#Julie-Su History

[julie-sufan]

The In-Depth Look at Julie-Su Part 9: Sonic the Hedgehog Issues 80, 81, 82, 84 and Sonic Super Special #14

After the Knuckles comic ended, he and the other side characters from his series were regulated to short backups in the Archie ongoing Sonic comic. Unfortunately this lead to a drop in quality as the stories went from 22 pages to around 5-7 each month. Which made the overall storylines progress much slower then before.

Since the Chaotix would not get reintroduced in the game's series canon until after the Dreamcast era (And Julie-Su only existing in the comic.) They're on their own for a while as Knuckles is in his own story based off of his path from Sonic Adventure 1.

They get kidnapped by some cat people who were made for the comic and are not part of Sonic Adventure's game storyline.

Locke shows up so the story can focus on some echidna lore which includes Pachacamac from the ancient echidna tribe from SA1.

Sometime after that (Off panel I assume) the Chaotix are freed and are reunited with Knuckles following the SA related events from issue #84.

With the game canon story over Penders is now set to resume his lingering plot threads from the Knuckles comic in Sonic Super Special #14 which for the most part feels like the actual ending the ongoing series should have gotten.

The story starts off with Knuckles and Julie-Su together at Knux's Mom wedding to her boyfriend Wynmacher.

It's kinda odd that no one got dressed up for the wedding.

The Chaotix all ride on those evil looking horses to search a abandoned Dark Legion complex.

Enjoy seeing the Chaotix while you can because they won't be in the story much longer.

I've always hated how easily she gets kidnapped in this part. I would think why didn't she bring her gun but then again they did just get back from a wedding.

I'm so glad Lien-Da did not stick to wearing yellow. It makes her look way too similar to Lara-Le. Note I believe this is the first time that Julie-Su interacts with Lien-Da face to face.

Throw in the garbage and discarded that's a apt metaphor for her role in this story and for upcoming issues. Spoiler coming up is the Green Knuckles saga (Sonic 92-118) and it is truly the epitome of meandering.

[mai-komagata]

Liberals don't understand Hamilton

this isn't long and it isn't what you think it is, and it is topical to today, i promise! Im a leftist and i love the musical hamilton. I love it because it is very unintentionally truthful. It is written as a tragedy: like romeo and juliet it spoils the story in the first song so you don't riot at the end when people die. You don't do that in comedies, because people are happy at the end you can have surprises. I like hamilton because it realizes that the FOUNDING OF THIS COUNTRY WAS A TRAGEDY, the only redeeming factor are the small actions of individual people. Smart dudes made decisions because of racism and ambition and lust and then one of them dies!

Anyway, it is not a good play though because most people are too blinded by their love of the music and dance and the founding myths of the country to realize what it is trying to say. so in that sense the musical is a failure. it is propaganda. i don't even think LMM knows what the musical is saying. its so weird. Anyway, the relevant part. The climax of the story. Y'all realize that Jefferson is the villain of the story, not aaron burr, right? I mean, in real life Aaron Burr was also an asshole, but i mean, in the story. Jefferson is the racist, rapist slaveowner. THEY SAY THIS IN THE PLAY. For today, in my heavy handed allegory, Jefferson is Trump. He is the popular racist candidate. And he is running against Aaron Burr, the smart, feminist ambitious candidate who stands for nothing and grew up with Alexander Hamilton. He's committed no mistakes in the play. and YET. Alexander Hamilton (the moneyed interest, he represents the banks, he represents money, he represents capital), he picks Jefferson. They don't agree on anything. But he picks the racist. Because the racist will have his back. and he trusts in the strength of the institutions enough that jefferson won't fuck it up. Like, liberals wrote this story, they listen to it all the time. they know americans time after time prefer someone who has an ideology, even if they are a racist scumbag who keeps his six children as slaves. we put that guy on the MONEY. The point is the story is a tragedy. The point is Aaron burr isn't willing to fight for the nation he now gets to build, because he isn't willing to take a stand. So he doesn't get to build it. The racists and the capitalists do. And if you are all like, can't we all just hate on the racists who voted for trump, united as a group? No. I hate them 24/7 all the time, and people yell at me for not doing it right 24/7. im begging you to have principles and solidarity with the rest of the left because you cannot win on lesser evil voting. We are gonna need more principles the next 4 years.

[philosopherking1887]

More good things the Biden administration is doing: OSHA heat safety rules for workers

Remember when Texas and Florida passed laws preventing local and municipal governments from implementing their own heat safety rules and said that if heat is such a big problem, OSHA should make rules that apply to everyone? If not, NPR can remind you. OSHA has now accepted the challenge, moving much faster than they usually do:

OSHA National News Release U.S. Department of Labor July 2, 2024 Biden-Harris administration announces proposed rule to protect indoor, outdoor workers from extreme heat WASHINGTON – The U.S. Department of Labor has released a proposed rule with the goal of protecting millions of workers from the significant health risks of extreme heat. If finalized, the proposed rule would help protect approximately 36 million workers in indoor and outdoor work settings and substantially reduce heat injuries, illnesses, and deaths in the workplace. Heat is the leading cause of weather-related deaths in the U.S. Excessive workplace heat can lead to heat stroke and even death. While heat hazards impact workers in many industries, workers of color have a higher likelihood of working in jobs with hazardous heat exposure. “Every worker should come home safe and healthy at the end of the day, which is why the Biden-Harris administration is taking this significant step to protect workers from the dangers posed by extreme heat,” said Acting Secretary of Labor Julie Su. “As the most pro-worker administration in history, we are committed to ensuring that those doing difficult work in some of our economy’s most critical sectors are valued and kept safe in the workplace.” The proposed rule would require employers to develop an injury and illness prevention plan to control heat hazards in workplaces affected by excessive heat. Among other things, the plan would require employers to evaluate heat risks and — when heat increases risks to workers — implement requirements for drinking water, rest breaks and control of indoor heat. It would also require a plan to protect new or returning workers unaccustomed to working in high heat conditions. “Workers all over the country are passing out, suffering heat stroke and dying from heat exposure from just doing their jobs, and something must be done to protect them,” said Assistant Secretary for Occupational Safety and Health Douglas L. Parker. “Today’s proposal is an important next step in the process to receive public input to craft a ‘win-win’ final rule that protects workers while being practical and workable for employers.” Employers would also be required to provide training, have procedures to respond if a worker is experiencing signs and symptoms of a heat-related illness, and take immediate action to help a worker experiencing signs and symptoms of a heat emergency. The public is encouraged to submit written comments on the rule once it is published in the Federal Register. The agency also anticipates a public hearing after the close of the written comment period. More information will be available on submitting comments when the rule is published. In the interim, OSHA continues to direct significant existing outreach and enforcement resources to educate employers and workers and hold businesses accountable for violations of the Occupational Safety and Health Act’s general duty clause, 29 U.S.C. § 654(a)(1) and other applicable regulations. Record-breaking temperatures across the nation have increased the risks people face on-the-job, especially in summer months. Every year, dozens of workers die and thousands more suffer illnesses related to hazardous heat exposure that, sadly, are most often preventable. The agency continues to conduct heat-related inspections under its National Emphasis Program – Outdoor and Indoor Heat-Related Hazards, launched in 2022. The program inspects workplaces with the highest exposures to heat-related hazards proactively to prevent workers from suffering injury, illness or death needlessly. Since the launch, OSHA has conducted more than 5,000 federal heat-related inspections. In addition, the agency is prioritizing programmed inspections in agricultural industries that employ temporary, nonimmigrant H-2A workers for seasonal labor. These workers face unique vulnerabilities, including potential language barriers, less control over their living and working conditions, and possible lack of acclimatization, and are at high risk of hazardous heat exposure.

[respectthepetty]

Upcoming Taiwanese BLs

We are over halfway through 2024, and as usual, I've only had two Taiwanese BLs (Unknown, Anti Reset), so even though I'm sitting on a stack of BLs to watch every single week from other countries, call me Smaug because I need MORE!

Honorary Korean BL: Uncovering the Curse of Taekwondo (2024)

Former friends (and possibly lovers) reunite at a funeral after going their separate ways for over a decade, but, honestly, I don't care about the plot because this comes from Hwang Da Seul who was behind Blueming, To My Star, and Where Your Eyes Linger, so I know it's going to be amazing. There is a movie and a series version, and the movie already premiered at the Bucheon International Fantastic Film Festival in South Korea at the beginning of July. The runtime was 154 minutes, but the series is eight episodes around thirty minutes each and is currently seeking distribution.

First Note of Love (August 2024)

My most beloved, Charles Tu, from my favorite BL HIStory 4: Close to You is finally returning to me in the form of a washed-up singer who stepped away from the spotlight due to a tragic event only to be dragged back in by an up-and-coming composer who is also a longtime fan. It is a joint production with Thailand's Star Hunter Entertainment (the company behind Big Dragon, Love Senior, City of Stars, and Sunset x Vibes) and features a side couple of a Thai singer and a Taiwanese agent. It will involve singing, but I'm already too comfortable in my seat with my snacks to care.

Fragrance of the First Flower Season 2 (2024)

The lone GL holding down this list finished filming late last year and Gagaoolala has been releasing BTS images since filming began, so it'll likely land there once it is released. The series is a continuation of the 2021 first season, which people were not thrilled about because of the ending, so this season should solve some of the angst we were left with by exploring the two women actually coming together to navigate life as a couple.

The Only One (August 2024)

Directed by Liu Kuang Hui, who directed Your Name Engraved Herein, written by the same folks behind The Untamed, and based on Mu Su Li's novel A Certain Someone which is about two boys whose parents are dating and move in together, so the mains go from enemies-to-??? and the only reason for the question marks on a Taiwanese BL is because the word on these BL streets (and his MDL page) is one of the actors works heavily in China, so this might be the reason this one has been was in limbo even though filming finished earlier this year, but the socials are still posting it's coming this year.

See Your Love (Filming Complete)

This co-production with Japan is about a rich man who falls in love with his hearing-impaired caregiver. It finished filming at the end of May and will have those sweet sweet Taiwanese BL cameos from some Be Loved in House: I Do and Plus and Minus folks PLUS it will be the first cameos for the Kiseki: Dear to Me guys since the company that produced their show is the same one for this show.

Impression of Youth (Filming Complete)

Very little is known about the plot of this teacher-student romance, but it comes from the same folks who produced DNA Says Love You and one of the mains, Muji Hsu, was also the lead in 2020's Because of You. Filming finished at the end of May, and the company stated it would be out before the end of the year.

Islanders (late 2024/early 2025)

This is based on a novel, Islands, by Lolita Hu, features some well known Taiwanese actors, and for a bit was under the name Sea of Intimacy. It's being presented as an 'older BL' but the MDL summary is sparse of the BL-plot: Hung, a successful entrepreneur, has three intimate relationships: his wife, his mistress, and his girlfriend. The lives of these individuals in their 20s, 30s, 40s, and 50s are intertwined because of romance, but their story extends beyond that. When Hung faces criticism on social media and loses everything, the way they react tells us how they see the world.

Wishing Upon the Shooting Star & The Young Gangster (2025)

These two deal with completely different plots but are together because of one reason: Ray Jiang. He is the director for these two and was the director for Unknown, My Tooth Your Love, and We Best Love. The companies behind them have stated the series are coming next year, but the guess is Ray's busy schedule is part of the hold up since he has a Netflix series in the works and apparently a film featuring Sam Lin (We Best Love) on the way. The Young Gangster is based on a novel and deals with a research assistant gathering information on the mafia (and we know how the mafia works in BLs), while Shooting Star deals with a man wishing that nobody notices him once he returns to his hometown after being fired. The wish backfires and nobody recognizes him, not even his dad or the boy he confessed to in high school! BL Mafia, Sideways Wishes, and Ray Ray are my favorite types of snacks!

