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mellxncollie · 6 months ago

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Part 2 — this time with a focus on the flashbacks

(Check out the first post for some background info that will be useful)

When we’re looking at the cinematography of any piece, once we’ve established what the norm is (which is the use of anamorphic lenses, as per the last post) we can then look to see where it diverges. As far as I can tell, the only part of Dead Boy Detectives that doesn’t use an anamorphic lens is Edwin’s flashback scene.

Now this is particularly interesting since not only is it filmed with a spherical lens, but it also is the only scene with a different aspect ratio, and the only scene in black and white. Everything about this scene is glaringly different. The easy and obvious reason is that it sets this scene apart as something important to pay attention to, as well as emphasizing the difference in the time period. But I want to highlight how exactly it does this since it is quite clever.

It also raises the question: Why not film Charles’ flashback scenes differently?

Like last time, let’s start with a review of history and technical information.

What is an aspect ratio?

This is just the ratio of the width to height of the frame. 1:1 is a square, whereas 2:1 is a rectangle twice as wide as it is high. In film, aspect ratios are usually listed as a ratio of x:1, so you get common formats like 1.85:1 and 2.39:1 (the second being a super-widescreen format, i.e. a long rectangle). Other common ratios are listed with different numbers, like 4:3 and 16:9. Any time I write an aspect ratio with other numbers, I’ll also list it at least once with the x:1 format so you can compare things easily.

What are some common aspect ratios and what have the standards been across the past 100+ years of film and television history?

Brief history of aspect ratios in Film

The original silent films were mostly filmed in 4:3 (1.33:1). This aspect ratio persisted until the late 20s/early 30s when the Academy Ratio, 1.375:1, was introduced and somewhat standardized (at least in the USA) until the 50s. Then, widescreen became pretty popular and was used to draw audiences to the theaters. At this point, we get tons of variation in aspect ratios in films. But, for American theaters, common projections are 1.85:1 (which became super common) and 2.40:1 or 2.39:1, whereas in some European theaters, 1.66:1 is a more common ratio.

Some other common ratios deal particularly with 70mm film:

Standard 70mm film is usually 2.2:1. However, using anamorphic lenses will create a higher aspect ratio, and unless using a specific format common in the 50s and 60s (Todd-AO), this wasn’t often the aspect ratio that viewers would see. (The Sound of Music was shot with Todd-AO in 2.2:1, but until recently, most people only saw the general release in 35mm, which had a different aspect ratio)

IMAX, which is 1.43:1 (if IMAX is shot on film and not digital, it uses 70mm film)

Brief history of aspect ratios in Television

Pretty much all televisions until around the 1990s-2000s used 4:3, and broadcasters would show content in that aspect ratio. If a movie was broadcast over TV, sometimes there would be letterboxing (black bars), but pan-and-scan was common, where they would crop the movie to the 4:3 ratio, and pan around to wherever the action was happening. Starting in the 90s, widescreen televisions started to gain traction, and the 16:9 (1.77:1) format prevailed, and TV broadcasting had some more wiggle room for aspect ratio.

**Side note: Computers are often at this ratio, so if you watch older TV shows on your laptop, you’ll probably see pillarboxing (black columns on the sides), whereas newer movies are often shot with higher aspect ratios so they have letterboxing (black bars on the top and bottom)**

A note on widescreen

Movies are usually considered widescreen if they’re any higher than 4:3 (or 1.33:1). However, because of the aspect ratio of modern TVs and computers, and the even higher aspect ratios of most smartphones in landscape mode, a lot of people (especially younger generations) won’t consider things “widescreen” until they’ve got a much higher aspect ratio.

Streaming and Aspect Ratios

A weird effect of streaming services, and in particular Netflix, was the rise of a new standard in aspect ratios, 2:1. It’s used in shows like Stranger Things. It’s widescreen enough that it feels cinematic but it displays well on lots of devices. There’s minimal letterboxing (or none) on your phone, and more letterboxing on your computer and TV, but not enough to seem like you’re watching a movie instead of a show.

Netflix (and Amazon) really like this aspect ratio. In 2017, one of the production requirement documents from Netflix stated that any aspect ratio greater than 2:1 had to be subject to further approval (though now they state “Aspect ratio choices should be discussed with Netflix for approval”). It’s become increasingly common, and these companies have a pretty set standard for 1.9:1 and 2:1. If we see those ratios on a streaming show it isn’t always a creative choice, similar to the way older TV shows were required to be in 4:3.

A brief reminder about lens types with some extra bits about the timeline.

That 2.39:1 aspect ratio that movies use? That’s the standard for anamorphic lenses (discussed in Part 1). Anamorphic technology was developed around 1915 (for military reasons), but wasn’t used for films until 1927, and didn’t become commonly used until the 50s.

So, with that, let’s look at Dead Boy Detectives.

Aspect Ratio

The whole show is shot with anamorphic lenses, but instead of a 2.39:1 ratio, they use a 2.2:1 ratio. This is a really interesting choice since it is an uncommon ratio. It’s more widescreen than Netflix shows (they started shooting before being acquired by Netflix though so we can ignore any impact Netflix may have had on this decision) but not quite the widescreen that anamorphic lenses typically use.

Movies and shows can use almost any aspect ratio today, but it is still common to stick to the standards. When they choose something else, it’s not because of technical limitations, but because of a creative choice.

The one caveat I have is that Doom Patrol used 2.2:1, so it’s possible that HBO and DC originally just chose this for continuity between the two, before the show was shifted over to Netflix and the Sandman universe. But for this post, I’m going to assume that they were sort of starting from scratch when choosing the look.

If we consider what a 2.2:1 ratio has been used for, and what viewers have been “trained” to associate it with, we end up with Todd-AO 70mm prints and a few others from the 50s and 60s. It’s the kind of aspect ratio you don’t see often unless you’re lucky enough to live near a theater with a 70mm film projector. There are a few notable movies shot in this aspect ratio: Lawrence of Arabia and 2001: A Space Odyssey. Some more recent movies that used 2.2:1 include Dunkirk, Tomorrowland, Nope, and the non-IMAX parts of Oppenheimer. It’s also occasionally used in recent TV, but not a ton, and not with many popular shows.

This is an aspect ratio used by large-format, high-budget movies. As mentioned in the previous post, anamorphic lenses are associated with a romanticized notion of “cinema” and this aspect ratio only serves to further that, associating Dead Boy Detectives with the limited pool of content made in this aspect ratio. It may be a TV show, but it’s being shot like a movie.

Another really interesting point that follows up on the previous post is the idea of using cinematography to enhance the sense of the supernatural and separate the characters from the normalcy of the real world. The aspect ratio is a bit unnatural too, which serves to complement and augment this.

Let’s briefly look at what the show would look like in different aspect ratios. As a baseline, this is the 2.2:1 aspect ratio that the show is in:

If they had gone for a 2.39:1, a very typical aspect ratio for the kind of lenses they’re using, it would look like this:

When we see things shot with anamorphic lenses, we’re used to seeing it in a frame like this one. Especially in shots like this with the dramatic lens flares, this is going to look and feel familiar to people who watch a lot of movies. It has more of that Star Trek (2009) look, and feels kind of glossy and polished.

Next up, we have 2:1, the aspect ratio popularized by Netflix. It’s a reasonable possibility that if this show had been produced by Netflix from the very beginning, this is what it would look like.

Over the past few years, this has become the “streaming platform” aspect ratio. With the extra vertical height, it’s got some extra space to breathe. We would get less of the background and more of the characters, especially since Dead Boy Detectives favors centered shots of single characters over group shots like this one.

Finally, I’ve got the scene in 1.85:1, a ubiquitous film aspect ratio, yet one that is not used often on TV.

This is considered to be standard widescreen and it’s a great aspect ratio. Given how many creative decisions in this show were made to emphasize the supernatural, this could have been another good option as an aspect ratio, since we’re not used to seeing TV shows like this. However, they’re using anamorphic lenses so this would have required a lot of cropping. Because of how the anamorphic lenses work, this would also necessitate a lot of additional attention during the shoot. If they had gone with 1.85:1, we likely would have gotten a show shot on sphericals instead.

So what about Edwin’s flashback?

This section is shot in 4:3 (1.33:1). It’s the only part shot in a different aspect ratio. Sure, changing the aspect ratio forces us to acknowledge the difference in time period, but why exactly does it work so well?

Remember the history part? 4:3 was used for most of the early silent films. If we are to consider the “historical accuracy” of shooting the different time periods in this show, anamorphic lenses and 2.2:1 make sense for the present-day parts and Charles’ flashback.

But in 1916, widescreen cinema wasn’t a thing. If Edwin had ever been to see a movie while alive, it would have been in 4:3. The first time he would have ever gotten to see something in widescreen (if we assume he watches any movies at all) would be after he escaped Hell.

Using this aspect ratio is not just a vague decision that a lower aspect ratio and black & white looks older. It is, like many other aspects of the show, historically informed. They could have used the academy ratio here, but they didn’t. They used 4:3.

Not only does the aspect ratio switch for this scene, but also the height of the image changes.

This transition also sort of mimics the breathing effect of anamorphic lenses:

Something you may not know about how Netflix usually works is that regardless of the aspect ratio of the picture, the video file you see is part of a larger container, which is usually 16:9 (1.77:1). The black bars on top and bottom are part of the file, as shown in this screenshot of how it looks when you load up some screencaps in photoshop.

If you make gifs, edits, or are otherwise just used to having video files you are probably familiar with this. The Dead Boy Detectives files have letterboxing that is cropped out whenever people make fan content with it, whereas if you have a file for an independent movie, it usually does not have those black bars. Those black bars being part of the file make this transition possible.

We don’t usually realize that the container extends beyond the picture. For all we know, that’s the edge of the frame. But then it changes and forces us to reconsider what we previously thought to be true. Breaking out of what we think to be the image height is jarring, especially considering that this is the only time it happens (other than the brief flashbacks to the same footage later in the show).

Here’s a mockup of what it would look like if they kept the same image height, and just moved from 2.2:1 to 4:3 without expanding vertically. I find that it doesn’t have quite the same effect.

This would look so cool if it was being shown at a movie theater on a huge widescreen, but we’re not watching this show in theaters. We’re watching it on screens where this would make it look small; what they do instead retains the feel of watching something big and cinematic.

So back to the actual transition:

In breaking out of the perceived container, it’s as if it were breaking the fourth wall, an acknowledgment of the video’s format and its true container. This story is addressed to the audience in a way that the rest of the show is not, and it uses the aspect ratio to let us know that.

Spherical Lens

(I would highly recommend you read pt 1 if you haven’t already)

Edwin’s flashback is not only the sole scene with its own aspect ratio, it’s also the only scene shot with a spherical lens. Like the aspect ratio, this is a historically informed choice. Anamorphic lenses technically existed during the last year or two of Edwin’s life, but movies were not being shot on them.

How do we know that a spherical lens is being used, and how does this affect the show?

