#jin go lo ba

[wonderkat11]

Happy 15th Anniversary to Just Dance!

Surprise visit! Anyways, today is the 15th Anniversary of Just Dance, so I wanted to participate by doing a fanart out of someone from the Just Dance series holding the 15th anniversary cake. And it's Jin Go Lo Ba from Just Dance 1 holding it to celebrate 15 years of Just Dance, even her very first game!

For Just Dance fans, Happy 15th Anniversary!

Rules: DO NOT STEAL MY ART! No Rude Comments Please.

Jin Go Lo Ba belongs to Just Dance: The Series (Ubisoft).

See also:

SpeedPaint special: https://youtube.com/shorts/7JHRIcyVqm4?si=7RnpHE7RN3gtPDid

[rastronomicals]

4:55 PM EDT October 30, 2023:

Babatunde Olatunji - "Jin-Go-Lo-Ba (Drums Of Passion)" From the album   The World's Behind You: A Velvet Underground Companion (April 2023)

Last song scrobbled from iTunes at Last.fm

Absolutely free Free Free! with the June 2023 Mojo

--

[444namesplus]

Ba Baa Baas Bae Baes Bais Bam Ban Bao Baos Bau Baus Be Bees Bei Beis Bem Ben Beo Beos Beu Beus Bi Bias Bie Bies Bii Biis Bim Bin Bio Bios Biu Bius Bo Boes Bom Bon Boo Boos Bou Bous Bu Bua Bues Bui Buis Bum Bun Buo Buu Buus Chi Chia Chias Chie Chies Chii Chiis Chim Chin Chio Chios Chiu Chius Chu Chua Chuas Chue Chues Chui Chuis Chum Chun Chuo Chuos Chuu Chuus Da Daas Dae Daes Dais Dam Dan Dao Daos Daus De Dea Deas Dee Dei Deis Dem Den Deo Deu Deus Dha Dhaa Dhaas Dhaes Dhai Dhais Dham Dhan Dhaus Dhe Dhea Dheas Dhee Dhees Dheis Dhem Dhen Dheo Dheu Dhi Dhia Dhies Dhiis Dhim Dhin Dhio Dhios Dhiu Dhius Dho Dhoa Dhoas Dhoes Dhois Dhom Dhon Dhoo Dhoos Dhou Dhous Dhu Dhua Dhue Dhues Dhum Dhun Dhuo Dhuu Dhuus Di Die Dies Dii Diis Dim Din Dio Diu Dius Do Doa Doas Doi Dom Don Doo Doos Dous Du Duas Due Dues Dui Duis Dum Dun Duu Fa Faa Faas Fae Faes Fai Fais Fam Fan Fao Faos Fau Faus Fe Fea Feas Fee Fees Fei Feis Fem Fen Feo Feus Fi Fia Fias Fiis Fim Fin Fios Fius Fo Foa Foe Foi Fois Fom Fon Foos Fous Fu Fua Fuas Fue Fues Fui Fuis Fum Fun Fuos Fuus Ga Gaa Gaas Gae Gaes Gam Gan Gaos Gau Ge Gea Geas Gee Gei Geis Gem Gen Geo Geu Geus Gi Gia Gias Gie Gies Gii Giis Gim Gin Gios Giu Gius Go Goe Gom Gon Goo Goos Gous Gu Guas Gue Gui Guis Gum Gun Guo Guos Guu Guus Ha Haa Haas Hae Haes Hai Hais Ham Han Haos Hau He Hea Heas Hee Hees Hei Heis Hem Hen Heo Heu Heus Hi Hie Hies Hii Hiis Him Hin Hio Hios Hius Ho Hoe Hom Hon Hous Hu Huas Hui Huis Hum Hun Huo Huu Huus