Pray in Love (2025?)

A police officer falls in love with a man only to realize that man is the son of a prominent leader on the day of his arranged wedding in which he was hired as security for the event. The series already released a short film of the basic premise for fundraising efforts and festival rounds. Apparently, filming has started on the series, but there is no concrete confirmation from the production company.

Eternal Butler (2025)

Edited to add thanks to @cankersoregirl! This is a sequel to VBL's Anti Reset and began filming in early July. It focuses on Ever 4 who is sent to be a bodyguard for a young rich man only to encounter a rebellious man.

That Year, 162 Rainfalls (In Production?)

Is this a movie? Is it a series? Is it happening?! Who knows, but last year, it finally got funding and a director attached to it, but the real kicker is Lin Pei Yu is the screenwriter, and she is the writer behind all of my favorite Taiwanese BLs: We Best Love, HIStory 3: Trapped, My Tooth Your Love, Kiseki: Dear to Me, and so much more. Basically, the company struck gold getting her for this story about two archers and best friends. One gets confessed to but admits he actually is in love with his best friend, but before love can happen, the best friend has an accident and falls into a coma. It is based on a novel of the same name, and the plot is way more hefty than this, but I know Lin Pei Yu will make it work!

Four Seasons (Pre, Pre, PRE-Production?)

This is supposed to be four different stories focusing on different seasons, and is rumored to be VBL's next group of shows since the company has stated it wants to continue its formula from last year of releasing slightly connected shows. VBL/Vidol was behind Stay by My Side, VIP Only, You Are Mine, and Anti Reset. Winter is about a scrooge CEO and a florist who is hired to decorate for the CEO's Christmas event. Spring is about two boys meeting on a bus and falling in love over music. Summer is about a market owner and a chef falling in love over food. Autumn is about two former best friends seeing each other ten years after graduating and exploring their hometown together.

Connecting to You (Pre-Production?)

It seems to have gotten funding, but it's been quiet since which isn't surprising because when it comes to Taiwanese BLs, nothing is really heard until filming begins or even after it ends. I still have my hopes high because this is *THE* BL for me as it deals with a man who can see colored threads connecting people and one day runs into a policeman whose thread connects to him. The thread between them begins to change color, from silver-grey to yellow, representing friendship, and even to red, representing love. If I have to sell an organ or two to fund this myself, I. Will. Do. It. I NEED THIS!

And this wouldn't be a Petty Post if I didn't include this final one:

HIStory 15: Freed (GIVE IT TO ME!)

I don't care if this a long shot. I don't care if I seem crazy always asking for this. I. Deserve. It. HIStory 3: Trapped ended with our best mafia boy in prison, and it's time he got out! The HIStory franchise has not had a series since 2022's HIStory 5: Love in the Future, and although there have been rumors that a HERstory story might be next, I think bringing back a popular story would be just as good. I will ask for this every chance I can until I get it, and I plan on living a long life, so I got time!

[sefaradweb]

重建清真寺记

🇪🇸 La inscripción de piedra de 1489, conocida como "Registro de la Reconstrucción del Templo Puro y Verdadero" (重建清真寺记), se erigió en julio de 1489 en Kaifeng, China. Es una de las primeras inscripciones de la comunidad judía de Kaifeng y conmemora la reconstrucción de la sinagoga después de ser destruida por una inundación del Río Amarillo en 1461. Esta inscripción fue escrita por Jin Zhong, un judío de Kaifeng, y mide 60 x 30 x 5 pulgadas, hecha de piedra caliza gris oscuro. La inscripción describe tres temas principales: el origen e historia del judaísmo, las prácticas de oración y arrepentimiento, y la trayectoria del judaísmo en China y su relación con el confucianismo. Destaca cómo los judíos de Kaifeng se adaptaron a las costumbres chinas y cómo las similitudes culturales con la comunidad musulmana Hui a menudo llevaron a confusiones entre las dos. La inscripción también menciona figuras históricas clave, como el rabino Levy y los hermanos Jin, y detalla la integración de conceptos chinos y judíos, fusionando figuras como Pangu y Adán. La estela aún existe y fue trasladada a la Catedral de la Trinidad por la Misión Anglicana Canadiense en 1912.

🇺🇸 The 1489 stone inscription, known as the "Record of the Rebuilding of the Pure and Truth Temple" (重建清真寺记), was erected in July 1489 in Kaifeng, China. It is one of the earliest inscriptions from the Kaifeng Jewish community and commemorates the reconstruction of the synagogue after its destruction by a Yellow River flood in 1461. This inscription was written by Jin Zhong, a Kaifeng Jew, and measures 60 x 30 x 5 inches, made of dark gray limestone. The inscription covers three main themes: the origin and history of Judaism, practices of prayer and repentance, and the trajectory of Judaism in China and its relationship with Confucianism. It highlights how Kaifeng Jews adapted to Chinese customs and how cultural similarities with the Hui Muslim community often led to confusion between the two. The inscription also mentions key historical figures, such as Rabbi Levy and the Jin brothers, and details the integration of Chinese and Jewish concepts, merging figures like Pangu and Adam. The stele still exists and was moved to Trinity Cathedral by the Canadian Anglican Mission in 1912.

[thankskenpenders]

The first volume of the Lara Su Chronicles is currently due to come out by July 2024 and it's mostly a remaster of Mobius 25 Years Later. Assuming it does come out, will you buy it and review it

(thank you for reminding me to check Ken's website)

Looks like this is finally the real deal. He's taking preorders, and he says he's putting in the order with his publisher within the next two months. I will, of course, be obligated to look at this in some capacity. I've been waiting for literally anything from TLSC to release for the entire 9-year history of this blog. I doubt I'll have much to say about the reprints of M25YL, but it does have those first two chapters of The Lara-Su Chronicles that he's been posting WIPS of for god knows how many years.

Lord knows what happened to the motion comic app that these were supposed to be released on. He seems to mainly just be telling people to buy the $36 hardcover book with the reprints included, and now that he's left Twitter and moved over to his own personal blog I don't really feel like sifting through his posts about the Beatles and whatnot to find an answer. So I guess this means I probably have to buy the book. Which means giving Ken my home address lmao

Anyway in case anyone was curious, yes, he really did go with this cover art that's just a vastly worse copy of Spaziante's cover for Archie Sonic #131

And yes, Anthony Mackie is still here

[orochiposting]

Naomi Senju | Part 1 & 2 Settei & Designs

+ full bio & facts !

art credit to @ redflowersuki on instagram ! Name: Naomi Senju 直美 千手 Age: 26-27 (part 1) 30-31 (part 2) Date of Birth: July 13th Zodiac: Cancer Status: Alive Current Affiliation: Konohagakure Height: 5’2 / 157.5cm (part 1) 5’4 or 162.5cm (part 2) Weight: 120 lbs or 54 kg Rank: Jonin / Medical Nin MBTI: INTP Gender & Pronouns: Ciswoman & She/Her Sexuality: Bisexual Romantic Interest(s): Su (@/lemony_su on insta), Zanaku (@/cursedjinchuriki on insta)

Part 1 + 2 Facts ᯓᡣ𐭩

Daughter of Lady Tsunade and Jiraiya

She was a child prodigy

Wood Style User

Begins training for her Hundred-Healing’s mark with her mother during part 1 & unlocks it at the beginning of part 2

Attained one of Orochimaru’s curse marks around the same time as her teammate Anko. (one of the early forms, before Jugo)

Her Curse Mark form’s design is inspired by a mouse.

The Jonin vest she’s worn since age 16 when she became a Jonin once belonged to Orochimaru. It is among his abandoned belongings after he attacked and fled the village, and Naomi is unable to just leave it in the trash. She wears it as a reminder of who drives her hate, passion, and what she’s working towards (aka bringing Orochimaru back)

Spends most of her time in part 1 attempting to locate Orochimaru, both to ‘bring Sasuke back,’ and to bring her old sensei to justice. (or to bring him… home)

Often seen reading her father’s novels

Meets both Su and Zanaku (in that order) during early shippuden

Gains the sword of kusanagi after episode 138 of the anime.

Personality Traits ♡⸝⸝

Positive – Persuasive, Analytical, Convincing, Intuitive, Efficient, Caring, Blunt, Honest, Often on High Alert, Observational, Passionate, Intelligent, Calculated, Ambitious, Tactical, Creative, Studious, Witty, Unconventional, Aloof, Merciful, Understanding, Hardworking, Innovative, Resourceful, Resilient

Negative – Abrasive, Emotional, Bipolar, Stubborn, Morbid, Obsessive, Indecisive, Undisciplined, Somewhat Disorganized, Addictive, Impulsive, Paranoid, Resentful, Self-Destructive, Temperamental, Snarky, Restless, Sarcastic, Perverted

Life Motto – “If you’re not obsessed with your life, change it.”

Fun Facts⋆✴︎˚｡⋆

She is ambidextrous (both right-handed and left-handed, technically.)

Naomi roughly translates to “straight and beautiful.” The kanji for Nao means “blunt, honest, and/or frank.” And Mi which means “Beauty.” 

A heavy drinker and regular smoker 

She's read every one of her father's 'romance' novels

Close/Best friends with Kakashi, previously close & even protective of/with Obito during their childhood

Like her mother, she's often called a 'princess' due to her clan and heritage relating to the Hokages throughout the village's history.

Her favorite color is lilac 

She's an 'oddly skilled cook' according to anyone who's eaten food prepared by her. 

The Jonin vest she’s worn since age 16 when she became a Jonin once belonged to Orochimaru. It is among his abandoned belongings after he attacked and fled the village, and Naomi is unable to just leave it in the trash. She wears it as a reminder of who drives her hate, passion, and what she’s working towards (aka bringing Orochimaru back)

Spends most of her time attempting to locate Orochimaru, both to ‘bring Sasuke back,’ and to bring Orochimaru to justice. (or to bring him… home)

Capable of Water and Earth Release. Eventually learning how to perform Wood Style Release due to a mixture of reasons such as; Her Senju heritage, her natural chakra nature being water and her being capable of earth release, her chakra control and ability to mix the natures at will, and the Hashirama cells from Orochimaru’s initial curse mark form.

Despite taking after both of her parents in a multitude of ways, she refuses to ever begin or try gambling due to how it affected her relationship with her mother when she was young.

As a child, she felt insecure because of her albinism until her mother told her about her great-uncle Tobirama Senju - who also had albinism. Naomi began to wear her face paint like him on her cheeks afterward, but only two instead of three in a way to also nod to her father.

Attains Orochimaru’s old sword of Kusanagi after his death in Episode 138 of the anime. The sword being dropped after Itachi kills him, retrieved by Pakkun who is later tracking Sasuke’s scent and transferred from Pakkun to Kakashi to Naomi. 

Clan Info⟡

Clan Name: Senju Specialty: The Senju clan is known as "the clan with a thousand skills" (千の手を持つ一族, "sen no te o motsu ichizoku") because they can master ninjutsu, taijutsu, genjutsu, and other techniques to give themselves a variety of skills for fighting. The Senju clan's name, "Senju" (千手), directly means "a thousand skills" or "a thousand hands." Kekkei Genkai: Wood Release + Hair Manipulation Ninja InformationHome Village: The Hidden Leaf / Konohagakure  Current Village: The Hidden Leaf / Konohagakure Academy Graduation Age / Genin Age: 6 Chūnin Promotion Age: 10 Rank: Jonin Previous Teammates: Anko Mitarashi & Tokuma Hyuga Previous Sensei(s): Orochimaru Nindo: “What is meant to be will always find a way.” referring to how she truly believes if something is meant to be, it’ll happen no matter what. Natural Chakra Nature: Water (although capable of Earth, Wind, and Wood.)