One of the quickest ways to identify the lens is to look at the shapes of the bokeh. There’s not much bokeh in the flashback, so I apologize for the intensity of my first example. But here, look behind Edwin’s head, where the lights from above reflect on the wet basement floor. They’re all circles, instead of the ovals that we get with the anamorphics.

The lens flares are also really different. Remember that the anamorphic lens flares are horizontal lines. Spherical lenses don’t do that, but they can produce lots of different kinds of lens flares. In this shot, the flashlight pointed at the lens lets off lines in lots of directions, kind of like sun rays.

This shot has another cool flare, in much more detail this time:

The next shot shows us more of the circular bokeh and another kind of lens flare.

For the bokeh, look at the lights on the ceiling as well as the corners of the out-of-focus architectural details (the semi-arches).

The lens flare here is the bouncing, blurry circle near the middle, as well as the brighter shape near the center bottom.

We can then look at the things that are not different, but absent when using the spherical lens: barrel distortion and focus falloff.

In this example, look at the windows in the background, as well as Edwin’s chair. An anamorphic lens would distort the vertical lines, bending them into a gentle fisheye. It would also make that chair and the lines of the window frames a bit blurry, as they’re close to the edges of the frame. Instead, the lines are straight and clear throughout the whole shot.

In this next example, not only do we get a great view of the lack of focus falloff, with clear lines throughout the shot, but we can see more of the difference in perspective and distortion of lines.

You may notice that the windows and doors are not perfectly straight up and down. But is this barrel distortion? If there was barrel distortion, the walls would curve back towards the center of the frame at the top.

Spherical lenses are often the ‘default’ lens. They’re wonderful and used in a lot of media because they are neutral. They distort less, thus representing the world closer to how it actually is. If we consider the anamorphic lenses in the rest of the show being used to enhance the sense of supernatural and story, changing to a spherical lens enhances the sharp reality. This is Edwin, alive.

The image breaks out of its perceived container, reaching out to the audience, and then changes the lens to be more ‘real.’ In these two changes, not only do we have a more historically accurate image, but it's as if the creators are issuing a warning to us. Maybe the demon isn’t real, but bullies are. Kids can be cruel. Classmates hurt their queer peers. This is not fantasy, and this is as true in 1916 as it is today.

Using a spherical lens in this instance, juxtaposed to the rest of the show, is a dramatic shift to make, as it alters just about everything in the image. In using a less distorted picture, for this, we are reminded of reality and life and the mundane.

On Charles’ Flashback (and an experiment)

Edwin’s flashback got the Cinematography Treatment™ but what about Charles’ flashback? It’s shot with the same aspect ratio and lens as the rest of the show. From the perspective of historical accuracy, this is fine. It’s a scene that could have been shot in 1989, cinematographically speaking. The reason I suspect that it wasn’t given any stand-out look is because, unlike Edwin’s flashback, Charles’ flashback scenes are closely tied to the present-day plot. They aren’t just scenes of Charles remembering things, they are a direct result of the Night Nurse’s “memory magic.”

Maybe changing something here would separate us too much from the plot. Both flashbacks (in episodes 4 and 7) are induced for a specific purpose related to other present-day characters. It wouldn’t make as much sense to have them be standalones.

However, if I were simultaneously the showrunner, screenwriter, and cinematographer, I would give Charles a standalone flashback scene. In that flashback scene, here’s how I would shoot it:

There would be a much deeper depth of field/smaller aperture than the rest of the show, so the background would be more in focus.

There would be harder, less-diffused lighting. This would also impact the coloring, and I’d maybe add some more saturated lights.

I’d try to make an argument to shoot that scene on film (and then argue to do Edwin’s on film too).

There would be a different aspect ratio; 2.2:1 isn’t out of the realm of possibility for the 80s, but it wasn’t common, and it wouldn’t have the kind of impact I’m searching for if it didn’t change.

There are three different aspect ratios I would choose between, and the lens would change depending on my pick.

I’ve made some mock-ups for how these would look, though I cannot adjust things like bokeh and depth of focus, and I can only do so much with the lighting.

2.39:1 with anamorphic lenses (specifically Panavision lenses) This is a super standard widescreen, with a popular lens from the time. We don’t have lens info for the rest of the show, but I think they’re using Panavision anamorphics anyway so the lens may not be a change. Big, blockbuster action movies from the 80s would often be shot in this (perhaps most relevantly, Ghostbusters), and it’s a style that kind of faded in popularity in the 90s and 2000s, so it can have more of a retro look, especially if shot on film. One downside to this would be the aspect ratio change would not be as dramatic.

Movies from the 80s shot with this combo: Raiders of the Lost Ark (and other Indiana Jones movies), Star Wars: Episode V - The Empire Strikes Back (as well as Episode 4, which came out in the 70s. Episode 6 used the same ratio and did use anamorphic lenses, but not Panavision), Ghostbusters

1.85:1 and spherical lenses. This is also ‘widescreen,’ but the advantage of using this aspect ratio is that we could get another dramatic breaking of the image container, just like in Edwin’s flashback. It’s an incredibly common setup, so it’s not really unique, but it would look different from the rest of the show. Given how pervasive ultra-widescreen still is today, I think a lower aspect ratio would also ramp up the ‘nostalgia’ factor a bit. Using a spherical lens we’d end up with the same sense of stark reality that we get for Edwin’s flashback as well (the warning that kids are cruel, but this time to people of color), and I like the idea of that as a parallel.

Movies from the 80s shot with this combo: Back to the Future, Dirty Dancing, The Princess Bride, An American Werewolf in London, Clue, Another Country

1.66:1 and spherical lenses. This is a ratio that was used widely across Europe, but has never been a common ratio in the USA. However, by the 80s, filmmakers were going for a more widescreen look so it was fading from popularity everywhere. The 80s liked widescreen, so it’s maybe not the best pick for making a scene look “80s”. However, my main motivation for this ratio is that my personal picks for the most Edwin-coded and most Charles-coded queer films are both 80s films shot with a 1.66:1 ratio. We would also get the same benefits from using the spherical lens as I mentioned in the 1.85:1 section.

Movies from the 80s shot with this combo: Maurice, My Beautiful Laundrette, Law of Desire (La ley del deseo), and an honorable mention to Chungking Express, a 90s film that really exemplifies the kind of look I'm going for here

Giving Charles’ flashback a special treatment would probably do a lot to more firmly establish his character as a co-protagonist rather than a deuteragonist, which is definitely not the case but does seem to be how some people view him.

With the impact of the spherical lens and aspect ratio in Edwin’s flashback, the final two options for Charles flashback would be the closest in terms of echoing Edwin’s flashback, and would probably provide the most gravity and sense of crushing reality to the scene.

Setting a single scene (or two scenes) aside like this, with a unique aspect ratio, lens, and color grading (which I didn’t explore much for the Charles flashback), makes us consider a scene more independently from the rest of the show. Edwin’s flashback is a striking moment with a very different look, and that’s deeply memorable. It comes together to push how tragic and unjust Edwin’s story is.

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This concludes the planned portion of my cinematography analysis. I had a ton of fun researching and writing this (and making all the graphics) and I hope you all find this interesting/helpful/informative :)

Finally, I want to give another name drop to the cinematographers, Marc Laliberté, Craig Powell, and Pierre Gill. They’ve really nailed it from the very first episode to the last, and there’s so much intention and thought given to every aspect of how they shoot this.

#dead boy detectives #dbda meta #dbda #edwin payne #charles rowland #cinematography #dead boy detectives analysis #cinematography analysis #mygifs #dbdagifs

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the-jam-to-the-unicorn · 4 months ago

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The Zelensky Story (BBC)

Synpopsis

This definitive boxset series tells the extraordinary story of Volodymyr Zelensky, a comedian who played the president, then became the real President of Ukraine… Told across three episodes, the series charts Zelensky’s journey from young actor and entertainer to one of the most recognisable leaders on the planet, presiding over a nation at war with Vladimir Putin’s Russia.

Filmed over several trips to Ukraine, Series Director Michael Waldman is granted rare access to interview President Zelensky and First Lady Olena Zelenska, who speak in unguarded terms about their extraordinary lives. What emerges is a portrait of a young couple plunged into an extraordinary situation – childhood sweethearts who got married and rose to stardom, before being thrown into politics, and into the heart of the biggest invasion in Europe since World War II.

As well as interviews with the family and their inner circle, the series includes new accounts from world leaders including Boris Johnson, Nancy Pelosi, former UK Defence Secretary Ben Wallace, and Advisor to the President of Ukraine Mykhailo Podolyak, who each give dramatic first-hand testimony of their dealings with Zelensky – and Putin - in the lead up to a full-scale military invasion.

Combining exclusive interviews with extraordinary archive footage never before broadcast in the UK, the series sheds new light on the origins of the war in Ukraine and the two men at its epicentre: Vladimir Putin and Volodymyr Zelensky.

With unique access to Volodymyr Zelensky and Olena Zelenska, this episode charts Zelensky’s extraordinary journey from aspiring comedian to president of his country.

Opening with the collapse of the Soviet Union – an event which had a profound effect on Volodymyr Zelensky and Vladimir Putin in very different ways - it features rarely seen footage of Putin in the early 1990s describing the collapse of the USSR as a “tragedy”.

Alongside archive footage of a young Zelensky performing, his wife, childhood friends and former colleagues describe how Zelensky became a famous comedian both in Ukraine and in Russia, at one point cracking an early gag about Putin. He goes on to win Ukraine’s Dancing with the Stars, and becomes the voice of Paddington Bear.

In 2014 the Maidan Revolution sparks an initial political awakening in Zelensky. When he is asked to go on live TV, he chooses to speak out against the corrupt Ukrainian president and, extraordinarily, addresses Putin directly.

Zelensky goes on to produce and star in a hit TV show about an ordinary Ukrainian who becomes president of his country, called Servant of the People. It proves to be a remarkable foreshadowing.

As Zelensky’s star continues to rise, First Lady Olena Zelenska makes a jaw-dropping revelation - he didn’t tell her that he had decided to run for president in real life. She recalls how she discovered the news along with the rest of the nation, while watching TV. President Zelensky responds by looking directly down the lens and apologising to his wife. As the episode comes to a close, Mrs Zelenska reveals, for the first time, that she had a faint hope her husband would not win the election.

Episode 1 (The Comedian and The Dictator)

With unique access to Volodymyr Zelensky and Olena Zelenska, this episode charts Zelensky’s extraordinary journey from aspiring comedian to president of his country.

Opening with the collapse of the Soviet Union – an event which had a profound effect on Zelensky and Vladimir Putin in very different ways – to the Maidan Revolution sparking a political awakening in Zelensky, this episode explores his role as the Ukrainian president in the hit TV show Servant of the People and his decision to run for president in real life.

