Hindu (pronunciation) has historically been used as a geographical, cultural or religious identifier for people indigenous to the Indian subcontinent. In contemporary use, Hindu refers to anyone who regards himself or herself as culturally, ethnically or religiously adhering to aspects of Hinduism.
The historical meaning of the term Hindu has evolved with time. Starting with the Persian and Greek references to India in the 1st millennium BCE through the texts of the medieval era, the term Hindu implied a geographic, ethnic or cultural identifier for people living in Indian subcontinent around or beyond Sindhu (Indus) river. By the 16th-century, the term began to refer to residents of India who were not Turks or Muslims.
The historical development of Hindu self-identity within the Indian population, in a religious or cultural sense, is unclear. Competing theories state that Hindu identity developed in the British colonial era, or that it developed post-8th century CE after the Islamic invasion and medieval Hindu-Muslim wars. A sense of Hindu identity and the term Hindu appears in some texts dated between the 13th- and 18th-century in Sanskrit and regional languages. The 14th- and 18th-century Indian poets such as Vidyapati, Kabir and Eknath used the phrase Hindu dharma (Hinduism) and contrasted it with Turaka dharma (Islam). The Christian friar Sebastiao Manrique used the term 'Hindu' in religious context in 1649. In the 18th-century, the European merchants and colonists began to refer to the followers of Indian religions collectively as Hindus, in contrast to Mohamedans for Mughals and Arabs following Islam. By mid 19th-century, colonial orientalist texts further distinguished Hindus from Buddhists, Sikhs and Jains, but the colonial laws continued to consider all of them to be within the scope of the term Hindu until about mid 20th-century. Scholars state that the custom of distinguishing between Hindus, Buddhists, Jains and Sikhs is a modern phenomenon.
The album was produced by Clive Shakespeare (Sherbet guitarist) and Kelly, and was released in May 1985 by the independent White Records label, leased to Mushroom Records. The album failed to chart in Australia, with only one single, "From St Kilda to Kings Cross", released in April which also failed to chart. The name of the album, Post relates to both being 'after' significant changes in Kelly's life and to the sense of a 'signpost' to future directions. Kelly dedicated the album to Paul Hewson, keyboardist and songwriter for New Zealand/Australian band Dragon who had died of a heroin overdose in January. Kelly has described Post as a concept album dealing with addictions - not necessarily heroin addiction - but various forms, he has also denied that the songs were autobiographical but that he wrote about the world around him.
Kevin Tremain was a mutant captured and studied by the Mandarin. On a secret mission, the Six Pack attacked the secret base Tremain was held in. Tremain was mortally injured; Cable tried to save his life, first by using his telekinesis to keep Tremain's body together, and finally by giving him a blood transfusion. Although it seems he survived this trauma, Cable seemed to think Tremain had later died.
Years later, Tremain resurfaced as Post, the lowest of Onslaught's emissaries. Onslaught forced Gateway to teleport Cyclops, Storm, Iceman, and Wolverine to where Post could "test" them. The four managed to defeat Post and were transported back to the Mansion. Later, Post attacked Cable, who instantly recognized his identity as Tremain. Post defeated Cable and left him for the Hulk to finish off. Post was later charged with ensuring the Sentinels would launch, he battled X-Factor with them and succeeded protecting the Sentinels. He and his master Onslaught were eventually defeated by the heroes.