#i have been wrestling with the 30 image post limit this whole time....

[nenoname]

Journal 3's references to Stan

(...does the Lost Pages count as J3 when some had to be in J2 and also may or may not be a truth lie turducken? idk. Ford's TBoB letters sure as hell don't count as J3 but I'm including them here anyway)

Pre-Portal Ford

"Although my family tried to convince me that [having six fingers] made me special (and it did help with shadow puppets)"

"It would be quite interesting to see what my brother and mother would act like while wearing [the truth teeth]!"

"It occurs to me that if I must keep secrets from F, I might as well begin writing certain passages of this book in code. I aced Cryptology in college, so this will be fun! (At least for me. It would be deeply tedious and annoying for someone trying to decipher it.) It amuses me to think of their frustrating effort!" (ok this is likely for the reader and likely ain't a direct stan reference. but like. it is to me)

"When I sat down, [the fortune teller] quickly grabbed my hands and said, "What took you so long, Sixer?" I felt a chill run down my back. How she knew my childhood nickname was beyond me"

[Blacklight Hiding Places page] "Journal 3: The volume I hold in my hands. Describes my embarrassing defeat at the hands of Bill and the loss of my very sanity. Also contains a pretty good drawing of a plaidypus. Will soon be bestowed upon S and hidden at the ends of the Earth (I hope).” (he wrote the wrong journal to give to Stan lmao)

"The time has come to bury this tome. After that, all there is left to do is wait for S. And save the world. Or lose my life in the effort."

Post-Portal Ford

"Walking around my old lab, I feel like a dead man's ghost haunting a strange fun house mirror version of his past life, I resolve to take back my home and rebuild the life that Stanley has taken from me."

"The strangest thing about [Soos] is his utter idolization of my brother Stanley."

"[Mabel] Shares the family sweet tooth. Diet seems to consist solely of items with the word 'gummy' in them. I will need to discuss nutrition with Stanley."

[Dipper] "Observations: 1) Constantly sweating. Perhaps he takes after Stanley. (...) 4) Rank odor. Clearly hasn't bathed recently. Stanley should never be put in charge of children!"

"It is just as I feared; apparently, Stanley's reckless use of the machine overtaxed it and ripped a tear in the dimensional fabric- the same way an overheated oven might burn a hole in kitchen linoleum."

"Containment dome- A home for the Rift. Admittedly, I was inspired by the snow globes in Stanley's gift shop."

"When I tried to share my burdens with my brother, he knocked me into the portal, separating me from my home for 30 years."

"Stanley always mocked my love of [DD&MD], and even some of my college friends called it "Girlfriend Repellant.""

"Well, the harm in showing the [infinity sided die] to Dipper turned out to be quite large. During one of our games, my hotheaded brother got his hands on it and accidentally conjured this jerk."

"I'm proud to say that the Pines family was able to beat the wizard at his own game. Stan's contribution was (of course) to cheat our way to victory."

"Ironically, in the multiverse I'm just as wanted as Stanley! But my crimes had a noble purpose"

"Stan would have loved this place, but it just made me depressed. Although I had a good run in the Gambling Dimension, the dimensional bouncers ended up kicking me out for counting cards! What are the odds?"

"[The Oracle] looked deep into my eyes and said I had the face of the man who was destined to destroy Bill."

[A Better World] "On this Earth, I was never pushed into the portal by Stan. On this Earth, my brother listened to me and took Journal 1 away from Gravity Falls."

"I reentered the world of my youth to face a brother I had not seen in 30 years. My frustration was indescribable- once again, my brother's actions had sabotaged everything I had ever worked toward."

"To help Dipper understand, I borrowed Stanley's car, and we drove until we reached the town border of Gravity Falls."

"I suggested it would be a good time for Stan to take the kids on that road trip he's been talking about while I puzzle over [the cracked Rift]"

Post-Weirdmageddon

"I bristled at the idea of sharing my accomplishments with anyone. I shunned my brother for one dumb mistake, and I shunned Fiddleford for having the nerve to try to stop me from dooming the world."

"I just couldn't get over the idea of myself as the lone hero.. and it was Stanley who paid the price."

"Trust shouldn't be given unconditionally, but it should be given a chance to be earned. There is strength in having the humility to work with and sacrifice for others- a strength I now realize was in my brother all along."

"When Stanley and I were kids, we would often read tales of the Sibling Brothers- about two boys who dedicated their lives to exploring mysteries together. With a new anomaly to investigate, I've been thinking about those tales more and more lately."

"I had suggested to Dipper that because of all the misfortune caused by them, we burn [the Journals] in the last campfire of the summer. Mabel, Soos & Stan all seemed very excited by this notion."

"You hold a record of one man's folly and the kindness of a family that saved him from himself. It's never too late to learn that growing old doesn't have to mean growing up."

Lost Journal Pages

"My stomach sank a bit when I realized... it was my birthday. This day has felt... odd, since S and I... parted ways."

"DAMN! This morning I found F rummaging through my old copy of Urban Legends of New Jersey, where I had forgotten I had hidden some old personal items! I've quickly re-hidden them here, away from prying eyes."

"The snow has begun to fall again and there's very little time. There's only one left I can turn to to protect my journals while I prepare for the journey..."

Ford's Letters

"I emerged from my lab after days of agonized contemplation to find- to my shock- that Mabel was reading the book, out loud, to Stanley, Dipper, Soos, and Wendy!"

"They didn't see me as an irredeemable screwup. Stanley said, "So, your past is just a giant pile of mistakes? Congratulations- you really are a Pines!""

(It kinda strikes me that the BoB Lost Journal pages about Stan sound far more like post-portal Ford's opinions on Stan instead, where he's openly angry at both being pushed into the portal + at the portal being opened again + his murder suicide attempt being foiled + Stan disowning him + turning his house into a tourist trap + taking his identity vs pre-portal Ford being more... melodramatic(?) constantly being reminded of him but not wanting to linger too long? idk the vibes are different

Plus pre-portal Ford pretty consistently only calls Stan "S" or just refers to him as his brother (with the exception of him writing his name in a Caesar cipher) ...not to mention the perpetual motion machine comment says thirty instead of ten years)

Bonus:

[Journal 1 Mr What's His Face cipher] "If he gets my face, Stanley has a spare!"

[dumb-american]

The Rebuild of Final Fantasy VII: Your Expectations Will (Not) Be Met

I apologize for the stupid title and I promise I’m going to talk about the Final Fantasy VII Remake, but I have to get this out of the way first. Sometime in the mid 2000s, acclaimed artist and director Hideaki Anno announced that he was going to remake his beloved anime series Neon Genesis Evangelion the way it should have been the first time, free from technical and budgetary restraints. Evangelion had a notoriously strange ending when the original anime aired, consisting of character talking over still images, abstract art, and simple animations. It was highly polarizing and controversial. Anno, for his part, received death threats and the headquarters of the studio that produced the anime was vandalized. Soon after the initial uproar Anno would direct The End of Evangelion, a retelling of the final two episodes of the anime, and that seemed to mostly satisfy the fanbase. Looking back now, The End of Evangelion wasn’t “fixing” something that was “broken,” no, it was a premonition: a vision of things to come. Why remake the ending when you can just remake the whole damn thing?

The mid 2000s also saw the birth of the Compilation of Final Fantasy VII: a sub-series of projects expanding the universe and world of the video game that had “quite possibly the greatest game ever made” proudly printed on the back of its CD case. The Compilation consisted of three games, all on different platforms, and a film. First was Advent Children, a sequel to Final Fantasy VII, where three dudes that look like discarded Sephiroth concept art all have anime fights with our beloved protagonists, culminating in a ridiculous gravity defying sword fight between Cloud and Sephiroth. Before Crisis and Crisis Core are prequels that expand the story of the Turks and Zack Fair, respectively. Then there’s Dirge of Cerberus, an action shooter staring secret party member and former Turk Vincent. Were these projects good? I’d say they were largely forgettable. Crisis Core stood out as the obvious best of the bunch and I think may be worth revisiting.