Ja Jaa Jae Jaes Jai Jais Jam Jan Jaos Jau Jaus Je Jea Jeas Jee Jem Jen Jeo Jeos Jeu Jeus Ji Jia Jias Jie Jies Jii Jiis Jim Jin Jio Jios Jiu Jo Joa Joas Joe Joes Jois Jom Jon Joos Jou Jous Ju Jua Juas Jue Juis Jum Jun Juo Juos Juu Juus Ka Kaas Kae Kai Kais Kam Kan Kao Kaos Kau Kaus Ke Kea Keas Kee Kei Keis Kem Ken Keo Keos Keu Keus Ki Kia Kie Kies Kim Kin Kio Kios Kiu Kius Ko Koe Koes Koi Kois Kom Kon Koo Koos Kou Kous Ku Kua Kue Kues Kum Kun Kuos Kuu Kuus La Laa Laas Laes Lais Lam Lan Laos Lau Laus Le Lea Leas Lee Lees Lei Lem Len Leo Leos Leu Leus Li Lia Lie Liis Lim Lin Lio Lios Liu Lo Loa Loas Loe Loes Lom Lon Loo Loos Lou Lu Lua Lue Lui Luis Lum Lun Luo Luos Luus Ma Maa Mae Maes Mai Mam Man Mao Maos Mau Maus Me Mea Mee Mei Meis Mem Men Meo Meu Mi Mias Mie Mies Mii Miis Mim Min Mios Miu Mius Mo Moa Moas Moe Mois Mom Mon Moo Mous Mu Mua Muas Mues Mui Mum Mun Muo Muu Muus Na Naa Naas Nae Naes Nai Nais Nam Nan Nao Naos Naus Ne Nea Neas Nee Nees Neis Nem Nen Neo Neos Neu Neus Ni Nii Niis Nim Nin Nio Nios Niu No Noa Noas Noe Noes Noi Nom Non Noo Nou Nous Nu Nua Nuas Nues Nui Nuis Num Nun Nuo Nuos Nuu Pa Paa Pae Paes Pai Pam Pan Pao Pau Paus Pe Pea Peas Pee Pees Pei Peis Pem Pen Peo Peos Peu Pi Pias Pie Pii Piis Pim Pin Pio Pios Piu Po Poas Poe Poes Pois Pom Pon Poo Poos Pou Pous Pu Puas Pue Pues Pui Puis Pum Pun Puo Puu Puus Ra Raa Raas Rae Rai Rais Ram Ran Raos Rau Raus Re Reas Ree Rees Rei Reis Rem Ren Reo Reos Reu Reus Ri Ria Rii Rim Rin Rio Rios Riu Rius Ro Roa Roas Roe Roes Roi Rois Rom Ron Roo Roos Rou Rous Ru Rua Rues Rui Ruis Rum Run Ruo Ruos Ruu Ruus Sa Sae Saes Sais Sam San Sau Se Sea Seas Sees Sei Seis Sem Sen Seos Shi Shia Shias Shie Shies Shii Shiis Shim Shin Shio Shios Shiu Shius Shu Shua Shuas Shue Shues Shui Shuis Shum Shun Shuo Shuos Shuu Shuus Si Sia Sii Siis Sim Sin Sio Sios Sius So Soe Soes Sois Som Son Soos Sous Su Suas Sui Suis Sum Sun Suo Suu Suus Ta Taa Taas Taes Tai Tais Tam Tan Tao Taos Tau Taus Te Tea Teas Tees Tei Tem Ten Teo Teu Thi Thia Thias Thie Thies Thii Thiis Thim Thin Thio Thios Thiu Thius Thu Thua Thuas Thue Thues Thui Thuis Thum Thun Thuo Thuos Thuu Thuus Ti Tias Tie Tiis Tim Tin Tio Tios Tiu Tius To Toas Toe Toes Toi Tom Ton Toos Tou Tous Tu Tua Tuas Tue Tues Tui Tuis Tum Tun Tuo Tuu Tuus Va Vaa Vaas Vae Vaes Vai Vam Van Vaos Vau Vaus Ve Vea Veas Vee Vees Vei Vem Ven Veo Veos Veu Veus Vi Vie Vii Viis Vim Vin Vio Viu Vo Voa Voe Voes Voi Vois Vom Von Voo Voos Vou Vous Vu Vue Vues Vui Vuis Vum Vun Vuo Vuus Wa Waas Wae Wai Wam Wan Wao Waos Wau Waus We Wea Wees Wei Weis Wem Wen Weos Weus Wi Wia Wias Wie Wies Wii Wim Win Wio Wiu Wo Woa Woe Woes Woi Wois Wom Won Woos Wou Wu Wua Wuas Wue Wui Wum Wun Wuo Wuos Wuu Wuus Za Zaa Zaas Zae Zaes Zai Zais Zam Zan Zaos Zau Zaus Ze Zea Zeas Zee Zees Zei Zeis Zem Zen Zeo Zeos Zeu Zeus Zha Zhaa Zhae Zhaes Zhai Zhais Zham Zhan Zhao Zhaos Zhau Zhaus Zhe Zhea Zhee Zhees Zhei Zheis Zhem Zhen Zheo Zheos Zheu Zheus Zhi Zhia Zhie Zhies Zhii Zhim Zhin Zhio Zhios Zhiu Zhius Zho Zhoa Zhoas Zhoe Zhoes Zhoi Zhom Zhon Zhou Zhous Zhu Zhuas Zhuis Zhum Zhun Zhuos Zhuu Zhuus Zi Zia Zias Zim Zin Zio Ziu Zius Zo Zoe Zoes Zois Zom Zon Zoo Zoos Zou Zous Zu Zuas Zue Zues Zuis Zum Zun Zuos Zuu

[kimyoonmiauthor]

tags by queenbeyondthejudge: but I’ve heard similar things happening in the publishing industry#more books by bipoc authors are rejected because they’re not ‘relatable’ to the agent/publisher#like ???

BTW, I have a BA in Anthropology, which I concentrated on systems, which looks at things like racism, sexism, etc. So when I speak here, I do know what the F* I'm talking about. I also have done light activism over the years and got tons of hate for it. (Like calling out WeNeedDiverseBooks for locating it only in the YA section. Screw your "investigative committees".) Here, it gets a bit more complex and systemic, which lowkey is a good Philosophy Tube subject. (The subject is how does one overturn a corrupt system as a marginalized person when everything is stacked against you?) REJECTION RATE

So, PoCs in general, no matter what their specific race—i.e. anything outside of the white European sphere, face about a double the rejection rate compared to white peers, which, BTW, has held steady since I've been loosely tracking the rejection rate, yes all the way back to 2008-ish. (I ran surveys on Nanowrimo, Absolute Write, and tracked numbers from various PoC authors in the interim).

So, white authors usually get published twice as fast as PoC authors, but Also queer authors get a 20% increase rejection rate. (i.e. accepted when they are about 70/100 rejections). Disabled authors, which people don't really track that well, as long as they are white, get rejected at about a 10-20% increased rate. I did ask, but no one has really kept tabs on the community like they should, and sadly it follows with "More acceptable disabilities" psychology, which is terrible, but here you go. Other communities out there often have bad representation, but high publication, except with own voices (Like the Adoption community favors Birth Parents and Adoptive Parents over Adoptees and Former Foster Youth/Foster Youth.) So the majority of the narrative about Adoptee and Foster Youth is not from their perspective and thus often has people doing racist things inside of it such as "White person learns not to be racist because they were adopted by PoC family"—usually Black. Similarly with Disability "this kid was 'saved'" and also gay/trans, which you don't want to see without a "Please save me from the phobia." Yeah. 'cause people can be more AHs to children, and we lost our fights in many ways, people use it as a dumping ground for "But all this prejudice is acceptable because it has adoption in it" to the point that sometimes my fellow People of Color say racist things in the context of adoption. Wha~~ You can't be seriously saying something clearly so racist. You got brainwashed. What happened to intersectional thinking? Adoptees are allowed to publish, but usually it's OUTSIDE of the fiction areas. ONLY allowed memoirs. It's exceptionally rare for adoptees to be allowed news articles, etc. So kicked out and cloistered which is equivalent to the "African American" section (of old.)

But yeah, so, either your group gets published low amounts, but gets lots of ownvoices representation. Or your group gets published, but no one is there to rep your group, i.e. No ownvoices rep because the privileged people won. You get to choose which demon you want.

