#western in Vietnam I mean :'))

[nerdingz-obsessed]

I'm playing Star Wars: Survivor for the first time and chaps being one of the first customizables unlocked on the very obvious frontier planet is superior.

Star Wars Universe The Space Western forever my love ✨😩

[taylor-1107]

LONG NÓN LÁ | TÂM GIAO | OFFICIAL MUSIC VIDEO

[clamorybus]

ok do i understand why a lot of toddler and kid shows give characters parents and family in the military/police; "real kids in real life are in military/police families so we're just trying to be realistic", whatever

but said show runners never seem to think about the implications beyond that, or think about how kids outside of those contexts, who don't have those warm fuzzy (or even neutral) feelings, would see it

[specialmouse]

when i talk about japanese exceptionalism/fetishism being racist i dont mean that it solely affects, or even MOSTLY affects, japanese people. japan is the america of asia. japanese people on the mainland are fine. but what japanese exceptionalism and fetishism of japanese culture does is, well, exactly what it seems like im saying--it places japan (a deeply racist imperialist society) as the pinnacle of asian civilization. and what does that do? it places all other asian civilizations on a hierarchy, usually determined by skin color, and how close to "japanese" the asian person/asian ethnicity is. there's a reason why westerners are gooning over south korea right now and it's because they see a lot of similarities between south korean culture and japanese culture (which is funny because uh, colonialism guys. come on)---but hate china and the dprk, and see all of southeast asia as dirty and backwards.

when the archetypal japanese woman (pale, hairless, thin, yamato, submissive, etc.) is fetishized, it is usually not the japanese woman who faces the brunt of fetishistic violence (unless she is of the diaspora in which case... lol)--it is the vietnamese woman, the thai woman, the indonesian woman, etc., because they are more vulnerable to exploitation a) because they are more likely to be brown and *andre 3000 voice* across cultures darker skinned people suffer the most, b) southeast asian countries are still majorly suffering from the after effects of western colonialism and asymmetric warfare that leaves their country far worse off economically (particularly vietnam, laos, and cambodia) and, c) westerners, despite recognizing her as an asian woman, do not see her as a Japanese woman, and therefore treat her worse because they see her as uncivilized. there's a reason why, when pedophiles want an asian child, they go to thailand, not japan---because the sex tourism industry isn't something they can get rid of. japanese women are considered the ultimate trophy to be shown off as a sign of the man's virility and masculinity, and southeast asian women are seen as consolation prizes to the men who can't get the "real thing". do you know how many mixed asians i know whose dads scooped their moms up from a military base in the philippines or okinawa? and the mom has only gone to see her family maybe five times in 20 years? she's not the porcelain doll the man wanted, but she still has to try and "japanize" herself to be seen as even worthy of respect, which she still doesn't get because no matter what she does she will not be japanese. that's what japanese exceptionalism does.

[apas-95]

How did people's movements in China and Vietnam result in stable and prosperous nations despite almost every western democracy inevitably failing (and by fail I mean "be completely captured by bourgeoisie interests")?

bourgeois republics aren't 'captured by bourgeois interests', they're bourgeois class dictatorships, founded to further bourgeois interests - there was no time when these states didn't serve bourgeois interests, they are bourgeois states. they were created by the bourgeoisie in their revolutions against the feudal system and the aristocracy. the socialist states in china and vietnam were created by the proletariat in their revolutions against the capitalist system and the bourgeoisie.

[slavic-roots-western-mind]

Chinese musical instruments pt. 1

I was inspired by my research into the different types of Chinese opera, so I decided to write about the chinese musical instruments.

Usually, traditional chinese instruments are grouped into 8 categories, 八音 (bā yīn): metal, bamboo, wood, stone, silk, clay, gourd and skin so I'll try to group them accordingly.

Metal 金 (Jīn)

Bo 钹 (bó) This is a percussion type of cymbal, with the size varying on the subtype. This instrument is also used in some chinese operas, which makes it all the more interesting to hear.

Bianzhong 编钟 (biānzhōng) This is a set of bronze chime bells, arranged in a specific order with each bell having it's own two special pitches which are usually determined by the bell size. The structure is especially interesting, as all the bells are hung from a frame (typically wooden) from which they're played. Other countries also have similar instruments, such as Japan, Vietnam and Korea although their names vary and they may have their own specific features.

Luo 锣 (luó) Luo is actually a general name for a gong, which varies in size and pitch depending on its type. Depending on the size, luo can either be hung on a frame or if it's small enough it can be played in hand.

Yunluo 云锣 (yúnluó) Like the luo, these are also gongs, named cloud gongs. There are 10 small gongs in a frame with the same size but different thickness so that each gongs pitch would vary. There is a more modern version, which has over 20 gongs and is much larger in size.

Suona 唢呐 (suǒnà) The Suona is a double-reeded trumpet, with reed meaning a thin strip of material. As Suona is classified as a metal instrument, it's made from metal with the reed attached to it. It's actual origin is quite interesting, as some sources place the Suona all the way to the Jin dynasty (266-420), whereas some consider Suona's origin to be from outside of China.

Bamboo 竹 (Zhú)

Dizi 笛子(dízi) The Dizi is a Chinese flute, which has quite a lot of varieties, such as 梆笛 (Bāngdí). This flute is especially interesting as it's used in Chinese opera, Chinese folk music and also in Chinese orchestra. Depending on the region, different bamboo is used to create this instrument - Purple bamboo in the north and white in the southern regions, although other material can also be used, even jade.

Xiao 箫 (xiāo) This is a vertical flute, orginating from the Qiang people in ancient China. The material is usually bamboo, with black and purple bamboo considered to be the best type. There are also quite a few variations, such as the 北箫 (Běixiāo), 琴箫 (Qínxiāo) and 南箫 (Nánxiāo).

Paixiao 排箫 (páixiāo) The Paixiao is a type of a panflute, which has a noticeable difference from the western type, as the pipe holes are created via an angled cut or a notch.