Stats ❣

Ninjutsu - 4 / 4 Taijutsu - 2.5 / 3 Genjutsu - 3.5 / 3.5 Intelligence - 4.5 / 5 Strength - 5 / 5 Speed - 3.5 / 3.5 Stamina - 3 / 3 Hand Seals - 4 / 4 Total - 30 / 31

Likes

Reading

Romance or Action/Adventure Novels

Rain

Drinking

Training

Red Spider Lillies

Mice / Small Rodents

Smoking

Snakes

Cooking Meals (for herself or others)

Picnics 

Long Hair (both on her or those she finds attractive)

Routine/Repetition

Competition 

Caffeinated Drinks (Especially Tea)

Studying (Jutsu’s, Science and History) 

Particularly Fond of Biology 

Teaching / Educating 

Misunderstood People 

Children

Dislikes

High Pitched Voices

Hot Weather

Eggplant (the actual vegetable) 

Having Her Picture Taken

Crowded Rooms

Mushrooms

Winged or Flying Insects / Bugs

Sweating

Lightning 

Riddles

Her Hair Being Touched 

Losing to Those She Considers Weaker than She is

Gambling Without a Strategy (So Most Gambling)

Sour Sweets or Foods

Laundry

[dreaminginthedeepsouth]

LETTERS FROM AN AMERICAN

January 18, 2025

Heather Cox Richardson

Jan 19, 2025

Shortly before midnight last night, the Federal Trade Commission (FTC) published its initial findings from a study it undertook last July when it asked eight large companies to turn over information about the data they collect about consumers, product sales, and how the surveillance the companies used affected consumer prices. The FTC focused on the middlemen hired by retailers. Those middlemen use algorithms to tweak and target prices to different markets.

The initial findings of the FTC using data from six of the eight companies show that those prices are not static. Middlemen can target prices to individuals using their location, browsing patterns, shopping history, and even the way they move a mouse over a webpage. They can also use that information to show higher-priced products first in web searches. The FTC found that the intermediaries—the middlemen—worked with at least 250 retailers.

“Initial staff findings show that retailers frequently use people’s personal information to set targeted, tailored prices for goods and services—from a person's location and demographics, down to their mouse movements on a webpage,” said FTC chair Lina Khan. “The FTC should continue to investigate surveillance pricing practices because Americans deserve to know how their private data is being used to set the prices they pay and whether firms are charging different people different prices for the same good or service.”

The FTC has asked for public comment on consumers’ experience with surveillance pricing.

FTC commissioner Andrew N. Ferguson, whom Trump has tapped to chair the commission in his incoming administration, dissented from the report.

Matt Stoller of the nonprofit American Economic Liberties Project, which is working “to address today’s crisis of concentrated economic power,” wrote that “[t]he antitrust enforcers (Lina Khan et al) went full Tony Montana on big business this week before Trump people took over.”

Stoller made a list. The FTC sued John Deere “for generating $6 billion by prohibiting farmers from being able to repair their own equipment,” released a report showing that pharmacy benefit managers had “inflated prices for specialty pharmaceuticals by more than $7 billion,” “sued corporate landlord Greystar, which owns 800,000 apartments, for misleading renters on junk fees,” and “forced health care private equity powerhouse Welsh Carson to stop monopolization of the anesthesia market.”

It sued Pepsi for conspiring to give Walmart exclusive discounts that made prices higher at smaller stores, “​​[l]eft a roadmap for parties who are worried about consolidation in AI by big tech by revealing a host of interlinked relationships among Google, Amazon and Microsoft and Anthropic and OpenAI,” said gig workers can’t be sued for antitrust violations when they try to organize, and forced game developer Cognosphere to pay a $20 million fine for marketing loot boxes to teens under 16 that hid the real costs and misled the teens.

The Consumer Financial Protection Bureau “sued Capital One for cheating consumers out of $2 billion by misleading consumers over savings accounts,” Stoller continued. It “forced Cash App purveyor Block…to give $120 million in refunds for fostering fraud on its platform and then refusing to offer customer support to affected consumers,” “sued Experian for refusing to give consumers a way to correct errors in credit reports,” ordered Equifax to pay $15 million to a victims’ fund for “failing to properly investigate errors on credit reports,” and ordered “Honda Finance to pay $12.8 million for reporting inaccurate information that smeared the credit reports of Honda and Acura drivers.”

The Antitrust Division of the Department of Justice sued “seven giant corporate landlords for rent-fixing, using the software and consulting firm RealPage,” Stoller went on. It “sued $600 billion private equity titan KKR for systemically misleading the government on more than a dozen acquisitions.”

“Honorary mention goes to [Secretary Pete Buttigieg] at the Department of Transportation for suing Southwest and fining Frontier for ‘chronically delayed flights,’” Stoller concluded. He added more results to the list in his newsletter BIG.

Meanwhile, last night, while the leaders in the cryptocurrency industry were at a ball in honor of President-elect Trump’s inauguration, Trump launched his own cryptocurrency. By morning he appeared to have made more than $25 billion, at least on paper. According to Eric Lipton at the New York Times, “ethics experts assailed [the business] as a blatant effort to cash in on the office he is about to occupy again.”

Adav Noti, executive director of the nonprofit Campaign Legal Center, told Lipton: “It is literally cashing in on the presidency—creating a financial instrument so people can transfer money to the president’s family in connection with his office. It is beyond unprecedented.” Cryptocurrency leaders worried that just as their industry seems on the verge of becoming mainstream, Trump’s obvious cashing-in would hurt its reputation. Venture capitalist Nick Tomaino posted: “Trump owning 80 percent and timing launch hours before inauguration is predatory and many will likely get hurt by it.”

Yesterday the European Commission, which is the executive arm of the European Union, asked X, the social media company owned by Trump-adjacent billionaire Elon Musk, to hand over internal documents about the company’s algorithms that give far-right posts and politicians more visibility than other political groups. The European Union has been investigating X since December 2023 out of concerns about how it deals with the spread of disinformation and illegal content. The European Union’s Digital Services Act regulates online platforms to prevent illegal and harmful activities, as well as the spread of disinformation.

Today in Washington, D.C., the National Mall was filled with thousands of people voicing their opposition to President-elect Trump and his policies. Online speculation has been rampant that Trump moved his inauguration indoors to avoid visual comparisons between today’s protesters and inaugural attendees. Brutally cold weather also descended on President Barack Obama’s 2009 inauguration, but a sea of attendees nonetheless filled the National Mall.

Trump has always understood the importance of visuals and has worked hard to project an image of an invincible leader. Moving the inauguration indoors takes away that image, though, and people who have spent thousands of dollars to travel to the capital to see his inauguration are now unhappy to discover they will be limited to watching his motorcade drive by them. On social media, one user posted: “MAGA doesn’t realize the symbolism of [Trump] moving the inauguration inside: The billionaires, millionaires and oligarchs will be at his side, while his loyal followers are left outside in the cold. Welcome to the next 4+ years.”

Trump is not as good at governing as he is at performance: his approach to crises is to blame Democrats for them. But he is about to take office with majorities in the House of Representatives and the Senate, putting responsibility for governance firmly into his hands.

Right off the bat, he has at least two major problems at hand.

Last night, Commissioner Tyler Harper of the Georgia Department of Agriculture suspended all “poultry exhibitions, shows, swaps, meets, and sales” until further notice after officials found Highly Pathogenic Avian Influenza, or bird flu, in a commercial flock. As birds die from the disease or are culled to prevent its spread, the cost of eggs is rising—just as Trump, who vowed to reduce grocery prices, takes office.

There have been 67 confirmed cases of the bird flu in the U.S. among humans who have caught the disease from birds. Most cases in humans are mild, but public health officials are watching the virus with concern because bird flu variants are unpredictable. On Friday, outgoing Health and Human Services secretary Xavier Becerra announced $590 million in funding to Moderna to help speed up production of a vaccine that covers the bird flu. Juliana Kim of NPR explained that this funding comes on top of $176 million that Health and Human Services awarded to Moderna last July.

The second major problem is financial. On Friday, Secretary of the Treasury Janet Yellen wrote to congressional leaders to warn them that the Treasury would hit the debt ceiling on January 21 and be forced to begin using extraordinary measures in order to pay outstanding obligations and prevent defaulting on the national debt. Those measures mean the Treasury will stop paying into certain federal retirement accounts as required by law, expecting to make up that difference later.

Yellen reminded congressional leaders: “The debt limit does not authorize new spending, but it creates a risk that the federal government might not be able to finance its existing legal obligations that Congresses and Presidents of both parties have made in the past.” She added, “I respectfully urge Congress to act promptly to protect the full faith and credit of the United States.”

Both the avian flu and the limits of the debt ceiling must be managed, and managed quickly, and solutions will require expertise and political skill.

Rather than offering their solutions to these problems, the Trump team leaked that it intended to begin mass deportations on Tuesday morning in Chicago, choosing that city because it has large numbers of immigrants and because Trump’s people have been fighting with Chicago mayor Brandon Johnson, a Democrat. Michelle Hackman, Joe Barrett, and Paul Kiernan of the Wall Street Journal, who broke the story, reported that Trump’s people had prepared to amplify their efforts with the help of right-wing media.

But once the news leaked of the plan and undermined the “shock and awe” the administration wanted, Trump’s “border czar” Tom Homan said the team was reconsidering it.

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

[mariacallous]

Sean “Diddy” Combs’ countless abuse and sexual assault allegations caught up to him on Monday after he was arrested and charged following a grand jury indictment. Though he pleaded not guilty to three federal counts of sex trafficking and racketeering the following day (he’s in detention pending trial after being denied bail twice), the damage is done in the court of public opinion.

After the U.S. Attorney’s Office in the Southern District of New York unsealed Combs’ indictment early Tuesday morning, social media wasted no time cherry-picking the most searing details — most notably the narcotics and 1,000+ bottles of baby oil and lubricant that law enforcement seized during the March raids on Combs’ properties, which were allegedly intended for his abusive sex parties, aka “freak-offs.”

The shocking information and other parts of the indictment became another point of scrutiny for Combs after his 2017 rebrand as Brother Love failed to conceal the darkest parts of his alleged disturbing behavior behind closed doors.

The U.S. attorney’s indictment of Combs appears to bolster what many have alleged about the now-disgraced music mogul for years, with alarming claims of violence and abuse going back as far as 1990.

The beginning of Combs’ end began on Nov. 16, 2023, when his ex-girlfriend and former record company artist Casandra “Cassie” Ventura filed a bombshell civil lawsuit under New York’s Adult Survivors Act, accusing the Bad Boy Records founder of sex trafficking, rape, physical violence, intimidation and more over a period of 10 years. Combs and Ventura settled the suit just one day later. The latter’s public claims started a domino effect in the months following when seven more women and two men — including Combs’ former producer Rodney “Lil Rod” Jones and another former label artist, Dawn Richard of Danity Kane and Diddy — Dirty Money — to come forward with their harrowing accusations about Combs, all of whom claimed to at some point have been assaulted, abused or threatened by him.

But Combs isn’t the only high-profile figure in the music industry whose alleged misdeeds have been exposed recently.