As a business model, the practice pioneered by the Compilation would continue on and eventually brings us FFXIII (and sequels), FF Versus XIII (which would later become FFXV), and FF Agito XIII (which would later become FF Type-0). If that’s all incredibly confusing to you, I’m sorry, I promise I will begin talking about the Final Fantasy VII Remake soon. Suffice it to say, both Final Fantasy VII and Neon Genesis Evangelion have a certain gravity. They punch above their weight. They are both regarded as absolute classics, flaws and all. And yet, in both cases, the people responsible for their creation decided that their first at bat wasn’t good enough and it was time to recreate them as they were meant to be all along. I think this way of thinking about art is flawed, limitations are as much a part of the creative process as vision and intent. Yet, we find ourselves in a world with a remake of Final Fantasy VII, so I guess we should talk about it.

From this point forward, there’s going to be major spoilers for every Final Fantasy VII related media. So, be warned.

So, is the Final Fantasy VII Remake any good? To me, that’s the least interesting question, but we can get into it. FFVIIR is audacious, that’s for sure. Where Anno condenses and remixes a 26 episode anime series into four feature length films, the FFVIIR team expands an around 5 hour prologue chapter into a 30+ hour entire game. Naturally, there will be some growing pains. The worst example of this is the sewers. The game forces you to slog through an awful sewer level twice, fighting the same boss each time. This expanded sewer level is based on a part of the original game that was only two screens and was never revisited.

Besides the walk from point A to point B, watch a cutscene, fight a boss, repeat that you’d expect from a JRPG, there’s also three chapters where the player can explore and do sidequests. The sidequests are mostly filler, but a select few do accomplish the goal of fleshing out some of the minor characters. You spend way more time with the Avalanche crew, for example. Out of them, only Jesse has something approaching a complete personality or character arc that matters. The main playable cast is practically unchanged which was a bit surprising to me. I figured Square-Enix would tone down Barret’s characterization as Mr. T with a gun for an arm, but they decided, maybe correctly, that Barret is an immutable part of the Final Fantasy VII experience. Also, it’s practically unforgivable that Red XIII was not playable in the remake considering how much time you spend with him. I don’t understand that decision in the slightest.

The game’s general systems and mechanics, materia, combat, weapon upgrades, etc. are all engaging and fun and not much else really needs to be said about it. I found it to be great blend of action/strategy. Materia really was the peak of JPRG creativity in the original FFVII and its recreation here is just as good. The novelty of seeing weird monsters like the Hell House and the “Swordipede” (called the Corvette in the original) make appearances as full on boss fights with mechanics is just weaponized nostalgia. In general, the remake has far more hits than misses, but those misses, like the sewers and some of the tedious sidequests, are big misses. It is a flawed game, but a good one. If I were to pick a favorite part of the game, I’d have to pick updated Train Graveyard section which takes lore from the original game and creates a mini-storyline out of it.

If that was all, however, then honestly writing about Final Fantasy VII Remake wouldn’t be worth my time or yours. The game’s ambition goes way further than just reimagining Midgar as a living, real city. There’s a joke in the JRPG community about the genre that goes something like this: at the start of the game, you kill rats in the sewer and by the end you’re killing God. Well, when all is said and done, the Final Fantasy VII Remake essentially does just that. Narratively, the entire final act of the game is a gigantic mess, but if you know anything about me then you know I’d much rather a work of fiction blast off into orbit and get a little wild than be safe and boring.

In the original games, the Lifestream is a physical substance that contains spirits and memories of every living being. Hence, when a person dies, they “return to the planet”. It flows beneath the surface of the planet like blood flows in a living person’s veins and can gather to heal “wounds” in the planet. In the original game, the antagonist, Sephiroth, seeks to deeply wound the planet with Meteor and then collect all the “spirit energy” the planet musters to heal the wound. The remake builds on this concept by introducing shadowy, hooded beings called Whispers. The Whispers are a physical manifestation of the concept of destiny and they can be found when someone seeks to change their fate, correcting course to the pre-destined outcome. Whispers appear at multiple points throughout the game’s storyline both impeding and aiding the party. The ending focuses heavily on them and the idea that fate and destiny can be changed. We receive visions throughout the game which some will recognize as major story beats and images from the original game. After dealing with Shinra and rescuing Aerith, the game immediately switches over to this battle against destiny and fate that you’re either going to love or hate. The transition is abrupt and jarring. While Cloud has shown flashes of supernatural physical abilities throughout the game, suddenly he has gone full Advent Children mode and is flying around cleaving 15 ton sections of steel in half with his sword. The party previously took on giant mutated monsters, elite soldiers, and horrific science experiments, but now the gloves are off and they’re squaring up against an impossibly huge manifestation of the Planet’s will. Keep in mind, in the narrative of the original FFVII, the Midgar section was rougly 10%, if that, of the game’s full storyline. This is, frankly, insane, but I’d be lying if I didn’t love it.

The Final Fantasy VII Remake, with its goofy JRPG concluding chapter, is forcing the player to participate in the original game’s un-making. We see premonitions of an orb of materia falling to the ground, we see an older Red XIII gallop across the plains, we see a SOLDIER with black hair and Cloud’s Buster Sword make his final stand, we see Cloud waist deep in water holding something or someone. We all know what these images represent, they’ve been part of imaginations for decades. But the Final Fantasy VII Remake allows us (or forces us, depending on perspective, I guess) to kill fate, kill God, and set aside all we thought we knew about how the game would play out post-Midgar. The most obvious effect of our actions is the reveal that Zack survived his final stand against Shinra and instead of leaving Cloud his sword and legacy, helped him get to Midgar safely. I have my doubts and my worries about the future of this series. I’m not sure when the next part of the game will be released or what form it will come in, but I can’t believe I’m as excited as I am to see it.

Of course, part of me wishes they’d just left well enough alone. Remakes are generally complete wastes of time and effort. Not all, but most. Maybe I’m, to borrow a term from pro wrestling lingo, a complete mark here and I just love JRPGs and Final Fantasy VII so much that I’ll countenance close to anything bearing its name. I’ve tried my best to be as critical and fair as possible to the game and I hope that if you’re on the fence and reading this I’ve maybe helped you decide if it’s for you or not. I think the Final Fantasy VII Remake is worth your time if you’re looking for a good, meaty JRPG. It’s not perfect and it’s final act is insane, but that just makes me love it more.

Have you ever wondered what it would be like for Zack, Cloud, and Aerith to face Sephiroth in the Planet’s core? I know 15 year old me did. And he may get his wish.

[honeylikewords]

Gimme your thoughts about Us, I’m still dumb af - You know who it be

I’m putting off an essay to write this but let’s ROCK and ROLL, BABY!

So, spoilers below the cut, just as a warning for anyone who still wants to see Us (2019), dir. Jordan Peele. If you’re unable to see the movie for whatever reason, you can feel free to read this and garner some ideas from it, but I still suggest seeing the film, in the end. A lot of this won’t make sense unless you’ve seen Us!

I normally don’t go out for too much horror, but I do think the Jordan Peele movies are legitimately great works of art, and very culturally relevant, so if you want to be supportive of black artists, black art, and the vocalization of the black experience, I highly suggest going to see these movies or watching them at home. 

They’re not actually overly violent or exploitative, and understanding that the violence in the films is meant to be metaphorical for the systemic violence perpetrated against oppressed groups helps to contextualize the stuff you do end up seeing. So, without further ado, let’s get into some Thoughts about some Cinema.

So, first of all, I have to say that I haven’t stopped thinking about this movie since I saw it at, like, 5:30 pm on Sunday. It’s been on my mind non-stop, and I’ve been fixated on the soundtrack, particularly “Anthem” and “Pas de Deux”, along with the “Tethered Remix” of “I Got Five On It”. I love the intentionally jarring combination of sounds, and how “Anthem” is directly reflective of the idea of the “U.S. Anthem”. “Us Anthem”. 

Jordan himself has been very open about the fact that the title Us is meant to also represent “U.S.”, and when Red is asked “what she is” and she rasps out “We’re Americans” it just... stuck with me. 