Bili 筚篥 (bìlì) / 管 (guǎn) This is a double-reed pipe, which has a few names. Guan appears to be a general name for woodwind instruments, so if looking for this specific instrument, it should be searched using Bili. This instrument can be traced back to the Zhou dynasty, where it was used as a military instrument. Later it became a popular court and ritual instrument, but eventually lost it's court popularity. Instead, it's quite popular in folk music and in Peking Opera, especially for military scenes.

Xindi 新笛 (xīndí) The Xindi is a more modern type of Dizi (the name literally means a new flute), which first appeared in the 20th century. The xindi differentiates itself from the original dizi by it's additional 5 holes, allowing for lower tones which makes it quite important for the Chinese orchestra.

Wood 木 (Mù)

Muyu 木鱼 (mùyú) This is a wooden fish-shaped woodblock which is hit to create a beat during rituals, most commonly during Buddhist ceremonies, Muyu's name literally means a wooden fish, as it's origin stories are associated with fish, with one story claiming that a fish helped a monk but in turn asked him for a favour, which the monk promised to do but forgot. The fish became angry and splashed him into the water. The monk survived, but his notes were all ruined, which is why he made a wooden statue of the fish and beat it.

Yu 敔 (yǔ) On the topic of animals, this is a tiger-shaped hollow box with toothed edges on its back. Why a tiger? It may be because the tiger had a powerful association with strength and power, although I have yet to find a source confirming my theory.

Zhu 柷 (zhù) This is a wooden box that has an open middle, which is played by using a wooden stick to hit the inner bottom. This instrument is very rarely used nowadays, with the majority of Zhus being in museums and temples, but apparently they still remain in use in a few temples for ceremonies.

Paiban 拍板 (pāibǎn) The Paiban is clapper made of wooden or bamboo flat pieces. When it's played together with a drum, this combination is called a Guban 鼓板 (gǔbǎn), which is used quite often in various different music genres, such as Peking Opera, Yue Opera, Kunqu Opera and others.

[alwaysbewoke]

NINE HOLOCAUST SURVIVORS COMPARE ZIONIST POLICIES TO THOSE OF THE NAZIS

“Sometime after [1956] I heard a news item about Israelis herding Palestinians into settlement camps. I just could not believe this. Weren’t the Israelis also Jews? Hadn’t we – they �� just survived the greatest pogrom of our history? Weren’t [concentration] camps – often euphemistically called ‘settlement camps’ by the Nazis – the main feature of this pogrom? How could Jews in any measure do unto others what had been done to them? How could these Israeli Jews oppress and imprison other people? In my romantic imagination, the Jews in Israel were socialists and people who knew right from wrong. This was clearly incorrect. I felt let down, as if I was being robbed of a part of what I had thought was my heritage. …

I have to say to the Israeli government, which claims to speak in the name of all Jews, that it is not speaking in my name. I will not remain silent in the face of the attempted annihilation of the Palestinians; the sale of arms to repressive regimes around the world; the attempt to stifle criticism of Israel in the media worldwide; or the twisting of the knife labelled ‘guilt’ in order to gain economic concessions from Western countries. Of course, Israel’s geo-political position has a greater bearing on this, at the moment. I will not allow the confounding of the terms ‘anti-Semitic’ and ‘anti-Zionist’ to go unchallenged.”

Dr. Marika Sherwood, ‘How I became an anti-Israel Jew’, Middle East Monitor, 7/3/18. Marika Sherwood is a survivor of the Budapest ghetto.

-----

“Israel, in order to survive, has to renounce the wish for domination and then it will be a much better place for Jews also. The immediate analogy which a lot of people are making in Israel is Germany. Not only the Germany of Hitler and the Nazis but even the former German Empire wanted to dominate Europe. What happened in Japan after the attack on China is that they wanted to dominate a huge area of Asia. When Germany and Japan renounced the wish for domination, they became much nicer societies for the Japanese and Germans themselves. In addition to all the Arab considerations, I would like to see Israel, by renouncing the desire for domination, including domination of the Palestinians, become a much nicer place for Israelis to live.”

Dr. Israel Shahak, Middle East Policy Journal, Summer 1989, no.29. Israel Shahak was a survivor of the Warsaw ghetto and Bergen-Belsen concentration camp.

-----

“I am pained by the parallels I observe between my experiences in Germany prior to 1939 and those suffered by Palestinians today. I cannot help but hear echoes of the Nazi mythos of ‘blood and soil’ in the rhetoric of settler fundamentalism which claims a sacred right to all the lands of biblical Judea and Samaria. The various forms of collective punishment visited upon the Palestinian people – coerced ghettoization behind a ‘security wall’; the bulldozing of homes and destruction of fields; the bombing of schools, mosques, and government buildings; an economic blockade that deprives people of the water, food, medicine, education and the basic necessities for dignified survival – force me to recall the deprivations and humiliations that I experienced in my youth. This century-long process of oppression means unimaginable suffering for Palestinians.” 

Dr. Hajo Meyer, ‘An Ethical Tradition Betrayed’, Huffington Post, 27/1/10. Hajo Meyer was a survivor of Auschwitz.

-----

“As a Jewish youngster growing up in Budapest, an infant survivor of the Nazi genocide, I was for years haunted by a question resounding in my brain with such force that sometimes my head would spin: ‘How was it possible? How could the world have let such horrors happen?’

 It was a naïve question, that of a child. I know better now: such is reality. Whether in Vietnam or Rwanda or Syria, humanity stands by either complicitly or unconsciously or helplessly, as it always does. In Gaza today we find ways of justifying the bombing of hospitals, the annihilation of families at dinner, the killing of pre-adolescents playing soccer on a beach. …

There is no understanding Gaza out of context – Hamas rockets or unjustifiable terrorist attacks on civilians – and that context is the longest ongoing ethnic cleansing operation in the recent and present centuries, the ongoing attempt to destroy Palestinian nationhood.

The Palestinians use tunnels? So did my heroes, the poorly armed fighters of the Warsaw Ghetto. Unlike Israel, Palestinians lack Apache helicopters, guided drones, jet fighters with bombs, laser-guided artillery. Out of impotent defiance, they fire inept rockets, causing terror for innocent Israelis but rarely physical harm. With such a gross imbalance of power, there is no equivalence of culpability. …

And what shall we do, we ordinary people? I pray we can listen to our hearts. My heart tells me that ‘never again’ is not a tribal slogan, that the murder of my grandparents in Auschwitz does not justify the ongoing dispossession of Palestinians, that justice, truth, peace are not tribal prerogatives. That Israel’s ‘right to defend itself,’ unarguable in principle, does not validate mass killing.