(There's fancy Social Psychological terms for this, BTW such as Stereotype Threat is somewhat mixed into this. But this is the basis of broken systems.)

CHOOSE A LANE

Philosophically, one has to choose a lane in order to get published:

Make it like the privileged version and forego the accuracy, or face a higher rejection rate.

So it is not, say East Asian kid with Asian sounding name, but one that fuzzily sounds white. It is not Kyeong Jin. That sounds "too Korean" Its "Jina" It's not Kang Jina It's Jina Lee—whatever you have to do to make it "sound more white" and then no irony over that.

This Korean person, say, doesn't live in a huge Asian center with mixed ethnicities, say Los Angeles, San Fran, San Diego, Seattle, or near New York City. They live in Nowheres whitesville.

This is how a white author would write it, so PoC authors need, in this system, to conform.

Or you choose to write it authentically and then face a higher rejection rate.

The character's name is now Kang Kyeong Jin. She (because you did your research), is not a US born person, but lives in say San Fran, which also has a high Chinese population. She is Second Gen, but embarassed of her name as a child, so goes by Kathy. So her name is Kathy Kang. She has friends from the Chinese community and Black community. (Because that literally is like San Fran.)

She's not rich, since there is a higher poverty rate for Asians than often reported.

She has a Filipina friend that can't get work and is poorer than her, but this friend is not counted as truly part of the population of Asian people and is currently restruggling through nursing school because her previous training and degree doesn't count. (I know people like that, though not located in San Fran.)

This type of story would get rejected higher, even if more accurate than Asian kid in white town. Because look, it doesn't center white people. Where are the white people? (It's the Where are the privileged people? moment that happens in 95% of media. Why aren't you centering the straight/abled person?).

This is why Chinese and Blacks worked together to elect San Fran's first Black mayor isn't likely to make public school information. (Which is a true fact, BTW) 'cause I mean "Where are the white people saving the day?" And also "Where is the violence and conflict?"

Cue Historical fiction about PoCs needing white people to be there on the horizon somewhere and so on, even if disparaging, White people need to show up, but never the reverse. All white Europe on a round world, fine, All PoC place without Europeans--well, clearly broken and not realistic. Higher rejection rate if you set it outside of the country you're targeting to get published in. And it goes up by age and demographic too. Outside of YA—it's nigh to impossible to be published as an adult book.

BTW, the acceptance rate is also lower according to some people and takes longer, therefore for people who are in in the comp and submit stage. (i.e. got an agent). It takes double the time, therefore, for particularly PoC books to get to shelves versus white counterparts. I don't have the stats on LGBT or disability. You'd have to guess.

If the person is PoC, disabled and queer, welp, welcome to a larger rejection rate.

I've estimated that if white people get accepted at 50, then the rejection rate is about 120-150—Yeah, more than a 100% increased hike for intersectional.

LARGER SYSTEMIC ISSUES

Bar all of the above. You have an agent who say, knows that and knows what to look for in that case, there is a whole education system that has set them up for failure to recognize PoCs' writing as good.

You have good intentioned agent that really wants to get those rare books sold out there. They absolutely do not want white person race swapped story, but also don't want to look for exceptionally PoC p0rn. Nuance. Joy, they want it. Kyeong Jin gets to live in this agents' eyes.

Even PoC agents fall into this trap, and sometimes they need to play this game anyway to break into the industry. They might know what to look for, but they need to CONFORM in order to change the system. So Black author needs to play, "But conflict is the only way," game, even if the majority of African American stories, Black Carribean stories and stories from Africa do not center conflict. (Mostly memory and and a certain type of morality, BTW).

Conflictless and problemless stories—clearly wrong.

An editor that consumed a lot of Japanese media told me that I didn't have conflict in my stories and that was a problem. Literally, the point of Kishotenketsu and I had a Japanese character... so... the point is...

You have a whole education system to fight, which BTW, does get talked about, but only in college settings, usually, which is kinda sad.

This would be philosophy of Pedagogy, I believe, but with more race and gender dynamics, which, BTW, if you want to learn this bell hooks is an excellent teacher about this kind of system, from the education to the big screen, she covers it well. (I get her controversies, etc, but yeah, she could be brilliant too and I think we need to nuance people more).

White agent really, really wants to get those unique books out there... wants to join the fight...

But maybe their school education was confined to mostly "acceptable" Black books—welcome to book bannings. So they got say, Harper Lee's To Kill a Mockingbird over say, Toni Morrison's The Bluest Eyes (both get challenged, but guess who gets challenged more?) They read not Beloved, or Frederick Douglass, but say, Gone with the Wind and Uncle Tom's Cabin.

I, myself, was forced to read To Kill a Mocking bird a whopping 4-5 times in my school career. And Bluest Eyes zero. And Beloved only when I got to Uni. And other more transformative Black authors? Zero. Rasin in the Sun once. Mark Twain I read twice over in school. I mean... like you rather have white eyes tell you about slavery than Black ones and also skip Black joy. (I read widely as a kid, so I knew I was getting highway robbed).

And if you had the average High School education, you were likely not to get say, Amy Tan's Joy Luck Club, or say Marquez. Ha! Indigenous lit—never mentioned and even if it was, it's acceptable to the white gaze (as Toni Morrison calls it on Charlie Rose). You were likely to only get Black and White authors. (Book bannings are quite a thing). I mean, did anyone get taught anything about Asian Americans in High school/Secondary School?

Likewise with Gay and Disabled representation. Often teachers "fail to mention" the person is gay and avoid talking about the impact it might have on their life and writing. Aristotle gay love relationship, and let's skim over Plato... My classes on Walt Whitman were a joke. "He was gay" No follow up on that? Really? That's a good time to teach queer theory. Nope, save that for College classes where all of the books about PoCs get analyzed through white (usually male straight and abled, save maybe Foucault who was gay, but problematic as heck, which my classes skipped a lot. Everyone of them featured Foucault, but not one of them wanted to talk Authoricism of him beyond Oh, look token gay.) So something brilliant like say... Octavia Butler's Parable of the Sower, needs a white book to understand her. Say, Margaret Atwood. (Cue my frustration about here). If not Atwood, then the literature theory *is required* in the academic work to include a usually white male of some kind unless your prof is cool and lets you import well-known PoC academics. Octavia Butler, not bell hooks as a theorist, maybe you need Foucault or Althussier. You simply cannot understand PoC texts through PoC theorists. What are you talking about? (Are you catching me gagging in a corner yet?)