The nonsense-singing of “Anthem”, too, fixates me, since the scorer for the film has talked about how it’s the “voices of the Tethered”, and how they’re “angry” and “ready to get free”. We know that the Tethered cannot speak, which is a major and interesting facet of their life, to me, since they’re never given “a voice” beyond this kind of animal screaming and groaning. 

It’s what makes a lot of viewers see them as “sub-human”, but always gets to my heart and makes me think about the fact that they are so very keenly human. It makes me think about the repression of “lesser” languages, native languages, “non-verbal” languages. The Tethered DO have a means of communication-- clicks and rasps, cries and screams-- which definitely do pull at the human fear of “unnatural” noises, but also remind me of native languages that utilize clicks or throat sounds often not found in English. 

The Tethered are deeply, intimately human. While it is mentioned by Red that two bodies cannot share the one soul, that doesn’t mean to me that the other is soulless. I really don’t think that about the Tethered. I think that they are their own people, and that their rising proves that. They’re not hollow machines that just mimic their “original” on the surface, but are just people with their own souls, people who have been wrongly oppressed and mistreated.

Us is openly a discussion about the way we, as people and as Americans, treat “others”. Whether that means the racial other, the cultural other, the class other, the gendered other, or anything other system we try to dichotomize, binarize, or diametrically oppose to something else, it’s very definitely about the ways we abuse and mistreat people in order to systemically oppress them and gain from that.

Adelaide represents this interesting kind of class-traitor, in a way, because she rises “above the others”, both literally and figuratively, and instead of making an effort to free those around her, she just rises to the top and forgets where she came from. Whether that’s about assimilating into white culture and “rejecting” the culture one came from (joining in the oppression of your own people by claiming to ‘not be one of those kinds’) or about rising to a wealthy position and oppressing the poor, forgetting what it was like to be poor one’s self, or about any number of other things, that’s up for interpretation. But the issue is still there.

Jordan intentionally left the specific meaning of the film open so that every viewer would be forced to engage with it personally. Who do you, personally, help to betray? Who do you, personally, help to oppress? Whose suffering do you, personally, benefit from? You’re forced to grapple with that, and forced to acknowledge the reality that every single one of us is part of the issue. You only climb higher by putting someone below you, and this movie forces you to recognize that. 

I’ve heard people complaining that Us isn’t as good as Get Out specifically because it’s more open-ended, but I think that’s what makes both films fantastic and beautiful. Get Out brazenly exposes the direct experience of everyday black horror, and is completely open about it. It’s a one-to-one analogy. But Us is for everyone, making you wrestle with yourself. You are your own Tethered. You are the good and the bad of yourself. And neither one is fully good and neither one is fully bad. Get Out was a master-class in analogy, but Us is more of a metaphor; it doesn’t need to have everything laid out. Its horror and its beauty lay inside of its intentional cloudiness.

I’m really obsessed with the rabbit imagery, too. I love bunnies, and seeing them become symbolic of this horror really was an interesting take. Jordan himself has expressed being uncomfortable with and scared of rabbits, specifically because he can see that they’re “soulless” inside; he says that if you took the brain of a rabbit and put it in a person, you’d get Michael Myers. Totally void, just ready to hurt. And I think that’s an interesting take on them. He also points out that the image of rabbit ears, the shape of their head, mirrors the shape of the scissors that the Tethereds use.

I also love the way that rabbits are largely docile little creatures, but can bite pretty hard if provoked, and I feel that’s a good way to look at the Tethered. I don’t see them as inherently evil or violent, just pushed beyond their own limitations. They did what we all did as Americans: they led a violent uprising against their oppressors, then ‘peacefully’ took their place, all the way across America. They are us, for better, for worse. 

The choice to use the 80′s references really often also caught my attention; Jordan talks about how the 80′s nostalgia is this double-edged sword, since everyone is longing to go back, but not realizing the costs and weights of that, the evil lurking under the placidity and “wholesome American image” that the 80′s sought to project.

The all-American, apple pie, small-town fun and games of the 80′s also came with the Reagan administration, the AIDs crisis, the war on drugs, a massive rift between the rich and the poor (with a steadily more wealthy middle class expanding from just middle class into rich, upper middle class individuals and extremely poor lower middle class), and “sublimated racism”. We pretended, as a nation, that we were now post-racial, but that was such, such, such a huge lie.

So setting the memory scenes in the 80′s, using 80′s film references, 80′s imagery, 80′s sound-a-likes, the Michael Jackson stuff: it all points to the duality of what we love, what we are nostalgic for. Michael was a hero of the 80′s, but now... 

Speaking of Michael Jackson, notice carefully the costuming of the Tethereds. Red jumpsuit, single glove, ‘the monster is not what it seems’, the “Thriller” t-shirt... why, Jordan, one might think that you made the Tethereds look like Michael in “Thriller”!

Which he obviously did, guh-doy.

I mean, the glove/sharp symbol also is an homage to good ol’ shithead Freddy Krueger, too, but it’s definitely a potent nod to Michael Jackson. We know that Adelaide (now Red) had seen the “Thriller” video as a child, and that she wanted the shirt with him on it, so the image of the Tethered is this combination between the Hands Across America symbols and the Michael Jackson look in “Thriller”. Adelaide (now Red) never forgot. 

Also, god, Hands Across America? Talk about 80′s false optimism! It’s incredible how potent that image is for the issue being discussed. For those of you who don’t know, Hands Across America was an initiative in the 80′s to help end hunger and homelessness in America. The idea was that every person in America would join hands and form a line “from sea to shining sea” across the entire lower 48 continental states, and for each person in line, $10 dollars would be donated to the cause.

The event, of course, failed in many ways. First, there’s no POSSIBLE way for people to join hands across the whole continent; the terrain of the US makes it entirely impossible. Plus, the time necessary to conduct that would be incredibly exhausting for people standing in line! But what’s worse? The project did successfully raise ~$34 million, but nearly $20 million of that disappeared into “event costs”: paying the celebrities that endorsed it, paying the event organizers, et cetera. Only around $15 millions made it to the homeless and hungry. While $15 mil. is no small number, that’s.... less than half of what was raised. So where did all that go? Into the pockets of the already rich. It’s such powerful symbolism, especially within the context of the film.

Oh, also, while still on the 80′s talk, the opening shot of the film features a VHS copy of the movie C.H.U.D., a movie about “sub-human underground sewer dwellers” who rose up to eat the surface humans. These “CHUDs” were one-to-one analogies for the homeless and impoverished.

I cannot get over how strong the storytelling is in Us, I just can’t. I’m obsessed with it. I cannot help but wanna talk about it all the time! It’s so GOOD and I’m so FRUSTRATED that I’m gonna cut myself off here to stop from ranting about every teeny tiny thing and every big major thing because no one will know what I’m on about, but, seriously, do yourselves a favor and go see Us. 

This movie will make you have to sit down and think about whose suffering you’ve benefited from, and what you need to do within yourself to change this.

Also, before I go, I just gotta say I love, love, love the decision Jordan made about having the 1980s version of the hall of mirrors be “Native American” themed, only to have that “politically corrected” in the 2010s to be “Merlin’s Hall Of Mirrors”, which is just a facade thrown up over a still-racist, exactly the same hall of mirrors. The problem lurks within, never gone, just covered.

Also, that ties to the Kubrick connection (The Shining is a major inspiration for Jordan) and the genocide connection, so, uh, it’s deep out here, lads.

Anyway, I have opinions about movies.

[greengargouille]

Little Sugaya things

Hello AC fans, do you know whose birthday it is today? “No, but I have a strong feeling it might be the character whose name is in the title.” What a cheeky reader you are. But, indeed, in this October 25th Sugaya Sousuke turns... Well, he doesn’t really age, fiction and all that. This is an ideal time to talk about him!

I have a strong liking to this character, so I figured I would make a small post about him (especially if that can count toward ankyou week), my observations, mostly things I want to remember while I write fics.

...This isn’t a small post at all.

Note: I tend to link towards other posts whenever I make mention of extra-material, but there are 3 things that I will tend to use a lot, and for this reason I’m linking at the beginning, namely his Roll Book profile, his Graduation Book profile, and the Individual Ability chart. 