(September 4)

Episode 2

After the high of his election victory, Zelensky is forced to face political reality. Using in-depth interviews with Zelensky, his wife Olena Zelenska, and their closest advisors, the film puts the viewer inside the room as Zelensky grapples with what it means to be the leader of a country.

From Zelensky’s infamous phone call with Donald Trump to his only meeting with Vladimir Putin in Paris, the former comedian has a brutal initiation into the ruthless world of power politics. As Putin becomes increasingly belligerent and the drumbeat of war grows louder, Zelensky is under a huge amount of pressure. Is Ukraine prepared for war? Is Zelensky up to the job?

Episode 3

Opening in the first hours of the Russian invasion, this final episode follows explores how Zelensky used the skills he’d honed as an entertainer to galvanise people, as well as taking viewers inside Ukraine’s peace negotiations with Russia. And the Zelenskys reveal what happened in the first hours of the Russian invasion, open up about the realities of living through war and the difficulty of making life and death decisions.

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henrykathman · 2 years ago

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youtube

The Complete Amateur's Guide to Moomin

By popular demand, I have compiled every video in my 'Amateur's Guide to Moomin' into one convenient video, with additional footnotes, corrections, and a newly added section discussing the changes that have occurred with the Moomin series since the publishing of the original videos. Join me as I explore the series' history and its author, Tove Jansson, to discover what we can learn from this peaceful family of trolls.

Special thanks to @marsmombestmom for helping with the Swedish Translation and corrections.

Bibliography:

Augsburger Puppenkiste. Die Muminfamilie, ARD, 1959.

Boel Westin. Tove Jansson : Life, Art, Words : The Authorised Biography. London, Sort Of, 2014.

Bosworth, Mark. “Tove Jansson: Love, War and the Moomins.” BBC News, BBC, 13 Mar. 2014, bbc.com/news/magazine-26529309.

Box, Steve, et al. Moominvalley. Yle TV2 / Sky One, 25 Feb. 2019. 13 x 22 minutes.

Dębiński, Lucjan, and Maria Kossakowska. The Moomins, Episode 1-100, Se-Ma-For, 1977.

Gutsy Animation. “Moominvalley Crowdfunding Campaign.” Indiegogo, 8 Mar. 2017, indiegogo.com/projects/moomin#. Accessed 30 May 2023.

Jansson, Tove, and Elizabeth Portch. Comet in Moominland. Puffin Books, 2019.

Jansson, Tove, and Kingsley Hart. Moominpappa at Sea. Puffin Books, 2019.

Jansson, Tove, and Kingsley Hart. Moominvalley in November. Sort Of Books, 2018.

Jansson, Tove, and Thomas Warburton. Moominsummer Madness. Puffin Books, 2019.

Jansson, Tove. Finn Family Moomintroll. Translated by Elizabeth Portch, Puffin Books, 2019.

Jansson, Tove. Moomin: The Complete Tove Jansson Comic Strip. Drawn & Quarterly, 2010.

Jansson, Tove. Moominland Midwinter. Paw Prints, 2008.

Jansson, Tove. Tales from Moominvalley. Penguin Books Ltd, 2019.

Jansson, Tove. The Exploits of Moominpappa. Penguin Books Ltd, 2019.

Jansson, Tove. The Moomins and the Great Flood. Drawn & Quarterly, 2018.

Karjalainen, Tuula, and David McDuff. Tove Jansson: Work and Love. Penguin Books, 2016.

Lamppu, Eva. “Big in Japan, but Could America Love Moomin?” Reuters, Thomson Reuters, 6 Oct. 2009, reuters.com/article/us-moomins/big-in-japan-but-could-america-love-moomin-idUSTRE59501Z20091006.

Miyazaki, Akira, et al. “Tanoshii Mūmin Ikka.” Tanoshii Mūmin Ikka, season 1, episode 1-78, TV Tokyo, 1990.

“Moomin Characters as Tove's Self-Portraits.” Moomin, 15 May 2019, moomin.com/en/blog/moomin-characters-as-toves-self-portraits.

“Moomin Products in the 1950s.” Moomin, 15 May 2019, moomin.com/en/blog/moomins-in-the-1950s.

Moomintrivia. “Psychology of The Invisible Child.” Moomin Trivia, 10 June 2019, moomintrivia.tumblr.com/post/185491696931/psychology-of-the-invisible-child.

Moyle, Franny. Moominland Tales: The Life of Tove Jansson. Youtube, BBC 4, 2012, youtube.com/watch?v=tYgC0nKyF0g.

“The Story of How Moomintroll Was Born.” Moomin, 12 Jan. 2020, moomin.com/en/blog/the-story-of-how-moomintroll-was-born.

“Who Inspired Tove When Creating Moominmamma?” Moomin, 15 May 2019, moomin.com/en/blog/who-inspired-tove-when-creating-moominmamma.

“Who Inspired Tove When Creating Moominpappa?” Moomin, 15 May 2019, moomin.com/en/blog/who-inspired-tove-when-creating-moominpappa.

Yamazaki, Tadaaki. Moomin, Fuji TV, 1969.

YLE News. “Finland’s Most Expensive TV Show: New Moominvalley Series.” Yleisradio Oy, the Finnish Broadcasting Company, 25 Jan. 2019, yle.fi/a/3-10614150. Accessed 30 May 2023.

#video essay #moominhouse #moominvalley #the moomins #tanoshii moomin ikka #moomin #snufmin #moomin x snufkin #snufmumriken #little my #moomin video #comet in moominland #tove jansson #Youtube

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tamapalace · 9 months ago

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Tamagotchi Featured on Z-Chan and Shohei-San on Television Nishinippon in Japan

Remember when we saw Matt from Tamagotchi Center behind cameras at the Bandai Namco Cross store in Fukuoka? Well the full video is here, and it does not disappoint! The television program is titled “Z-Chan and Shohei-San”. A generation Z girl meets a television personality of Showa and Heisei era. Showa era means post-war to 1980’s, and Heisei is 1990’s to 2019 and they experience the retro culture together. This program was broadcasted on Television Nishinippon, a local television station based in Fukuoka, Japan.

First the video starts off with the hosts talking about Tamagotchi and it’s popularity, they then discuss how they’ve acquired a Tamagotchi Original that is rare with a white shell from 1996. It has not been used since then! They hatch their first Babytchi together.

They then interview Yuri Okamoto of the Bandai planning team of the Toy Division Global Toy Planning Department. Yuri reviews with them how Tamagotchi became such a huge hit, not only in Japan but globally. They ask Yuri where they can purchase Tamagotchi, and that’s where their journey to the Bandai Namco Cross Store in Fukuoka begins.

They travel to the Bandai Namco Cross store and see the Tamagotchi shop! They are then greeted by a store employee where they first see the new Tamagotchi Original shells, and they show the employee their white Tamagotchi Original from 1996. The employee gives them a tour of the store, and also shows off the new Tamagotchi Uni and the Tamavere and connectivity features.

Then we see Matt from Tamagotchi Center being interviewed. Matt informs the hosts that he fixes and repairs Tamagotchi’s. Matt shows off his Tamagotchi Study Club hat, and his Instagram profile, and the hosts are very impressed!

Both hosts were very impressed by the demand overseas from other countries, noting that Matt came from England, and that another shopper was from Switzerland.

Lastly, there is an interview with none other than Tama Girl herself, Erina Hasegawa in San Francisco with one of the largest collections ever. Erina explains how she starting collecting, and then showcases some of her shells. That certainly is a fraction of her entire collection. Erina even brings her three children in for an appearance and they ask about their mothers collection, which they respond is a little too big! We also get to see her husband who is supportive of her hobby and collection. Erina mentions that she desires one day to have a Tamagotchi museum, love that!

youtube

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tagirovo · 19 days ago

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A New Wallpaper Nickelodeon Backgrounds 2025

Nickelodeon, formerly known as Pinwheel, or C-3, (often shortened to Nick) is an American pay television network owned by Paramount Global through its Paramount Media Networks division. The channel's programming is mainly aimed at children and adolescents aged 8 to over, and primarily consists of original first-run television series, along with occasional broadcasts of theatrical and original made-for-television films, as well as other selected third-party programming.

Nickelodeon was first tested on December 1, 1977 as the C-3 channel of QUBE, an early local cable television system in Columbus, Ohio. Initially, the C-3 channel exclusively aired Pinwheel, an educational show developed by Dr. Vivian Horner; the series' success allowed Horner to expand the program into a full channel on national television. The channel, now named Nickelodeon, was launched nationwide as the first cable network aimed at children on April 1, 1979, with Pinwheel as its first program. The network was initially commercial-free and remained without advertising until 1984.

Today, Nickelodeon's programming runs Mondays - Thursdays from 6:30 a.m. to 9 p.m. ET/PT Mondays - Thursdays, Fridays from 6:30 a.m. - 10 p.m. ET/PT and weekends from 6 a.m. - 9 p.m. ET/PT (if including the Nick Jr. block) (the sign-off time varies with holidays and special programming). Since 1985, it has shared its channel space with Nick at Nite, a nighttime block that airs during interim hours and is treated by Nielsen as a separate channel for ratings purposes. As of 2018, Nickelodeon is available to over 87.1 million households in the United

Nickelodeon's first series Pinwheel was tested on December 1, 1977 as part of QUBE, a local cable system in Columbus, Ohio. The puppet-driven show, created by Dr. Vivian Horner, performed well with QUBE subscribers, and convinced the staff to launch a full children's channel, with Pinwheel as its flagship program.

On April 1, 1979, the channel launched to a national audience under the name Nickelodeon. During its broadcast day, it would air shows such as Pinwheel, Video Comics, America Goes-Bananaz, Nickel Flicks, and By the Way.

In 1980, Geraldine Laybourne joined the network as program manager, and would become vice president of Nickelodeon in 1984 before being named its president in 1989.

During the 1980s and 1990s, the channel became known for its green slime, originally featured in the network's first major hit, the Canadian sketch comedy show You Can't Do That On Television. The slime was then adopted by the channel as a primary feature of many of its game shows and special events.

In 1985, the "Silver Ball" logo (which debuted in 1981) was replaced with the orange shape-shifting logo (introduced in 1984) which would continue to be used for nearly 45 years.

On August 11, 1991, Nickelodeon introduced the Nicktoons, original animated shows created by the network. The first three Nicktoons were Doug, The Ren & Stimpy Show, and Rugrats. The shows became highly popular, and Nickelodeon Animation Studio continues to produce new Nicktoons to this day.

The most successful Nicktoon, SpongeBob SquarePants, premiered as a "sneak peek" on May 1, 1999. By 2004, it had become the most profitable program in Nickelodeon history. In 2002, a cable channel called Nicktoons TV was launched. Several original shows have premiered new episodes on the Nicktoons network.