Dr. Gabor Mate, ‘Beautiful Dream of Israel has become a Nightmare’, Toronto Star, 22/7/14. Gabor Mate is a survivor of the Budapest ghetto.

[absolutebl]

Hello! In the latest EP of I Feel You Linger in the Air, Yai addresses Jom as Por Jom. Jom seems surprised but I have no understanding of what Por means so it's significance is lost on me. Perhaps you can help shed some light? Also, how was Yai addressing Jom before?

Por/phor honorific in Thai - I Feel You Linger in the Air

I'm glad you asked it so I don't have to.

I have not encountered it before in BL.

Any of the the Thai language spies still out there wanna weigh in?

I did some poking around - but I could be way off base. Still this what I discovered:

Por is a paternal honorific, luang por is used for respected monks.

So I am assuming this use is relatively old fashioned (the reason we don't hear it often in our normal BL) and either one step more intimate or, more likely, one step more respectful than no honorific. Possibly scholarly?

I'm thinking all this has to do with Jom's demonstration of education. Yai has figured out that one of the reasons Jom doesn't belong and cannot fit in with the servants is that he is more educated than a peasant, which adds up to him being originally from a high status and wealthy family, especially speaking English and having travelled (he has a non-Chang Mai accent).

There is very little Thai middle class at the beginning of the 1920s since trade is being dominated/dictated by the West, or Chinese merchant operations, and Siam is a monarchy. So for a nationalize Thai citizen it's either military, landed gentry with trade operations (like Yai), military, or... none of the above. This changes, especially in the south, throughout this decade (as it did in other parts of the world). So there is a rising bourgeoisie going on in the background but it's not that obvious in Chang Mai at this time.

What this means to Yai is that Jom's family either got wiped out or politically entirely disenfranchised possibly as part of the 1912 attempted coups (or even WWI)? This would be mystifying for Yai because Jom doesn't act like he comes from a military family at all. So his background and status is very confusing for Yai, but Yai does know one thing...

Jom is NOT lower class by the standards of Yai's temporal worldview and existence.

For a young man to be educated and yet entirely alone is very dangerous and suspicious. Also, let's be clear, Jom doesn't look or act like a laborer. He red flags "cultured" all over the place.

Yai is paternalistic and caring towards Jom out the gate because Yai has a big ol'crush but also because he recognizes "his own" is trying to survive while isolated and scared. Yai wants to rescue Jom.

Some Historical Context for I Feel You Linger In The Air

I love history and so here's some quick info that any Thai watcher would likely know, but you might not... ready?

Remember:

Burma (Myanmar) to the west is occupied by the British.

The French hold Vietnam to the east.

Everyone is bickering over what would become Cambodia & Laos.

China occasionally gets involved from the North (also, lots of immigrants from China at this time accounting for a large percentage of the merchant/middle class)

Eventually, Japan would invade during WWII.

In part, The Kingdom of Siam was kept a "neutral" party because none of the surrounding colonial powers wanted to risk offending any of the other players in the area.

Siam re-negotiated sovereignty in 1920 (from USA) and 1925 (France & Britain). But during the time of this show (mid to late 1920s) it was back to it's customary type-rope balancing act of extreme diplomacy with the allied western colonial powers that surrounded it. Recognizing that Thailand was never colonized, it's boarders were constantly nibbled at and it was "ambassador-occupied" off and on by Westerners whose military backing and exploitive business concerns simply outmatched the monarchy, especially in the technology department (as well as by reputation on the global stage at the time).

In other words, the farang in this show (James & Robert) are bound to be both the baddies and the power players of the narrative.

The king of Siam at the time (Vajiravudh AKA Rama VI) was initially somewhat popular but also regarded as overly extravagant since Siam was hit by a major postwar recession in 1919. It should be noted that King Vajiravudh had no son because he was most likely gay (which at the time did not much concern Siamese popular opinion, EXCEPT THAT it undermined the stability of the monarchy).

He "died suddenly" in 1925 (age 44) with the monarchy weakened and succession handed off to his younger brother.

In 1932 a small circle of the rising bourgeoisie (all of whom had studied in Europe, mostly Paris), supported by some military, seized power from the monarchy in a practically nonviolent Siamese Revolution installing a constitutional monarchy.

Siam would then go through: dictatorship, WWII, Japanese invasion, Allied occupation, democratic elections, military junta, the Indochina wars, communist insurgency, more democracy and popularization movements, multiple coups, more junta, more monarchy, eventually leading us to the somewhat chaotic insanity of Thai politics we have today. (Which is, frankly, a mix of monarchy, junta, democracy, egocentric popularism, and bribery.)

(source)

[mesetacadre]

not a marxist (yet) so can i ask if it's generally agreed upon that capitalism is the primary contradiction why theres a subset of ppl saying it's actually settler colonialism or it's actually this other thing?

You're getting a little bit confused over these terms. The primary contradiction of capitalism is class, because the antagonism between the exploiter class (the capitalist class, the group of people who own the means of production) and the exploited class (the working class, the group of people who sell their labor power in exchange for a portion of the value they create, a salary) creates a struggle between them that will, eventually, cause the collapse of capitalism, and if the working class is prepared, replaced with socialism. If you see people saying that capitalism creates its own demise, this is what they mean.

There are other contradictions within capitalism, more or less inherent, more or less specific. For example, the conflict between different sectors of the capitalist class that manifest through means like parlamentarism or interimperialist wars can create a deepened crisis that could lead to an overthrow by the working class, or it could not.