This first point is easy, but Sugaya is a really good artist, and really fast at that. And by that I mean really, really fast. Notable achievements includes, in non-chronological order:

Doing really neat drawings on the back of his tests. Like, already, it’s quite the art he’s showing us -and given he’s in the middle of a test that probably only last one class, he had less than an hour to do that. Uh. Impressive for someone in junior high, but still plausible.

A few moments after the class discovered they have to do a theater piece, he do a ‘realistic’ portrait of his comrade (I mean, it’s in the same style as the manga itself, so... that counts as realistic, right?) on the demand of Karma. Again, quick yet with some level being it. [Note that the anime version had Karma hold the image in colors. But no Sugaya in the background. Either we’re supposed to believe Karma have impressive photoshop skills he uses to have countless disturbing images of Nagisa in different clothes, either Sugaya hide himself because wow, it’s embarassing to be associated with art of Nagisa crossdressing. Don’t worry, Sugaya, at least this one wasn’t sexualised.]

Hey, do you remember how class E infiltrated into a building they knew nothing about, then had to disguise themselves to hide against the wall? Am I the only one wondering how did they happen to have just the right hue of spray paint on them, and for 27 students too? This isn’t so much about skill and speed that it is about Sugaya probably having who-know how many spray cans in advance on him during the whole arc. Like, okay, he’s the artist kid, but that’s probably way too many. Unless he have been able to convince his classmates to carry them for him. Or he could actually summon them out of nowhere.

He did seems to pull brushes out of nowhere during chapter 155 just for emphasis. I mean, he could be just happening to have random art supplies in his pocket, even if those can be costly and he is shown to have a little plastic case for his brushes during chapter 111. Buuut I’m still betting on summoning his supplies by demonish magic.

Okay, now it gets really really weird. Remember the island arc? The fight with Gastro the gun specialist? In a few minutes, in silence, under pressure of someone who have shown killing intent, he somehow manage to produce a scarecrow. Like, how. When did he even obtain some of those items. Is he some RPG protag that will put every random item in his inventory. Matsui please explain.

...Yet, somehow, this isn’t the most impressive thing he have done. For that we will have to come back to his own moment of spotlight, chapter 37.

So. He painted the arms of the whole class. (He argues some pages later that there’s no ‘blank canvas’ left for Korosensei, so it truly means the whole class had, at this point, their arms tattooed.) 

Yet some pages later the arms of the students are bare, and given Sugino’s comment, they cleaned themselves before it set off. Henna will dry after roughly 15-30 minutes.

The twist in all this? Try to look at how long it takes to make such a tattoo. Maybe you will be more lucky than me. All I could find is that a full hand or foot tattoo takes around half an hour. Yet it seems in less than that Sugaya have drawn around 50 full arm tattoos. Korosensei who? I’m sorry, but the only Mach 20 monster that I see here is a student. 

But really, think about this. He have impressive skills in drawing. Notably with chalk if we see chapter 37. Painting (he even made a Korosensei’s potrait in what I think is expressionism style? in the manga only though). Sculpting. Doing masks and disguises. Henna tattoos. Calligraphy too according to background details.

This boy is 14, 15 by the end of October. How the heck did he get so talented in so many forms of art? He had to dedicate his whole life to art- heck, his hobby is touring museums and art exhibits, and his treasured item is a watercolor paint set! Okay, I admit Hollands are expensive as heck, so it’s understandable he values them. But... He isn’t just your average artistic student. He’s a monster. 

So far, Sugaya seems less of a background students and more of a final boss in a art shonen, but how well does he fare as a student?

...Pretty badly, actually. Here what his Roll Book profile says about this: “At first he had wanted to excel in both academics and art, so he opted to enrol in an escalator school, but at Kunugigaoka he understood the limits of his academic prowess. His studies floundered, while his artistic sense flourished in contrast.  After coming to Class E, he overcame his limits in academics and gained a surge in confidence.”

And indeed, it is a big fall when it comes to academics. His manga-only chapter show his former headteacher to be the one dealing with class B, so he originally have some skills. Yet, during 3-E... his individual ability chart places his academic prowess at 1 on 5, something only Terasaka shares with him. He consistently is at the bottom of the exam rankings when comparing the scores of class-E only, and get scores even worse than Terasaka when it comes to Science and Maths, his biggest weaknesses if we’re to believe the Graduation Book profile. Though, if we observe his results...

...Japanese’s not his speciality either (not helped that it seems to be the favorite subject of more students). He do considerably better in English, yet in chapter 3 of Korotan D, taking place just after graduating high school, he mentions he’s not very good at English, so he either got worse with time or never was that good either. Most likely the second, though : plenty of characters are good at English, and the season 2 opening give us a shot at his first semester grades.

Since it’s a bit blurry and I suppose not a lot of you readers are proficient in Japanese, here are the results in a more accessible form (keeping in mind the grades are on 5).

First row

Japanese: 3, Social Studies: 3, Maths: 2, Sciences: 2, Music: 4

Second row

Art: 5, Home Economics: 5, P.E.: 3, English: 4.

Yes, definitely better at English. The good music skills is a nice surprise, and the good score in Home Ec. not so surprising with his dexterity, plus him being in Hara’s group when it comes to group activities. He’s really the kid that’s excellent at all secondary subjects...

And then there is Physical Education. He seems to be neither good or bad at it, but how does he compare with the rest of the class?

...That’s a good question, because the opening doesn’t give us good shot to half the class’ grades. What we do, however, is (yet again) the Individual Ability chart, which give us “Physical Ability” and “Mobility” (that I also include as I feel this cover both speed and agility).

The first one is... not brillant, to say the least ; with a score of 2.5 on 5, there are only seven students worse than him (and that include Ritsu, so really it’s more like six), and two of the same level. When only students like Okuda or Nagisa are the ones you can beat in arm wrestling, you’re not exactly at the peak of strength. 

As for Mobility, still 2.5 on 5. Seven students worse (still including Ritsu). Yet again, it’s low but barely enough for it to not classify him among the bottom.  And he have an avantage here: as Karasuma says in the Roll Book profile, ‘he has a tall back and has reach’, not something you can exactly argue with his 179cm, merely one cm less than Terasaka and Karasuma. Longer legs means longer steps, after all. 

...Still a weakass, though.

We talked art, we talked skills, now let’s continue with personality.

Let’s come back to the previous sentence from Karasuma, this time the full version: ‘Although he has a tall back and has reach, he is poor at close combat due to his personal nature.’ Sugaya is one who avoid fights, or is too nice to hurt someone. And he does seems of the nice kind ; after all, isn’t his hidden side in the Graduation Book that he’s helpful?

It’s not so much of an hidden side, to be honest. Besides teaching Kurahashi how to apply camouflage, we also have him help the others prank an ex of Maehara (in a manga exclusive story) by making disguises, and he helps paint Itona’s tank when he, according to the graduation book, is immune to girls (and wouldn’t have much of a thrill peeking under their skirts like some others)... Drawing Nagisa as Abe Sada on Karma’s request... Uh.

Note that at that point, Karma got along well with the class (so much that they send him messages during winter vacation), but there’s an interesting bit about Sugaya on his profile: ‘Even now, there are some in Class E who are still afraid of Karma. That’s why students-who-want-to-tease-and-Tsukkomi-him-a-little-but-decided-to-back-away such as Sugaya are common.’ It might hint at a teasing nature for Sugaya, but mostly that he can be intimidated. 

Another project on which he works because someone asked is Okajima’s, but he’s said to be ‘tricked’ into taking part in it. We don’t see much of him enough as an individual to know is he’s easy to fool (he does fall for Korosensei’s trick about a punchline in chapter 156, but then so does most of the class), but he doesn’t seems to inclined towards thinking much about things (he does have a 2 on 6 in Strategy/Planning aptitude, after all). 

Nice enough to participate in group projects if asked to, but still more of a lone worker: he’s classified among the individualistic students doing assassinations on ‘their own schedule’, and is shown to work more by himself (except maybe with Mimura what, did you thought I would not shamelessly use my previous posts). According to his Assassination Aptitude chart, he would make a pretty poor leader, too, with the lowest score possible of 1 on 6. Which might also tie in with him potentially being easily intimidated, too...

