#jhalli

[wojosubahjaldinahiuthti]

wo alag baat hai mujhe chalani nahi aati toh hum most probably kahin gire pade milenge 🛵

[ddurandals]

Me when I'm wearing hobo clothes

Thode se dhang ke kapde bhi pehen le

Me when I'm trying to pretty myself up for once

Ye kya bandar ban ke ghoom rahi hai

[s0urce--flow]

some of yall have never taken a Sut Jhally Media Studies class and it shows

[kopw]

wrestling think pieces i've (re-)read and enjoyed recently:

manhood on the mat: the problem is not that pro wrestling makes boys violent... by jackson katz and sut jhally

a pragmatic and stylistic analysis of wrestling discourse by roberto de jesús díaz padilla

how socialism will change pro wrestling by jetta rae

this post by rustchild about mox and effy and queerness

wrestling turned me cis, then it turned me trans by abraham josephine riesman

if wrestling is art, then kenny omega is one of canada’s greatest performing artists by chris dart

fighting spirit in japanese puroresu by jenny murphy

gold-plated controversy: the true story behind how the iwgp world heavyweight belt was made by colin mcneil

why wrestler tetsuya naito is the unlikely hero i needed by sarah kurchak

the beauty of defeat: a memorial to yuki ueno’s blade job by willard

[indignantlemur]

Hi!

Before I start I just wanted to tell you that I absolutely love your works, 'Emigre' as well as 'The Stars keep watch' and I am really grateful for you giving us all such amazing and detailed views of the andorian culture.

I've read almost all of them, so I'm pretty sure that you didn't answer this question before, but in case you did, just ignore this ask :)

How excactly do andorian names work in your opinion. I get the whole clan thing etc. but is there an aspect that is present in all names e.g. that it starts with certain letters? Or is there a certain way a name is supposed to sound like to be andorian?

After all there is a vast difference between the names "Kevin" and "Vilashral 'Shral' of Clan Hrisvalar".

If there's not an answer to the question, it's fine too. I'm just curious if there's like a rule when you create your names? If you understand what I mean?

Hi there! And my goodness, thank you! I'm always so happy to meet new readers!

So my Andorian name process usually starts by checking over canon names. When naming a new character, I want to follow the hallmarks of canon Andorian names without copying them exactly.

For example, these are a mix of female and male canon names:

Ghee P'trell

Jennifer Sh'reyan

Keval

Krotus

Talah

Talas

Talla

Telev

Thy'lek Shran

Tholos

Thon

Thoris

Tysess

Ryn

Shras Endilev

Shukar

Va'Al Trask

Va'Kel Shon

Val Shon

Umarin

There are more, of course, but even with a small sample we can see a few things. Names beginning with the letter T are very popular, but the given names also tend to be two-to-three syllable long names. Beyond that, there's a mix of different types of vowels (short and long) and most of the consonants tend to be softer ones, though not exclusively.

For my headcanons and naming purposes, I have a couple of considerations to look at from this point. The first headcanon is that Andorians do not generally give non-Andorians their full names, because Andorii is a very sibilant language with a lot of soft sounds and drawn out vowels in rapid succession. Outsiders generally don't get their names right, so it's easier to go by shortened by-name than have to cringe every time your commanding officer calls you a salad by mistake.

The second headcanon builds on the first, in that full given names are broken into fragments. There are the face-name fragments that you give to strangers and off-worlders, and then there's the full name. Some individuals make use of a third fragment, which is a name used by close friends and loved ones, but it's less common. Not everyone abides by these rules, as there are always exceptions to every rule, but it's generally a good rule of thumb - especially with a culture where it's entirely too easy to find yourself in a duel to the death.

Taking all of that into account, I actually find name generators (I like this one, personally) for Andorian names to be a great starting point for creating a new name. A lot of the generated suggestions are meh, but if I can get a starting point, then I can fiddle with it until I have a name that feels right.

So, for example, I just generated ten female names:

Sevo Zh'viahliq Villen Sh'tiveq Ethrivia Zh'shrihres Esilaa Sh'vhiathrarh Aseraa Sh'kitrit Jhalli Sh'okialrarh Ipythosh Zh'rhethit Shryssa Zh'rolrirh Threra Zh'rhikress Vamaa Zh'ataakross

These are all kind of same-samey and a bit... jumbled, to look at. I want a name that a reader can look at without their eyes glazing over. So, what happens now is I take the likeliest lads (ladies in this case) of the lot and workshop them.