Shortly before Ventura filed her lawsuit last November, former music executive Drew Dixon filed a lawsuit against famed producer L.A. Reid, claiming that he harassed and sexually assaulted her twice in 2001 while she was working for him (Reid’s request to have the case thrown out was denied in August). In June, producer The-Dream was hit with a sexual assault lawsuit; his former protégé Chanaaz Mangroe accused him of rape, sex trafficking and other violent actions (the producer filed to have his suit dismissed in August). That same month, Kanye West’s former assistant, Lauren Pisciotta, sued him for alleged sexual harassment (a legal representative for the rapper claimed the lawsuit was “blackmail and extortion”). And in July, Murder Inc. Records co-founder Irv Gotti was sued for alleged rape and abuse by a woman identified only as Jane Doe (he has denied any wrongdoing).

As history has shown, a culture of abuse has run rampant at the hands of powerful men in the music industry who refuse to take accountability for any of their alleged harm. Combs claimed in December that he “did not do any of the awful things being alleged” against him before brutal surveillance footage that surfaced in May clearly showed the music executive physically assaulting Ventura at a Los Angeles hotel in 2016 (Ventura detailed the same encounter precisely in her lawsuit). He later released a video apology on Instagram (which has since been removed from his page), taking “full responsibility��� for his actions in the footage but for nothing else he’s been accused of.

That could change once Combs’ yet-to-be-scheduled federal sex trafficking trial begins, as his mountain of allegations is just the tip of the iceberg of what’s publicly known. Federal prosecutors’ extensive evidence of Combs’ alleged criminal enterprise will likely expose more, especially since they claim the mogul’s unlawful behavior persisted just days before his arrest.

Nonetheless, Combs’ indictment, which also cites unnamed associates and employees, signals a watershed moment many didn’t anticipate would come so soon after Ventura’s lawsuit — remember, it took over a decade for charges to come down on Jeffrey Epstein for his crimes. With prosecutors adamant about trying Combs’ case in a court of law, the American justice system has taken the first significant step toward holding the industry executive liable for his improprieties.

Now the music industry has officially been put on notice.

The public takedown of Combs is a warning to any wealthy, high-powered folks in the music space who indulge in similar criminal acts and the fearful enablers who stand by silently, unmoved and unwilling to intervene in corruption that goes on far too long. The same goes for those, like Russell Simmons, who thought fleeing could erase the horrid accusations coming from survivors who bravely went on record about the pain endured in their workplace or inflicted by their powerful employers. Evading justice only prolongs the damage, as Combs may be figuring out. But the day of reckoning, for the music industry, at least, is here, and the reign of its abusers is coming to an end.

If we as a culture are to do right by any survivors who have spoken up, we cannot stop with Combs. It’ll take more action and more listening to prosecute unscrupulous men to the fullest extent of the law. Moreover, the music industry stakeholders must commit to creating a safer environment by exiling those who continuously defame it with their deceit.

[weirdly-specific-but-ok]

i might have found the most dedicated (brainrotted) good omens fan.

Hey y'all my beloved maggots, so in the spirit of having too much time and still recovering from my illness, your beloved Mascot was lurking on the lovely world wide web. I ended up, as one does, looking up what the fictitious '1810 clerkenwell diamond robbery' might have alluded to.

Of course I ended up with a bunch of tumblr and/or good omens results and then one bloody other search result. Which is what I'm sitting in utter bewilderment thinking about.

I'll link it at the end of the post, but to brief you on it, it was an article with an impressively detailed description of the supposed 1810 robbery, with the mastermind being (rather than Jane Austen, which is what I'd have expected the fake story to have) Richard Turpin. I didn't know who the fuck this was, so I looked him up, and found he was a highwayman who was executed in 1739 (there was a wee bit of bodysnatchin' involved, too). One of the diamonds in this article/story was also called the Star of South Africa, which when I looked it up, apparently is a diamond that was not discovered till the second half of the 19th century.

Which is all good lovely article impressive gonchposting but then I glance through the rest of the website and it seems to have actual articles about crime? I know nothing about stuff that happened after the Roman empire, so you are free to tell me about the legitimacy of the articles, but the fact remains that there are many articles, dating from July 2023 to February 2024.

I hear Good Omens season 2 came out on 28th July 2023, so this person set up an entire site in a few days, wrote an article with an anachronistic highwayman and diamond, and then proceeded to actually fill the rest of the site with articles? Am I in the correct timeline here? Has the internet lost its hivemind?

Please can someone explain this to me? Is this the final stage of the brainrot? Is this what I'm doomed to experience? Because if so I'm suing the entire Good Omens fandom, yes, you all, for infecting me with it.

Or have I lost it and I hallucinated this entire internet experience?

[leclercarchive]

Charles Leclerc, the Ferrari driver tells his story: «I feel good only with the helmet on my head»

At 26, the young Monegasque has already entered the legend of Formula 1. Thanks to his cold blood and the audacity of a driving style that does not contemplate fear, Charles Leclerc has become "The predestined" for his fans. Since he was a child he loved red cars and with Ferrari he fulfilled his dream…

Almost 130 Grands Prix in Formula 1, 28 podiums, 22 pole positions and five victories: at 26, Charles Leclerc is already making history. His favorite driver is Ayrton Senna but «there are many I admire: Prost, Lauda, James Hunt, Michael Schumacher and Lewis Hamilton. However, Ayrton Senna (the Brazilian champion who died in a tragic accident at Imola in 1994, ed.), is my all-time idol. From what I was able to see in the documentaries that tell his story and by speaking with those who knew him in life, I discovered that he was a special person to say the least, not only behind the wheel - he was perhaps the best driver in history - but also as a human being." Leclerc's childhood is marked by a deep bond with his father Hervé (he bears his name on his helmet) who was also a pilot - «dad was my number 1 fan» – and by his untimely death in 2017. «I was four years old, I told my father that I wasn't feeling very well and didn't want to go to school. Of course I was pretending like all kids do. However, I don't know why, he indulged me and took me to the go-kart track of his best friend, Philippe Bianchi. Seeing other children running on the track, I wanted to try it too. For my first car I chose the color red. And I think I fell in love with this sport after just three laps." On that go-kart track Leclerc lives his dream of one day becoming a Formula 1 driver and there he meets his lifelong friend, Jules Bianchi, Philippe's son. In karting, Charles Leclerc collected one victory after another, also because "I didn't know the concept of braking". At 17 years old in 2014, he entered the “Formula Renault 2.0” with the Fortec Motorsports team. He took seven podiums and collected two victories, earning second place in the championship. In 2015 he moved to Formula 3 and, despite an accident on the Zandvoort circuit (Holland), which compromised the final position in the standings, and the death of his friend Jules Bianchi in July, after the accident at Suzuka on 5 October 2014, Leclerc he doesn't lose the desire to compete. «Formula 1 killed people I loved, but I can't help it», he declared some time later.

What was your first ever Grand Prix? «Macau in 2015. But I like to remember the first time I saw one. I was still a child, I had a friend whose apartment had a balcony overlooking the Monte Carlo circuit. Obviously I was already rooting for the red cars, even though I didn't yet know that they were Ferrari. It was simply my favorite color." In the 2016 GP3 season he won the title with the "ART Grand Prix" team, even if, during the last championship race in Abu Dhabi, he chose to retire. Does a pilot ever feel afraid? «I am a human being, even if I run at 300 kilometers per hour. Beautiful moments alternate with very difficult ones, I'm not a superhero. It was in 2017, when I thought I wouldn't be able to become a Formula 1 driver, that I felt a real feeling of fear." But it is precisely in 2017 that the turning point arrives. A year earlier Leclerc had taken part in the Ferrari Driver Academy. With the first free practice session of the British Grand Prix in 2016, he began his experience as a test driver for Haas and then for Ferrari. Over the course of the following year he became increasingly noticed, thanks to a series of victories - among them that of the FIA Formula 2 championship - and multiple tests of skill at the wheel of his car. In the 2017 championship he participated in four free practice sessions with Sauber, the first of which in the pouring rain on the Sepang circuit (Malaysia), and it was with the Swiss team that he became a Formula 1 driver. On board the Sauber C37, despite some difficulties, Leclerc demonstrates consistency and ends the 2018 season in 13th place in the drivers' standings with 39 points, voted "rookie" of the year. But what happens before a Formula 1 race? «Before running, a lot of tension builds up. I have been doing breathing exercises since I was a boy. They help me stay calm, so I can achieve a level of concentration that maximizes my potential. Preparation is 90% of the total work in a race." Before getting into the car there is also space for a ritual moment. «I only feel good when I wear the helmet and everyone comes out of the pit lane», he says, «the cockpit is like a nest, I don't feel any sensations, zero tension. There I relax while waiting for the race."

In September 2018, Scuderia Ferrari announced that the Monegasque driver would replace Kimi Räikkönen, alongside Sebastian Vettel. «I was on a boat in Monaco. I had put the phone on silent mode, I find the call from Maurizio Arrivabene (head of the Ferrari team ed.). I told the friend I was with to turn off the engines, that the head of Ferrari had called me and I wasn't hearing well. I understand that he wouldn't have taken me to Ferrari. It seemed a little strange that he called me to tell me, I was disappointed. Fifteen seconds later he called me back and told me he was joking. I attacked and dived into the sea, it all seemed so surreal. Me in Ferrari…". Even though his first time in Maranello dates back to a few years earlier as he reveals in the book “Le prodige” written by Rémi Boudoul: «I was 11 years old, but I didn't enter. I sat in the parking lot and imagined a structure similar to the one seen in “The Chocolate Factory”. With the Oompa Loompas running around." In 2018 his first race of the season in Australia ended with a fifth place, but the real affirmation came with the Bahrain Grand Prix, where he won his first pole position and finished the race in third place. The season continues with ups and downs. After a first victory in Belgium came the triumph on the Monza Circuit, in front of the delirious Scuderia Ferrari home crowd. Leclerc also arrived in pole position in Singapore and Russia, and ended the season in fourth place with 264 points, consolidating his reputation among the most promising talents in Formula 1. 2020 began with a second place in Austria. However, the Ferrari SF1000 demonstrates some limitations in subsequent races. Leclerc retires in Styria and ends up outside the points in Hungary. A bad accident in Monza, from which he emerged unscathed, represents a critical moment in that unspectacular year, which ended in eighth place in the drivers' standings.

The following year, the new Ferrari SF21 proved to be more competitive, allowing Leclerc - now at the Prancing Horse with Carlos Sainz Jr. - to achieve good results, including fourth places in Imola and Spain. In Monaco, he takes pole position but retires due to damage to the car before the race. His only podium came in Great Britain, finishing the season in seventh place in the drivers' standings. 2022 is more than positive. He wins the Bahrain Grand Prix, followed by a second place in Saudi Arabia and victories in Australia and Austria. He finishes in second place among the drivers, behind Max Verstappen. In 2023, with his SF23 single-seater, he achieved the second podium of the season in Austria, while in Great Britain he finished ninth. In Belgium, after some changes to the car, he gets pole and finishes third. In the Italian Grand Prix, in Monza, he started on pole and finished fourth. Beyond the races, twenty-six-year-old Charles Leclerc, just appointed ambassador of the Monegasque jewelery brand APM Monaco, tries to spend as much time as possible with his friends. «Ricardo, Alex, Thomas, Guillaume, Nico, Hugo, Joris. I'm happy with them, we go to the beach, to the restaurant, we play five-a-side football, we're all sporty and we train together. However, we have different lives, while they study, I live my passion. But I love racing, I love Ferrari." Ferrari which is not only synonymous with engines but also with fashion and Leclerc is a proud ambassador of the brand led by Rocco Iannone. «I often wear items from the Ferrari line, they are aerodynamic and the materials range from the more technical ones - which I am used to wearing every day in my work - to the more refined ones. I like that couture feel and above all the color that dominates in the Ferrari collections, a color that I don't think I need to specify...>>

[julie-sufan]

The In-Depth Look at Julie-Su Part 12: Sonic the Hedgehog Issues 120-125

Like with the Chaotix Caper arc before it Knuckles's absence means that the focus can actually be given to the side characters. Here we see Julie-Su reminiscing with Mighty.