Not only he would rather work alone, he doesn’t seem to care so much about what others might think of him, either: tattoos are a big deal in Japan, yet he acts pretty nonchalantly when he comes in class with one on his arm. While the live-action movie doesn’t have such a moment, we also have an interesting bit of character design:

While Japanese schools are very strict about students not dying their hair, Sugaya have two purple lines of dye in his. Even Nakamura (who did have dyed hair in the manga/anime) doesn’t have her hair dyed. In fact, I think only Karma use hair dye (it’s dubious whether Itona’s hair is naturally white). Ignoring the rules for the sake of aesthetics is a pretty important trait of him, it seems. Maybe is it why he can so easily wear weird patterns?

So far, seems like Sugaya’s a nice, helpful guy who rather prefer calm and alone time, maybe a bit too carefree but nothing truly bad!

...Okay, maybe I spoke a bit too fast on the ‘nice’. That’s... a pretty blunt comment. And then going on how he couldn’t concentrate during the exam because of her and that’s why he got the lowest score of the class... Sure, totally her fault here.

...But outside of that, he’s much more mindful of oth-

Sugaya no. Don’t follow Korosensei’s example. It’s bad to take advantage of someone passing out to draw on them when they violently refused a few minutes before.

...Okay, maybe he would gain to take a bit more care of what other might think. Especially if this cause him trouble at work, like seen in the epilogue with him ignoring the allowed budget for the sake of artistic pride (though, according to his personal history page, he does learn to compromise on that point).

Artistic pride, now that’s an interesting point. Sugaya is mostly a calm student, even if he get as angry as the others on things like Bitch-sensei’s early treatment of class E, or Korosensei’s taboo game. There is, however, a comment from his part in his dedicated chapter:

‘Pissed me off’, talk about a strong reaction! Art really is an important thing for him. (Of course we end up talking about Art yet again. Of course). As a writer, I personally find this fact important to keep in mind, as it is easy to give in to flanderization. 

...I mean, you can make his character totally about art and you wouldn’t be too far from the original, so maybe flanderization isn’t that bad of a tactic...

Anyways, happy birthday, Sugaya! I hope with this post, others will take interest in this character!

[fmservers]

A look at Birdies, the popular slipper shoe startup that just raised $8 million more from investors

Bianca Gates is a first-generation American, her parents having immigrated to the U.S. from Latin America. As such, she says, after waitressing her way through college at UC Irvine, she was expected to get a safe job with a 401(k) plan and to live with her parents until she was married.

Things haven’t gone exactly that way, but one can imagine Gates’s parents feeling pretty satisfied with their daughter’s trajectory nevertheless. The reason: Gates, along with cofounder Marisa Sharkey, are the cofounders of Birdies, a three-year-old, San Francisco-based  footwear brand that has made it chic to step out in shoes like look like elegant slippers, and which just raised $8 million in Series A funding led by Norwest Venture Partners, with participation from Slow Ventures and earlier investor Forerunner Ventures.

Sure, another e-commerce brand, who cares. Actually, if you’re a woman and don’t own a pair yourself yet or know someone who does, there’s a high likelihood that will change soon, including because one of the company’s biggest advocates to date has been none other than Megan Markle, the actress turned Duchess of Sussex, whose fashion choices are copiously detailed by fashion sites around the world, copied by their readers, then picked up by readers’ friends.

Interestingly, Markle was never meant to step outside in the slippers. But before we explain, let’s back up a bit first, to Gates’s earlier career, which is a familiar story but also underscores the importance of grit — as well as the importance of making the right connections. 

As Gates tells it from Birdie’s offices on Union Street, a kind of yuppie haven in San Francisco, “My family was living in Santa Ana and I was commuting every day to Irvine and I just wanted to spread my wings and move to a big city with a lot of diversity after graduating.” Thanks partly to her fluency in Spanish, she landed a job with the broadcast giant Univision as an account executive. After more than three years, and “realizing I didn’t want to be typecast as an Hispanic person working for Hispanic TV,” she left for Viacom, where she fell in love with a colleague.

He landed soon after at Stanford Business School, and after  plenty of cross-country flights, the two married and moved to San Francisco to start their family, with Gates opening up an office for Viacom’s MTV in the process. But Gates was soon feeling antsy again. “It was really convenient for me, but I [felt] after having my first chid and working out of a satellite office that I was out of the action. I wanted to be closer to people.” As it happens, she caught the 2011 commencement speech that Facebook COO Sheryl Sandberg delivered to Barnard College students and decided to apply to Facebook. Six months later, she landed a job leading retail partnerships, where she helped sales organizations understand what was then a new platform to them, as well as how to connect with customers in a personal way at scale. 

She was also making powerful friends, including Priti Youssef Chokski, a Facebook colleague who was striking corporate and business development deals and who Gates befriended over a series of events at the home of Sandberg, who used to host women of Facebook who Sandberg identified as eager to do more with their careers. “You didn’t photograph yourself there or talk about [the dinners], but it helped Priti and I form a deeper friendship,” recalls Gates.

The friendship — and Sandberg’s support — would eventually help get Birdies off the ground.

It all started with Gates’s obsession with finding post-work, pre-slipper-type shoes, which she says dates back a decade. “I just found that more and more, I was being asked to take off my shoes in friends’ homes and I was asking people to do the same. I thought that stylish shoes for indoors made a lot of sense, but whenever I tried to find something, the images went from bad to worse. It was either funny animal heads, or shoes you couldn’t really wear to pop outside to get the mail.” Gates wasn’t sure if there was a void in the market, or if she was just imagining one, but either way, her husband, “who was like, ‘I’m sick of hearing about this,'” encouraged her to pursue the idea.

She knew she couldn’t do it alone. She still had that big job at Facebook that she loved. She also had two young kids at home at this point. So Gates texted her friend, Marisa Sharkey, a Ross Stores executive who’d moved from Manhattan to Sacramento with her own family and was feeling restless. “I texted her and said, ‘I have this crazy idea; I’ll call you tomorrow.’ Marisa texted back immediately and said, ‘Tell me what it is.'” Within no time at all, Sharkey was fully committed, putting $50,000 into the venture, alongside Gates, who also put $50,000 into the venture.

What they got for their money? Shoes that today give them both “PTSD,” jokes Gates, but that became the starting point of Birdies.

It wasn’t so easy, but some key connections made the difference, one of which surfaced through good-old-fashioned outreach.  “We basically became so obsessed with our idea that we asked everyone we talked with whether they could help. Through degrees of separation, we were connected to someone who’d just retired from the footwear business in L.A and knew some factories in China and agreed to help introduce us to them.”

It was a game changer, even if what the factories were left working with wasn’t exactly pretty. Think a variety shoes torn apart, their innards — including their memory foam inserts — reassembled on construction paper. “The shoe industry is very small and it’s really hard to get into a factory unless you know someone,” says Gates. “It isn’t like making apparel, where you can go to a factory in South San Francisco and make 24 dresses and see how it goes. With footwear, you can’t try in small doses.”

Of course, there were still many learnings to come, starting with the realization that they had no where to store the 1,800 pairs of shoes they’d had to order, and which arrived sooner than expected outside of Sharkey’s home. (They wound up housed in her garage.) Gates also began worrying about losing her full-time job, eventually mustering up the courage to write Sandberg to explain that she was responsible for a garage full of slipper shoes that she hoped to sell — then fretting about what the return email would say. As it happens, Sandberg “could have been more supportive. I even forwarded her note to my manager, saying, look, Sheryl is cool with this,” says Gates, laughing.

Fast forward several years, and Birdies is now a a legitimate, if surprisingly small, operation, one with just six employees but a big and fast-growing base of customers.