Let's say I want to do something with Shryssa Zh'rolrirh, Aseraa Sh'kitrit, and Vamaa Zh'ktaakross.

Shryssa Zh'rolrirh - a good starting foundation, but I already have a character called Shryss and they've reversed the capitalization of the rank and Clan name. In this case, I'll cannibalize one of the other names. The Clan name doesn't quite feel right to me, so I'll grab one of the other pre-generated ones and modify it.

Aseraa Sh'kitrit - I'm generally happy with this name, though I think the Clan name is a little meh, but it feels like I took "Sarah", dropped the H, added a vowel, and called it done. So, let's see if we can't make it sound more properly alien and maybe swap the Clan name for something else.

Vamaa Zh'ktaakross - this is the one I want to change the least, actually, but Vamaa still seems more like a face-name than a full name, so we'll adapt it a little.

Therefore, we get:

Shryssa Zh'rolrirh -> Jhalleshryssa "Shryssa" zh'Tiivekh -> Shryssa

Aseraa Sh'kitrit -> Ipseseraa "Seraa" sh'Shras -> Seraa

Vamaa Zh'ktaakross -> Ulavamaal "Vamaa" zh'Kraakross -> Vamaa

It's not a perfect system, and sometimes names just come to me on the spot rather than requiring help from a generator or other sources.

So let's look at Ambassador Thoris. Thoris is his face-name, but his full name is Anlenthoris th'Kor. In official documents, he is referred to by his full name, Clan, and rank, but in his day-to-day working life he is Thoris. In his personal life, his spouses call him Anlen. Under no circumstances would it ever be appropriate for someone like Dagmar or Shral to call him Anlen - the inference of having an intimate relationship with a married man of his rank and position would be considered a duelling offense.

Thanks for the ask! Hopefully I've managed to answer your questions, but I always welcome more if I haven't!

[subtlesolitude-tailoredtaste]

“Edward Said's book ORIENTALISM has been profoundly influential in a diverse range of disciplines since its publication in 1978. In this engaging (and lavishly illustrated) interview he talks about the context within which the book was conceived, its main themes and how its original thesis relates to the contemporary understanding of "the Orient."

Said argues that the Western (especially American) understanding of the Middle East as a place full of villains and terrorists ruled by Islamic fundamentalism produces a deeply distorted image of the diversity and complexity of millions of Arab peoples.

Director: Sut Jhally, 1998.”

[girlthativealwaysbeen]

kya hoga iss jhalli si ladki ka hey bhawgwan

[qalbtalk]

وس نہیں میرے کلّی دے

‏مینوں یار تسلّی دے!

‏پل ہجراں دے اوکھے نیں

‏تیری خاطر جھلّی دے

wass nai mere kalli de

mainu yaar tasali de!

pal hijra de aukhe ne

teri khatir jhalli de

src

[mortimer]

Im not ever going to post this publicly bc 1) its not very good and 2) I dont really care to expose myself to annoying angry internet pedophiles (especially since i havent been active in fandom since like, 2016-18 and as an adult i find the way that those communities frame & interact with media deeply insufferable anyway) but in uni i literally wrote a research paper on the potential irl impacts of media that doesn't handle themes like sexual assault, incest, csa, etc with tact. and that's the thing i have never once advocated for NOT exploring those things in writing or art - *i* write about those things, fairly frequently. To be frank, that's why I wrote the paper, because I actually care about the ethics of art and I give half a shit about other potential victims. Which I feel like is the absolute bare minimum for being a half decent artist/writer. I might publish the bibliography at some point if not rewrite it in its entirety bc i feel like the research i did was good even if the paper was not, but this one quote from bell hooks really stuck in my brain regarding the topic:

It's scary to me now, because, particularly in issues around erotica and sexual violence, people want to deny the direct link between representations and how we live our lives. I think that it's possible to embrace the knowledge that there's a direct link between representations and choices we make in our lives that does not make that link absolute, that does not say, "oh, if I look at a movie in which a woman is fucked to death," than I will go out and think I should let myself be fucked to death by any man who wants to fuck me. I think that's an absurd sense of a direct link, but that is not to say, that if I watched enough of those images I might not come away thinking that certain forms of unacceptable male violence in coercion in relationship to my female body are acceptable.

bell hooks, “Bell Hooks: Cultural Criticism & Transformation.” directed by Sut Jhally (1997), documentary film. (Transcript)

[shymilkshakegiver]