Settler colonialism, on the other hand, is a particularly oppressive form that imperialist capitalism (the current a highest stage of capitalism, as described by Lenin) can take in the imperial periphery, such as in Palestine or the Sahrawi Republic (Western Sahara). Within these states or territories that suffer settler colonialism, the primary contradiction does become the settler-indigenous* relation. It becomes the more pressing matter, the main and precedent form of oppression, and the specific contradictions it spawns will contribute to its collapse. Such has been the case in most of the world already, take South Africa, Zimbabwe and Algeria as examples. It is also important to note that a vanguard party, like the PFLP, could successfully take advantage of the collapse of Israeli colonialism and inmediately organize a socialist revolution, given it possesses enough strength and organizes a sufficient portion of the Palestinian working class, but it isn't a given. Not understanding this is the mistake more immediatist forms of communism make, such as some trotskyists saying "the palestinian working class should rise up against the palestinian bourgeoisie".

Settler colonialism is distinct from "normal" manifestations of imperialism in this fact, in the precedence the class struggle takes. Other places, such as in Burkina Faso, Cuba, or Vietnam, are places in the imperial core in which their socialist revolutions did not have to ally with non-communist elements to kick out the imperialist capitalist class and then maybe do their own revolution, because the absence of the more "aggressive" settler colonialism allowed them to get rid of imperialist subjugation and capitalism in one fell swoop. In most places in Africa, however, the more explicit forms of European colonialism (and not settler-colonialism) did eventually fall to popular uprisings or under their own weight, but were replaced by their own national bourgeoisie who still sold off their country to imperialists anyway.

Capitalism or settler colonialism are not contradictions by themselves, the contradictions are the mechanisms and elements that these systems create which have the potential to make them extremely weak or outright collapse.

[fromtenthousandfeet]

I did some math

A quick post because I have dinner reservations and a trip to pack for.

We've talked a lot recently about Jungkook's popularity vs. Jimin's. I keep insisting JM is more popular, but nobody seems to believe me. Since I like data so much, I did a deep dive into the Spotify charts for September 25, 2024. Specifically, I tallied up the total number of streams WHO, SEVEN, and SNTY are getting from Vietnam and Thailand. Can we all agree that those streaming numbers are always a little fishy?

First, as of 9/25, WHO was charting in 47 countries. SEVEN was charting in 20, and SNTY was charting in 12.

On the Global Spotify Chart, WHO was #3, SEVEN was #34, and SNTY was #75.

First, I calculated the percentage of streams coming from Thailand and Vietnam for each song.

15% of WHO's streams were coming from Thailand and Vietnam.

29% of SEVEN's streams were coming from the two countries.

32% of SNTY's streams were coming from there.

Jungkook is getting double the percentage of streams from Thailand and Vietnam than Jimin is, even though his song is newer.

Next, I subtracted the number of streams from TH/VN from each of the three songs to see how it would impact the charts.

WHO dropped from #3 to #7 on the Global Spotify chart.

SEVEN dropped from #34 to #61 without TH/VN/

SNTY went from #75 to #87.

If the goal was for Jungkook to have huge inroads in the US, it's not working. Both SEVEN and SNTY were each charting in just one country in South America. They weren't charting in any western European countries, either. His songs are charting in the Middle East, Eastern Europe, and Asia.

Of course, there's nothing wrong with being popular in those places. And it's impressive he still has two songs charting considering how old they are. I think SEVEN will still be charting 20 years from now, whether I like it or not.

These numbers don't really mean anything other than to demonstrate that JK's support is not coming from North and South America or Western Europe, which is problematic when you consider how much money the company has spent to make him popular in these markets.

[ninelivesastrology]

Let the Malefics be malefic!

Sometimes, new age spirituality concepts and language sneak their way into astrology and muddles it down. New age spirituality has only been a thing since the 70s while astrology has been around for thousands of years. It's weird to think of New Age spirituality popping up during the 70s because timeline wise, it looks like an escape from the Vietnam War. Currently, new age spirituality is a pipeline to the alt-right and QAnon concepts. Not joking.

We have to let the Malefics be malefic without justifying their significations with bastardized western concepts of karma or suffering for something greater. Bad things happen because they can and there doesn't have to be any reason behind it. I double down on this because every time I get on the internet, I see something horrific and I never ask myself, "Why?" with intent to answer, "Because it was meant to happen."

The real ones know that planets that aren't malefic can be even worse than a malefic.

Astrology can be the most versatile and down to earth tool of symbolism, self-reflection and divination if we allow it to be. It's not an escape. It's not a canvas one can project what they want to and think everyone who doesn't is fearmongering. People have made everything about certain planets personalized, now nobody wants to hear truth or watch the planets be applied to real scenarios.

Planets mean things. Let them mean things. Don't speak over people's experiences especially if they're able to accurately delineate.

Knowledge is power.

[crab-milk]

What is lion dancing? You've mentioned it before, but I don't think I've seen it before

I'm particularly new to the world of lion dancing myself, but I hope this could also help! Lion dancing is a Asian tradition that blends puppetry, martial arts, and dancing that has been around 206 BC. Although it originated from China, countries like Japan, Korea, Vietnam, and South-East Asian countries have their own respective forms of lion dancing. There's actually quite a few types out there, but they can be identified by their martial art forms, lion heads, or nationalities. I'm probably going to info dump now so I'll cut it here for others to read if they'd like.

Before we get into that, I have to clear some common misconceptions. Lions are NOT dragons. Dragons are puppets that generally have 6 or 9 people holding it up on poles and are long (龙 lóng - do you get the joke lol). Foo dogs are technically lions, but the terminology was derived from white people who mistook lions as chow chow dogs.

To clear further confusion, the reason they're called lions is because allegedly, when China started trading with the western world, lions and their pelts were only reserved for the wealthy. Poor people spread word about what lions looked like, and it somehow turned out that way. There's a lot of mythology surrounding why people do lion dances, but the shorter version is that the lion scares off demons and ill-intentioned spirits from villages. It's now a tradition at openings of businesses, weddings, funerals, and festivities.

Most people are generally used to seeing southern Chinese or Cantonese lions. Traditionally, all of these lions are male and have different variations, again based on nationality or style of martial arts that it's derived from. There are northern lions, which have a male and female (red and green bows respectively), as well as Japanese and Korean lions, which are mostly comprised of wooden masks and long fur.