Its very first customer, Gate’s Facebook friend, Choksi, wound up being an important advocate. Chokski left Facebook last year to become a venture capitalist. And as a partner with Norwest Venture Partners, she led the firm into Birdie’s competitive Series A round and has joined the board, a development about which she sounds excited. “Even that first pair — they didn’t look like the random shoes i was putting on with what i was wearing at home,” recalls Choksi. “I could also get the mail and do quick errands.” She still has them, in fact. “They’re fairly worn out, but I keep them just to taunt Bianca.”

Unbeknownst to Birdies, it was Megan Markle who would put the company on the map, however. A short lifestyle piece about Birdies in the SF Chronicle after a chance encounter with the story’s author got the ball rolling. “We started to gain traction,” along with that nascent attention of fashion editors and celebrity stylists, says Gates.

But the company still had very limited resources. It had to choose one celebrity on which to focus and it zeroed in on Megan Markle, then an actor starring in a show called “Suits.” Says Gates, “We just loved her casual elegance. We loved that she often wore simple button-downs and jeans and casual loafers. We also liked that she was this wonderful humanitarian.” Birdies sent Markle a complimentary pair of shoes, and to its great delight, Markle took to them. In fact, she began wearing them all them time and tagging them on Instagram, too.

There was just one problem. Markle was wearing them everywhere other than indoors. “It was this amazing, frustrating moment for the brand, because they were made for entertaining in the home.” But a quick call with Bonobos founder Andy Dunn — who’d attended Stanford with Gates’s husband — soon set Gates and Sharkey straight. “He basically said, ‘You just fell into a much bigger opportunity.'”

A thicker rubber soul followed — along with a $100,000 check from Dunn —  and the rest is history in the making.

It’s not all a walk in the park, naturally. The company has at times had waitlists of up to 30,000 people — a problem it hopes its new round of funding will help solve.

Like a lot of e-commerce brands, it’s also wrestling with price points, offering several limited edition shoes in partnership with designer Ken Fulk last fall that “brought in a whole new customer” but were also priced at $165, roughly 30 percent more than most of its slippers, says Gates. (Birdies more recently introduced a “resort” slipper that’s priced at $95 and Gates says the company hopes to introduce other, more affordable designs down the line.)

There’s also the challenge of figuring out which new markets to chase while simultaneously hiring, fast. Choksi and Norwest, which has reach into many consumer brands, is helping on the latter front. Meanwhile, Gates says to expect more in the way of bridesmaids’ slippers, as well as other new designs coming this spring and summer.

Not last, like any successful startup, Birdies seems poised to see more copycat designs, though Gates doesn’t seem terribly concerned, not yet. “We’ve had friends tell us that Target is offering a similar slipper at a different price point. Everybody copies everybody,” she says. “It’s our job to create a brand beyond the silhouette of a slipper, because that can be knocked off, it’s not defensible. What is defensible is why [a customer] is buying Birdies, and why she is telling her friends to shop us. It’s our job to give her more than a product. It’s to lift her up. That’s the mission of the company.”

Above, left to right, cofounders Bianca Gates and Marisa Sharkey. Photo courtesy of Birdies.

Via Connie Loizos https://techcrunch.com

[kidsviral-blog]

8 Transgender Athletes Explain What Fitness Means To Them

New Post has been published on https://kidsviral.info/8-transgender-athletes-explain-what-fitness-means-to-them/

8 Transgender Athletes Explain What Fitness Means To Them

Transgender people face a particular set of challenges when it comes to spaces where people exercise and compete. Here, eight athletes tell BuzzFeed Life about their experiences with fitness, movement, and competition.

1. The yogi

View this image ›

Danh Duong Photography / Via 500px.com

“Every time I practice yoga I am choosing to be happy and healthy.” —Sparkle Thornton

Sparkle Thornton, 33, is a yoga instructor and massage therapist who lives in the Bay Area. Originally from Asheville, North Carolina, she started practicing yoga when she was 19 and became an instructor at age 25. This March she’s leading Yogay, a yoga retreat in California for queer and transgender people. Thornton shares how her yoga practice helped her realize that she wanted to transition, and how, almost 15 years since she started, yoga continues to be her source of emotional well-being and self-care.

When I started practicing yoga it started to really come up that I wanted to transition. Of course it was in there all along, the desire was there. I didn’t have the words for it but I knew that I wanted to grow up and be female when I was 5 years old. Yoga has this way of stirring things up, like whatever has been buried and whatever the things are that we are trying to ignore. For me that was that I was trans. It helped me to feel comfortable in my body. I really think yoga is why I’m still alive and why I’m happy and thriving now.

For me [practicing yoga] has always been mental health. I feel so much more able to face the world when I’ve practiced yoga. I don’t really trust myself to make good decisions until after I’ve done yoga. If I’m really worried about something or feeling impatient it’s probably because I haven’t practiced. It keeps my state of mind open and aware of what might be unfolding that I don’t have control over. So for me it feels like necessity. If I don’t do it, I suffer.

2. The running CrossFitter

View this image ›

Ben Pender-Cudlip

“I am actively in search of my body’s limits and I don’t think I’ve found them yet.” —Niki Brown

Originally from Iowa, Niki Brown, 30, is a web developer who lives in Cambridge, Massachusetts. He grew up running track and cross country and playing soccer. He’s still a runner — a half-marathoner and, since last year, a marathoner. He also competes in local fitness competitions. He tells BuzzFeed Life about how his transition impacted his mental toughness and his connection to his body.

I definitely think transitioning has made me stronger mentally. Some of the stuff I’ve had to deal with — people not handling it well, family members not talking to me — I have to get past it, deal with it, get stronger. I think that translates to the mental toughness of [running a marathon]: “OK, I have to be running for four hours and when your knee hurts saying nope, turn it off. Keep going.”

My whole life I felt disconnected from my body, so working out helps with that. I don’t even know if I have the words to accurately describe it. … It’s difficult to put into words. I am still getting used to being connected to my body in that way.

3. The MMA fighter

View this image ›

Rhys Harper / Via Facebook: transcendinggenderproject

“My strengths right now are my determination and my will.” —Fallon Fox

Fallon Fox, 39, is the first professional mixed martial arts (MMA) fighter to come out as transgender. Initially interested in learning martial arts for self-protection, she started training Brazilian jiujitsu in late 2007, picked up Muy Thai a couple years later, and less than a year after that started training in MMA, in which opponents fight using a variety of styles from Brazilian jiujitsu and Muy Thai to wrestling, judo, and kickboxing. She will be featured in Game Face, a documentary about LGBTQ athletes, set to be released this year. She talks about getting inspired to learn MMA by watching other women fighters, what happened when UFC host Joe Rogan made public comments about her gender identity, and how professional competition can be more inclusive of transgender fighters.

The thing that inspired me the most was other female fighters, these older style fighters before women’s MMA became popular. I was blown away because women were actually fighting. They were letting women fight. I’d never seen that intensity, that assertiveness, that skill. … I felt I needed that for my own assertiveness. I felt I was lacking that for my own self-protection.

[It would help trans people if] promotions [the organizations that produce MMA matches] hire trans fighters. Or they can punish their employees and fighters who say transphobic comments and slurs. That would help us out the most, promoting the perception of reality that we are who we say we are. I suppose it should be looked at like this. [When MMA celebrities] say transphobic comments, they kind of set the pace for the kind of negativity that fans might have. They stir it up. They light the fire under it. When [UFC host] Joe Rogan said those comments, the fans would come to me online or while I’m fighting and say they heard it from Joe Rogan. That affected me in the beginning. It affected me a lot. I wasn’t used to that. I had to get used to having names yelled at me while I was trying to do my job.

4. The track star turned weightlifter

instagram.com / Via Instagram: @jord23nbre

“I was a strong female, but not where I wanted to be, where I imagined myself being.” —Jordan Davis

Jordan Davis, 24, is a nursing student from Oklahoma City. He started taking testosterone in August 2014, but even before starting his medical transition, Davis says he always identified with guys and was almost always assumed by strangers to be a boy. In high school he was a state champion sprinter, but nowadays he’s more of a bodybuilder. He starts every morning with about a 20-minute high-intensity interval circuit of pull-up variations and pushups, and then, five days per week, spends about two hours lifting in the gym. He speaks here about how his transition has helped him feel more comfortable while working out, as well as how it’s impacted the way he thinks and feels about his body.