The subject of Knuckles though is truly a equivalent to the Bechel test. Even though he's gone he's still the main focus.

After this is Knuckles open casket funeral. It's so odd just to type those words. I highly doubt that the Sega of today would let a scene like the one below appear in the current comics.

When we next see Julie-Su she appears to be in Knuckles's home which is a cavern/cave. I did some quick research and apparently caves are a natural part of a echidna's habitat.

Aww it's so adorable he kept a picture of her on his nightstand. Vector appears in the entrance to confront a already agitated Julie and the two start brawling it out.

Now it's Vector's turn to give Julie-Su a flashback story to how he first met Knuckles.

Meanwhile Knuckles in the afterlife goes through basically a clip show of his life including a recreation of Julie-Su's face reveal from Knuckles issue #4.

This goes on for a while until Knuckles's return in Sonic issue #125. This marks the first time Julie-Su was written by someone other then Penders as Karl Bollers was writing the main stories in the Sonic issues at the time. He will continue writing Julie-Su as Penders would shift his focus to the Mobius 25 Years Later back up stories starting in Issue 131.

Coming up the Home Arc and Return to Angel Island arc.

[the-infamous-man]

This is it folks. Perhaps one of the best pieces of art I’ve ever requested to have commissioned done by the fantastic @/finn_ette over on Twitter and posted here with their permission. I cannot thank them enough for it. Because this is the cover for the latest arc of Rediscovered Frontiers. One that I had envisioned in my head for a while and needed the right artist to bring to life.

This… is the RETURN TO NEW MOBOTROPOLIS arc.

It’s been a long time coming. Now Sally Acorn, Julie-Su, Tangle the Lemur, and Nicole the Holo-Lynx must either face the past to find a better future… or allow it to break them.

Rediscovered Frontiers is a Sonic the Hedgehog fanfic whose main premise is that the IDW continuity is the Post-Super Genesis Wave reality from the Archie Comics. Nicole’s PDA was found by Tangle the Lemur and Whisper the Wolf, and together they managed to free Sally from Eggman’s control. Now, these remnants of a past world must join with friends both new and old to explore this new world and uncover the secret histories of Earth… and Mobius.

[coochiequeens]

Another TIM with a history of domestic violence is using the courts to to play victim

By Anna Slatz January 12, 2024

A trans-identified male is suing the City of New York after he was placed in a men’s detention center while awaiting transfer to another state on charges related to domestic violence. Ali Miles, formerly known as Dylan Miles, is demanding over $22,000,000 in compensation for discrimination on the basis of his gender identity.

Miles, who identifies as a Muslim woman, was incarcerated at the George R. Vierno Center on Rikers Island from June to July of 2022. His custody was a holding prior to his transfer to another state, as he had warrants for his arrest in the state of Arizona. He was then transferred to Yavapai County Jail where he was ultimately tried and found guilty of two counts of aggravated harassment per domestic violence, a Class 5 felony, for instances dated in November 2021 and February 2022.

He was also found guilty of disorderly conduct, harassment, threatening or intimidating, and false reporting to a law enforcement agency, which are all Class 1 misdemeanors.

In October of 2022, he was placed on supervised probation for a period of three years and sentenced to 312 days in jail, with credit added for the 132 days he had already been held there. Miles was also subject to a domestic violence assessment.

But Miles is now taking to the court to sue to the City of New York for detaining him with other males while he was awaiting transfer to Arizona. The suit argues that Miles faced discrimination, assault, and human rights violations after being placed with men.

From the lawsuit filed by Miles on August 24, 2023.

While asserting that he “wears women’s clothing and in all appearance expresses as a person of the female gender,” the filing argues that Miles was housed in a male facility at Rikers despite allegedly having a court order directing his placement to the female unit.

The suit reveals that following his arrest, Miles informed a judge that he was transgender, and required special housing accommodations to which a judge reportedly agreed. The court file and orders were then marked to notify the prison and their Intake Personnel that Miles was to be housed in the female section of Rikers, but he was not.

“As Miles approached the inside of the building, Miles realized it was a male jail which caused shock, panic and fright to Miles,” the suit reads, referring to Miles using feminine pronouns. “Miles requested and pleaded … that as an LGBTQIA+ individual who was transgendered, she required and needed an accommodation, and that she should not be placed in a male population jail.”

Miles then alleges that a prison staff member said “we don’t do the trans thing here.” He was then strip-searched by a male guard he alleges told him that he had “nice tits” and “one hell of a pussy.” This is despite Miles not having had any known genital surgeries.

Miles continues that he was routinely harassed, “misgendered” and subjected to humiliation during his detention at the George R. Vierno Center. In particular, Miles emphasizes his “sexual victimization” by multiple “African American male” inmates as a result of his placement in a male facility, one of which he alleges sodomized him using butter as lubricant.

Miles is seeking a minimum of $22,000,000 in compensation for the various mistreatments he claims, arguing that the prison’s “unlawful conduct was a direct result of Rikers’ pervasive practices, and customs of discrimination, deliberate indifference, against transgender people.”

Miles is a prolific litigant, and, as previously reported by Reduxx, has filed a number of suits alleging discrimination by various businesses.

In May of 2023, Miles filed a lawsuit against a New York yoga studio seeking compensation of $5,000,000 after employees reportedly asked him to use the men’s restroom instead of the women’s.

In the suit, Miles alleged that the personnel at Chelsea Yoga “deprived [him] of his civil rights because he is gay, undergoing a gender transition, and because Miles does not conform to … gender-based preferences, expectations, or stereotypes about how a man/woman should dress and conduct himself/herself.”

But shortly after that suit was launched, Reduxx learned that Miles had filed at least four other lawsuits, making similar claims of victimization in each.

Dylan Miles. Photo Credit: X / TWITTER.

In February of 2022, Miles filed a civil action for $75,000 in compensation against Sedona Soul Adventures, an Arizona-based business he had previously worked for. Miles alleged that the tourism company had wrongfully terminated his employment shortly after he was hired after subjecting him to “gender identity-based harassment and discrimination.” The suit was dismissed after an out-of-court agreement was reached.

One month later, Miles filed two separate civil actions — one against Planet Fitness and one against Bagel Point, both, again, on the basis of “gender identity-based harassment and discrimination.” In both, Miles represented himself, and failed to use consistent pronouns, often calling himself “Mr. Miles.” 

In his poorly-written civil action, Miles alleged that staff at a Planet Fitness threatened to sound the “lunk alarm” on him for entering the women’s facilities, and used a slur when referring to him. The “lunk alarm” is a fixture seen at most Planet Fitness gyms intended to provide a humorous “warning” to those being too loud or obnoxious in the gym.

Miles demanded compensation of $10,000,000 from Planet Fitness, but the suit was ultimately dismissed after he failed to file the appropriate paperwork and pay $402 in filing fees as requested by the court.

In his action against Bagel Point, a cafe in Brooklyn, Miles sought $75,000 in damages alleging he had been wrongfully terminated and subjected to verbal abuse on the basis of his gender identity.

Miles had been an employee of Bagel Point for a short period of time, during which he claimed the owner, a Muslim woman, had referred to him using slurs and mocked his gender identity, as well as crafting “unsubstantiated” complaints about his performance. The action, which was poorly written and rife with spelling errors, was dismissed by the court once again after Miles failed to file the appropriate paperwork and pay $402 in filing fees.

In yet another suit, Miles sought compensation from New York Presbyterian Hospital, once again claiming to have faced discrimination on the basis of his gender identity. The suit was dismissed and an appeal was not filed.

Though it is unclear when Miles began to identify as a woman, he appears to have converted to Islam around the same time. On his social media pages, he has alluded to learning Arabic and following various Islamic teachings.

While Miles’ past cases were quickly snuffed out of the court system, his most recent suit against the City of New York appears to be proceeding. Having previously represented himself unsuccessfully, Miles has retained an attorney for this suit who has requested the case be referred to the court’s Alternative Dispute Resolution Program (ADR). The ADR is an alternative mediation-style arrangement targeted at speeding up settlement.

On January 10, the lawyers for the City of New York requested a time extension to review the details of the case, with the next hearing being set for February 22.

[cosmosbeelover]

The History of Korean Female Soloists from the 20th Century: Episode 3/?

The third episode of 'The History of Korean Female Soloists from the 20th Century' highlights prominent Korean musicians who achieved fame in the early 20th century, during the period of Japanese occupation.

The historical documentation related to these artists is frequently unreliable, largely due to the fact that their contributions occurred almost a century ago, before the Korean War, leading to the loss or unavailability of essential records.

Yun Sim Deok (윤심덕; 尹心悳)

This episode is intended for a mature audience, so I want to issue a warning before proceeding, as it will discuss the topic of self-exit. This episode revisits the life of the renowned soprano Yun Sim-deok. In my initial discussion, the information presented was somewhat limited, as I had only recently begun my exploration of Korean artists. This revised episode will provide a more comprehensive and detailed account of her life and her romantic relationship.

"You poor soul, passionate about life, you are a dancer on the sword" - From Yun Sim-deok’s ��In Praise of Death'

The inaugural official female vocalist and soprano on the Korean Peninsula, she is renowned for her signature piece, "Ode to Death." Her relationship with playwright Kim Woo-jin has garnered significant attention, particularly due to its tragic nature, as it reflects the cultural phenomenon in the Korea Strait where couples, disillusioned by their inability to fulfil their love, choose to end their lives together. This narrative, akin to Japan's concept of Shinju (心中), sparked widespread speculation and controversy during that period.

Life and Career

Yun Sim-deok (윤심덕; 尹心悳), also known by her nickname Su-seon (水仙), was born on July 25, 1897, in Pyongyang and passed away on August 4, 1926. She was the second of four children in a family of musicians, with her parents serving as pastors at the Namsanjae Church. Her family included her older sister Yun Sim-seong (윤심성), a soprano, her younger brother Yun Gi-seong (윤기성), a baritone, and her younger sister Yun Seong-deok (윤성덕), who specialized in piano, highlighting the musical environment in which she was raised.

In 1907, Yun Sim-deok commenced her education at Jinnampo Private Girls' School, subsequently attending Pyongyang Soongui Girls' School and Pyongyang Girls' High School. She completed her studies at the Gyeongseong Girls' High School (京城女高普) Teachers' Training Institute in 1918. After graduation, she served as a music teacher in Wonju, Gangwon Province, for about a year before being chosen, alongside Han Ki-ju (한기주; 韓琦柱), for a government-funded program to study at the Tokyo Music School in Japan in 1919. With the assistance of Sekiya, the director of academic affairs, she enrolled in the vocal music department, supported by funds from the Japanese Government-General of Korea. While studying in Tokyo, she resided in Mokpo (木浦), and although initially classified as a special exchange student, her enrolment in the Class A Teacher’s Course (甲種師範科) indicates a shift in her aspirations towards becoming a music educator rather than solely focusing on vocal music.