I'll mostly focus on southern Chinese lions, but they're all pretty neat! I mostly practice Fut-San lion dancing, which is a pretty common form. They notably have a ":3" face and the style of martial arts (wushu) is considered a very common standard for southern Chinese lions. Recent variations of these lion heads also have pom-poms as they are derived from Beijing opera costumes. Each lion also has a pointed horn on the top. They can also have fluffy or wiry fur for its eyelids and mouth, but there exists variations with bristles instead, which may signify that the lion is based on a historical military figure (kind of similar to how Beijing opera singers do specific makeup for specific characters).

These are generally more common in other countries. South-east Asian versions of the lions are extremely decorated, intricate, and distinct.

Hok-San lions are also pretty common. They are distinguished by having a "snake" horn which means the horn curls into a circle at the end and a ":)" face.

Despite their differences, all southern lions have a mirror in the front to ward off evil spirits, some horn with a bow attached, and a beard. Traditionally, the mirror is there to scare off spirits who look into it. The horn is generally added after the lion is almost finished being made, and the bow on the horn is added ceremoniously to bless the lion and honor the gods. It is highly recommended people don't touch them, save for the practical reasons of dirtying the mirror or tearing off the delicate horn, but also to avoid getting bad luck from ill-intentioned spirits.

That aside, I'd like to finally to talk about what to do when you see lions! If you have red pockets of money, the lion eats them up (and the performer in the head puts everything in their sweaty shirt). Sometimes, lions go and play with the audience, so feel more than welcome to pet them or play fight with them! Each performer has their own distinct personality that they play in the lion and as a result, have a lot to share with the audience!

I could go on and on, but I'm afraid this is really long for no reason. I hope this info dump helped!

[apas-95]

troops from many corners of the globe have been involved in afghanistan, iraq, vietnam etc but ppl dont call these world wars which is the only reason i singled out the imperial core, western europe in this case being under threat bc realistically thats why as far as i can tell ppl from the imperial core consider wwi and wwii to be “world wars” but not other global conflicts. like u just made fun of me for assuming by world war u meant one where the imperial core is under threat and then continued to talk about it as meaning just that? or am i misunderstanding lol. anyway sorry for sending on anon im just embarasaed by my uninformed opinions >//<

Don't worry, I'm not making fun of you. I apologise if my tone led you to believe otherwise.

The fact that many imperialist nations together invaded various poor countries does not make them 'world wars', just the same as the seven-nation alliance of european empires that invaded and looted China during the century of humiliation did not constitute a 'world war' - because these nations were all united in plunder, and, really, barely carrying out 'war' as much as simple banditry.

The world wars of the previous century were notable for being conflicts between empires - including, yes, the USA. The conflict between these empires does not necessarily need to manifest as a ground invasion of their territories, especially in this, the age of nuclear deterrence - and would much more likely appear as proxy conflicts in their imperial holdings, such as already occurs between French and Russian forces in Africa.

Nobody ever attempted an invasion of the US in the previous two world wars because it was impractical, and now similarly it is impractical to attempt an invasion of any given nuclear state - but the point of the inter-imperialist conflict is the acquisition of competitor's imperial territories, not necessarily the cannibalisation of the competitor itself.

Given modern military technologies and the conception of greyzone warfare, indirect fires against the imperial core could be carried out - so, cruise missile strikes, etc - but as has been demonstrated in the Ukraine, actual red lines tend to lean more towards a 'sustainable' type of war (whose existence is entirely uncertain at this point).

To summarise: firstly, world war generally refers to conflict between imperialist states, and between imperialist spheres of influence; secondly, world war does not necessarily mean invasion of the imperial core; and thirdly, you are my friend and I love you, do not be embarrassed.

[former-leftist-jew]

I really loved your post about religious extremism and I wanted to add that a lot of the people using the "peaceful, noble Palestinian" trope (like you said, the noble savage trope) would have no problem understanding that a Christian population is bigoted against gays because they were raised in that faith and ministered to by bigots -- for instance, Russian leadership using the language of Christianity to make "same sex propaganda" illegal (I literally know someone who went to jail for kissing another woman in front of Russian police) and then holding them to account when said government is removed from power, or even refusing to forgive them even when they've changed. These are totally understandable reactions to bigotry, even societal bigotry (my grandfather remains deeply homophobic due to his Christianity and even if he one day changes, I don't know that I'll be able to forgive him for supporting conversion therapy).

But when it's a non-Western population? Suddenly those people CAN'T be bigoted and CAN'T have been fed antisemitism and hatred for their entire lives because. I don't know, it's different with them! I know so many wonderful, affirming, progressive Muslims who have done the work to reinterpret and decolonize their faith, the same as I do Christians, Jews, Hindus, etc.. But I also know that in the Middle East, many don't DO that sort of reflection -- largely because they don't have the ability to due to decades of corrupt leadership and authoritarian rule. You can be a victim of religious extremism by virtue of being raised in it, but we NEED to hold these people to the same standards as we do Westerners coming out of religious extremism.

I'm not shocked Palestinians support Hamas -- it fucking sucks in Gaza, and has for a while. That's how terrorism gets its roots, same as the Taliban, the KKK, Al-Qaeda, etc; it preaches to a suffering population and promises it everything it wants, if only you'll hate XYZ group, if only you'll give us your children, etc. If we truly want to free Palestine -- which I do, I am a supporter of Palestinian self determination and ending anti-Arab racism and Islamophobia -- then we need to understand all this and help them decolonize and de-terrorize.

(I hope any of that made sense, I just sort of rambled)

Daww, thank you! I'm glad my pot struck a chord with you. ^_^

Yeah, believe it or not, I do have a lot of sympathy for the average Palestinian Muslim/Christian. It's just... like Atticus said of Mayella Ewell in To Kill a Mockingbird, my sympathy doesn't extend so far as to condone anihilating Israel and massacring all Jews.

I do believe that everyone has a right to self-determination and self-government. Gay people have a right to marry who they love, trans people have a right to dress and live as the gender they identify as, Arab Muslims have a right to worship Allah with Muhammad as his last and final Prophet, Jews have a right to self-determine and self-govern, etc.