In the early 2010s, Nickelodeon debuted the first two Nicktoons based on preexisting TV franchises, as opposed to new characters: Teenage Mutant Ninja Turtles and Winx Club. These two revamped shows were developed at Nickelodeon Animation Studio following Viacom's purchases of both properties. In 2019, Nick Animation debuted its first streaming-exclusive Nicktoon, Pinky Malinky, which was released on Netflix rather than television. Several months later, the studio announced a multi-year deal to produce animated content for Netflix, including new properties and spin-offs of previous Nicktoons.

This is a list of television programs broadcast by Nickelodeon in the United States. The channel was first tested on December 1, 1977, as an experimental local channel in Columbus, Ohio. On April 1, 1979, the channel expanded into a national network named Nickelodeon.

The first program broadcast on Nickelodeon was Pinwheel, a preschool series created by Dr. Vivian Horner, who also conceived the idea for the channel itself. At its launch, Nickelodeon was commercial-free and mainly featured educational shows. By 1984, the channel began accepting traditional advertisements and introduced more entertainment-focused programming. In January 1988, the network launched a weekday morning block for preschoolers called Nick Jr., which carried Pinwheel and other educational series. Around the same time, Nickelodeon started to invest in its own original animated shows, which eventually premiered in 1991 under the "Nicktoons" branding. Since then, the channel has consistently aired a mix of original live-action and animated titles.

Nicktoons is the brand name given to the animated television series that are produced and aired by Nickelodeon.

The first three "Nicktoons" (Doug, Rugrats, and The Ren & Stimpy Show) began production in 1990 before premiering as part of a 90-minute block on Sunday, August 11, 1991. This format was repeated every Sunday, eventually leading to the production of more Nicktoons at Nickelodeon Animation Studio's first facility in California.

1999 marked the premiere of SpongeBob SquarePants, which would later become the longest-running Nicktoon. During the same year, Nickelodeon opened a second animation facility in New York City. A spin-off channel named after Nicktoons was established on May 1, 2002.

In the 2010s, Nickelodeon Animation Studio began to produce Nicktoons based on pre-existing franchises that had been purchased by Viacom: Winx Club (in 2011) and Teenage Mutant Ninja Turtles (in 2012). Both shows had unprecedentedly high budgets for Nicktoons, and a large team of Nickelodeon veterans grouped to work on Winx Club. A series for a third acquired property, Garfield, is in development.

The Nicktoons brand also extends to other media, such as crossover games featuring the Nicktoon characters (including Nicktoons Unite! and the Nickelodeon Super Brawl series). Since 2001, the official slogan for the brand has been "[They're] Not just cartoons, they're Nicktoons".

Nickelodeon also operates language or culture-specific channels for various markets in different parts of the world, and has licensed some of its cartoons and other content, in English and local languages, to TV and cable stations such as KI.KA and Super RTL in Germany, RTÉ Two (English) and TG4 (Irish) in Ireland, YTV and Teletoon (English) and VRAK.TV (French) in Canada, Canal J in France, Alpha Kids in Greece and CNBC-e in Turkey.

As of 2007, the network also broadcasts in Southeast Asia, Japan, Australia, New Zealand, UK, Scandinavia, Ireland, Netherlands, Spain, Portugal, Belgium, Germany, Cyprus, India, Italy, Israel, Pakistan, Bangladesh, Turkey, Hungary, France, Russia, Latvia, Lithuania, Estonia, Romania, Africa, Latin America, and Brazil.

On October 11, 2006, Viacom's subsidiary MTV Networks Asia Pacific set up a new unit to manage Nickelodeon South East Asia TV based in Singapore. Nickelodeon was launched in Singapore and expanded its services in Southeast Asia, South Asia and Polynesia. Today, Nickelodeon Philippines and Nickelodeon India work independently. They started their new website Nicksplat.com in 2003.

In India, Nickelodeon is available on the One Alliance bouquet, through the Dish TV and Tata Sky DTH services. In the Philippines, it is available on SkyCable Gold, Silver and Platinum channel 45, Sun Cable channel 34 and Global Destiny Cable channel 21. In Hong Kong, it is available on now TV, while in Malaysia, it is available over Astro via Channel 60. In Singapore, it is available over Starhub Cable TV and in Indonesia, Nickelodeon is available on Astro Nusantara channel 14, and is also broadcast on Global TV, a free-to-air television channel.

A pan-Arabia version of Nickelodeon was relaunched in 2008, in countries such as Saudi Arabia, Egypt, the United Arab Emirates, and Lebanon. From the late 1990s until the mid-2000s, Nickelodeon was offered on the Showtime Arabia and Orbit satellite services until they were removed; today Nickelodeon Arabia is only available on Orbit Showtime (OSN) along with Nick Jr.

Several Nickelodeon and Nick Jr. programs can also be seen overseas on the U.S. military-exclusive AFN Family channel. Bubble Guppies NKJR

SpongeBob SquarePants

SpongeBob

Gary

Sandy

Patrick

Pearl

Squidward

Mr. Krabs

Plankton

Karen

Mrs. Puff

Larry

Tales of the Teenage Mutant Ninja Turtles

Leonardo/Leo

Michelamgelo/Mikey

Dontaello/Donnie

Raphael/Raph

April O'Neil

Splinter

Leatherhead

Wingnut

Genghis Frog

Ray Filet

Scumbug

Avatar: The Last Airbender & The Legend of Korra

Aang

Momo

Appa

Katara

Sokka

Toph

Zuko

Iroh

Azula

Suki

Korra

Asami

The Loud House & The Casagrandes

Lincoln/Linky

Rita

Lily

Lucy

Lana

Luan

Lori

Myrtle

Shelby

Clyde

Stella

Liam

Zach

Rusty

Ronnie Anne

Adelaide

Sid

Alisa

Rugrats

Tommy

Chuckie

Susie

Phil

Lil

Kimi

Reptar

Hey Arnold!

Arnold

Helga

Gerald

Phoebe

Grandpa Phil

Rocko's Moder Life

Rocko

Spunky

Heffer

Filburt

Rachel Bighead

Really Really Big Man

Invader Zim

Zim

GIR

Gaz

Monster High (2022)

Clawdeen Wolf

Frankie Stein

Craculaura

Lagoona Blue

Deuce Gorgon

Cleo de Nile

Clawd

Zokie of Planet Ruby

Ruby

Zokie

Transformers: EarthSpark

Optimus Prime

Bumblebee

Elita-1

Megatron

My Life As a Teenage Robot

Jenny

Tuck

Brad

Sheldon Lee

Nora

CatDog

Winslow

Lola Caricola

Danny Phantom

Sam

Tucker

ChalkZone

Rudy

Penny

Snap

El Tigre: The Adventures of Manny Rivera

Manny/El Tigre

Frida

The Angry Beavers

Norbert

Daggett

Treeflower

Bing

Barry

T.U.F.F. Puppy

Dudley

Kitty

Rock Paper Scissors

Rock

Paper

Scissors

The Ren & Stimpy Show

Ren

Stimpy

Powdered Toast Man

The Smurfs (2021)

Smurfette

Papa Smurf

Hefty

Brainy

Blossom

Garfield and Friends

Garfield

Odie

Nermal

Jon

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normanjdroid · 26 days ago

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The Critters (TV series)

The Critters, also referred to as The Critters Cartoon, was an animated television series featuring representations of the popular Critland rock band of the same name. It was originally broadcast from 1995 to 1999 on ABC in the United States, BBC 1 in the United Kingdom and CBC 1 in Critland, with reruns airing until 2002. Noteworthy for famously inconsistent art styles as well as featuring live action footage of the band, it broke records as being the most hatewatched series of 1995.

The series debuted on November 23rd, 1993, with new episodes airing until June 21st, 1999. A total of 50 serials (253 episodes) were produced. The series was shown on Saturdays at 10:30 AM EST until the fifth season in 1997, when it was moved to 12:00 PM EST. Reruns aired from 2000 to 2002 at 9:30 AM EST on Sundays. Each Serial is named after a Critters song, with a plot based loosely on its lyrics, and the titular song is also played in the final episode while 1-3 other Critters songs find their way into the various episodes within the serial.

The first 4 seasons depicted the band in their early "moptop-and-suit" look, which was also depicted in the 1994 live-action film A Hard Day's Night, even though the band had moved beyond it during the series' run. The producers attempted to acknowledge the band members' contemporary appearances with photographs of them in the series' title sequences during its production run until season 5 started in September of 1997 where the band was finally updated to their later period appearances.

(The Critters as depicted in the "Money Game" serial, originally aired January 14th - February 4th, 1997)

The Critters borrowed Richard Towe's fast-cutting directorial style of A Hard Day's Night and its 1995 follow-up, Help!. Cookie Yuki wrote in Television Cartoon Shows that the frenetic cuts "[gave] the series its breezy pace and comic impudence — which often had to compensate for some distressingly sloppy animation and infantile scripting".

The band members were not involved with the series' production beyond the use of their music recordings. Paul Frees voiced Bryan Bubbaphant, Casper Tripp voiced Crafty O'Corn while Lance Percival voiced Kickin McChicken and Catnap Starrkey.

Missing Episodes

After reruns had wrapped up in 2002, most film reels that contained The Critters Cartoon were either wiped or thrown out, resulting in missing episodes for the program.

As of October 2023, there are 97 episodes unaccounted for. The missing episodes span 26 serials, including 10 full serials. Most of the gaps are from seasons 3, 4, and 5, which currently lack a total of 79 episodes across 21 (out of 26) serials. By contrast, seasons 1, 2, and 6 are missing just 18 episodes, across 5 (out of 26) serials. Of these missing stories, all but three – "Tomorrow Never Knows", "Little Girl Go Home", and "I Just Threw Out The Love Of My Dreams" – have surviving clips. All episodes also have full surviving audio tracks.

As of September 2022, many of these missing serials have been officially "completed" by using animation and/or telesnap reconstruction, and then subsequently released commercially by CBC Worldwide.

While the Revolver - Shabby Road era is missing more episodes (53 as compared to 44 for the Please Please Me - Rubber Soul era), there are more Please Please Me - Rubber Soul era stories completely missing (6 as compared to 4).

Reconstructions

Tele-snap reconstructions

In addition to short video clips and audio soundtracks, for many episodes off-screen photographs − known as "tele-snaps" − exist, taken by photographer Dippy McSkippy. From the 1990s to the 2000s, McSkippy was hired by various interested parties to document the transmission of many television programmes filmed by the CBC in Critland, including The Critters. Typically the photographs were used for promotion, or as keepsakes for cast and crew in the days before home video recorders. In many cases, they form the only remaining visual record of missing television programmes.

(Kickin McChicken depicted in the "Little Girl Go Home" serial, 1995)

Animated episodes

In several cases, producers of the The Critters DVD range have commissioned animations synced to the programme's original audio tracks. Early commissions served to "complete" serials with only one or two missing episodes, allowing the full serials to be sold as a commercial product. Later, CBC Worldwide and CBC America commissioned a full animation of A Hard Day's Night for broadcast and commercial release.

(The Critters depicted in the "She Loves You" serial, 1994, in an animated reconstruction with some surviving original footage.)