It's been said many times before that Sanjana didn't need a makeover, but can we talk about the irony cause she actually matched with Lucky in style and vibe? She was the jhalli to his jhalla 😭

[teethburied]

“As all professional sports leagues know, it is competitive balance that is vital to the health and profitability of a league. (In the United States the draft system is the most obvious tool towards this competitive balance.) The great sports events of our culture are those that have balanced competition at their heart. For example, one of the most historic and memorable tennis matches in recent history was the 1980 Wimbledon final in which Bjorn Borg defeated John McEnroe. What that match indicated was not that Borg was a great player but just how great in fact he was. Borg needed McEnroe to push him to new heights of achievement. If Borg had routinely won in four sets as at one time looked likely, that match would not stand out in our collective sports memory. But because McEnroe won the fourth set tiebreaker 18-16, he forced Borg to be even better. Whatever beauty we perceive in the realm of sports is dependent on both competitors. In his superb autobiography The Game, Ken Dryden, ex-goaltender for the Montrial Canadiens hockey team, writes of how his greatest moments occurred against Boston teams, that without the tremendous opposition they provided he could not have performed as he did. He needed their competition for the fulfillment of his own dreams. What people are attracted to in sports then is the beauty of collective activity. They are drawn to the process of competition rather than to its results. We see beauty as a property of the personality, of the competitor, in competition. Not apart from the competition but within it. Beauty therefore is a property of the cornpetition which is manifest through the competitors. When we perceive beauty in sports, the beauty of the competitors is thefigure, the beauty of the competition is the ground. In a capitalist society, however, it is the private appropriation of social labor that is the determining feature, and hence in capitalized sports it is the winners who appropriate the results of the process of competition. The winners go on to something better. They will appear again next week. They can convert their winning notoriety into sponsorship of commodities and so reap greater benefits and even more visibility for their appropriation of the results of collective activity. The losers disappear from view, their fate too desperate to be contemplated. As George Allen remarked in reflecting the ethos of U.S. culture: “Losing is worse than death. You have to live with losing.” The more this private appropriation occurs, the more the very existence of this ground, not to speak of its collective character, is suppressed and the more the beauty is presented to us only as the property of the competitors. It is the private nature of appropriation that suppresses the collective character of beauty. It suppresses the beautiful character of the competitive process and reproduces beauty as an “attribute” of the competing subjects. The rejection of competitive sports by critical socialists is based upon a failure to distinguish the process from the appropriation of its results. When we cannot distinguish between the process and the competitors, it will appear to us that properties that belong to the labor process as such belong only to the competitors. The labor process, the cooperative-competitive process, then appears only as a scene in which these pre-existing properties of the competitors simply display themselves. Hence, what is really social labor appears decomposed into merely individual labor.”

– 'Sports and Cultural Politics: The Attraction of Modern Spectator Sports' by Sut Jhally & Bill Livant, first published in Rethinking Marxism in 2009 (x)

[kaydub80]

There was a global uprising in June 2020 after the police killings of George Floyd and Breonna Taylor. And while many corporations attempted to placate Black and Brown protesters in various manners, the hip-hop world offered what felt like the bare minimum.

I was very cautious almost four years ago when rappers stopped rapping anti-intellectual content and got political, wondering how long it would last. As it turned out, the 2021 Grammys was the end of this faux political run.

So, Roland Clark was proven correct when he said that hip hop has lost its ability to uplift black people.

That dynamic continues today, as the biggest rap stars are often politically neutral in public, and a focus on profits has softened much of the genre’s political bite.

Rappers hanging out and joining forces with establishment politicians at events says it all. As more rappers get comfortable with the top one percent, we have already seen some of them move drastically to the right. This makes it more acceptable for rappers to continue pushing anti-intellectual content that drags down black people.

[understandingbimbos]

"Whence Bimbofication?"

‘Bimbo’ itself is not a straight-forward word, because like all insults, it requires a viewer and a subject, between who they may be a combination of value judgments.

Widely believed to be derived from the Italian ‘bambino’, ‘bimbo’ broadly refers to be a person who offers nothing but their pretty face. Or sexy body, depending how crude you want to be.

Define the offer of nothing. Define a pretty face. Like pornography, everybody knows it when they see it, yet when pressed to codify it, you get a litany of edge cases, informed by media consumption. It’s only grown harder after the internet exploded the monoculture and media consumption became highly individualized and esoteric.

