#wm 1978

[kichisaburo3]

MARIO KEMPES 1977 1978 Season for Valencia in Spain Reblogged

TAG of MARIO KEMPES FootBaller in my Tumblr https://kichisaburo3.tumblr.com/tagged/Mario Kempes

Mario Kempes smashes home 1 of his haul of 28 goals during the 1977/78 #LaLiga 🇪🇸 season. His season salvo would earn him the #Pichichi trophy, guide #Valencia to a #UEFACup berth & seal his place in the #Argentina 🇦🇷 squad for the forthcoming #WorldCup Finals. @afa @Argentina pic.twitter.com/4Px1cC2XTL

— Fussball Geekz (@fussballgeekz) February 11, 2024

21 FEB 2024 Wednesday

[20th-century-railroading]

Hammerhead in Hostile Waters by Don Kalkman Via Flickr: Western Maryland Railway Alco RS3 193 was burbling away in Baltimore and Ohio's Riverside yard in Baltimore in April 1978.

One of a handful of WM's RS3s equipped with a high short hood to accommodate a steam generator for passenger service, they were known as "Hammerheads".

[messersschneide]

In interessanten Zeiten leben

Wisst ihr, was man im alten Rom früher sagte, wenn man jemandem ganz höflich und diskret einen schlechten Tag wünschen wollte? „Mögest du in interessanten Zeiten leben.“

Es gibt einen Tagebucheintrag von einem jungen Mädchen aus dem Jahre 1969, sie schrieb, dass sie in einem Kulturzentrum gewesen war, in gelben Cordhosen und einer Bluse, Ian hatte sie nicht beachtet, aber irgendjemand hatte ihr Schmuck in die Tasche gelegt, vermutlich Nicholas, UGH, so ein Creep, dieser Nicholas, schrieb sie, und ach ja: es gab 'ne Mondlandung.

Als es die Mondlandung gab, war ich noch nicht auf der Welt.

Als es die Anschläge auf das World Trade Center gab, war ich schon auf der Welt, aber noch nicht in Deutschland. Ich bin 2002 mit meiner Mutter eingewandert, damals gab es die Einladung an Russlanddeutsche sowie Menschen mit jüdischen Wurzeln aus den ehemaligen GUS-Staaten. Eine Art Reparation. Die Welt zu Gast bei Freunden.

Als 2006 zur Fußball-WM die Welt zu Gast bei Freunden war, war ich gerade vom Gymnasium geflogen.

Als Deutschland 2014 Fußball-Weltmeister wurde, klammerte ich mich an die Schultern meiner damaligen Partnerin, iranischer Vater, deutsche blonde Mutter, und weinte, und man klopfte an die Fenster ihres Autos und rief uns zu, Deutschland habe gewonnen, Deutschland sei Meister, Deutschland, Deutschland, Deutschland.

Als 2015 die PEGIDA-Demos (wer erinnert sich noch an PEGIDA) schon wieder weniger wurden, habe ich einen Auftragstext gegen PEGIDA geschrieben, es war ein verächtlicher Text, wie die meisten, wir nannten sie „Wahnmache“, wir nahmen sie nicht ernst, man müsse ja nun wirklich nicht mehr auf Bühnen nach Zustimmung heischen mit einem „Nazis doof“-Text vor einem Publikum, das genauso progressiv und gebildet und rundum gut ist wie wir selbst. Und Nazis sind dumm, deswegen berichtigten wir damals auf Facebook ihre Grammatik.

Als im Februar 2020 in Hanau ein rechtsradikaler Attentäter eine Shisha-Bar stürmte und neun Menschen mit Migrationshintergrund erschoss, hat die BILD-Zeitung geschrieben, dass es sich um eine sogenannte „Milieutat“ durch Russen handeln musste. Am nächsten Tag fand das Kölner Karneval statt.

Ich habe keine Ahnung, was ich an diesem Tag gemacht hatte. Ich habe nie Tagebuch geführt, so interessant ist mein Leben nicht. Wahrscheinlich Katzenvideos geschaut und Flusen aus meinem Bauchnabel gezogen. Wahrscheinlich das gleiche wie das, was ich einen Monat später im Corona-Lockdown gemacht hatte. Ich konnte es mir leisten, mich in interessanten Zeiten zu langweilen.

Wisst ihr noch, wo ihr wart, als der Faschismus wiederkehrte?

Wenn der Faschismus wiederkehrt, wird er nicht sagen: „Ich bin der Faschismus“, sondern: „Ich bin der Anti-Faschismus“. Das sagte der italienische Schriftsteller Ignazio Silone 1978.

Das hat der italienische Schriftsteller Ignazio Silone vermutlich nie so gesagt.

Es gibt keine stichhaltigen Beweise, nur eine halb erinnerte Anekdote aus dem Buch eines Bekannten, nur einen lange nicht korrigierten Eintrag auf Wikipedia, nur ein Meme, ein Meme, ein Meme. Italienische Schriftsteller haben mehr Autorität, aber an Memes erinnert man sich besser.

Wenn der Faschismus wiederkehrt, wird er nicht sagen: „Ich bin der Faschismus“, sondern, dass man die große Gefahr des Linksextremismus unbedingt ernst nehmen müsste, sich vor einem Linksruck schützen, linke Gewalttaten brennende Autos und Mülltonnen schwarzer vermummter Mob links links links.