Notably, Yun Sim-deok's younger sister, Yun Seong-deok (윤성덕)(1903-1968), mirrored her sister's trajectory by also entering the field of music education, eventually becoming a professor in the music department at Ewha Woman’s University. This familial connection underscores the significant impact of their upbringing on their professional paths, contributing to the broader landscape of music education in Korea during that era.

On December 19, 1920, she took part in a concert commemorating Beethoven's 150th anniversary. In 1921, while collaborating with traveling theatre groups like Dongwoohoe, which consisted of students from Tokyo, she performed solo pieces such as "Rose" and "Twilight Stream" prior to the play <Kim Yeong-il's Sa>. During this time, she developed a friendship with Kim Woo-jin (김우진) , the son of affluent Kim Seong-gyu, who was pursuing English Literature at Waseda University. This relationship reportedly evolved into a romantic one, and their subsequent mysterious disappearance sparked speculation, although their friends insisted it remained platonic.

After completing her education, she returned to Korea, having fallen in love with him. Following her music studies in 1922 and a year as an assistant teacher, she debuted as a soprano with a solo concert at the Jongno Central Youth Centre. Upon her return to Korea in June 1923, she held a vocal recital at the Janggokcheonjeong Public Hall on July 7. Although she achieved recognition through national tours and performances, she encountered financial hardships while working as a private instructor to support her family. While living as the concubine of a wealthy man named Lee, she received financial assistance that enabled her to send her younger sibling, Yun Seong-deok, to study in the United States. Eventually, she relocated to Harbin, where she embraced an independent lifestyle. Despite her acclaim for a powerful vocal ability, sustaining a career in Western classical music proved to be difficult, prompting her to shift towards pop music and acting. This transition ultimately led Yun Sim-deok (윤심덕) to become a prominent figure in Seoul's concert scene, leveraging the growing fascination with Western music.

After returning from her studies in Japan and settling in Mokpo to care for her two siblings, Kim Woo-jin (김우진) harboured ambitions of studying abroad again, motivated by the New Theatre Movement. However, he faced disappointment upon receiving a letter from her after her return from Harbin, marking their reunion during a time of heightened public interest in her shift from a musical troupe to the theatre group Towolhoe. Despite her parents' objections to her theatrical ambitions, she performed in the play Dongdo (東道) and maintained correspondence with Kim Woo-jin, who offered her financial support. Subsequently, she left Towolhoe to form a new theatre group, Baekjohoe (白鳥會), with her colleagues. When the theatre movement faced difficulties, she secretly met with Kim Woo-jin in Mokpo before traveling to Seoul, where they found comfort in each other's company until his departure for Tokyo. Later, she journeyed to Osaka (大阪) with Yun Seong-deok, who was heading to the United States for piano studies, to record for Ildong Gramophone Company, where she reunited with Kim Woo-jin once more. Among the songs she recorded for Ilchuk (日蓄) Records, accompanied by her younger brother on piano, was "死の讚美" (Death Praise Beauty).

She performed at the Yeonjeon Concert on July 20, 1923, and participated in the Gyeongseong Music Band’s Autumn Concert on October 13. Her appearances continued with the Myodong Praise Team's music competition on October 18, followed by Gyejeongsik's farewell concert on October 19, and the Yeonhui Professional Music Concert on May 11, 1924. Additionally, she took part in the Gyeongseong Medical College Music Department's concert on June 14 and the Joseon Women's Education Association's famine sympathy concert on October 18, showcasing her versatility and commitment to her craft.

During her tenure as a music instructor at Gyeongseong Normal School, she established herself as a prominent vocalist through her concert performances. In 1925, she made a significant career shift by joining the theatre company Towolhoe, where she gained further acclaim as a singer, making impactful television appearances and recording music. Her performance of "Hymn of Death" particularly struck a chord with audiences, enhancing her reputation in the entertainment industry.

After an extensive period with Towolhoe, she redirected her career towards the music sector, achieving notable success through her recordings and broadcasts. Her fame escalated with the release of "Ode to Death" by Ildong Gramophone Company, which received considerable attention with 100,000 copies containing the song were sold, especially after her premature death. Upon her return to Korea, she was celebrated as the queen of the Joseon Orchestra, although she later transitioned back to acting in 1926. Her contributions were recognized at the New Year's Music Concert by Our Boys' Association in February 1926, and her performances were highlighted in various publications, reflecting both her talent and the controversies surrounding her artistic choices.

Her journey into the world of singing commenced in Japan, where she was motivated by Lee Se-gi (이세기), the manager of the Gyeongseong branch of Osaka Ildong Records (Jevipyo), leading to the recording of eleven songs. Following the departure of her younger brother to the United States, she and Kim Woo-jin (김우진) were on their way back to Korea on August 4, 1926, aboard the ferry Tokuju Maru from Shimonoseki when they both leaped into the Genkai Sea. The Ilchukgwa Jebiyo Joseon Record features approximately 20 songs, including Western compositions such as “Net Dream” (Old Dream), “Ttanup River” (Danube River), “Maggie’s Memories,” “Smiling Laurel Flower,” and “The Boat Leaves,” all accompanied by Yun Seong-deok on piano. Unfortunately, her life took a tragic turn when she and her partner, Kim Woo-jin, ended their lives by jumping into the Genkai Sea, marking a sorrowful conclusion to her complex artistic journey.

Kim Woo-jin (김우진; 金祐鎭)

The name Kim Woo-jin may also be rendered as Kim U-jin in English translations; however, I will refer to him as Kim Woo-jin for the duration of this episode. I will not discuss his interaction with Yun Sim-deok in detail, as this topic has been covered in both the previous and subsequent sections.

Kim Woo-jin (김우진) was a significant figure in Korean literature, recognized as a playwright and theatre theorist during the Japanese colonial era, with notable works including "Shipwreck" and "Wild Boar/Pig." He was also a poet, essayist, and dramatist, distinguished as the first professional literary critic in Korea. His contributions to literature, particularly the poem "Theory of Life and Death" (1926) and the play "Wild Pig" (1926), have garnered attention.

Despite his literary accomplishments, Kim's work remained largely unacknowledged until the late 1970s, with a posthumous publication in 1983. His deep understanding of Western literature and insightful engagement with Western philosophy have since been recognized as pivotal to his legacy.

Life and Career

Cho-seong (焦星), also known as Susan (水山), was born on September 19, 1897, in Jangseong-gun. He was the son of Seong-gyu (星圭), the governor of Jangseong County, and his lineage included a grandfather who served as a ceremonial official and landowner. After completing his elementary education in Mokpo, he relocated to Japan, where he attended Kumamoto Agricultural School and later enrolled in the preparatory course at Waseda University (早稲田大学), ultimately graduating from the English Literature Department in 1924.

From an early age, he aspired to be a poet and began composing poetry during his time at Kumamoto Agricultural School. His passion for the performing arts led him to establish the Theatre Research Group, Geukye Art Association, alongside peers such as Jo Myeong-hee (조명희) and Hong Hae-seong (홍해성) in 1920. In 1921, he founded the Dongwoohoe Touring Theatre Troupe, managing performance costs and directing productions, including a translation of Dunsany's one-act play, “The Splendid Gate.” After returning to Mokpo post-graduation, he served as president of Sangseong Hapmyeong Company while producing a significant body of work, including 48 poems, five plays, and approximately 20 critiques. However, personal and societal challenges culminated in his tragic suicide on August 4, 1926, when he jumped into the Genkai Sea with soprano singer Yun Sim-deok (윤심덕).

Waseda University students in 1916

He was raised in a conservative Confucian household, yet he became deeply engaged with Western modern philosophy. Influenced by thinkers such as Nietzsche and Marx, he developed a distinct ideological framework that embraced socialism in the wake of the Russian Revolution. This intellectual journey led him to resonate with the expressionism of Strindberg and the reformist theatrical ideas of Shaw, ultimately fostering a rejection of traditional artistic conventions.

The ideological underpinnings of his works and the circumstances surrounding his suicide warrant examination. His poetry, particularly in pieces like "Death," "Theory of Life and Death," and "Theory of Death," reflects a profound denial of reality and a call for reform. Similarly, his plays reveal an autobiographical narrative intertwined with contemporary societal struggles. Notably, "The Disillusionment of Poet Du-deok" illustrates the clash between traditional and modern ethics, while "Lee Yeong-nyeo" employs naturalistic techniques to portray the harsh realities faced by the impoverished in Mokpo. His notable works, "Shipwreck" and "Wild Boar," stand as pioneering examples of expressionism in Korean literature, showcasing avant-garde experimentation during a time dominated by melodrama.

This work is notably distinguished by its profound exploration of social reform ideas and its ethereal stylistic approach. The author described this piece as his 'march of life,' imbuing it with the qualities of a clinical analysis conducted by a progressive thinker.

Bust of Kim Woo-jin at Mokpo Literature Hall.

Among his numerous insightful critiques are notable essays such as “On the So-Called Modern Theatre,” “The Story of the Free Theatre,” “The Life of Saong,” and “On Western and American Playwrights.” His critique “Seeing Artificial Humans at the Tsukiji Small Theatre” exemplifies his theatrical analysis. Furthermore, in “I Encourage Creation,” he methodically presented expressionism as the most fitting creative approach for Korean writers seeking to transcend traditional norms. His candid perspective on literature is evident in essays like “Bury the Literature of Lee Gwang-su” and “Ego-Viewed Class Literature and Critics,” where he rigorously challenged enlightenment nationalism and humanitarian ideals. In “A Word to the Korean Literature World Without the Korean Language,” he advocated for the revitalization of the pure Korean language, drawing on Western examples, and called for the establishment of a new literary framework, the creation of dictionaries, and the preservation of oral traditions, folk songs, and children’s songs. He also emphasized the need for a distinct poetic rhythm, the translation of foreign literature into Korean, and the increased accessibility of newspapers and magazines.

He was an innovative playwright who transcended the conventional literary landscape of his era, which was mired in enlightened nationalism, humanitarianism, and sentimentalism. By effectively channelling the struggles of his time into his plays, he distinguished himself as the sole playwright to directly engage with expressionism in his artistic endeavours.

Furthermore, he is recognized as a critic who contributed significant theoretical insights to the contemporary theatre and literary scene, drawing from his vast knowledge and ground-breaking critical viewpoint. Additionally, he played a crucial role as a theatre activist, being the first to spearhead the new theatre movement.

The complete works of Woojin Kim, published in 3 volumes in 2000.

A bust commemorating Kim Woo-jin is situated in the Kim Woo-jin Hall, part of the Mokpo Literature Hall established by Mokpo City.

Following their deaths, little information has emerged about Kim Woo-jin and Yun Sim-deok. Unlike Yun, who remained unmarried, Kim had a family, with his son Bang Han (방한) becoming a professor at Seoul National University. Kim Woo-jin's grave, reportedly unmarked by a body, is believed to be on Molmoe Mountain in Muan-gun, Jeollanam-do. Mokpo City later inaugurated the Mokpo Literature Hall and the Kim Woo-jin Hall to celebrate his literary contributions, alongside local figures such as Park Hwa-seong (박화성), Cha Beom-seok (차범석), and Kim Hyeon (김현). In 2000, a three-volume collection of his works was published. The legacy of Yun Sim-deok, Kim's beloved, is preserved through a faded photograph and her haunting rendition of "Praise of Death," (사의찬미) which evokes a sense of nostalgia and blurs the lines between traditional ballads and contemporary music.

Love Life

What is love? - Love is a connection between a man and a woman who share mutual feelings and enjoy each other's company.

A scene from the 1991 film [Ode to Death] starring the late actor Lim Sung-min (left) and Jang Mi-hee. 배우 고(故) 임성민(왼쪽)과 장미희 주연의 영화 [사의 찬미]의 한 장면, 1991년 작품이다.