Also, confine such a person to usually ONE AT A TIME and token, shoved to the beginning or end of the class. (I should note I went to several colleges over the course of my studies and yes, "Liberal" hotspots and they all do this. Even the classes centered on say Asians, Blacks, etc often require a white theorist shoved in there. WTF. Plus my last uni needed to rest Foucault in a box somewhere if they were not talking about Panopticons.)

(Do I have to insert Adoption again in here— as an adoptee, not once did I get a nuanced discussion about adoption and adoption politics despite the MANY adoptees I read in assigned reading 'cause people are really ignorant.)

So, fine, the agent has now done the good fight, they've done the self education and read something beyond Natsume Soseki and probably Daigo for Japanese literature. Actually sat down and read 20 Strategems, Romance of the Three Kingdoms, Journey to the West, and realized how Chinese and Japanese literature are and aren't interconnected. They've found out that Argentinean horror will knock your socks off, because Why not? (I can keep going because I get a thrill out of consuming world media).

Consuming the media is enough, right? Right?

Unfortunately, no. 'cause there is still things like white agent has to get over African American English as "valid" (BTW, Vernacular is racist, look up the etymology). Know the difference between that and Black American English. ('cause yeah, that's a whole thing). and recognize it as "not bad English" and then they need to let go of the way they were completely taught story structure in school because it is 100% wrong and made up only in the last 100-ish years. (I cover this extensively on my blog BTW, with references).

Likewise, they need to get over the idea tha all Asian writing "needs to be poetic" with "short sentences" and other instilled racism, and prejudice.

OMG, All Latine fiction needs to be magic realism. TT I spoke to a bunch of Latine people and they would cry on this idea. C'mon. I love Allende, truly, the moving motifs, etc, but let other things be published too.

Should we go over queerness and disability too? *sighs* Mavericks are not celebrated. Your idea, as a PoC needs to stand out, but not stand out too much, and if you publish it online, it's likely someone white or more privileged will try to *steal from you* and whitewash the hell out of it. (Same with all the other kinds of washing too). (I've heard reports from people who said this happened to them and there were several public debacles like this so I didn't make this up. Like that one agent recently who said I'd like this. And the agent from before that literally tagged one of their authors on a pitching event to ask them to remake it white in the last 2 years, 2023 2024 respectively.)

Fine. By some holy chance, the agent has done all of this extra labor, read outside, done the academic reading, is not asking for trauma p0rn and is not getting inspired by large tragedy to ask for that group of people to be published, read up on the history, etc and is now accepting books that are now not plotted like white straight abled man books ('cause I cover this quite a bit too).

We're neck deep in it now.

But you have the next two hurdles: How do you convince a publisher and the undereducated public of the same thing?

You've heard of Kishotenketsu, but clearly this Chinese/Korean writer is wrong and they didn't apply a twist. WTF, the average reader says. (Uhhh... neither of the 4-acts applies a twist, but that's a whole essay. I wrote the article on wikipedia, Kishotenketsu, and gave it an overhaul.)

I've seen these comments from mostly, but not only white watchers. (Internalized racism is real and sad to see.)

"OMG, the plot is wrong because like, this was a waste of my time. Where is the happy ending."

They cannot fathom for the life of them that the whole point of qichengzhuanhe is to pull out as early as possible. That LONNNNNGGG ASS denouement is solely a USian thing. Usually when they complain like that, I know 100% they are from the US and likely white on top of it (because I read African American lit and super closed endings is not a preoccupation of the story type). And then usually other white US people are lecturing me about how I shouldn't guess other people's races. But I'm usually right more than 90% of the time. This is nunchi.

They will go onto lecture about how it NEEDS conflict and therefore, a long, long denouement.

And I've had people flat out argue with me that Korean dramas need to capitulate to—yes, you guessed it, white people "Because it's clearly they are trying to reach a worldwide market." And then complain flat out that Koreans don't need to "put in that woke stuff."

WHAT~~?

I'm seriously too afraid to look on telenovela comments section.

If you are like this—you are the problem. Go educate yourself instead of saying shit like, "I escape watching the US so I don't have to listen to woke stuff." Ummm... you haven't really watched Korean dramas, hate you 99% of it is that "woke stuff".

Yes, so the public becomes a problem, and then the publishers feel like they need to really capitulate to their uneducated asses regardless of personal beliefs (See Scholastic debacle over banned books for their kids book fair), because even if PoC book makes it to market, the PoC book needs higher marketing power than the white book and often you have to find viral tiktok creator to read it for you, and then make videos about it. But the industry doesn't want to give marketing money to PoC author and they've gutted that department in the last 20+ years.

I haven't seen hard stats yet, but Women get paid half the rate of men in the publishing industry (according to one artcle I found), and PoCs get paid bottom price. Usually 15 to 20K at most per book in advance. (Publishing Paid Me hashtag on Twitter.)

The liklihood any book will make back the advance is less than 20%. I have to imagine PoC book is less.

Publishing isn't willing to pay the PoC authors the 500K advance on book that is likely to fail. But they will for white male author's first book that failed spectacularly and has a bunch of sexism in it. (White female 200-250K, BTW, 15-30K for disabled OR Queer book. 15-20K for PoC book.) [Publishing Paid me hastag on Twitter.]

Arrggghhh.

All of this brings us back to...

Education

Education can't break the cycle if they don't have the books and the educators to know which books to look at in order to break this sort of reasoning. And if academia is being snobby, which it often is (again, bell hooks goes over educational access and how academics often think certain, usually white sources are more "valid" than others). then

Movies often fall into the same category. People don't want to "listen to Black people talk improper English" "can't see themselves reflected", etc. Which bell hooks covers in her discussion of "The Oppositional Gaze". See Rue debacle from the Hunger Games.