Narrated links

In some cases missing episodes are bridged by narration to the camera – often by a surviving actor from the serial, occasionally in-character. For their VHS releases, No Reply and Help! were presented by actors Carole Ann Ford and William Russell – while Episodes 1 and 4 of Save My Breath were bridged by Nicholas Courtney.

(Kickin McChicken and his fake counterpart as depicted in the "No Reply" serial, 1994, which became infamous for the amount of times the word "gay" has been used in media in the past century clocking in at a total of being said 2,584 times across the 2 part serial)

Further Notes

Books and periodicals

Between 2013 and 2024, each missing The Critters serial was novelized and published by Target Books.

Richard Void's Wiped! The Critters's Missing Episodes (RJV Live Publishing, 2020) explores in detail the paper trail and recovery efforts surrounding the hunt for missing episodes. A revised edition was published in March 2033.

#the critters au #thecrittersau #the smiling critters #smiling critters #smiling critters au #bubba bubbaphant #kickinchicken #craftycorn #catnap #beatles au #holy shit this was a doozy #i quite like this one #Missing episodes go brrrrr

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cosmosbeelover · 4 months ago

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The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 4/? (Rewrite)

This is a continuation from Part 3, this is on the broadcasting in Korea that the Yeonhui Professional Quartet performed on and many other acts during the Japanese Colonial Period.

The birth and demise of broadcasting stations

This text provides an overview of the broadcasting stations in Korea from the period prior to liberation through the 1980s and 1990s.

The emergence and dissolution of broadcasting stations in Korea hold significant historical importance. This narrative includes the pivotal moment of Korea's liberation from Japanese colonial rule, the media consolidation measures implemented in 1980, instances where private broadcasting entities failed to obtain approval from regulatory bodies, and the various factors contributing to the closure of these stations, including economic challenges and shifts in international circumstances.

Gyeongseong Broadcasting Station (JODK)(경성방송국)

I previously refrained from discussing this broadcasting station because I was still unfamiliar with Korean history research and believed there was insufficient information available. Consequently, I thought including it would not be beneficial. However, I will incorporate it now, as I have discovered intriguing details about its significant role in the Korean industry, particularly in supporting the promotion of both historical and contemporary Korean acts.

The Gyeongseong Broadcasting Station (JODK) (경성방송국; 朝鮮放送協會), established during the Japanese colonial period, was the first broadcasting entity to halt operations after Korea's liberation. Its operational timeline is February 16th 1927 till August 5th 1948. Although the name Gyeongseong Broadcasting Station was discontinued post-liberation, a significant question arises regarding whether the subsequent broadcasting organization should be viewed as a continuation of the original station or as the founding of a new entity.

The first broadcasting station in Korea established by Japanese, Gyeongseong Broadcasting Station (JODK, 1927-1947)

On November 30, 1926, the Gyeongseong Broadcasting Station received permission from Japanese nationals and the Japanese Government-General of Korea to operate broadcasting and wireless telephone services as a corporate entity. It subsequently registered with the Gyeongseong District Court on December 11. This establishment was presented as a means to promote the cultural development and welfare of the peninsula's residents, which led to the approval of the 'Gyeongseong Broadcasting Station' and a 'broadcasting culture facility.'

First broadcast site (Gyeongseong Broadcasting Station site), 1-76 Jeong-dong, Jung-gu, Seoul (inside Deoksu Elementary School).

As a result, the Gyeongseong Broadcasting Station, which opened on February 16, 1927, became the first broadcasting station in Korea and the forerunner of today's KBS. Established by Japanese individuals with support from the Japanese Government-General, the station aimed to meet the informational and cultural needs of the Japanese community in Korea while also promoting compliance among Koreans with the Japanese colonial regime.

The board of directors was entirely composed of Japanese members, one of whom was responsible for nominating a chairman, subject to the approval of the Director of the Postal Bureau of the Government-General. Ultimately, the Gyeongseong Broadcasting Station operated as a non-profit organization that primarily advanced Japan's interests in reinforcing its colonial agenda in Korea, neglecting the aspirations of the Korean people.

What is JODK?

The call sign JODK was assigned to Gyeongseong Broadcasting Station, making it Japan's fourth station after the ITU designated the prefix JO, following Tokyo (JOAK), Osaka (JOBK), and Nagoya (JOCK). The Government-General of Korea initially opposed the use of the call sign DK by the Japanese Post Office, arguing it contradicted Japan's colonial policy of integrating domestic and foreign stations, leading to the designation of DK as the fourth call sign.

Formation policy in the early days of the country

The inception of the Gyeongseong Broadcasting Station coincided with the nascent phase of broadcasting in Japan, characterized by a lack of established programming principles, which hindered the organization of programs according to any systematic policies.

Article 6 of the Japanese "Summary of Research" emphasizes that broadcasting management in Japan should prioritize practical reporting—covering aspects such as time, weather, awards, and news—while relegating music to a secondary role.

Instrumental ensemble that appeared on Gyeongseong Broadcasting Station

This principle was inevitably imposed on Korea, a colony, albeit with an additional programming directive aimed at appeasing the Korean populace, which proclaimed the enhancement and development of Korean culture as an ideal. Despite the Gyeongseong Broadcasting Station's assertion of a mission focused on cultural advancement and public welfare, it effectively functioned as a crucial instrument of national policy in the governance of the peninsula.

Early alternate broadcasting (mixed broadcasting)

Upon its inception, the broadcasting system was characterized by an unusual structure, featuring alternating Korean and Japanese broadcasts on a single channel. Initially, the ratio of Korean to Japanese broadcasts was set at 1 to 3; however, following criticism from various media outlets, this ratio was adjusted to 2 to 3 in July of that year, maintaining the alternating format.

This approach, referred to as mixed broadcasting, manifested in four distinct formats: first, simultaneous broadcasting of Korean and Japanese programs within the same time slot; second, grouping programs for alternating broadcasts centered around time reports; third, separating programs to air on alternate days; and fourth, scheduling Korean broadcasts late at night after the conclusion of all Japanese programming.

Implementation of double broadcasting

In the initial phase of broadcasting, the disparity in the availability of Korean and Japanese languages created dissatisfaction among listeners. To remedy this issue, a dual broadcasting framework was established on April 26, 1933, which featured Japanese as the primary language for the first broadcast and Korean for the subsequent one. This initiative resulted in the formation of a dedicated Korean-language channel that developed content specifically for Korean audiences, while news was predominantly delivered in Japanese and subsequently translated into Korean.

There were concerted efforts to maintain traditional Korean culture through various educational and entertainment programs, some of which garnered positive reception from Japanese listeners. Nevertheless, the growth of Korean broadcasting was curtailed by the onset of the Sino-Japanese War in 1937, as radio became a means for the Governor-General’s administration to galvanize nationalistic sentiments.

English - Han Seong-jun, Im Bang-ul, Lee Hwa-jung, Jeong Jeong-ryeol, Park Nok-ju, and Kim So-hee appeared on Gyeongseong Broadcasting Station Korean - 경성방송국에 출연한 한성준·임방울·이화중선·정정렬·박녹주·김소희

In 1941, with Japan intensifying its military engagement in the Pacific War, the Tokyo Broadcasting Corporation refined its radio offerings by focusing on immediate news reporting, much of which was designed to propagate militaristic and imperialistic narratives. Radio became an essential tool in sustaining the wartime governance framework. A notable event transpired in December 1942, when several individuals were apprehended for secretly tuning into the prohibited Voice of America shortwave broadcasts at the Kaesong Broadcasting Station, resulting in the temporary halt of the second broadcast in June 1943.

Discussion on the duration of the Broadcasting Station

The Gyeongseong Broadcasting Station's timeline is unclear due to its ongoing operations through various changes, rather than a clear closure and reopening, resulting in differing interpretations of its post-liberation history.

The U.S. Military Government initially took control of the Gyeongseong Broadcasting Station, including JODK, integrating it into the Public Information Department while the Ministry of Post and Telecommunications managed broadcasting technology and facilities, as per Military Government Ordinance No. 64 on March 29, 1946. The station was restructured into a broadcasting department and reestablished as a station in October of the same year.

The timeline of Japanese control over the broadcasting station is crucial. After liberation on August 15, the Japanese military occupied the station on August 17 for security until September 8. On September 15, following the dismissal of the Government-General of Korea's directors by the U.S. Commander, Japanese officials resigned, leading to the full transfer of the Korean Broadcasting Association to Korean management under U.S. Military Government oversight.

An additional criterion for evaluating the Gyeongseong Broadcasting Station's call sign 'JODK' is its duration of use. The call sign KBS was first used with the regular broadcasting system on October 18, 1946. Before this, broadcast schedules were known only to staff, and a 15-minute quarter system later required a call sign after each segment. The lengthy English call sign KBS (Korea Key Station of the Korean Broadcasting System) was used. Additionally, the call sign 'HL' was assigned on September 3, 1947, during the International Radiocommunication Conference and began broadcasting in Korea on October 1, 1947 (Korean Broadcasting Association, 1997).

While there are various views on the timeline of the Gyeongseong Broadcasting Station's operation, the author suggests September 15, 1945, when the Joseon Broadcasting Association and Gyeongseong Central Broadcasting Station were fully transferred to Korean control, as the definitive reference point.

Negative evaluation of Gyeongseong Broadcasting Station

There is both negative and positive of the evaluation of the Gyeongseong Broadcasting Station.

Critical perspectives question the classification of Gyeongseong Broadcasting Station as the origin of broadcasting in Korea, primarily due to its establishment being a product of Japan's colonial agenda rather than a reflection of Korean initiative. This colonial context underpins the argument against recognizing Gyeongseong Broadcasting Station as a legitimate Korean broadcasting entity.

Initiated by Japanese broadcasting professionals and utilizing Japanese technology, Gyeongseong Broadcasting Station served as a tool for the exploitation of the Korean Peninsula during the colonial era, with its initial audience comprising government officials and Japanese merchants aligned with colonial interests.

A scene from the Gyeongseong Broadcasting Station broadcasting a song in the 1930s.

Park Ki-seong (박기성) (1985) identifies several characteristics of radio broadcasting as a mechanism of colonial control, including its role in implementing colonial policies, undermining Korean culture, facilitating mass persuasion, showcasing Japanese cultural superiority, creating a market for Japanese broadcasting, and fostering internal unity to support Japan's militaristic expansion.

Consequently, there is a prevailing argument that Gyeongseong Broadcasting Station should not be regarded as a Korean broadcasting station, with the date of September 3, 1947, when Korea received its call sign 'HL' from the International Radiocommunication Conference, being proposed as the true inception of Korean broadcasting.

Positive evaluation of Gyeongseong Broadcasting Station

Conversely, some individuals view Gyeongseong Broadcasting Station positively, noting its significant contributions despite being established by the Japanese. It advanced broadcasting technology, promoted a standardized Korean language, supported children's emotional development through songs, preserved traditional music like Aak and Pansori, and laid the groundwork for the evolution of broadcast content, including dramas.