When you run track [on the girls’ team] the uniforms you have to wear are just totally not me. I was real uncomfortable; it felt like something I was forced to do. As soon as the race was over I would go put my clothes back on. I never really liked my body even though I was pretty cut up. Now my fat has redistributed, so it’s like my upper body is really big and I’m a lot more solid up top than I used to be, so it’s a lot more comfortable for me now that I am on T [testosterone].

I used to feel real self-conscious. I kind of still do because I’m still not as big as I want to be. I’m getting there…I have to kind of remind myself that most of the guys at the gym are cis male, so I’m like a 16-year old compared to them. I have to remind myself of that and look at where I came from. I keep my headphones in and focus on myself instead of looking around. It’s easier if you do it like that. [It’s better to] think about the goals that you’re trying to reach and not worry about people around you.

5. The CrossFit coach and competitor

instagram.com / Via Instagram: @instagram.com/chlojonsson/?modal=true

“I embrace every change that happens to my body…I love how my body feels.” —Chloie Jonsson

Chloie Jonsson, 35, is an Olympic lifter and CrossFit athlete and coach in Morgan Hill, California. She started CrossFit in 2010, and told BuzzFeed Life (and her lawsuit complaint notes) that in spring 2013 she was told by CrossFit Games general manager Justin Bergh that competitors must register under their original gender. CrossFit’s general counsel later confirmed that she would “need to compete in the Men’s Division.” Jonsson, who medically transitioned almost 20 years ago at the age of 16, is suing CrossFit for discrimination, intentional infliction of emotional distress, and unfair competition. She talks here about loving her body and using it to move heavy weight, and how CrossFit HQ’s competition ban has affected her.

I love the feeling of working out and using my body. Like during Olympic lifting, to move the amount of weight that I can, it’s a super empowering feeling knowing that this little tiny frame can make something so heavy move. I’ve never had that [self-consciousness when working out]. I feel my best when I am working out. I work out in barely any clothing. I don’t prefer clothing; if the world could be naked that would be amazing. I’m pretty comfortable with my body.

It was pretty heart-wrenching when [the CrossFit ban] first happened because I was not an out individual. I identified as trans, but was stealth; I came out publicly this past year. The reason was because CrossFit said “no,” so I found a lawyer. They told me if you want to move forward, your entire life is going to change. It took me 60 days to really get comfortable with the fact that my entire community would know about me being transgender. It was a pretty big step. I knew I had to do it because what they were doing to me was wrong, and if they were going to do it to me they were going to do it to other people.

6. The martial artist and bodybuilding enthusiast

instagram.com / Via Instagram: @ftmfitnessworld

“I am definitely more aware of and in love with my body.” —Neo L. Sandja Neo L. Sandja, 30, is from the Democratic Republic of the Congo and lives in Atlanta. He’s the president and founder of FTM Fitness World, the first-ever bodybuilding competition for trans men. He trains Korean Taekwondo and has studied karate and Brazilian jiujitsu. He dances zouk, salsa, kizomba, and other Latin dances, and does bodyweight workouts at home: pull-ups, pushups, squats, etc. He speaks about gaining strength from vulnerability and the confinements of the gender binary.

Every time I’ve been vulnerable and accepted it without trying to control it, I’ve come out stronger. I don’t think the issue is in being vulnerable, but in allowing ourselves to experience vulnerability so that we can learn to be strong. The more vulnerable you become, the stronger you can get. I’ve certainly experienced dysphoria in many situations, especially in the gym’s locker rooms; I realized that every time I make the step to get out of my comfort zone, life becomes easier and I become happier.

I think the barriers come when you don’t fit in a particular box when people expect you to. We still very much live in a dual world and we have a long ways to go before we can understand and accept gender fluidity. People still expect men to be and act a certain way and women to be and act another way. But I think that’s the beauty of being trans. We can see it as a chance to redefine what being a man or a woman is, not for the world, but for ourselves.

7. The fitness coach

instagram.com / Via Instagram: @alegutier

“I’m going to be me.” —Alex Gutierrez

Alex Gutierrez, 27, is a Florida-based fitness coach who plans to one day soon quit her day job to be a full-time personal trainer. She’s experienced numerous transformations over the last few years, from her 85-pound weight loss, to falling in love with exercise and deciding to make it her career, to starting hormone replacement therapy and undergoing her medical transition. She talks about how working out made her a stronger person mentally, and how it gave her the courage to transition.

Insanity [the 60-day, high-intensity workout program] built mental toughness that gave me determination. Once you go through the entire program you embrace the whole idea that small things repeated can lead to huge results at the end. The consistency, the discipline of doing simple little tasks can add up to a future. That can give you confidence that if you truly put your head to it and make a plan, you can achieve whatever the hell you want.

Because of working out … I went on hormones. It gave me courage. If it wasn’t for fitness, I don’t really think I ever would have transitioned. Insanity saved my life. It gave me the confidence I needed to make a final step to start hormones.

8. The triathlete and trans activist

instagram.com / Via Instagram: @instagram.com/thechrismosier/?modal=true

“There is a confidence that has come for me in being authentically myself.” —Chris Mosier

Chris Mosier is an NYC-based triathlete and coach. He founded transathlete.com, a resource for information about trans inclusion in athletics, and started GO! Athletes, a support network of current and former LGBTQ collegiate and high school athletes. Last year he won the Staten Island Flat as a Pancake Duathlon, his first overall win in the male category. He discusses how his love of competition impacted his decision about when to transition, and why he’s committed to being an openly trans athlete.

Being an athlete has always been a primary part of my identity. I delayed my transition for over a year because I wasn’t sure how it would impact my ability to compete and participate in the sports I loved, and that was something I wasn’t willing to let go of easily. I was uncomfortable — triathlon is a very body-conscious sport, with skin-tight kits, and navigating the swimming pool was a challenge. I thought that I would eventually become more comfortable after transition, but I was concerned about my ability to be competitive. At that time I was doing well in my races in the female category. … I felt so uncomfortable with the classification of the female category that I wouldn’t want to share my results with anyone.

Figuring out my own identity was a lonely journey; I did not see myself reflected in any example I saw in the media or in sports. As an athlete, I did not know of any other trans male athletes who transitioned and were competing at a high level, and that is what I wanted for myself. I don’t want any other person — particularly a young person — to be able to say that. That’s why I am committed to be an openly trans athlete, and to my work with GO! Athletes. The media has a tendency to elevate certain voices and ignore important intersections of identity. I am committed to making sure not only trans voices are included in athletics, but that the voices of women, people of color, bisexual athletes, and other identities are all at the table when discussing policy, inclusion, and equity in sports. Sport is for everyone.

Interviews have been edited for space.

correction

Niki Brown competes in local fitness competitions. The original post mistakenly said he competes in local CrossFit competitions. BF_STATIC.timequeue.push(function () document.getElementById(“update_article_correction_time_4890379”).innerHTML = UI.dateFormat.get_formatted_date(‘2015-02-06 17:39:24 -0500’, ‘update’); );

correction

The events described related to Chloie Jonsson all took place in 2013; rather than having qualified for the 2013 CrossFit Games, Jonsson was, she says, invited by a team to join them as an alternate. And, according to her lawsuit complaint, it was actually in spring 2013 that she was told by CrossFit Games general manager Justin Bergh that competitors must register under their original gender. CrossFit’s general counsel later confirmed that she would “need to compete in the Men’s Division.” An earlier version of the post mistakenly said it was the 2014 CrossFit Games Regionals, that Jonsson qualified for a highly competitive spot as a team alternate, and that it was at that time that CrossFit HQ told her she’d have to compete in the men’s division. BF_STATIC.timequeue.push(function () document.getElementById(“update_article_correction_time_5083706”).innerHTML = UI.dateFormat.get_formatted_date(‘2015-02-25 10:03:43 -0500’, ‘update’); );

Read more: http://www.buzzfeed.com/sallytamarkin/transgender-athletes

[haitilegends]