TBH, I think there's a cruel irony that an estimated 30-60% of Palestinian Arabs share ancient Canaanite/Hebrew ancestry with modern Jews (meaning, they're also descended from ancient Jews), but since the region was forcibly conquered and converted by Islamic Caliphs in the 600's, it's fair to assume their Jewish ancestors were colonized and/or forcibly converted. (Or at least passively pressured to convert over time, since non-Muslims in Sharia Law are made to pay a poll tax and live as second-class citizens to Muslim citizens--so who wouldn't want to switch to Islam under that literal two-tiered legal system?)

Part of me thinks, "Why would you WANT to stay with Islam when your ancestors were conquered and forcibly converted (or at least passive-aggressively pressured to convert) as sure as Vietnam is largely Catholic because of their French Catholic former colonisers? BUT AGAIN, I respect their right to self-determination and their desire for self-government. If the Palestinian Muslims with ancient Hebrew blood want to stay with Islam, live in an Islamic society, and be ruled by an Islamic government, that's their right.

With that said, part of me feels like the average Palestinian Muslims (and Christians) have been duped by their Islamofascist government to see Israeli Jews not as long-lost brothers and sisters who finally returned home after centuries in exile, but as "foreign invaders" trying to take what little scraps they have. Both in the early 20th century and early 21's century.

You know that leftist meme that goes like:

"A CEO, white kid, and black kid sit at a table. The CEO's plate is piled high with 10 cookies, white the kids' are empty. He then tosses a cookie to the white kid and says, 'That black kid wants to steal your cookie.'"?

That is LITERALLY Hamas is doing to the Palestinian Arabs and Jews!

Hamas notoriously hoards as much of Gaza's food, fuel, water, resources, and wealth as they can, throw their people just enough scraps to get by, and then tells them, "Those Jews wants to steal your land, your religion, and your liberty. Help us kill the Jew, and you'll be living in Paradise." When the state of the rest of the Middle East (which have little to no Jews left in them) shows otherwise.

And I'm so disgusted by how the Left West recognizes that manipulation tactic when it comes to rich white CEO's duping poor whites into blaming black "welfare queens" and brown "illegal immigrants" for their lack of the good life, but somehow CAN'T connect the dots when Islamofascist dictators who openly hoard all their country's resources for themselves and spread oppressive violence and misogyny to the rest of the population do the exact same thing to the average impoverished Muslim regarding "Jews" and "Western invaders."

The average Muslim? Believe it or not, I DO have some sympathy. Based on what I've seen and read from various ex-Muslims, it sounds like Arab Islamic culture doesn't really encourage critical thinking, self-examination, or widespread education as the norm. MANY ex-Muslims I've met and talked to IRL, and that I follow on social media, talk about how, when they were growing up

A lot of Palestinians are also pretty upfront about how "we don't question" what they've been taught about Islam and Jews.

But, you know what? As far as I'm concerned, it's time to START questioning. It's time to START thinking about it. It's time to START making room for non-Muslims to live beside and share equal rights and resources with Muslims.

And I'm so grossed out that the Western Left encourages the religious bigotry, intolerance, and "no dogs or Jews allowed here!" segregation because "It's their culture/religion." Well then, they need to change with the times like everyone else.

[princetonsjp]

The Shy Politics of Fly Me to the Moon

By Joon Hwang

Scarlett Johansson and Channing Tatum’s Fly Me to the Moon, a revolutionary film on the popular conspiracy theory of the “fake” Apollo moon landing, is like butter on movie theater popcorn: subtle in taste, just like the film’s political commentary.

Johansson’s character Kelly fixes her hair, confidently saunters from the elevator, and brightly interrupts a company’s important product meeting. Leaning close to powerful executives with a lipstick adorned mouth, she feigns seduction to conduct her elaborate scam on misogynistic men. What I thought as this scene appeared was “Ah, feminism.” 

In so many contemporary films, critics have noted the modernization of feminist displays that have become a part of modern Western culture. And yet, the way that Johansson portrayed her character had more depth of political messaging than the average “feminist” show. The way that the music combined with Johansson’s sarcastic lip tilt and cunning gaze portrayed the misogyny found in the late ‘60s. The additional ways that she moved about the film grappling political figures with her con-woman talents as male characters stood awestruck lent an ironic tone to obviously sexist times.

In another political take, the film’s specific dialogue and shots demonstrated an interesting take on patriotism. The initial scene in the movie, with static-filled vintage shots of the Vietnam War and the tragic outcome of events surrounding the Space Race led elements of patriotism to create intent within the characters in the movie. And yet, the movie’s portrayal of the federal government as a deceptive character through Woody Harrelson’s Moe implicitly conveyed anti-patriotic sentiment because of his evil nature.

These messages were unsettling in their conveyance because of their supple properties. The messages of patriotism to some could be more prominent, leading to effects of movies such as Tom Cruise’s Top Gun: Maverick, which according to one Newsweek article had “ . . . Other prominent viewers who are also seemingly eager to celebrate America.” Additionally, Johansson’s character could be interpreted not as a feminist message, but one of sexism that continues to portray women as seductresses. However, from my understanding of the film, the film could prove to be a film that stands in solidarity with the colonized through its veiled criticism of the federal government and also for women through its proud portrayal of Johansson’s beautiful character.

Now, there are those that choose to disrespect the film’s mastery of delicate representation. It is exactly these properties that allow for films such as Minari to gain such wide recognition. Minari, after all, was a film about a Korean-American family moving to the Midwest to build a farm, but had the deep messages of remaining connected to your culture in the face of discrimination and lack of community. If only people took time to sit down and interpret the meanings behind the various shots of the film, they would begin to see that the film’s message is consistent throughout: be cautious of what you believe about history, and remember what was happening in the past in the contemporary tumultuous times.

[absolutebl]

I Feel You Linger In the Air

You ready for this?

The quickest of quick thoughts: I loved this show and hated the ending, but not for the reason you think.

This is gonna be one of my big meta beast-sized posts, skip to the end for the final review.

Some Historical Context for I Feel You Linger In The Air - Thailand 1925-1932

I love history and so here's some info that any Thai watcher would likely know, but the rest of us might not... ready?

The Historical Stage:

Burma (now Myanmar) to the west is occupied by the British.

The French hold Vietnam to the east.

Everyone is bickering over what would become Cambodia & Laos.