‘Bimbofication’, the process of become a bimbo, seems to have been coined by the moral panic over rock & roll in the eighties. Music videos appeared a promotional tool in the end of the 70s, MTV started broadcasting in 1981, and by the mid-eighties there was a market of parental resources warning that children would be corrupted by images of violence, materialism, and the sexual exploitation of women.

The most widely cited usage of the term ‘bimbofication’ is an article by Jon Pareles called ‘Sex, Lies, and the trouble with video tape’, which was actually a defense of MTV against the claims of Dr. Sut Jhally about its portrayal of women.

Pareles describes MTV having “two minutes of bimbofication per one hour” and this memorable phrase shows up over and over in discussions of censorship. Usage of ‘bimbofication’ drops off in magazine articles around 2000. Then, in 2009, there is a gigantic spike in usage as Amazon facilitates digital self-publishing and the web in inundated by ebooks with ‘bimbofication’ in the title and promotional material.

Nine years of collage, being torn apart and reassembled in the whisper-networks of the pre-facebook internet. A neologism goes from describing a moral panic to embodying multiple genres of erotic art and writing.

Perhaps that describes the origin of many parasexualities. In a society slow to discuss the complexity of sex, how do we learn except by imitating moral panics? Isn’t that what sadism and masochism were in the first place? People imitating the reviled authors de Sade and von Sacher-Masoch? Now we embrace all those supposedly corrupting us – pink pop music and vapid gossip rags and bleached blonde porn stars and famous sex tapes and trashy anime – using the language of those worried we would be corrupted.

I think part of ‘bimbofication’ is that it describes sexuality as a process, a becoming. A perpetual panic. A perpetual crisis. That can be a crisis of many things – religion, ethics, gender, social standing. Thus the narrative of transformation. There are as many ‘-fications’ as there are crises – whorification, slutification, stepfordization, nerdification, gothification, sissyfication, princessfication, etc.

Overcoming an internalized panic is always a crisis and how many of us are overcoming, even? The appeal of transformation, much like suicide, is to cut the Gordian knot within our soul.

(Excerpted from https://mcmdrabbles.home.blog/)

[devspeaks]

*Kaisi Ho Tum…*

Kya pucha liye uss ne jo barso se bolne ko bekraar the

Kahan se shuru kare ki kya hai kaise hai aur kyu hai tere bin mein

Tab bhi ek koshish kar rehi hun

Khud ko khud ke aaine mein hi dekh kar bol rehi hu

Yehi sawaal tha jo tera

Kya kahun kaisi hoon main....

Na jaagi si, na hi soyi hui si hoon main

Hosh mein bhi madhosh hoon main

Khud ko khoj rehi hun pata hi nahi kahan khoyi hui si hoon main

Sudh budh khokar Gum sum si

Na khabar din ki, Na hosh raat ki

Gehere se samunder si Khamosh hun mein kya kahan tumhe ki kaise hun mein

Har pal zehen mein tumhara hi suroor liye

Ho sakke hum aapke yeh sapne aakhon mein liye

Yaadon ko tumhari apne mein liye

Jee rehe hai beparwah befikre kya kahe tumhe kaise hun mein

Yeh pyaar ki baatein purani hi sahi

Meera thi deewani Kanha ki yeh baat sab ne kahi

Par uske ehsaas ko koun puchta

Kanha ke sand to Radha hi rehegi iss Meera ke Prem ko koun puchta koun Pujta

Bus tumhare pyaar mein Meera bani phir rehi hun

Hardam tarasti hun tumhari ek jhalak ke liye maano janmon se tere dee ki pyaasi hoon main

Sab jaan ke bhi yeh kaise puchte ho ki kaisi hun mein

Tere bina baawli si,jhalli si,pagaal si

ek ankahi gajal ek Adhuri shayari ek aadha likha hua geet hun mein

Jis mor mein choda tha

Manjil ki aashi raah hun mein aadha ehsaas hun aur kya kahu

Kaise hun mein

Bus chalte hue aadhi laash hun mein

Kya kahun kaisi hun mein

Kya kahun kaisi hun mein.....

[bewakulfi]

clean girls ☹️👎👎👎👎👎🙅🙅‍♂️🙅‍♀️🚫🤢

jhalli girls 🥰😍😘💗💗💖💝💘🤩🌟😻

[ur-mummy-ki-sahelii]

In an Indian family if wear neat and nice clothes at home they'll always be one out there saying"Kaha ja rhi ho tyar ho kr?👀"

Bro mn kr raha tha isliye Aaj ache kapde pehne yrr m hr waqt jhalli thodi ghu mungi !!!! 💀🙂