One big circle. How do you break that cycle? So books and other media that represent the culture are accessible?

I've gotten mocked and hit library dead ends on all of the topics I've discussed here because I learned through several projects, White men don't need to cite shit properly. People make up shit sometimes when you trace them back.

One Librarian laughed at me for wanting information. Another one gaslit me. I wish I was joking. (Don't worry, fellow Librarians got raging upset and fixed it for me when I reported what happened.) I've had to BUY books to write my books, but when I write a white topic, it's a lot cheaper. I literally had books shipped from Korea, waiting 2 weeks to get Korean view of the topic. I also had to get a book shipped from Australia to get around, "White colonized guy won on the rhetoric of Aboriginal people". And don't get me started on how pissed off I was to find out that NO ONE has done an academic study of Pride Parades since 1970's. WTF. There is so much one could do on them. I flat out could not believe that could be true. And I pulled from the Library of Congress, asked Librarians if I was Hallucinating from both my local large library and academic libraries, and NOTHING. (Sorry, ranting so hard about this).

CONCLUSION

I remember a while back there was Korean man who grew up in the midwest, who, despite everything, managed to get published, He physically grew up in that state, was writing from his own experiences, and he was lambasted by the white public for "not being accurate."

Meanwhile white man who had never ever been to North Korea, wrote about it, and was lauded by the public as "so accurate and great." even if experts in the field said it wasn't even close and the man admitted he didn't research that much, he basked in the praise.

This is the systemic thing we're dealing with here.

So the Philosophy question would be... how do you break a cycle like this that is so ingrained, so called "standard" "part of the culture and tradition", but that is soooo taken for granted and ingrained.

And here, people really, really don't agree because it is near to an impossible question to answer.

I will say this, though, as an adoptee. You can't lie down, 'cause if you do, your group is likely to end up like adoptees have been—dominated by the privileged group. I mean who among you really, really wants to be painted "Like the devil" or "offspring of the devil" "Secretly an alien", because the privileged group won? Or polarized as "Saved luckily by white people." but it's OK, because it's Adoption to have the rhetoric. I sure don't. Fuck that. Reversing the wrong rhetoric about your group is really much harder than prevention. Work intersectionally. (AKA, don't be JK Rowling and fuck up every diversity group and then throw a fit and then forget as trans activists that she started with racism with that anti-trans tweet. Just fucking don't forget she was hating on Black trans women and had a huge pattern of racism and ableism before that point. It wasn't just about you white trans folks and then she "suddenly turned".)

"Good" Acting

i have a theory that a lot of people say acting is "good" when they're emotionally moved by it, and a lot of cishet white people have a lifelong habit of not listening or empathising when minoritised people speak, so minority actors get called "bad" even when they display some pretty fucking amazing technical skill

[filamentzine]

Pink Maggit

Α piece of music that needs to be played loud

Pink Floyd - Marooned

A piece of music that moves you forward

Mogwai - Take me somewhere nice

A piece of music that gets stuck in your head 

Michael Jackson - Billie Jean

A piece of music that makes you want to dance

Joey Beltram - Energy flash

A piece of music that makes you feel badass

The Prodigy - Break & Enter

A piece of music that you remember from your childhood 

Fatboy Slim - Jin Go Lo Ba

A piece of music that reminds you your hometown

Μεθυσμένα Ξωτικά - Όλα κάνουν κύκλους

The piece of music you’ve listened to the most

Deftones - My own summer (Shove it)

Pink Maggit is an electro synth project based in Athens. He explores the moment and his feelings, through minimal waves, hard grooves and eerie synths that can make you dance or get lost in them. His numerous influences allow him to jump from genre to genre, fully focusing on what matters most -here and now. In 2023 he self released his debut album “Midnight Sun” which was later released as a vinyl via Veego Records in 2024.

https://www.instagram.com/thepinkmaggit/

https://www.facebook.com/thepinkmaggit

https://veegorecords.com/product/pink-maggit-midnight-sun/

[sleepycap]

Fatboy Slim - Palookaville (2004)

An okay album, some good tracks in here.

Favorite Tracks: Don't Let the Man Get You Down, Wonderful Night, Put It Back Together, Mi Bebé Masoquista, North West Three, The Journey, Jin Go Lo Ba, Song for Chesh

[memorableconcerts]

SANTANA at Estádio José Alvalade - Lisbon - Portugal

Sábado 27 de Julho de 1991

1ª Parte -  Happy Mondays e Salif Keita 

1991 Tour

Setlist

Mandela

Life Is for Living

It's a Jungle Out There

Somewhere in Heaven

Batuka

No One to Depend

We Don't Have to Wait

Black Magic Woman / Gypsy Queen

Oye cómo va (Tito Puente cover)

Samba pa ti

Right On / Get On

Savor

Agua que va caer

Blues for Salvador (Carlos Santana song)

Peace on Earth ... Mother Earth ... Third Stone From the Sun

Angels All Around Us

Spirits Dancing in the Flesh

Soul Sacrifice

Europa (Earth's Cry, Heaven's Smile)

Jin-go-lo-ba (Babatunde Olatunji cover) (Jingo)

[imoim36news]