Modern Art Pioneers Sacrificed to Convention

Artistic sympathy that emerged from trials, a relationship that goes beyond a simple affair, a catalyst for free love and popular art, leading Koreans to modernity.

The term gained popularity in Korea during the 1910s, particularly after its mention in Cho Joong-hwan's (조중환) adapted novel, "Ssangokru," (쌍옥루) which was serialized in "Maeil Shinbo" (매일신보) in 1912. Prior to this, romantic relationships were typically arranged by parents during the Joseon Dynasty. The story of Gapdol and Gap-soon, who secretly met at a watermill, illustrates how such love was often frowned upon, causing embarrassment to families and communities.

Ssangokru: Cho Jung-hwan's translated novel book cover

The emergence of modern love challenged these traditional norms, allowing individuals to take centre stage in their romantic narratives. The 1920s marked a significant shift towards free love in Joseon, fuelled by the exchange of heartfelt letters. Young lovers, caught in the throes of passion, eagerly penned love letters day and night, eagerly awaiting responses. The popularity of guides on writing love letters soared, with many considering love an essential part of life.

This surge in correspondence also played a crucial role in developing the postal system, which saw a dramatic increase in letter exchanges from just 137 in its early days to an astonishing 70 million by 1925. However, the era also witnessed tragic consequences, as the number of suicides linked to unrequited love rose sharply, capturing public attention and making headlines, especially when involving well-known figures like Yun Sim-deok and Kim Woo-jin.

Why did stars and rich people throw themselves into the sea?

The protagonists of an impossible love story, Woojin Kim and Sim-deok Yoon (right). The two ended their lives by throwing themselves into the Genkai Sea together.

At 4 a.m. on August 4, 1926, the Tokuju Maru, a ferry departing from Shimonoseki, Japan, was en route to Busan, navigating past Tsushima Island. A porter on duty noticed that the door to first-class cabin number 3 was ajar, raising his suspicions about a potential passenger wandering on deck at such an early hour. Upon entering the cabin to investigate, he discovered a letter resting atop a bag, addressed to "Po-i," which prompted him to open it.

The contents of the letter expressed an apology and a request for the will to be mailed to a registered address. Accompanying the note was a 5-won bill, seemingly a gift, alongside a suicide note indicating a desire to return home. Alarmed by the implications, the porter rushed to inform the captain, declaring an emergency. The ferry was halted, and a search ensued both inside and outside the vessel, yet no sign of the passenger from cabin number 3 could be found. It appeared she had likely taken her own life, though the exact time and location of the act remained unknown.

The cabin was left with a woman's wallet, a man's gold watch, 160 won in cash, and various personal items. To ascertain the identity of the missing passenger, the captain referred to the passenger list. The records indicated two individuals: Kim Su-san, a 30-year-old male from Bukgyo-dong, Mokpo, and Yoon Su-seon, a 30-year-old female residing at 73 Iljeong-mok, Seodaemun-jeong, Gyeongseong.

Upon the Tokuju Maru's arrival in Busan, the captain promptly notified the authorities regarding the incident. The identities of the two individuals involved were quickly uncovered. The male was identified as Kim Woo-jin (김우진;金祐鎭, 1897-1926), the eldest son of the affluent Kim Seong-gyu from Mokpo, recognized for his contributions as a playwright and theatre critic. He completed his studies in the English Department at Waseda University in Japan in 1924 and subsequently took on the role of president at Sangseong Partnership Company, which oversaw the family's assets. In line with societal norms of the era, he married at a young age and had a son and a daughter.

The female involved was none other than Yun Sim-deok (윤심덕; 尹心悳, 1897-1926), celebrated as the premier soprano of Joseon. Hailing from Pyongyang, she graduated from the education department of Gyeongseong Girls’ High School and was chosen as a government-sponsored student to study at the Tokyo Music School, returning in 1923. Her exceptional talent as a vocalist garnered significant attention, leading to television appearances and album recordings that solidified her status as a prominent singer. Her life and career were closely followed by the public, making her a notable figure of her time.

The incident in the Genkai Sea quickly captured global attention, as the media eagerly reported on the scandal involving prominent figures. The intersection of celebrity and wealth consistently draws public fascination, particularly given that the man was married. This event marked a historical moment as it was the first recorded instance of a Korean committing suicide on a ferry due to romantic despair. By August 5, major newspapers, including [Maeil Shinbo], extensively covered the story, sustaining public interest. The release of Yun Sim-deok’s album by the Nitto Gramophone Company of Japan on August 29 further amplified the media frenzy surrounding the affair.

The intrigue surrounding the affair between Yun Sim-deok and Kim Woo-jin captivated public interest. Media narratives suggested a romantic connection between the two, yet the complexities of their situation were underscored by Kim's status as a married man with familial responsibilities. Their tragic decision to end their lives together reflected a profound sense of despair, complicating the notion of their relationship, which, while classified as an affair, was deeply influenced by the societal norms of their time.

The term "new women" referred to those who had received modern education, both locally and abroad, and who often found themselves in social circles with married men like Kim Woo-jin. During this period, early marriage was prevalent, with many young men marrying before pursuing further education abroad. Reports indicated that a significant portion of male high school students were already wed, leaving their families behind to continue their studies. As these men matured, their perspectives often shifted, leading them to question the marriages arranged by their parents and seek relationships with new women.

The case of Chang-sun illustrates the societal pressures of the time. At just fifteen, he was compelled to marry under traditional customs, a decision he accepted without question due to his youth. However, as he progressed through his education, his understanding of love and relationships evolved, prompting him to reject the notion of his marriage, which he perceived as devoid of affection or mutual understanding. This transformation highlights the broader cultural shifts occurring in the 1920s, as individuals began to challenge established norms regarding marriage and personal agency.

A young married man with a wife and children meets a new woman, an 'educated woman'

Yun Sim-deok's posthumous album [Ode to Death].

Park Jun-pyo, a prominent novelist of the 1920s and 1930s, explores the psychological turmoil of a young married man enamoured with another woman in his 1924 novel, *Fate*. The protagonist, Chang-soon, departs from his hometown to pursue a degree in Literature at Gyeongseong University, where he cultivates modern ideals. He rejects the arranged marriage to Jeong-hee, as dictated by his parents, and instead aspires to a romantic relationship with Yeong-sook, an English literature student. Upon his return home after graduation, Chang-soon grapples with the desire to leave behind the constraints of traditional marriage for a progressive family life with Yeong-sook, yet the prospect of divorce looms as a source of profound distress.

The internal conflict Chang-soon faces is exacerbated by societal expectations and familial opposition. He anticipates fierce resistance from both his family and in-laws, particularly given that his wife has borne him a child. The thought of the ensuing chaos fills him with dread, as he foresees the scorn and judgment from a society steeped in ignorance. This emotional burden weighs heavily on him, leading to feelings of guilt and sorrow for both his wife, who remains unaware of his true sentiments, and the innocent child who is oblivious to the turmoil surrounding their family.

The original novels typically mirrored the prevailing values and preferences of society. In Park Jun-pyo's work, [Fate], the protagonist ultimately envisions a life of liberated love but grapples with the weight of divorce, ultimately returning to the family awaiting him. This conclusion resonates with the sentiments of the public. Conversely, those who sought to dissolve early marriages in favour of a new romantic partner faced significant societal backlash, as such choices were met with considerable disapproval.

The concerns of Kim Woo-jin and Yun Sim-deok may have stemmed from this societal context. The name 'Su-san' (水山) found on the passenger list of the Tokuju-maru was a pseudonym for Kim Woo-jin, while 'Su-seon' (水仙) was a term he affectionately used for Yun Sim-deok, indicating her closeness to him. Their relationship began in 1921 during their studies in Tokyo, where they became acquainted through a theatre company formed by the Japanese students' association, with Kim Woo-jin directing and Yun Sim-deok performing vocal solos.

The tour conducted by the Dongwoohoe throughout Joseon proved to be highly successful, spanning 14 regions over a period of 20 days. The troupe received enthusiastic receptions at each location, with their performances of plays and lectures garnering positive feedback. Notably, Yun Sim-deok's solo performance stood out, capturing significant attention. Anticipation for her return to Korea as a trained female vocalist increased, reflecting a growing global interest in her artistry.

Kim Woo-jin developed feelings for a female peer of his age, characterized by his composed and gentle demeanour. In contrast, Yoon Sim-deok's vivacious and generous nature earned her the affectionate nickname 'Wal-nyeo.' She frequently visited Kim Woo-jin's boarding house in Tokyo, engaging in discussions about music and literature while sharing profound personal narratives. This exchange fostered a deep bond of trust and affection between them, transcending the conventional boundaries of a mere romantic affair.

In the summer of 1922, Yun Sim-deok completed her studies at the Tokyo Music School and began to earnestly pursue a career as a vocalist. The journey of pioneers is often fraught with challenges, particularly in the realm of vocal music, which was not yet widely recognized in Joseon. The prospects of sustaining a livelihood as a soprano were bleak. To support her in this formidable endeavour, Kim Woo-jin (김우진) extended an invitation to Yun Sim-deok (윤심덕) while she was in her hometown of Pyongyang. He was vacationing in Mokpo and proposed that she come to perform at a family concert.

The invitation from Kim Woo-jin included train tickets for Yun Sim-deok and her two younger siblings. Her sister, Yun Seong-deok, was studying piano at Ewha Haktang, while her brother, Yun Gi-seong, was pursuing vocal music at Yonhui College. Although the prospect of performing might have felt overwhelming, the familial context of the concert alleviated some of her anxiety. Accepting the invitation, Yun Sim-deok travelled to the residence of Mokpo's wealthiest individual, where she showcased both Western and vocal music. During this visit, she also had the opportunity to meet Kim Woo-jin's family, including his parents, siblings, wife, and children.

A perverse interest in new and unfamiliar stars

Photo 1 - Yun Sim-deok (front row, right, wearing white) during her time at Ueno Music School in Tokyo. Photo 2 – What Ueno Music School looks like now.

Yun Sim-deok returned to her studies in vocal music for an additional year before making her way back to Korea in May 1923, marking the beginning of her journey as a soprano. At that time, the landscape of female vocalists in Joseon was sparse, particularly following the departure of Im Bae-se to the United States. The concept of a soprano was largely unfamiliar to the public, resulting in limited recognition and audiences for her performances. Initially, she took on a part-time lecturing role at Gyeongseong Girls’ High School, biding her time for the opportunity to perform on a concert stage.

An opportunity soon presented itself, leading to Yun Sim-deok's debut on June 26 at the third anniversary concert of the Dong-A Women's Association, thus launching her career as a soprano. While Im Bae-se was noted for her "voice like a cuckoo," Yun Sim-deok (윤심덕) captivated audiences with her unique sound, described as "the sound of beads rolling on a jade tray." Her popularity surged, and she became a frequent performer in the Gyeongseong area, gracing the stage three to four times a month. She received accolades such as "a first-class vocalist who intoxicates audiences" and was celebrated as "Joseon's best vocal group."

Despite the nature of the event being a concert, the compensation she received was minimal. Yun Sim-deok's financial circumstances were deteriorating, particularly after her parents relocated from Pyongyang to Gyeongseong in early 1924, merging their household with hers. This shift placed the burden of supporting her family, including her younger siblings, squarely on her shoulders. Her earnings from performances were insufficient for this responsibility, prompting her to seek additional income through private tutoring, yet the demands proved overwhelming.