HISTORIC MUSIC FROM HAITI RECORDED AND ARCHIVED BY ALAN LOMAX (RIP) IN THE 1930's Alan Lomax in Haiti - Commercial (Short Version) - YouTube https://www.youtube.com/watch?v=qQ4aPQ2bxzs ALAN LOMAX IN HAITI http://www.culturalequity.org/features/haiti/ce_features_lomaxinhaiti-essay.php " When 21-year-old Alan Lomax dragged 155 pounds of luggage and recording equipment into the heat and humanity of Port-au-Prince's dockside, he entered a crucible. In the Christmas season of 1936, #Haiti was re-forging a national identity after a 15-year U.S. occupation. The island nation was discovering the roots of its rural culture in Africa, struggling to reconcile the class and race issues arising from a mixed #French, #Spanish and #African #heritage, and the cosmopolitan urban culture and #folk traditions of the rural poor. Lomax, too, was coming of age in his first solo venture in ethnography, while wrestling with emotional uncertainty, romantic longing, technical challenges, sickness, and financial woes. On November 17, Harte Recordings will release Alan Lomax in Haiti, a 10-CD audio and video box set that reveals for the first time the musical and cultural fruits of that national and personal struggle. Lomax entered a society stressed by poverty and occupation. The United States took control of Haiti in 1915 to patrol sea-lanes to the Panama Canal on the eve of WWI and to preserve order for the sugar companies. In 1936, the Marines had withdrawn just two years before, leaving behind a fragile representative government. The new independence also stimulated interest in folkloric traditions, as expressed in the indigène movement and the work of Haitian classical composer Ludovic Lamothe (his only recorded performances of his own work are on the set's first disc). Though officially outlawed, #Voudou music and ceremonies attracted sensationalists in the late 1920s and early 30s, such as Hollywood zombie-movie maker William Seabrook � which provoked an understandable mistrust of the ethnographers who followed. Haiti in the #1930s was a magnet for scholars and ethnographers such as Lomax who were pursuing the trail of African-American culture to its sources in Africa. The lighter-skinned, urban upper classes identified with French culture and Catholicism, while the separateness of the undeveloped rural countryside that was home to Haiti's masses allowed African expressions to flourish and hybridize with European elements. That relatively untouched terrain brought anthropologist Melville Herskovits, dancer and writer Katherine Dunham, author (and Lomax collaborator) Zora Neale Hurston , and several other researchers, including George Simpson and Harold Courlander, to Haiti during this period. Both in the United States and abroad, the late 1930s ushered in a new era of exploration of indigenous culture, folklore and the expressions of the rural poor. The shared experience of the global Depression created fellow feeling and interest in the lives and accomplishments of ordinary people. In the U.S., these realities were being documented by artists and writers employed by U.S. Federal programs. Previous expeditions to Haiti resulted in rich descriptions; Lomax brought back sounds and images &mdash allowing them speak to us directly. Lomax came to Haiti under the auspices of the Music Division of the #Library of #Congress. The young man was already well-traveled and experienced, having begun, while still a teenager, to assist his father, John Avery Lomax, in a major effort to record African-American folk music in the U.S. Later he collaborating collaborated with Zora Neale Hurston and NYU professor Mary Elizabeth Barnicle on field expeditions to the Georgia Sea Islands and migrant labor camps in Florida. Those trips pointed Lomax to the Bahamas in 1935 and then to Haiti, encouraged by Hurston, and funded, if minimally, by the Library. As the extensive and illuminating books included in the box set make clear, Lomax was confronted with scenes surpassing any he'd witnessed in even the most poverty-stricken districts of his own country. Lomax's Haiti diaries, edited by Ellen Harold, contain many evocative passages: “This morning on the mountain I walked through the whole of the lives of millions of people on the earth. A woman in a blue dress and holding her baby sat on the hard, clean, white clay of her front yard, while her man sat at the corner of their one-room hut, made of the wood, the straw, the palm leaves of that same mountain, leaned and smoked his pipe and did not look at the woman but at the fat nanny goat baaing around the corner. Down the street a little fox-terrier puppy say and shivered in the sun, ill with the disease of hunger; and all the dogs here are like that, thin and whining and shivering. I have the feeling that they and their masters mutually hate each other; they are competitors for the food supply.” Lomax complained little to his diary, reserving his energies for detailed descriptions of what he saw, but he let us glimpse his troubles: the obstacles thrown up by the Haitian bureaucracy and the near-constant requests for payment against his almost total lack of means; the lack of discs for recording; the technical limitations of his equipment (this was the last time he would use the aluminum disc-cutting recorders); debilitating fevers and dysentery resulting from malaria. And there was the anguish of separation from his young fianc�e, Elizabeth Harold &mdash resolved by an elopement and joyous reunion in Haiti, where they married. In spite of the challenges, Lomax managed to produce 1,500 recordings (fifty hours of sound) and six films, all of which were deposited in the Library of Congress. There they remained for seventy years, until a project begun by the Association for Cultural Equity/Alan Lomax Archive in the late 1990s resulted in preservation work by the Library's American Folklife Center and The Magic Shop in New York. The aluminum discs were transferred at the Library's Sound Lab in March, 2000. The medium was not ideal, as Matt Barton, the Library's curator of sound describes: “The twelve-inch aluminum discs they used for most of these recordings could only hold about five minutes of sound comfortably, but often, they simply had to hold more. On many discs, Brad and I saw that they had allowed the recording head to keep tracking to within barely an inch of the hole in the center of the disc. This reduced the fidelity and created untold technical headaches more than sixty years after the recordings were made, but in this way, a few seconds, perhaps even a full minute more of priceless documentary recording was accomplished.” The transferred files arrived at the Magic Shop in 2006, where Steve Rosenthal and Warren Russell-Smith applied digital technology to tease out the sound from the ambient noise and what Russell-Smith calls “the coughing and wheezing of Alan Lomax's 1930s recording equipment.” The entire collection was mastered using even more advanced tools in summer of 2009. In addition to producing the box set, ACE will repatriate the entire collection to Haiti, completely restored and remastered. There, we hope to work with local people and institutions to ensure that it is used and disseminated. As a result of its sponsorship by the Green Family Foundation of Miami, which is involved in humanitarian work in Haiti, the project has been made part of the Clinton Global Initiative in Haiti. The Haiti Project is the fruit of the hard work and commitment of our partners: Warren Russell-Smith and Steve Rosenthal at the Magic Shop; Jeff Greenberg and Beldock Levine and Hoffman; Dave Katznelson and Harte Recordings; Haiti scholars Gage Averill and Louis Carl St. Jean; Kimberly Green and Anthony Colon of the Green Family Foundation; and the American Folklife Center of the Library of Congress." READ MORE: http://www.culturalequity.org/features/haiti/ce_features_lomaxinhaiti.php Alan Lomax Haiti Recordings "Listening" Event - YouTube http://bit.ly/1qHsm3f Gonaives - YouTube http://bit.ly/1qHsKyy https://www.youtube.com/watch?v=OfH9Y58OXPo Instrumental Merengue - https://www.youtube.com/watch?v=CsYDRpde1fw Merengue - https://www.youtube.com/watch?v=ACWQCgqKD40 Haiti's Hidden Treasures By WILL FRIEDWALD During that period, the 21-year-old scholar and historian captured roughly 50 hours of sound recordings that were then buried in a U.S. government vault for more than seven decades, never seeing the light of day. Until now. READ MORE: http://www.wsj.com/articles/SB10001424052748703837004575013090167372252 Alan Lomax in Haiti Box set http://www.amazon.com/Alan-Lomax-Haiti-Various-Artists/dp/B002FOQY7C The Recordings of Alan Lomax in Haiti in 1936-1937 - YouTube http://bit.ly/1qHqWFI Alan Lomax Obituary in Journal of American Folklore http://alanlomaxpathfinder.tumblr.com/post/61561435013/alan-lomax-obituary-in-journal-of-american Abrahams, R. D. (2004). OBITUARIES: Alan lomax (1915-2002). Journal of American Folklore, 117(463), 97. Retrieved from http://search.proquest.com/docview/198462015?accountid=14214 #HAITI☆#LEGENDS #AlanLomax