Nam diễn viên Lee Byung Hun gần đây đã thể hiện sự gắn bó của mình với công ty BH Entertainment bằng cách gánh vác mọi chi phí cho một hội thảo của công ty được tổ chức tại Đà Nẵng. Hội thảo có sự tham gia của khoảng 62 người, bao gồm cả Lee Byung Hun, cũng như các diễn viên tên tuổi khác như Han Hyo Joo, Kim Go Eun, Lee Jin Wook, Park Bo Young, Lee Ji Ah và Choo Ja Hyun, cùng với các giám đốc điều hành và các nhân viên. Hội thảo diễn ra từ ngày 9/5 và kéo dài trong bốn ngày ba đêm. Nó được tổ chức để kỷ niệm 17 năm thành lập BH Entertainment.Lee Byung Hun cùng dàn sao Hàn đình đám tới Đà Nẵng. (Ảnh: IT).Trong bài đăng Instagram mới nhất của mình, Lee Byung Hun đã chia sẻ một bức ảnh của anh ấy với công ty BH Entertainment trong chuyến đi của họ. Theo Edaily, nam diễn viên 53 tuổi tổ chức chuyến đi cùng với hơn 60 người gồm nhân viên và diễn viên trực thuộc công ty đến Đà Nẵng từ tuần trước. Họ tham gia kết hợp hoạt động team building với kỳ nghỉ 3 ngày tại Đà Nẵng.JTBC tiết lộ, Lee Byung Hun đã đề xuất ý tưởng cho chuyến đi đặc biệt này vào cuối năm ngoái và công ty đã ủng hộ. Tuy nhiên, họ đã mất khá nhiều thời gian để chuẩn bị, lên kế hoạch và điều phối lịch trình khi có hơn 60 người, bao gồm cả những diễn viên hạng A liên tục bận rộn với lịch trình dày đặc, tham gia. Truyền thông cũng tiết lộ diễn viên "Quý ngài ánh dương" đã lo toàn bộ chi phí cho chuyến sang Việt Nam. Con số ước tính lên tới khoảng 100 triệu won, tương đương 75.000 USD. Trên Instagram, anh đã đề cập rằng đây là một hội thảo mà mọi người ở BH Entertainment đều mơ ước.Theo đề nghị của Lee Byung Hun, tất cả thành viên của gia đình BH đều tham dự hội thảo, ngoại trừ trường hợp vướng lịch trình quay phim. Choo Ja Hyun, đang ở Trung Quốc để quay "Đạp gió 2023" cũng sang Việt Nam tham gia sự kiện này.Lee Byung Hun tài trợ hoàn toàn cho chuyến đi. Ảnh: IT.BH Entertainment được Lee Byung Hun thành lập từ năm 2006 và hiện là công ty quản lý của hàng trăm diễn viên nổi tiếng. Một số nghệ sĩ khác của công ty như Han Ga In,...

[odk-2]

Babatunde Olatunji - Jin-Go-Lo-Ba (Drums of Passion) (1960)                                    (AKA "Jingo") Babatunde Olatunji from "Olatunji!: Drums of Passion" LP (2002 CD Re-Release)

"Jin-Go-Lo-Ba"was the most popular song on the album ("Drums of Passion"), and sold millions of copies as a single. - Wikipedia

Afrobeat

JukehostUK (left click = play) (320kbps)

Personnel: Babatunde Olatunji: Vocals / Drums / Percussion Baba Hawthorne Bey: Drums / Percussion Roger "Montego Joe" Sanders: Drums / Percussion Taiwo DuVall: Drums / Percussion

Chinyelu Ajuluchuku: Vocals Ida Beebee Capps: Vocals Afuavi Derby: Vocals Akwasiba Derby: Vocals Helen Haynes: Vocals Dolores Oyinka Parker: Vocals Delzora Pearson: Vocals Ruby Wuraola Pryor: Vocals Barbara Gordon: Vocals Helena Walker: Vocals Louise Young: Vocals

Produced by Al Ham

Recorded: @ The Columbia Records Studios on August 14th and 20th and October 1, 1959 in New York City, New York USA

Released on February 15, 1960

[wonderkat11]

Jin Go Lo Ba: Like a BAKA

[maikingsenseofit]

Canonical evidence of Mai and Zuko’s unrelenting love for each other

I’ve seen many claim that in Zuko’s flashbacks we see Mai have a crush on Zuko, but that feeling wasn’t shown to be reciprocated, thereby emphasizing that their relationship came out of nowhere and was a late stage addition by the creators. But there are several details that hint otherwise, the most prominent one being that Mai was mentioned in Zuko’s flashbacks, was associated with happy memories with his mother, and was important enough to him to be an integral aspect of his childhood. And also, Zuko blushing back when talking about knocking an apple off of a head, while practicing his knife skills in front of Azula.

And of course when Azula mentions how Zuko and Mai have had childhood crushes on each other in the Going Home Again comic:

Speaking about the Going Home Again comic, Zuko explicitly mentions that “he missed seeing this side of Mai” - in reference to her carefree, outgoing emotions. Zuko’s banishment, Mai’s isolation from those her own age, and her repressive household have caused her to become a shell of what she once was. But she will always fondly remember the times she used to throw mud in Zuko’s face.

Now let’s talk about the Legacy of the Fire Nation book, which is surprisingly cited as “anti-Maiko” “pro Zutara” material as some users on the app. (As a separate aside, Iroh absolutely understands the powerful friendship between Zuko and Katara, and the other Gaang inserts can be interpreted as equally romantic (Was that all you were, or were you something more - something Iroh said about Sokka and Zuko)).

Also keep in mind the author Joshua Prett stated that he wasn’t allowed to introduce any new plot resolutions, which is why Izumi and Mai are mostly omitted save for this one golden piece of information.

I’ve seen many try and use this excerpt as hard evidence that Iroh absolutely detested the idea of mai and zuko. But the thing is, Iroh is explicitly referencing his and Zuko’s journey involving Ba Sing Se and the search for the Avatar, which is why he mentions the desert, Zuko having trouble sleeping, and finally, his relationship with Mai.

Although it’s a small mention, it’s an important one. It shows that throughout his exile, Zuko was thinking about Mai. So much so that he confided in Iroh about it.

Ive seen some try and make the argument that “living through something” means an explicit negative connotation. But let’s objectively analyze this. When Zuko feels something, he feels it deeply. So much so that the people around him are also enveloped in those feelings, like we saw in The Beach. Zuko missing and agonizing over Mai, even when she’s not there, and so much so that Iroh lives through his feelings, shows that she’s always been on his mind. Living through something means vicariously experiencing the other persons thoughts and emotions.

