If you are compelled by history, or you are just interested to learn something new about the past, like me then these videos might be as interesting for you, as they are for me. This channel is run by a dear friend, who has a passion (and a degree) for history!
They are making history-related videos, about less known and unusual stuff/people that we don't study at school!
Thank you for sparing from your time to read this and maybe check the channel!
Cypriot folk music comprises of a number of traditional instruments from the Levant, North Africa and southern Europe. Shown in the video specifically, are the violin and the oud. Popular dances, including the garşılama, is presented here.
Both men and women can be seen wearing traditional Cypriot clothing, including the tsemberi/çember, sayia/uç etek, vraga, and yileko/yilek.
I just. I don’t really want to keep talking about it, but I have to get these feelings out because the more I think about Somerton’s excuses video the angrier I get, ESPECIALLY given his insistence in the video that there isn’t a real community within LGBTQ spaces—specifically this quote; “We wanted it to be a channel where every queer person could feel welcomed... And we failed at that. That is something that, in hindsight, I think is impossible to create.”*
Because wow! Aren’t you the one who called Becky Albertalli, a bisexual woman, straight ?? Aren’t you the one who has consistently stolen queer and lgbtq people’s work as your own , profiting off of their labor and research and time? Aren’t you the one who sicced your fan base on smaller creators who noticed your plagiarism??? Aren’t YOU the one who LIED blatantly about lesbians “historically having it easier” than gay men ?? That LIED about Radclyffe Hall’s book being banned and destroyed???? What was it you said?? That she got to go on with “her merry little life”???
Fuck you. How dare you.
How dare you say there is no community, no safe space for all of us, when you have literally done NOTHING but maliciously and consistently stolen from, lied to, manipulated, and put down and bullied the community.
You have done nothing but try to break apart and put down your lgbtq siblings, so of course you believe that solidarity, safety, and intersectionality within our community is not something that can exist.
There are lgbtq people who are actively working to make those spaces, where everyone feels welcomed, but you clearly see yourself as being above that, above collaboration and community, above listening to other’s experiences.
You only think that a space where all queer and lgbtq people are welcomed and feel safe is impossible because your goal was never to carve out that space. It was to make money and take advantage of the people who looked up to you.
You think it’s impossible because you never once thought about the people you were stealing from, never once cared about the community, our history, the activism of our elders and all they did, never thought about how your actions and lies would hurt the community.
Stop making excuses and lying. Be fucking better.
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*(Somerton, James. “A Measured Response.” YouTube, uploaded by James Somerton, 26 February 2024, https://m.youtube.com/watch?v=kCNByQ6WopM)
(And that’s how you cite a FUCKING source, James. It took me a minute, after two seconds of research on how to source a YouTube video. Fuckhead)
*I added the link to the video to make a point, as you need to have it in citations. The video is monetized, so please either don’t click it and watch elsewhere OR watch with ad-blockers.
The thing about the "fridged" trope is that obviously you can't have a female love interest dying as a defining moment for a male character because that's not feminist, but you also can't have a male love interest dying as a defining moment for a female character because then she's just going to have an arc revolving around her relationship with a man and that's also not feminist, and you also can't kill off a love interest from a gay relationship or a relationship involving a nonbinary person because that's burying your queers, which is at least as bad as misogyny if not even worse, and now suddenly you can't kill off romantic partners at all in stories because no matter the demographics, it's going to be problematic somehow, which is... a pretty ridiculous limitation to impose on storytelling.
And, like, it would be satisfying to have a solution other than "it depends on context if not straight-up vibes, and it's usually very reasonable for audience members to have a range of opinions on the execution of one specific instance," but. Yeah, you do kind of have to just vibe check it in a deeply subjective manner sometimes.
A day frozen in time, Hull, 1904. People dressed up in their Sunday best for a stroll in East Park. The beginning of a new century and a new King, with people full of optimism for what was going to unfold in the 20th century.
The word for 'I' has many different forms in the Romance languages, such as French je, Italian io, Portuguese eu and Spanish yo. Yet all these forms stem from one Latin word: egō. Here's how egō step by step changed into a selection of its Romance descendants.
People who subscribe to my Patreon get access to extra information further explaining what you see on the infographics and videos. To give you an impression, here's the text that goes with this video.
How did these forms originate?
Latin, Late Latin and Sardinian
Around the second century AD, the [g] sound of Latin egō (as in English go) started to weaken. It became a fricative sound similar to the one in Modern Spanish agua 'water'.
In this form, with only minor vowel changes, it survived until this very day in certain Nuorese dialects of Sardinian: ego. These geographically isolated dialects are known for being the most conservative descendants of Latin. Their most notable trait is the conservation of the Latin [k] and [g] sounds before i and e: Latin centum '100' with [k] became kentu, whereas in Italian it became cento with the [tʃ] sound of English check, and in French, Portuguese and many variaties of Spanish it respectively became cent, cento/cem and ciento/cien with [s].
In a Late Latin text from the 6th century, we encounter egō as eo. By this time, the consonant had been dropped. It's this form that's considered Proto-Romance, i.e. the form that gave birth to all descendants except the form in the Nuorese dialects I discussed above. Eo even remained practically intact in a number of other Nuorese dialects.
Portuguese and Romanian
In Portuguese and Romanian, the -o of eo became w-like: eu. However, the Romanian spelling hides the diphthongisation of [ɛ] to [jɛ], later [je]. Cfr. ferrum > fier, and pellem > piele.
Italian and Neapolitan
In Italian, [ɛ] became [e] and then [i], a sound close to it: io. This sound change didn't only happen in this word: compare mio 'my' (from Old Italian meo) and Dio 'God' (from Deo) with Portuguese meu and Deus. In Neapolitan, the -o weakened and became the schwa sound of English words like roses.
Spanish and French
The form io must have also existed in the distant ancestors of Spanish and French, but there, [i] didn't stop changing: it turned into a [j], its consonantal counterpart. In both languages, this [j] eventually underwent fortition: it became a stronger consonant similar to the one in English joke, which eventually weakened again in Modern French je.
In South American Spanish, interesting things are happening. The sound change that yo pronounced as [ʒo] has undergone in the Rioplatense dialects in Uruguay and the southern part of Argentina is called zheísmo, and what's happening in Buenos Aires and spreading through Argentina is called sheísmo: [ʃo].
avid historical fashion enthusiast here to remind you that corsets and stays were not created as ancient methods of torture.
sure, i am not going to deny that some women did tightlace their corsets — however, not everyone was struggling to breathe and fainting everywhere like fucking goats. part of a corset’s purpose was aesthetic and fashion, but it was also for support. most women still lived their lives, they weren’t just lying around being damsels in distress with itty bitty waists and zero lung capacity.
i just think it’s scary how hollywood has popularized the misconception that corsets are made to be tightlaced — for example, if someone who isn't well educated about historical fashions buys a corset for a costume, they might think it’s normal if they can’t breathe, and that’s dangerous. i cannot emphasize that enough.
when i was performing in a production of beauty and the beast earlier this year, some of the girls — my friends — were tightening their corsets to seriously dangerous extents, and that fucking scared me. i felt like a broken record telling them to loosen their corsets, but all they knew was pirates of the caribbean (that one scene pisses me off sO BAD) and bridgerton (i am NOT gonna start on the corset tightening scene in bridgerton s1, i do not need to get on that soap box).
if you read nothing else in this little rant of mine, read this:
if you cannot breathe while you are wearing a corset, something is wrong.