China occasionally gets involved from the North (also, lots of immigrants from China at this time accounting for a large percentage of the merchant/middle class)

Eventually, Japan would invade during WWII.

In part, The Kingdom of Siam was kept a "neutral" party because none of the surrounding colonial powers wanted to risk offending any of the other players in the area.

Siam re-negotiated sovereignty in 1920 (from USA) and in 1925 (from France & Britain). But during the time of this show (late 1929) it was back to it's customary type-rope balancing act of extreme diplomacy with the allied western colonial powers that surrounded it.

Recognizing that Thailand was never colonized (although it was invaded), it's boarders were constantly nibbled at and it was "ambassador-occupied" off and on by westerners whose military backing and exploitive business concerns simply outmatched the monarchy, especially in the technology department (as well as by reputation on the global stage at the time).

In other words, the farang in this show (James & Robert) were always gonna be both the baddies and the power players of the narrative. (Farang is the Thai word for non-Thai's of European descent, the word means guava.)

The king of Siam at the time (Vajiravudh AKA Rama VI) was initially somewhat popular but also regarded as overly extravagant since Siam had been hit by a major postwar recession in 1919. It should also be noted that King Vajiravudh had no son because he was most likely gay (which at the time did not much concern the Siamese popular opinion, except that it undermined the stability of the monarchy leaving it without an heir).

He "died suddenly" in 1925 (age 44) with the monarchy weakened and succession handed off to his younger brother.

In 1932 a small circle of the rising bourgeoisie (all of whom had studied in Europe, mostly Paris), supported by some military, seized power from the monarchy in a practically nonviolent Siamese Revolution installing a constitutional monarchy. This is mentioned in IFYLITA in the last few episodes but did not (apparently) appear in the original novel.

Siam would then go through:

dictatorship,

WWII,

Japanese invasion,

Allied occupation,

democratic elections,

military junta,

the Indochina wars,

communist insurgency,

more democracy and popularization movements,

multiple coups,

more junta,

more monarchy,

eventually leading us to the somewhat chaotic insanity of Thai politics we have today. (Which is, frankly, a mix of monarchy, junta, democracy, egocentric popularism, and bribery.)

The Filming of I Fell You Linger in the Air

The director if this show, Tee Bundit (Hidden Agenda, Step by Step, Lovely Writer, TharnType), has never particularly impressed or offended me as a director. I would have called him simply "workmanlike" in execution: not offensive, serviceable.

So much so that I spent some time hunting for info on IFYLITA's cinematographer (who remains uncredited on MDL) because this one, of all Tee's pantheon, is ultra stylish. It, frankly, felt too good for him.

Specifically, there is a repeated visual motif in intimacy scenes of either Yai or Jom being filmed from behind a screen/drape/curtain making them seem more translucent, like a ghost or spirit. While the other half of the pair is filmed with sharp clarity. In the first half of the series this is more likely to be Yai (an unknown and mysterious element), as the show progresses, it's more likely to be Jom (the person outside of place and time, destined to vanish all together). This cleverly conveys story, tension, and foreshadow (future shadow?)

Occasionally we shift over so they both become obscured and then clear again.

This stylized version of dirty framing and filters is used to foreshadow and then constantly remind us about that Jom slipped (and is slipping) through time and the disconnect that causes to his sense of reality and purpose, and to his burgeoning relationship.

For example, the scene where Yai is drunk and asleep in his bed. The first time Jom is sitting in a chair drawing him. Yai is blurry behind the screen while Jom is solid and sharp.

This filming technique combined with dirty and peekaboo framing is being used to give the watchers the impression of looking at something we maybe shouldn't, like we are being creepy and intruding on their private time. After all, they can see EACH OTHER clearly, it's only us who have the visual impairment.

This gives us a sense of doom and discomfort and slight sensation that we shouldn't be there. We shouldn't be watching. But ALSO that we too are outside of time, filtered by the future.

In other words his sense of displacement is being used to trigger ours visually.

It's all quite clever.

It's both beautiful and atmospheric and discomforting and touch stressful. Meaning that it is ALSO a visual vehicle to drive narrative tension. As effective as scary music, perhaps more so in this show (since I personally found the musical motifs and refrains somewhat overused.)

Linguistic corner

The word for reflection and shadow is the same in Thai.

Note on the por/phor/phô honorific in Thai

I have not encountered it before in BL. I am indebted to @embraceyourfandom for the following information;

Phô is a paternal honorific, luang phô is used for respected monks. It basically means father. And is oft seen as male honorific for village elders. It's also used as a male prefix in the names of several occupations like:

พ่อครัว phô khrua (khrúa= kitchen -> chef)

พ่อค้า phô khá (khá= trade -> merchant)

พ่อมด phô mót (mót= person of occult knowledge -> wizard)

พ่อบ้าน phô bân (bân =house -> butler) - most relevant

So, Yai's use is probubly foreshadowing that Jom will be a butler for his house, and is primitively referring to him with this title.

All that said, phô can also be used by a "man who is older/higher on hierarchy to refer to a younger/lower on hierarchy man with intimacy and/or affection."

I think all this has to do with Jom's demonstration of education. Yai figured out early on that one of the reasons Jom doesn't belong and cannot fit in with the servants is that he is more educated than a peasant (of this time period), which for Yai adds up to him being originally from a higher status and possibly wealthy family, especially since Jom speaks English and has travelled (he has a non-northern accent).

There is very little Thai middle class at the beginning of the 1920s since trade is being dominated/dictated by the West, or Chinese merchant operations, and Siam is a monarchy. So for a nationalize Thai citizen educated means military, landed gentry with trade operations (like Yai), royal/political/diplomatic connections, or... none of the above. This changes, especially in the south, throughout this decade (as it did in other parts of the world). So there is a rising bourgeoisie going on in the background but it's not that obvious in Chang Mai at this time.

What Jom's educated lack of status means to Yai is that Jom's family either got wiped out or politically disenfranchised possibly as part of the 1912 attempted coups (or even WWI)? This would be mystifying for Yai because Jom doesn't act like he comes from a military family at all. So his background and status is very confusing for Yai, but Yai does know one thing...

Jom is NOT lower class by the standards of Yai's temporal worldview and existence.