Unfortunately, numerous recordings produced by Gyeongseong Broadcasting Station from its inception until the 1940s were either lost or destroyed during the Korean War.

#kpop #90s kpop #boy group #10s #20s #60s #70s #80s #90s #2000s #2010s #Japan #history #korean history #Korea #South Korea #korean music history

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davisexplainableart · 4 months ago

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LADIES AND GENTLEMAN! (SETLIST)

Make way for (a band who is not) THEY MIGHT BE GIANTS!!!!!

Thank you to everyone who came out to last night's show. I didn't realize until we finished that the show went on for so long.

But it's probably because of how many songs we played.

Before we begin, here is a sort of key to explain certain things in the text below...

This means that I sang a song and no one else.

This means that I sang a song, with Chao on backing vocals.

This means that Magnifo sang a song, with me on backing vocals.

This means that I sang a song, with Magnifo and Chao on backing vocals.

This means that Magnifo sang a song, with Chao and I on backing vocals.

When "->" is shown right before a song's name, it means that we went right into that song, with little to no banter.

Alright, here's the setlist for last night's show (with fun facts for some of them):

Act I - Tape Recorder Set:

(began with Countdown Intro over the PA)

1. Put Your Head Inside The Puppet Head

Played in the original key.

During the bridge, I yelled "AWESOME GUITAR SOLO" a bunch, similar to how John Flansburgh did that once when playing this song back in 1987.

2. Cowtown

Due to people being asked to stay seated, we asked the audience to pretend that they were doing a square dance.

3. Whistling In The Dark

W/ Magnifo playing the chest-mounted bass drum.

Played in B Major, like how the Johns played it before the backing band (rather than C Major like how it's played nowadays).

Before the song started, we stated that the bass drum's only purpose was for this song.

4. Kiss Me, Son Of God

Before the song started, I made a passing reference to the time that TMBG played this song on TV, but then the broadcast stopped once they sang a certain part of the song.

5. Birdhouse In Your Soul

Played in the original key, just like how it was played back in 1989.

Before the song started, I jokingly stated that because of the different key, the song hadn't been played in nearly 35 years.

6. Particle Man

Before the song started, I mentioned that one of the characters in the song (Triangle Man) was the main character in Kiss Me, Son Of God (referencing a Linnell interview from 1990).

7. Nothing's Gonna Change My Clothes

Before the song started, Magnifo joked about how this song only applied to him and I, since we were the only Mixels wearing clothes that night.

8. The Statue Got Me High

9. I've Got A Match

Before the song started, I apologized for stating that Birdhouse hadn't been played in decades, and that I got my notes mixed up.

For some reason, the audience was booing me for this (at least until I revealed that the next song was "I've Got A Match").

10. Sapphire Bullets Of Pure Love

Introduced as '"stelluB" in reverse'.

11. Dig My Grave

Right before the song started, I stated that when you first played the album Apollo 18, you would hear this song.

12. 32 Footsteps

W/ Magnifo playing the "Special 20" harmonica.

Similar to Whistling In The Dark, I stated that the only reason this particular harmonica was created was for this song.

13. Ana Ng

W/ Chao singing the "I don't want the world" part.

14. Shoehorn With Teeth

W/ Chao playing the glockenspiel.

Magnifo and Chao wore long, rolled-up carpets for hats. When asked why I didn't wear one, I said "Does this look like a head that you could fit a hat like that on?"

15. Your Racist Friend

16. -> Lucky Ball & Chain

17. Lie Still, Little Bottle

W/ Chao on the saxophone, and me using my tail as the percussion in place of "The Stick", since Gobba (the one in charge of keeping an eye on The Stick) wasn't feeling well.

18. Rhythm Section Want Ad

At least twice, I impulsively replaced "dollar signs" with "dollop signs" (dollops are the currency in the Chowder universe btw).

In the 2nd run-through of the "Olive Oil on purpose" part, I sang "You guys must be into Oasis!" instead of "Eurythmics", for some reason.

Act II - Full Band Set (began after a 10-minute intermission):

(Began with "They Might Be Giants (Alt. Version)" over the PA)

19. She's An Angel

After the song, we stated that we weren't done with the older song just yet, and that some would be played during this set.

20. Experimental Film

I introduced the song my mentioning the music video made by the Brothers Chaps from Homestar Runner.

Speaking of the Brothers Chaps, yes, I have seen the new music video for Limozeen's "Zeenin' Into The Night". In fact, I've seen it quite a few times already.

21. Why Does The Sun Shine?

No, I didn't say anything weird for the "nuclear reaction between..." part. That's Footi's thing, not mine.

22. -> Twisting

23. Older

During the "And time... is still marching on" part, I briefly made it seem like we were gonna do the long pause that TMBG does when they play Older live, but then I said that I was just kidding only a few seconds later.

24. Brontosaurus

Featuring our horn section on this and the next song (now if only I could remember all the members of the horn section. Was Burnard one of the members?).

25. Doctor Worm

W/ I Enjoy Being A Boy during the bridge.

I dedicated this song to Parnell from the Mighty Bug 5, since he also plays the drums, just like the titular Doctor Worm.

26. Absolutely Bill's Mood

Yes, I did the "thank you" bit. Why would I not?

27. -> You're On Fire

We replaced "Oh d**n" with "Oh man". I don't think anyone in the audience noticed.

28. Stuff Is Way

29. T-Shirt

Since the sound of the song is very clearly inspired by it, we did a bit of interpolating with Led Zeppelin's Moby Dick at the end.

30. -> (She Was A) Hotel Detective

Featuring the horn section again.

31. Prevenge

The "calling Mr. Pupkin" part was played over the PA, just like TMBG did when they played this song live.

32. Unforgotten

33. They Got Lost

We specifically played what I called the "medium version that was played in September 1997", rather than the slow or fast versions.

In the 3rd verse, I sang "Tony said to Brian" as a reference to some of TMBG's backing band members from the 90s.

34. Lazy

35. Sleeping in the Flowers

Played for John Henry's 30th anniversary.

While I took on Linnell's vocals in the chorus, I also did the "I've got a..." part, due to Magnifo's limited vocal range.

36. Fingertips:

Everything Is Catching On Fire

Fingertips (#1)

I Hear The Wind Blow

Hey Now Everybody

Who Is That Standing Out The Window

I Found A New Friend Underneath My Pillow

Come On And Wreck My Car

Aren't You The Guy Who Hit Me In The Eye?

Please Pass The Milk

Leave Me Alone

Who's Knocking On The Wall?

All Alone, All By Myself

What's That Blue Thing Doing Here?

Something Grabbed Ahold Of My Hand

I Don't Understand You

I Heard A Sound

Mysterious Whisper (we asked the crowd to sway their arms around during this part)

The Day That Love Came To Play

I'm Having A Heart Attack

Fingertips (#2)

I Walk Along Darkened Corridors (complete with the rocking outro)

Encore (tape-recorder returns):

37. Thinking Machine

All lights were turned off for this, since all we needed to do was sing.

This was the hardest song I tried to sing last night... mainly because I could barely keep a straight face from how stupid and silly some of Magnifo's lyrics were.

38. Mr. Me

39. Don't Let's Start

Alright, that's everything. See you again tomorrow for another Fridays picture!

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radicalurbanista · 1 year ago

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Aftonbladet is a Swedish tabloid of questionable repute. Here’s the actual guardian article (shown in the post you reblogged): https://amp.theguardian.com/world/2009/dec/21/israeli-pathologists-harvested-organs. It explains that apparently Israeli law did not used to explicitly ban organ harvesting from all viable cadavers — including Palestinians, Israeli soldiers and other Israeli citizens. Understandably everyone hated it once it came to light that some pathologists were exploiting the legal loophole and the law has since changed.

I absolutely hate Israel and think they have no right to exist. But uncritically repeating a story that is framed like Israeli soldiers kill Palestinians to steal their organs is misinformation, and it does have a lot of similarities to antisemitic blood libel. We already know that Israel commits terrible real and documented atrocities. We don’t need to make up new ones.

"Concerns about organ theft from the corpses were brought up by Euro-Med Monitor, which cited reports from medical professionals in Gaza who quickly examined a few bodies after their release. These medical professionals found evidence of organ theft, including missing cochleas and corneas as well as other vital organs like livers, kidneys, and hearts." November 2023

Since October 7, 2023, medics in Gaza have reported Palestinian bodies returned missing organs. Organ theft is suspected but not confirmed.

"In a report published by the Israeli newspaper Haaretz on February 27, 2016, the Israeli occupation state admitted that it had “lost” dozens of bodies of Palestinian martyrs. The newspaper quoted statements from sources in the Israeli judicial and security systems about the loss of 121 bodies of martyrs held by the occupation authorities since the 1990s, according to a report by the British Broadcasting Corporation (BBC)." February 2016 (the original article has since disappeared from Google searches, only references to it are available)

Israel has "lost" 121 bodies of Palestinians it killed. What happened to them can only be speculated. But it remains a sign of malpractice.

"Israel harvested organs from bodies in the 1990s without permission of family members, the former head of a state-run forensic laboratory said in a newly released interview. Government officials acknowledge that the practice happened, but emphasize that it ended years ago. The report said organs were at times also harvested from Palestinians and foreign workers. In the interview, Hiss was asked about the legality of such practices. "It wasn't clear," he said, adding that he thought families were supposed to be asked for permission. After getting permission from family members to perform an autopsy, "we felt free" to harvest organs, he said. Organs were not harvested if it was believed relatives might discover it, he said, adding that in some cases glue was used to close eyelids to hide missing corneas." December 2009

Israel admits it harvested organs and tissues from people with consent, including its own citizens, Palestinians, and foreign workers.

I'll agree with the clarification that the IDF does not have a systemic practice to kill or hunt people with an intent to harvest their organs.

Yet, that Israel has done this in the historically recent past and is confirmed to be returning Palestinian corpses without organs today is alarming to say the least. Let's not forget (or let's learn, for some of you) that the Western powers regularly perform unethical organ harvesting and medical tests, especially during war times on "enemy" captives.

#ask reply #palestine #organs #harvesting #clarification

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notgeorgelucas · 8 months ago

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Leah

Every so often I go out to the MediaWestCon twitter account, which has pretty much become a "guess who died" listing. And last night I found out that Leah Rosenthal had died on April 26.

We met Leah (and her partner/wife Annie) back in our Blakes 7 days, which would make it 1985-1987 or so. Leah was one of THE premiere B7 artists, with a special gift for the most hilarious illos you'll ever see. She and Annie came up with the "Bizarro 7" series, which turned the original B7 series on its ear.

