for the 2016 and 2018 Pulitzer Prize for Drama, respectively.

As writer-activist Darnell L. Moore noted on Twitter: “In the past few months, I’ve witnessed displays of brilliance—Black queer men who have created theatrical works that dig into the complex interior lives of Black characters. Their works disrupt & reimagine all we believe to be true about the limits of Blackness, of gender. They poke at the grounds of Black radical politics by illuminating how the freedom dreams conjured by some of the Blacks often function as nightmares for some others—trans folk, queers, drag queens, the not-respectable. They remind us about the futility of white liberalism. They refuse the white gaze.” He characterized these plays as “Black folks-loving art works” which “preach and sing and lament and celebrate and bear witness and take up arms and push and pull us.”

At the same time, Moore does wonder “how these works might be received if the creators and/or main actors weren’t Black gay men.” He has a point: Queer women, trans, or gender non-binary writers still struggle to be seen, with only a few receiving recognition such as Aziza Barnes (BLKS), Tanya Barfield (Bright Half Life), Tracey Scott Wilson (Buzzer), Nissy Aya (righteous kill, a requiem), and Ianne Fields Stewart (A Complicated Woman).

While many Black artists are generating work that are nuanced and empowering, and even dissecting of the white gaze, there are still just as many works that default towards “enterpainment.” Coined by playwright Aurin Squire in his play Zoohouse, “enterpainment” is a trope that calls for historically oppressed people to be forced into situations where they must put their suffering and victimhood on display for the education and edification of the masses. This exercise in emotional masochism has been at the forefront of many Black plays, with this trope being weaponized and commodified. Many Black characters in general are defined by their pain, and in plays that center on LGBTQ people of color, too often that pain is doubled because of their race and sexual orientation.

The “bury your gays” stereotype is still very much the norm for these plays, including some of the ones mentioned above. For example, in Donja R. Love’s Fireflies, the protagonist is a woman who clings to the memory of the woman she loved who was horribly murdered in the streets. The main character in Chisa Hutchinson’s She Like Girls is a 16-year-old lesbian who is shot and killed at the climax of the play.

Most stories featuring queer characters of color forefront the atrocities that inherently arise from the stigmatization of one’s sexual agency and one’s race. Rather than showcasing the beauty within the full expression of queerness—such as falling in love or (in A Strange Loop) standing up to your parents—too often writers are defaulting to trauma.

But this is part of a larger issue: that of Black artists working within a primarily white system who feel they must commodify their pain for white consumption. And of white producers not feeling like they’re able to challenge artists of color to look deeper, of them thinking of these artists as a single diversity slot or purveyor of issue plays, instead of artists whose careers and ideas need to be invested in. At the live event, Robert O’Hara had some advice for white producers: “You have to be able to live inside the power and the privilege that you have, and also continue to demand the rigor, intellect, and dexterity that the work requires so that it does not just become a play but a [major stepping stone for a] career.”

Recently I ran into Jackson at Musical Theatre Factory’s High Five, a gala hosted at Town Stages; he was being honored that night. Before I could congratulate him, he kindly rebuffed. “There’s still work to be done,” he said as he was greeted by eager patrons and admirers. He’s not wrong. In 2017, Pew found that younger, non-white, and low-income people (lower middle-class people of color) were more likely to self-identify as LGBTQ than whites, debunking the myth that Blacks and Latinos are overwhelmingly homophobic.

Reality is more complex than we give it credit for. And considering that Broadway is in need of new musicals in it’s 2019-20 season, there really is nothing more topical than, to quote A Strange Loop, a “big, Black, and queer-ass Broadway show.”

Marcus Scott is a New York-based playwright, musical writer and journalist. He’s written for Elle, Essence, Out and Playbill, among other publications.

#A Strange Loop #Slave Play #black playwrights #black gay men #black gay playwrights #black queer playwrights #gay playwrights #queer playwrights #Michael R Jackson #Robert O'Hara #Donja R. Love #Aurin Squire #Darnell L. Moore #Terrell Alvin McCraney #Branden Jacobs-Jenkins #Sugar In Our Wounds

1 note · View note