My personal, not so head canon: When Iroh suggests Zuko go on a date with Jin to experience being a normal teenager and shake him from his pessimism, it’s quite in line with canon to interpret this as him wanting to stop pining over Mai. Of course, that doesn’t work mainly because of Zuko’s guilt and hesitation (he will never be a normal teenager, so why the pretense) but also because Zuko isn’t over Mai. I mean we saw how he acted when Mai broke up with him and dated Kei Lo :)

Couple this with the fact that in the uncut script of the Avatar the Last Airbender cartoon, Mai gave Zuko a heart shaped rock for him to hold onto during his banishment. (Cr. Minireklamo)

But perhaps the most amazing part is when Mai is shown to be enjoying tea and pai sho with the rest of the Gaang members. The Gaang is an undeniable, essential part of Zuko’s life. He chose to share that part with the love of his life. And mai, despite being reserved and reluctant to enjoy things most times, is an active participant in this intimate part of Zuko’s life. She’s engaging with his friends. She doesn’t scoff or turn away. Zuko’s friends become her friends. She is so important to Zuko that he chooses to share this happy, comfortable moment with her. They might be from different backgrounds, opposite sides of the war, but they all love Zuko. Also Mai and Aang are besties by the way, and Aang (Zuko’s best friend and most important ally, and the most important part of his redemption and reckoning) canonically describes Mai as Zuko’s soulmate.

“I’m happiest of all for Zuko. He is the new firelord. And it seems he found a real soulmate in Mai. She’s so much prettier now that she smiles.”

Being a fan of Mai and Maiko means you are at a distinct disadvantage - Mai is not one of the main members of the Gaang and therefore has 1/8th of the screen time of everyone else. She’s not subject to the same emotional, groundbreaking journeys that the rest of the Gaang embark on with Zuko. Very little is shown of her childhood and upbringing, so the audience is left to reconcile with what we are given in canon. While the show is limited, the Avatar universe expands a great deal on the budding relationship between two childhood best friends, lovers, and soulmates. It is up to the reader individually to determine how much they want to recognize in their interpretations - but it does not change that in the canonical universe of Avatar the Last Airbender, Mai and Zuko were destined to be together and forever. PS: Seeing as fans of other ships pick up what they want to from these in universe materials as insurmountable evidence for their ship, I want to see more Maiko fans appreciate the nuggets of information we have from them.

The point is, Mai and Zuko were never written by the creators to be a random ship that suddenly popped up in Zuko’s life. We see explicit evidence of their reciprocated crushes in the show itself. We see that Mai was such an integral aspect of Zuko’s happy childhood that she’s mentioned in his fondest and deepest memories. She was introduced to the show outside of her relationship with Azula , in contrast to Ty Lee, who we see only when she joins Azula’s team. Her character was given arguably one of the coldest, rawest lines in the whole show. In universe canonical materials suggest that Mai never stops loving Zuko, Zuko never stops loving Mai, and their breakup was only temporary, given how Bryke themselves said “I wish we could turn the comics into an in between show. We were going to show a mini clip of old Zuko and Mai.”

[444namesplus]

aba abe abh abi abo abu acha ache achi acho achu ada ade adh adi ado adu afa afe afh afi afo afu aga age agh agi ago agu aha ahe ahi aho ahu aja aje aji ajo aju aka ake akh aki ako aku al ala ale alh ali alo alu am ama ame ami amo amu an ana ane ani ano anu apa ape aph api apo apu ar ara are arh ari aro aru asa ase ash asi aso asu ata ate ath ati ato atu ava ave avi avo avu az aza aze azh azi azo azu ba bal bam ban bar baz be bel bem ben ber bez bha bhe bhi bho bhu bi bil bim bin bir biz bo bol bom bon bor boz bu bul bum bun bur buz cha chal cham chan char chaz che chel chem chen cher chez chi chil chim chin chir chiz cho chol chom chon chor choz chu chul chum chun chur chuz da dal dam dan dar daz de del dem den der dez dha dhe dhi dho dhu di dil dim din dir diz do dol dom don dor doz du dul dum dun dur duz eba ebe ebh ebi ebo ebu echa eche echi echo echu eda ede edh edi edo edu efa efe efh efi efo efu ega ege egh egi ego egu eha ehe ehi eho ehu eja eje eji ejo eju eka eke ekh eki eko eku el ela ele elh eli elo elu em ema eme emi emo emu en ena ene eni eno enu epa epe eph epi epo epu er era ere erh eri ero eru esa ese esh esi eso esu eta ete eth eti eto etu eva eve evi evo evu ez eza eze ezh ezi ezo ezu fa fal fam fan far faz fe fel fem fen fer fez fha fhe fhi fho fhu fi fil fim fin fir fiz fo fol fom fon for foz fu ful fum fun fur fuz ga gal gam gan gar gaz ge gel gem gen ger gez gha ghe ghi gho ghu gi gil gim gin gir giz go gol gom gon gor goz gu gul gum gun gur guz ha hal ham han har haz he hel hem hen her hez hi hil him hin hir hiz ho hol hom hon hor hoz hu hul hum hun hur huz