Being a zine editor myself, I of course nabbed Leah for anything and everything she could give me, and she delivered repeatedly. We got to know her and Annie fairly well, and in 1990 they put us up for a few nights while we were in Orlando. We saw a nighttime shuttle launch from their front yard (little did I know that was going to become a new habit in 30 years!), and they took us to some really fun tourist spots. We reciprocated at one point when they came up to St. Louis for a B7/multimedia convention.

The greatest honor Annie & Leah could bestow upon someone was to "tuckerize" them in the Bizarro 7 stories, so you can imagine how thrilled and embarrassed we were to discover ourselves in one. I've never forgotten the description they gave us:

If anything, Jeff and Mary Mutoid were worse than Bodie and Doyle. They had been celebrities before their conversion to the Mutoid format. They had, in fact, been the stars of the most popular tri-dee sitcom series of all time, "The Fuddpuckers". But, Federation Broadcasting, Limited had abruptly pulled the plug on them when, after a succession of increasingly weird episodes, the Fuddpuckers had done a show involving a bullwhip, a Great Dane, and fourteen pounds of cold sesame noodles. As a punishment, they were given the "treatment" and were now consigned forever to be empty-headed obedient soldiers of the Federation. Only...the "treatment" hadn't seemed completely successful on the couple. Despite the fact that their heads were stuck in flower pots filled with mind-cleansing compost and they were watered regularly, Jeff and Mary still refused to be separated and still regarded themselves as a happy couple.

And best of all, we got an illo to go along with it!

I should add that's us on either end. :)

Of course, we couldn't let that sit unanswered. So the following MediaWest, we marched up to their dealers table dressed in black with spray-painted flower pots on our heads!

Leah was a treasure. We're going to miss her terribly.

Her wife/partner Annie has a Gofundme to help with final expenses:

#rip leah rosenthal #bizarro 7 #fanart

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popculturelib · 2 years ago

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Girljock: The Book (1998) ed. by Roxxie is a compilation of the best articles originally published in the zine Girljock throughout the early 1990s. It was notable for talking about women's sports and the experiences of women who play them before they were popular enough to be regularly broadcast. As Roxxie says in the introduction:

When I originally imagined Girljock magazine as a forum on the lesbian sporting experience, the bits of mainstream media coverage of women in sports either ignored lesbians or would merely report the fact that so-and-so was accused of being a lesbian, or all too rarely, so-and-so came out of the closet. The reality of the lesbian experience differs from what the mainstream of media will report. In Girljock magazine, we are describing our own sporting lives, without the mainstream media's bias. Good-bye to all that mainstream mush. Since there aren't a lot of women's sports writings (yet), many times we have published the pioneer article on a particular aspect of a particular sport. Not all the women we have interviewed, or the contributors, or the Girljock staff are lesbians. But all of them believe in the value of being part of a new lesbian-positive athletic female universe. We are disgusted with the butchphobia and lesbophobia which has held back the women's sports world.

The Browne Popular Culture Library (BPCL), founded in 1969, is the most comprehensive archive of its kind in the United States. Our focus and mission is to acquire and preserve research materials on American Popular Culture (post 1876) for curricular and research use. Visit our website at https://www.bgsu.edu/library/pcl.html.

#bgsu #girljock #lesbian #queer history #lesbian history #pride month #women in sports

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screenspirit · 1 year ago

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55 years of George A. Romero’s political horror masterpiece Night of the Living Dead

Starring Duane Jones and Judith O’Dea in one of horror’s most acclaimed scripts, George A. Romero’s Night of the Living Dead, released 55 years ago as the filmmaker’s first feature-length film, still holds up as a chilling, entertaining grizzly and layered zombie horror classic. Co-written between the director and famed screenwriter John Russo, Night of the Living Dead focuses on a town’s desperate attempts at survival after a never ending sea of Undead ghouls rise from their graves due to radiation brutish attack. The townsfolk don’t know why the dead are leaving their graves or if or when they’ll go back. All they know is the ghouls want to feast on their flesh and bites can transfer the ghoulish state.

Romero’s work is credited as the first modern onscreen depiction of the now cliched zombie trope even though the film never directly refers to the creatures as that once. Additionally, the classic script drew minor influences from Richard Matheson’s 1954 prose I am Legend in its depiction of a nightmarish disease infecting and decaying a civilised society that was also influential in the zombie apocalypse style. “I thought I Am Legend was about revolution. I said if you’re going to do something about revolution, you should start at the beginning. I mean, Richard starts his book with one man left; everybody in the world has become a vampire,” Romero told Cinema Blend in 2008. “I said we got to start at the beginning and tweak it up a little bit. I couldn’t use vampires because he did, so I wanted something that would be an earth-shaking change.”

He added: “Something that was forever, something that was really at the heart of it. I said, So what if the dead stop staying dead? … And the stories are about how people respond or fail to respond to this. That’s really all [the zombies] ever represented to me. In Richard’s book, in the original I Am Legend, that’s what I thought that book was about. There’s this global change and there’s one guy holding out saying, wait a minute, I’m still a human. He’s wrong. Go ahead. Join them. You’ll live forever! In a certain sense he’s wrong but on the other hand, you’ve got to respect him for taking that position”

Romero’s interpretation of a growing story was made under a budget of $114,000 and was able to gross a total of $30,236,452 worldwide through word of mouth broadcasting its blend of suffocating suspense and stomach-churning carnage. Night of the Living Dead persevered against initial controversy and negative reviews that focused heavily on its explicit violence and gore, refusing to see its artistic and contextual potential, to earn a cult following who did recognise these underlying properties and become one of horror’s greatest and most influential. Romero’s work has also established a prosperous franchise, comprising five sequels that were released between 1978 and 2009, all of which were directed by Romero and an authorised 1990 remake of the original alongside numerous unofficial re-tellings due to the work’s public domain.

Night of the Living Dead utilised its stark black-and-white cinematography, attentive mise-en-scene suspenseful narrative and engaging performances to create a milestone in horror filmmaking. Furthermore, Romero’s direction, despite seemingly working on a gory tale of people being eaten alive, actually commented on the social and cultural developments that were taking the 1960's by storm and this is reflected in the concept of people being hunted by cannibalistic ghouls. The Undead reflect the new generation flourishing with progress and openness and the victims are the older who are restricted by tradition. During Bravo’s 2004 miniseries 100 Scariest Movie Moments, Romero instructed viewers to think of the ghouls as the “new generation devouring the old” in a symbolic sense of cleansing the past with merciless force to seek out something extremely new and different. This coded meaning is evident in the terrifying “feast” sequence which sees the ghouls devour the flesh and organs of one of the character’s charred corpses in a car. Romero’s camera focuses on wide shots to capture the group of ghouls approaching the car and tearing the body apart, before tightening into close-ups of individual ghouls feasting on body parts to accentuate the gruesome horror. This is the exact gore that shocked audiences in 1968 and it’s understandable, given the blunt presentations of internal organs being pulled out of a dead body to be eaten on the spot. However, this carnage can easily be interpreted as a metaphor for the conflict between ideology in generations and the disastrous aftermaths of nuclear action as radiation is the cause for this blood bath.

Night of the Living Dead earned historic status in casting a black male, Jones’s Ben, as his courageous and resourceful protagonist, something nearly unheard of by ’60s standards and further illustrates the feature’s concepts of and push for change. Ben is a true horror hero; headstrong, observant, ambitious and willing to fight till the end. Such a presentation of a black character was considered controversial by 1968’s standards due to bigotry and the film was subsequently linked to the Civil Rights movement. Romero told Bravo that the night he finished filming the project and began driving down to producers, he heard on the radio news that activist Martin Luther King Jnr had been assassinated, a chilling echo of Ben’s unfortunate demise in the film’s conclusion at the hands of rednecks who mistake him for a ghoul. Writing for CineAction in 2018, writer Mark Lager commented that the “connection between Ben’s demise and the racial violence besetting the Civil Rights Movement was all too clear. Night of the Living Dead (a low-budget horror film) had dissected American society in the 1960s more truthfully and unapologetically than any mainstream Hollywood movie.” However, the director was persistent that he did not consider race when casting his protagonist or any of his characters. Instead, he simply cast the actor who impressed him the most during auditions.

A bleak and nihilistic picture that still manages to garner entertainment for horror lovers, Night of the Living Dead is one of the touchstones in the social thriller, something now explored by modern filmmakers such as Jordan Peele. It’s a timeless and unforgettable piece that has allowed several original areas of the genre to take flight.

youtube

#night of the living dead #horror #horror movies #george a romero #zombies #halloween #spooky season #film critic #film criticism #film analysis #film essay #Youtube

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thebugaftermayakovsky · 1 year ago

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TIMELINE HELSINKI

1905 - first Russian revolution, Freud's theory of sexuality, Potemkin incident

1912 - Stanislawski's acting method is created.

1914- assassination of Archduke Franz Ferdinand of Austria, beginning of World War I.

1915- Franz Kafka, The Metamorphosis

1916- Zurich, Cabaret Voltaire

1917 - Bolshevik Revolution

1918 - Assassination of the Tsar and the Romanov family

1922 - March on Rome and coming to power of Mussolini

1929 - Mayakovsky's bug. Prisypkin is frozen as a result of a fire during his wedding.

1930 - Mayakovsky's suicide.

1931- Second Spanish Republic

1932-33- Great famine in Ukraine, Holodomor (famine). Between 3 and 5 million people died.

1933- Hitler comes to power in Germany.

1936- Spanish Civil War. Murder of García Lorca.

1938 - Kristallnacht (Night of Broken Glass). First awareness of climate change: Guy Callendar connected carbon dioxide increases in Earth's atmosphere to global warming.

1939 - Invasion of Poland and beginning of World War II.

1940 - Torutra and execution of Vsevolod Meyerhold.

1945 - The US drops two nuclear bombs on Hiroshima and Nagasaki in Japan.

1947 - For the first time, insects are launched into space: In 1947, the United States sends fruit flies (Drosophila melanogaster) into space aboard a V2 rocket. They were the first animals in space and were part of a series of experiments to study the effects of cosmic rays on living organisms.

1947 - beginning of the Cold War (Mar 12, 1947 – Dec 25, 1991) tensions between United States and Soviet Union, that fed into the Vietnam War and the Korean War.

1948 - Nakba, and creation of the state of Israel.

1950 - Invention of Artificial Intelligence

1952 - 6 February, Queen Elizabeth is crowned, she will be queen until her death in 1922, being the longest reigning monarch ever.

1955 - First documenta in Kassel.

1955 - First Israeli raid on Gaza.

1959 - First color TV broadcast

1960 - The contraceptive pill for women is marketed. The Beatles forms as a band in Liverpool.

1961 - First man launched into space: Yuri Gagarin

1964 - US Congress passesThe Civil Rights Act of 1964 prohibiting discrimination based on race, color, religion, sex, or national origin

1966 - Earth is photographed from space

1968 - Tlatelolco Tragedy, May 68 in France. Murder of Martin Luther King

1969 - Riots at the Stone Wall, marking the beginning of gay rights struggle

1971 - Commercialization of the first Intel 4004 microchip. Abandonment of the gold standard by Richard Nixon.