Compounding her struggles was the negative scrutiny she faced from the public. Critics targeted her vibrant demeanour and physical appearance, expressing discomfort with her tall and slender figure. As a figure of novelty, Yun Sim-deok encountered resistance from a society that often recoils from the unfamiliar. With her rising fame came an increase in gossip and personal attacks, illustrating the paradox of public admiration intertwined with harsh judgment.

Yun Sim-deok's narrative of romantic freedom soon faced significant scrutiny. Her involvement with composer Hong Nan-pa, the rejection of musician Chae Dong-seon's affections, and the tragic demise of writer Park Jeong-sik due to unrequited love fuelled a torrent of gossip. In an era when even unfounded rumours were readily disseminated by the press, the escalating scandal tarnished the public perception of female vocalists, marking the onset of a societal witch hunt against them.

Amidst the turmoil, Kim Woo-jin emerged as a source of solace for Yun Sim-deok. A graduate of Waseda University’s English Literature Department in the summer of 1924, he returned to his hometown of Mokpo with aspirations to transcend traditional literature and establish Western modern drama in Joseon. However, his ambitions were met with resistance from his father, Kim Seong-gyu (김성규) , a prominent figure who had held various magistrate positions and amassed considerable wealth, expecting his son to inherit the family legacy.

Conforming to his parents' expectations, Kim Woo-jin assumed the presidency of Sangseong Partnership Company, which managed the family's assets. While others may have envied his position, he found it stifling. His wife, the daughter of a Confucian scholar, struggled to comprehend his desire to abandon the family business for a career in theatre, leaving him increasingly isolated. This emotional distance intensified his yearning for Yun Sim-deok, as their relationship flourished amidst the challenges they faced, rooted in a shared artistic vision and a mutual rejection of societal constraints.

Art and love served as a revitalizing force in their otherwise desolate lives, yet they remained powerless against the rigid traditions of Joseon, a society deeply entrenched in its customs, particularly regarding foreigners. The more they endeavoured to resist external influences, the more they found themselves ensnared by the harsh realities that plagued the early proponents of modern art, who faced relentless challenges from all directions.

In early 1925, it was rumoured that Yun Sim-deok had become the mistress of the affluent Lee Yong-mun (이용문) from Gyeongseong. Her visits to his residence, ostensibly for financial assistance to support her brother Yun Gi-seong's (윤기성) education in the United States, led to scandalous gossip. The rumours proliferated rapidly, with the elite mocking her, claiming she masqueraded as an artist while compromising her integrity for monetary gain. They suggested that wealth blurred the lines between a wife and a concubine, reducing her to a mere servant who performed for the entertainment of wealthy patrons.

Critics condemned Yun's recent behaviour, asserting that regardless of one's profession—be it artist, entrepreneur, or homemaker—one should uphold a respectable image. They urged her to embrace a virtuous life, especially with whispers of her potential departure abroad. The sentiment expressed in the publication 'On the Yun Sim-deok Incident' in March 1925 reflected a broader societal expectation that her artistic pursuits should not come at the cost of her dignity and reputation.

The rain shower is currently best avoided. Yun Sim-deok, wrongfully accused of witchcraft, embarked on a solitary journey to Harbin, where Pastor Bae Hyeong-sik, a figure she had admired since childhood, was engaged in missionary work and the independence movement. For six months, she severed all ties and lived in seclusion at Pastor Bae’s residence. It was only upon receiving a telegram informing her of her older sister Yun Sim-seong’s husband’s death that she decided to return to Gyeongseong.

Resuming her activities as a vocalist proved challenging. Yun Sim-deok participated in a radio broadcast being trailed by the Post Office of the Government-General, where she sang, recited poetry, and hosted segments, despite the fact that Korea's first Gyeongseong Broadcasting Station had yet to officially launch. Additionally, she received an invitation to record a gramophone record featuring popular songs. Setting aside her pride as a vocalist trained abroad with government support, Yun Sim-deok embraced the role of a popular singer, a position that had previously been regarded with disdain.

Hurt by the scandal, he tried to become a stage actor

The Genkai Sea as seen from Nagoya Castle, Japan.

During the early 20th century, gisaeng were prominent figures in the entertainment industry, engaging in television appearances and album recordings. The establishment of the Gyeongseong Broadcasting Station in February 1927 marked a significant development, as it initially employed around 100 gisaengs, thereby laying a crucial foundation for the broadcasting landscape. The Japan Gramophone Company released the first album featuring popular songs in 1925, with gisaengs like Kim San-wol (김산월) and Do Wol-saek (도월색) traveling to Japan to record notable tracks such as “This Windy World,” “Sided Bangcho,” and “Jang Han-mong-ga.” However, some gisaengs resisted the allure of fame, expressing their reluctance to participate in what they perceived as a demeaning spectacle.

The cultural landscape underwent a radical shift in 1926 when Yun Sim-deok joined the Towolhoe Theatre Company as an actress, following a suggestion from Kim Woo-jin. His critique, influenced by Strindberg, posited that expressionism aptly captured the dire social realities of Joseon, advocating for a new theatrical movement focused on smaller venues. By aligning herself with the Towolhoe Theatre Company, which championed modern theatre, Yun Sim-deok aimed to contribute to the evolution of Joseon’s artistic expression through innovative performances that resonated with contemporary societal issues.

Despite facing vehement opposition from her family, who viewed acting as a disreputable profession, Yun Sim-deok remained resolute in her aspirations. She left her home and took refuge in a Japanese inn located in Samjeong-mok, Hwanggeumjeong (Euljiro), where she dedicated herself to honing her acting skills. In a statement to the press, she described her journey as "a bold step to become something in a corner of the newly built Joseon Art Hall with all her might," reflecting her commitment to pursuing her artistic ambitions despite societal constraints.

The actress faced significant challenges throughout her career. The adaptation of the American film "East Road," titled "Dongdo," failed to resonate with audiences, primarily due to Yun Sim-deok's insufficient acting abilities. Although her vocal talent was evident in the opera "Carmen," the production struggled to gain popularity, as it overly depended on her performance. Additionally, the Towolhoe, which sought commercial success, encountered internal conflicts that ultimately led to its disbandment shortly after its release.

The disappointment of her ambitious endeavours, which included sacrificing her familial ties, plunged her into a state of despair. After achieving fame as a singer, she faced renewed criticism stemming from her unsuccessful theatrical pursuits. Yoon Sim-deok shared her anguish with Kim Woo-jin, who felt a profound sense of helplessness and guilt for her suffering, stemming from his conventional advice. This overwhelming burden of responsibility and self-reproach culminated in a tragic decision, as reflected in Kim Woo-jin’s poignant final poem.

Life running through the vast wilderness… 'Praise of Death' syndrome

The paradox of human sentiment is evident in the way individuals often express disdain for the living, only to venerate them posthumously, as if anticipating a resurrection. This phenomenon was notably illustrated in the Genkai-tan Jeongsa incident, where public criticism of Yun Sim-deok ultimately contributed to her demise, yet the same public later mourned her loss and celebrated her legacy through music.

On July 17, 1926, Yun Sim-deok departed from Gyeongseong en route to Osaka, where she intended to record an album with the Nitto Gramophone Company. Accompanied by her younger sister, Yun Seong-deok, who was preparing for studies in the United States, they swiftly progressed through the recording sessions. Upon completion, Yun Sim-deok reached out to Kim Woo-jin in Tokyo via telegram, inviting him to join her in Osaka, marking a moment where both individuals appeared to be reconciling their lives.

Kim Woo-jincompleted his play 'Wild Pig,' inspired by Donghak, after finishing 'The Disillusionment of Poet Du-deok' and 'The Shipwreck.' He had previously composed a will intended for his wife. Meanwhile, Yun Sim-deok crafted the lyrics for 'Hymn of Death,' set to Ivanovich's instrumental music. Despite the president of Nitto Records expressing concerns about the song's sentimental nature, additional recording took place at her persistent request. It is likely that Yun Sim-deok intended 'Hymn of Death' as a form of farewell.

The lyrics reflect a profound existential inquiry: "Life running through the vast wilderness / What are you looking for? / No matter this world or that, this whole life / I hate money, fame, and love." This introspective sentiment underscores the emotional weight of her work, suggesting a deeper commentary on the human condition and societal values.

On August 4, 1926, the Genkai Sea incident captured significant media attention, leading to the release of Yun Sim-deok's posthumous album on August 29. The timing was remarkable, as the album, titled [Ode to Death], resonated with the dramatic events surrounding it, resulting in sales of 100,000 copies—an unprecedented figure at the time. This phenomenon contributed to the establishment of a domestic record market, with phonographs selling rapidly despite their high cost, prompting the opening of stores by Viktor Records and Columbia in Seoul the following year.

The enduring legacy of Yun Sim-deok and Kim Woo-jin remains significant, even as time progresses. Years later, reports surfaced of a sighting of the pair in Rome, prompting Kim Woo-jin’s family to seek validation from the Governor-General regarding the credibility of these claims. In contrast, Yun Sim-deok’s family exhibited a somewhat different response, as articulated by her younger sister, Yun Seong-deok, who was abroad in the United States via Japan during the events in question.

Yun Seong-deok asserted that her family had never declared her sister deceased, attributing such notions to societal gossip. She expressed confusion over the preoccupation with the living or the dead, emphasizing that the judgments of Joseon society often oscillated between praise and criticism of others. This perspective highlights the societal tendency to speculate on the fates of individuals, particularly those in the public eye.

The accounts of sightings in Rome may reflect a romanticized narrative rather than reality, suggesting that Yun Sim-deok (윤심덕) and Kim Woo-jin (김우진) may have perished in the Genkai Sea. While their love was genuine, it was their shared artistic vision that ultimately led to their tragic end. The cultural context of 1926, marked by Yun Sim-deok’s poignant song "Ode to Death" and the screening of Na Un-gyu’s film "Arirang," illustrates the intersection of modernity and popular art in Korea, underscoring the emotional turmoil experienced by these two figures in the realm of modern art.

The next episode will explore the continuation of Yun Sim-deok's narrative, focusing on the events following her death and the impact of her music. Stay tuned for its upcoming release.

[sefaradweb]

¿Crece el antisemitismo en Argentina?

🇦🇷 En un incidente alarmante en uno de los principales cementerios judíos de Argentina, 58 tumbas fueron profanadas por agresores desconocidos que vandalizaron lápidas y robaron placas de bronce antes de huir sin dejar rastro alguno. Entre las tumbas profanadas se encuentran las de ocho víctimas del atentado contra la Asociación Mutual Israelita Argentina (AMIA), el ataque más mortífero en la historia del país, que cobró 85 vidas en julio de 1994. El ataque, descubierto un domingo en el cementerio de La Tablada en las afueras de Buenos Aires, ocurrió en la noche del viernes durante el cierre del Sabbath, aprovechando el periodo de tranquilidad. Los líderes de la comunidad judía condenaron el acto, enfatizando su gravedad por haber ocurrido en un lugar sagrado.

🇺🇸 In a disturbing incident at one of Argentina's main Jewish cemeteries, 58 graves were desecrated by unknown assailants who vandalized tombstones and stole bronze plaques before fleeing without leaving any traces. Among the desecrated graves were those of eight victims of the bombing of the Argentine Israelite Mutual Association (AMIA), the deadliest attack in the country's history, which claimed 85 lives in July 1994. The attack, discovered on a Sunday at La Tablada cemetery on the outskirts of Buenos Aires, occurred on Friday night during Sabbath closure, taking advantage of the quiet period. Jewish community leaders condemned the act, emphasizing its severity due to its occurrence in a sacred place.