For a young man to be educated and yet entirely alone is very dangerous and suspicious. Also, let's be clear, Jom doesn't look or act like a laborer. He red flags "cultured" all over the place.

Yai is paternalistic and caring towards Jom out the gate because Yai has a big ol'crush but also because he recognizes "his own" is trying to survive while isolated and scared.

Yai wants to rescue Jom. Yai is an ineffectual 20 year old gay intellectual. But poor thing sure tries.

Let's Talk About How I Felt About I Feel You Linger in the Air

The historical aspect was great.

I adore historical romances and we almost never get them in BL. I was always gonna be biased towards this show. (As indeed I am towards Nobleman Ryu's Wedding, Tinted with You, and To Sir With Love.) Aside from some classic Thai BL production issues (less than normal, this is very high production value for Thailand) and my issues around the sound track and repetitive repriens (which frankly were more noticeable because I binged the last half) I have no complaints on that score (heh heh).

The surrounding support cast were all quite good and we even got us some lesbians!

The emotional and narrative tensions were excellent.

Any issues I had with pacing came from focus on characters that didn't interest me, but probubly did interest others. I wasn’t wild or particularly interested in the family drama or the side characters/couples, but they were necessary to make this a fully fleshed story with historical context and to give Yai much needed characterization. Also this use of a ensemble cast is very close to Thailand's lakorn heart, even thought this one had way less scenery chewing ludicrous soapy drama (thank heavens).

I was delighted that external threat, stressors, and conflict drove this plot. That's refreshing in BL.

I have no arguments with the chemistry and kisses and sex scenes were tasteful and lovely, occasionally even heart-wrenching, and it's nice to see Thailand especially use physical intimacy to drive plot, and not the other way around.

I love historicals partly because every tiny touch can have such lingering significance, they're very elegant in their chaste physicality. This show didn't need to move into higher heat, but I'm grateful it did because even that was very well done. Thai BLs can often feel clumsy around intimacy, but not this one.

The final sex scene before Jom and Yai separate forever utilizes the ubiquitous director's-favorite-romantic-moments-flashbacks (required of all Asian romance dramas) but with acceleration and tension driven by the noises of sex, which I've never seen/heard done before. In other words: climax of sex = climax of the romance story, I see what you did there, Tee. Clever. Very clever. Bit on the nose… erm… on the… well you know what I mean.

Like all Thai BLs this wasn’t perfect, but for me this is as close as Thai BL gets to high quality romance and that’s what I want the most from my drama watching experience (if not necessarily my Thai BL experience).

But... and you knew the but was coming didn't you?

I absolutely hated the ending.

It wasn't sad, don't worry, but it also wasn't good.

There is a long drawn out separations sequence and then Jom returns to the present, drowning from a car accident. Jom is "rescued" by an moustachioed iteration of Yai from the distant past (who we met once before) and then wakes in hospital. Some time later, Jom returns to the house in Chang Mai where Yai turns up and they reunite.

The end.

There is a stinger featuring Jom once more hurled back in time, only further, meeting the warrior mustache Yai once more.

Okay, that's all I knew and all I saw.

Confused? So was I.

If this had been a regular time travel romance: Yai would have been the EMT or doctor attending Jom when he woke up and their "this time period" romance would commence. With either shared memories, or not.

Had this been set up for audience comprehension in line with the original novel, we should have had flashbacks from both Present Yai (he's not the same one, as it turns out) and deep-past Moustache Yai interwoven throughout the series. Preferably with some focus on Present Yai's quest for reunion with Present Jom AND Present Yai's own experience with visions and memory of his past lives.

A full explanation of the ending is here. This explanation of the 3 different Yais makes me like our ending more. But I shouldn't need to read Cliff's notes from some random y-novel reading fan on Tumblr to understand what's going on in a series!

There is supposedly a special happening with Jom + Present Yai.

There was unquestionably a failure in adaptation in the finale of this show.

As a fan and watcher, what I actually felt was deeply confused and hurt.

I also felt that this was a disingenuous un-earned throw away happy ending, since I had no idea who this new Present Yai was and no investment in his character. I simply didn't believe he was the same Yai (Bright is too good an actor, he was clearly a different older personality).

So the fact remains that past Yai, our Yai, the 20 year old boy we grew to understand and love, is abandoned in the past to suffer alone for the rest of his life. And THAT is an unhappy ending for one half of my beloved pair. Yes Jom gets a new Yai in the present day, but it's not the same Yai. They have no developed relationship, and Jom is doomed to leave even this new Yai and slide into the past once more. That's barely even happy for now for Jom's character.

As a result of my deep sadness for 20-year-old Yai in particular, I'm not going to be able to rewatch this show. The whole thing was rendered not just confusing but the opposite of comforting by the final 15 minutes. I'm tempted to dock it two whole points - one for the ending and the other for the lack of rewatch potential.

But the first 11.5 eps were SO GOOD.

This is one of the only times where I am actually hoping for a second season, while simultaneously being wary of the screen writing and production team's capacity to give us a satisfying one.

Industry wise? I honestly don't think we can hope too hard for a full season 2. This was an expensive show with flawed/limited distribution and little sponsorship. I don't see how they'll get funding for a second season. Unless we see this show up on like Netflix or Viki, I urge you not to hope too hard and be disappointed.

In all honestly?

I started typing up this blog post thinking Thailand was finally, after 5 years, going to earn another 10/10 from me but I just can't in good conscious give it that. It's been days and I'm still upset about that last episode.

And Now My Quick Pitch Review

I truly loved this time travel romance. IFYLITA is an exquisite BL, from filming techniques to narrative framework (much like Until We Meet Again). Steeped in history and family drama it edges into lakorn (but no as much as To Sir With Love and with way less scenery chewing). This is an elegant and classy BL... from Thailand which normally doesn't even try for classy. The main couple (both as a pair and individuals) were excellent, particularly Bright (Yai) whose eye-work acting style is a personal favorite of mine. Pity about the ending. Oh it wasn’t that sad but it wasn’t good either. This show should easily have earned a 10 from me except that it fumbled the… erm… balls. Argh. Whatever. 9/10

(source)

This post is also in My Drama List as a review.