1972 - Since 1972, no more humans have travelled beyond low Earth orbit, since the Apollo 17 lunar mission in December 1972.

1973 - Coup in Chile, death of Salvador Allende. Yom Kippur War - The Yom Kippur War, also known as the Ramadan War, the October War, the 1973 Arab–Israeli War, or the Fourth Arab–Israeli War, was an armed conflict fought from 6 to 25 October 1973, between Israel and a coalition of Arab states led by Egypt and Syria.

1975 - Thrilla in Manilla, Muhammad Ali faces Joe Frazier.

1978 - The Russian-Afghan war begins. It will end in 1992.

1979 - Prisypkin wakes up. The Clockwise Experiment: This concept was first developed and tested in 1979 in Ellen Langer's "counterclockwise" study, which examined the psychological effects of turning back the clock on the physiological state of an older adult. The research question was, "If we set the mind back twenty years, will the body reflect this change?"

1980 - Vigdís Finnbogadóttir is elected president of Iceland becoming the first female president.

1981- AIDS crisis.

1983 - January first, Internet was invented

1989- Fall of the Berlin Wall. Tiananmen Square, protests and massacre. Francis Fukuyama publishes "The End of History". Creation of the World Wide Web.

1990 - Nelson Mandela is released from prison.

1991 - Invention of the world wide web (Tim Berners-Lee integrated hypertext software with the Internet)

1992 - Maastricht Treaty

1993 - April 30, The World Wide Web became available to the broader public

1996 - Death of Tupac Shakur

1997 - Death of Princess Diana of Wales. Launching of SixDegrees, considered the first social media. Asian Financial Crisis begins in Thailand and spreads quickly to the rest of East and Southeast Asia. The United Nations adopts the Kyoto protocol, and this is considered the climax of Green Capitalism or EcoCapitalism, an approach to managing the relationships between economic activities and the environment that presumes a large degree of compatibility between capitalism and current efforts to reduce human impacts on the non-human world. Harry Potter and The Philosopher's Stone is published.

1999 - Putin comes to power in Russia.

2000 - Y2K. Y2K was a computer glitch, or bug, that may have caused problems when dealing with dates after December 31, 1999.

2001 - 9/11, Terrorist attack, two planes crash against the Twin Towers in NY, which collapse. Beginning of the "US war on terror".

2003- Beyoncé releases "Dangerously in Love". Beyoncé is 21 and already dating Jay Z.

2007 - #metoo

2008 - War in Georgia. Bankrupcy of Lehman Brothers, climax of the subprime mortgage crisis

2009 - Ru Paul's drag race. Michael Jackson dies.

2011 - Arab Spring. Occupy movement. 11M. Beginning of the Civil Syrian War.

2014 - Russia invades Donbas and annexes Crimea. Beginning of the Russian-Ukranian War.

2016 - Murder of eco-activist Berta Cáceres.

2017 - Hollywood's #metoo

2018 - First Fridays for Climate Greta Thumberg strikes.

2020 - COVID. Murder of George Floyd. BREXIT, or withdrawal of the United Kingdom from the European Union.

2021, January 6, United States Capitol attack

2022 - Rihanna's son is born. Russia invades Ukraine and war begins. Decriminalization of sex work in Belgium. The first person who does not die is born. Jan Fabre is found guilty of sexual harassment. Spanish government approves trans law recognizing free gender self-determination. Russia invades Ukraine in an escalation of the Russo-Ukrainian War. On 16 September 2022, murder of Mahsa Amini and beginning of the movement Woman, Life, Freedom. Woman, Life, Freedom, is a popular Kurdish slogan used in both the Kurdish independence and democratic confederalist movements. The slogan became a rallying cry during the protests which occurred in Iran as a response to the death of Mahsa Amini.

2023 - Following an incursion of Hamas into Israel, Israel launches Gaza Genocide and escalates ethnic cleansing in Palestine.

NOW

2030 - The increase in global temperature is irreversible.

2031 - Third Spanish Republic

2032 - There is one person alive left on facebook

2039- Crypto Crash

2050 - Ecological Collapse

Somewhere soon:

- rising inequality

- massive emigration - climate change reffugees

- war and violence

- decentralized government - municipalism

- radical different ways of living and being together

- forced changes in consuming habits

- life without work - automatisation buses will drive themselves and cars too and planes and robots will serve domestic robots and sexual work too

- UBI

- everyone will be an artist, finally

- new pandemics

- no more consumption of meat and fish

- population will move to rural eras

- rising digital inequality

Somewhere later:

- end of the nuclear family and instead, sex with friends

- end of heteronormativity

- porn is preferred to real intercourse

- no children and gradual extinction of mankind, finally - postchildren

3,050 - Days lengthen by 1/30th of a second

10,000 - Extinction of humanity. The water level rises by 5 m in relation to the present.

#mayakovsky #thebug #timeline #Helsinki

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rawiswhore · 2 years ago

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Triple H, Shawn Michaels x Fem Reader- "Show Your Tits"

Many male professional wrestlers, especially ones from the past, were really ugly looking and not exactly pretty boys with a few exceptions, but even really ugly professional wrestlers (as well as hideous rock stars and rappers) have had female groupies.

However, there were some male professional wrestlers that were pleasant to look at and were hugely over with female fans due to their looks.

In professional wrestling lingo, "over" sometimes means something people really enjoy, though it also means letting the opponent win a match.

And in the past---in particular throughout the 20th Century--professional wrestling was sometimes usually something that was appropriate for prepubescent kids to watch, it was a family event.

And the World Wrestling Federation---the most famous professional wrestling company in the world and still is today but under a different name (the WWE)---was a kid friendly and family friendly company in the 1980's and even the early to mid 1990's.

So kid friendly, it was like a live action Saturday morning cartoon with Hulk Hogan telling kids to "say their prayers and eat their vitamins", the Ultimate Warrior being like a live action character from the 80's "Thundercats" or "He-Man", Hillbilly Jim playing a happy-go-lucky hillbilly, and especially in the mid 1990's when the World Wrestling Federation was making wrestlers play clowns, plumbers, garbage men, racecar drivers, baseball players, hockey players, ninjas, magicians, repo men, and the list goes on.

But...during the late 1990's, the World Wrestling Federation was becoming increasingly more for adults rather than for kids.

The atmosphere was darker, grittier and edgier, the matches became more violent and bloodier, profanity was being used in promos, women (and sometimes men) were more sexualized, and gimmicks went from being kid friendly to inappropriate for children, with having wrestlers play middle finger flaunting, beer guzzling rednecks, horror movie characters setting people on fire, porn stars, pimps, sex addicts, exhibitionists, women keeping a man as a sex slave, incestuous "Leave it to Beaver" parodies and a group of rebellious degenerates that pointed and thrust their crotches while shouting a vulgar catchphrase, made sex jokes, stuck the Canadian flag up their nose, and implied to be naked on television.

And the fans in the WWF by the late 1990's started changing as well.

Women were now flashing their breasts at these male wrestlers and shown on television doing this, although these women were planted fans put there.

And women especially flashed their breasts towards the most popular wrestling faction of the Attitude era, D Generation X.

Granted, some of those women that flashed their tits at them were planted fans rehearsed to do that, but no doubt there were some female fans that weren't plants flashing their naked breasts at them.

Even before D Generation X added the New Age Outlaws and X Pac and when Shawn Michaels left the group and before Triple H was asking those planted fans to flash their tits, there'd be female fans flashing their bare breasts at Triple H and Shawn Michaels when they was comprised as D Generation X, and this was the original late 1990's DX, not the late 2000's reboots.

You were a member of D Generation X in the late 1990's and fit in perfectly with the group, and you worked as a valet, where your job was to distract DX's opponents by seducing and flirting with them.

What you did to distract these opponents was sometimes flash your barenaked breasts.

Triple H and Shawn Michaels noticed those female fans who'd flash their tits at them, as well as you sometimes doing things like flashing your own tits at opponents.

At the beginning of 1998, before Shawn left the World Wrestling Federation, you were backstage with Triple H and Shawn, and you as well as those 2 weren't being filmed and broadcast for a WWF show episode or pay-per-view.

You, Triple H and Shawn were having some free time together where you as well as they didn't have to rehearse your lines for a promo.

Triple H and Shawn were both standing in front of you with smirks on their faces, and those 2 men both had their long hair hanging down.

Your back was in front of the wall while Triple H and Shawn stood in front of you, and Triple H had one of his hands pressed on the wall.

"You see those chicks in the audience flashing their tits at us?" Triple H asked you, his beady eyes looking into your eyes. "I wish you could do that to us, even though we've seen your tits many times"

The "us" Triple H was referring to was himself and Shawn Michaels.

"And got to play with them and suck them" Shawn added.

You weren't appalled by what they were saying, in fact, you smiled and giggled with this wicked shiteating grin on your face.

"If I wasn't a wrestling valet" you stated "I'd probably be those chicks in the audiences in the WWF and ECW flashing their tits at sexy male wrestlers"

"That's what I'm talking about!" Shawn said, nodding his head.

You actually started off as a planted fan in the audience before making your WWF debut, but sadly you couldn't flash your breasts in the audience because the WWF was still mostly kid friendly.

"Too bad WCW doesn't probably allow women to flash their tits" you frowned, pouting your lower lip and looking down at your feet. "WCW is family friendly wrestling"

Indeed, WCW was a family friendly wrestling company, even in the late 1990's when it was at the height of its popularity.

Speaking of being a wrestling valet...

"Even though you're a perfect fit for DX" Triple H mentioned with a smirk on his face. "I wish you were the valet for someone else so we could see you flash us your tits"

"I know" you whined, nearly stomping your foot.

You nearly wanted to departure from D Generation X at the end of 1997 because you were disgusted over them not attending the ten bell salute to Brian Pillman on "Monday Night Raw"---although that probably wouldn't be like the characters they play, as well as you were disgusted over Shawn Michaels wanting to win a match in England that Davey Boy Smith wanted to dedicate to his dying sister.

And Shawn and Triple H knew about you wanting to leave from them, you discussed it with them backstage.

"But you've seen my tits lots of times!" you brought up. "I flashed you my naked body in the locker room on TV once!"

"I know" Triple H mentioned, nodding his head.

Shawn remembers that too.

Pretty soon, in a WWF episode, you recreated Drew Barrymore's infamous and iconic breast flash where you stood on top of the commentary table, slowly swayed your body back and forth and exposed your bare naked breasts to who was at the commentary table and to the audience.

You also, on "Monday Night Raw", once shed your leather jacket you were wearing and showed off that you were wearing these nipple pasties where the letter "D" was covering one of your areolas and the letter "X" was covering the opposite areola, and Shawn and Triple H both stared at your chest and literally drooled over it.

#shawn michaels #triple h #d generation x #dx #1998 #90s #wwf

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