iba ibe ibh ibi ibo ibu icha iche ichi icho ichu ida ide idh idi ido idu ifa ife ifh ifi ifo ifu iga ige igh igi igo igu iha ihe ihi iho ihu ija ije iji ijo iju ika ike ikh iki iko iku il ila ile ilh ili ilo ilu im ima ime imi imo imu in ina ine ini ino inu ipa ipe iph ipi ipo ipu ir ira ire irh iri iro iru isa ise ish isi iso isu ita ite ith iti ito itu iva ive ivi ivo ivu iz iza ize izh izi izo izu ja jal jam jan jar jaz je jel jem jen jer jez ji jil jim jin jir jiz jo jol jom jon jor joz ju jul jum jun jur juz ka kal kam kan kar kaz ke kel kem ken ker kez kha khe khi kho khu ki kil kim kin kir kiz ko kol kom kon kor koz ku kul kum kun kur kuz la lal lam lan lar laz le lel lem len ler lez lha lhe lhi lho lhu li lil lim lin lir liz lo lol lom lon lor loz lu lul lum lun lur luz ma mal mam man mar maz me mel mem men mer mez mi mil mim min mir miz mo mol mom mon mor moz mu mul mum mun mur muz na nal nam nan nar naz ne nel nem nen ner nez ni nil nim nin nir niz no nol nom non nor noz nu nul num nun nur nuz oba obe obh obi obo obu ocha oche ochi ocho ochu oda ode odh odi odo odu ofa ofe ofh ofi ofo ofu oga oge ogh ogi ogo ogu oha ohe ohi oho ohu oja oje oji ojo oju oka oke okh oki oko oku ol ola ole olh oli olo olu om oma ome omi omo omu on ona one oni ono onu opa ope oph opi opo opu or ora ore orh ori oro oru osa ose osh osi oso osu ota ote oth oti oto otu ova ove ovi ovo ovu oz oza oze ozh ozi ozo ozu pa pal pam pan par paz pe pel pem pen per pez pha phe phi pho phu pi pil pim pin pir piz po pol pom pon por poz pu pul pum pun pur puz ra ral ram ran rar raz re rel rem ren rer rez rha rhe rhi rho rhu ri ril rim rin rir riz ro rol rom ron ror roz ru rul rum run rur ruz sa sal sam san sar saz se sel sem sen ser sez sha she shi sho shu si sil sim sin sir siz so sol som son sor soz su sul sum sun sur suz ta tal tam tan tar taz te tel tem ten ter tez tha the thi tho thu ti til tim tin tir tiz to tol tom ton tor toz tu tul tum tun tur tuz uba ube ubh ubi ubo ubu ucha uche uchi ucho uchu uda ude udh udi udo udu ufa ufe ufh ufi ufo ufu uga uge ugh ugi ugo ugu uha uhe uhi uho uhu uja uje uji ujo uju uka uke ukh uki uko uku ul ula ule ulh uli ulo ulu um uma ume umi umo umu un una une uni uno unu upa upe uph upi upo upu ur ura ure urh uri uro uru usa use ush usi uso usu uta ute uth uti uto utu uva uve uvi uvo uvu uz uza uze uzh uzi uzo uzu va val vam van var vaz ve vel vem ven ver vez vi vil vim vin vir viz vo vol vom von vor voz vu vul vum vun vur vuz za zal zam zan zar zaz ze zel zem zen zer zez zha zhe zhi zho zhu zi zil zim zin zir ziz zo zol zom zon zor zoz zu zul zum zun zur zuz

[lightdancer1]

Sorry for asking if you already dealt with this, but what are your HCs for post-war Hama, Dai Li/Long Feng, Song, Lee the village kid, Jin, Zuko's crew members/how Zuko dealt with the legacy of Koizilla, & the spread of bloodbending. Because I read the ATLA comics in part to find out answers to these questions but alas I found no answers, which is maddening considering they invented a lot of plot lines that I though were unnecessary but failed to give resolution to the ones created in the show.

In the Continuation verse?

Hama gets to reform and become an elder of the Southern Water Tribe. Katara makes a very specific point to seek her out, to give her a chance to return and it's a part of her own growth arc (and I actually intend to do a three-shot in the anthology collection about that because I don't like boiling down an entire world to one family's dysfunctional drama). Hama deserved better and she damned well gets it. This is at least part of what shapes Katara's attitude to Azula in the story though it hasn't come up yet because the two haven't interacted much.

The Dai Li have a bit of a schism where there's plenty of people who think that restoring Kuei was a mistake and as long as Azula was dead they had nowhere else to go. When she pops back up alive again, all of a sudden things go pear-shaped from a direction nobody anticipates and I have plans with that. Long Feng rots in obscurity as betraying his country to a fourteen year old, even THAT fourteen year old, discredited him for the duration. Kuei's cruelty to him showcases the start of his growth into the autocrat he becomes and he's the ultimate first target for an execution. That also comes up in a later chapter.

Zuko makes a point to give Song and her family restitution for stealing the ostrich horse in one of his first good gestures to try to make peace with people, which is going to be a one-shot in the anthology noting that he was in fact actually doing things other than flailing around fearing Azula for slightly over a decade. It's the first stirrings of the man Zuko grows into being, though he doesn't follow up on this step nearly as much as he could.

Lee has an interesting time when the guy he reacted badly to turns out to be the Fire Lord and then the whole scandal with what happened to Azula comes out. There's elements here that will show up in both the anthology and the main story and too much details on it will spoil things past a point.

Jin is living her best life working for Iroh in his shop and gets to live in peace remarkably untroubled by the Ba Sing Se Riots. No small part of Iroh's growth is that he actually defended the lives of people in the Ba Sing Se riots by his reputation alone and actually gives more to the city than he understood at that time. 'People' includes Jin's entire family, though he hasn't had a chance to speak about it yet. She's mentioned and the Ba Sing Se Riots and this story will appear in the anthology in a future installment in a Day in the Life of General Iroh storyline.

Koizilla is...complicated and let's just say that no small part of the growth of what becomes the Red Lotus and the Beware the Superman attitude applied to the Avatar is the dawning horror on the part of the other nations that if the Avatar and the Spirit World decree for reasons of their own that they're the baddies, now, that something like that could happen to them. Zuko's casual obliviousness to mishandling everything about a situation that actually did leave quite a few scars for him mentally is part of what's fueling the crisis he faces eleven years into the story. He did nothing and managed to do worse than if he had done something, however ineffectual.

In all of my stories Hama was bullshitting unknowingly when she said she invented Bloodbending, the technique is a known dirty trick of Waterbending and in the devastated progressive loss of the Southern Water Tribe's Waterbenders she sincerely did believe she invented it because much was lost, seemingly never to return. It didn't so much spread as the stories from the war meant that it went from dirty secret to Waterbenders' means of retaliation to the smugness of the Fire Nation. Until Amon's daddy invented a means to do it absent a full moon, however, the prospect of doing so was known to only one other person in the world and she said sweet fuck all about it hoping nobody else would discover how to do it (and that person is Katara).

[bosses-stay-flawless]

Jin-go-lo-ba ...

"Jin-go-lo-ba" (or "Jingo") is a song by Nigerian percussionist Babatunde Olatunji, featured on his first album Drums of Passion (1959).

Genre: Afrobeat

Songwriter(s): Babatunde Olatunji

Producer(s): Al Ham

Label: Columbia