Wenn der Faschismus wiederkehrt, wird er nicht sagen: „Ich bin der Faschismus“, sondern: „Brennende Flüchtlingsheime sind kein Akt der Aggression, sondern ein Akt der Verzweiflung gegen Beschlüsse von oben.“, und: „Hitler und die Nazis sind nur ein Vogelschiss in über 1.000 Jahren erfolgreicher deutscher Geschichte.“

Wenn der Faschismus wiederkehrt, wird er nicht sagen: „Ich bin der Faschismus“, sondern: „I bims, der Faschismus“, denn wir haben 2017. 2017 zog die AfD zum ersten Mal in den Bundestag ein, als drittstärkste Kraft.

Wenn der Faschismus wiederkehrt, wird er nicht sagen: „Ich bin der Faschismus“, sondern: wir müssen die AfD mit den besseren Argumenten entzaubern, wir müssen den Dialog aufrechterhalten, wir müssen die Ängste der Bürger ernst nehmen.

Wenn der Faschismus wiederkehrt, wird er nicht sagen: „Ich bin der Faschismus“, sondern: „Wir müssen die Grenzen dicht machen und dann die grausamen Bilder aushalten“ und „Wir müssen endlich im großen Stil abschieben“. Einer dieser Sätze stammt von Alexander Gauland von der AfD, einer von Olaf Scholz, SPD, amtierender Bundeskanzler. Ich sage aber nicht, welcher.

Als sich führende Persönlichkeiten der Neuen Rechten, hochrangige Politiker und ihre Unterstützer aus der Wirtschaft in Potsdam trafen, gab es deutschlandweit Demonstrationen. 250.000 Teilnehmende insgesamt. Nie wieder ist jetzt.

Als der Faschismus 1933 zum ersten Mal einkehrte, gingen 150.000 Menschen in Berlin auf die Straße. Fünf Tage später wurde Adolf Hitler zum Reichskanzler ernannt.

Als ich die Schilder auf den „Nie wieder ist jetzt“-Demos gesehen habe, die Kacheln auf Instagram, stand in einigen davon: „Gegen AfD, weil ich Döner mag“. Wir brauchen Fachkräfte, wer stutzt euch den Bart, wer sticht den Spargel, wer wischt eurer dementen Oma den Arsch. Die Welt zu Gast bei Freunden, zu Gast, zu Gast, zu Gast.

Wenn der Faschismus wiederkehrt, wird er sagen: „Immerhin haben wir jetzt so viele Ausländer im Land, dass sich ein Holocaust mal wieder lohnen würde.“

Wenn der Faschismus wiederkehrt, wird er genau das sagen: „Ich bin der Faschismus“. Er wird lange genug gewartet haben. Er ist geduldig. Er war nie wirklich weg gewesen.

Ich bin 2002 mit sieben Jahren nach Deutschland gezogen. Mein Deutsch ist perfekt. Wenn ich wollte, könnte ich in den sozialen Medien die Rechtschreibung von Nazis korrigieren. Ich habe keine Angst. Ich habe lange keine Angst gehabt. Ich konnte es mir leisten, mich in interessanten Zeiten zu langweilen.

Ich bin migrantisch, aber immerhin weiß und mit deutschem Pass, ich bin bisexuell, aber immerhin nicht lesbisch und nicht transgender, ich bin psychisch krank, aber kann mich gut verstellen, ich habe jüdische Wurzeln, aber immerhin nur großväterlicherseits, ich bin gebildet, integriert, ich gehöre zu Den Guten. Ich bin ein Frosch im langsam aufkochenden Wasser, es ist warm, es ist nicht einmal unangenehm. Es ist alles in Ordnung, ich würde nicht zu den ersten gehören, die man an die Wand stellt.

Wenn der Faschismus wiederkehrt, was werdet ihr sagen?

Was werdet ihr tun?

Wann stellt man euch an die Wand?

Und wenn nicht euch, dann eure Freundinnen und Freunde, eure Partnerinnen und Partner, eure Familie, eure Nachbarn?

Vielleicht habt ihr sie nicht. Vielleicht habt ihr nichts zu verlieren als euren liebsten Dönermann. Dann bleibt der Topf, in dem wir kochen, für euch eben ein Whirlpool. Es ist kalt in Deutschland, es ist deutsch in Kaltland.

Bis ihr wieder sagen müsst, dass ihr ja im Widerstand wart, wie man es von euch erwartet.

Wenn der Faschismus wiederkehrt, weiß ich, was ich sagen werde. Diese Geschichte wird nicht mit meinem, nicht mit unserem Blut geschrieben.

[tomoleary]

"Through Whom My Power Flows" by Michael Wm. Kaluta (1978)

There’s a color version but I haven’t found a decent one.

[vichhai1999]

ประวัติความเป็นมาของเครื่องสล็อต

 เครื่องสล็อตนั้นมีประวัติความเป็นมาที่ยาวนานโดยเริ่มตั้งแต่การถูกใช้เป็นชื่อเรียกเครื่องจําหน่ายสินค้าอัตโนมัติจนกลายมาเป็นเครื่องเกมยอดนิยมของคาสิโน มีเครื่องสล็อตอยู่หลายพันเครื่องในสถานประกอบการคาสิโนทั่วโลกและอีกมากมายในพื้นที่ของคาสิโนออนไลน์

อะไรที่ทำให้พวกมันได้รับความนิยม? พวกมันมีวิวัฒนาการอย่างไรในช่วงหลายปีที่ผ่านมา? เราคาดหวังอะไรจากสล็อตในอนาคต? หากคุณต้องการคำตอบสำหรับคำถามสุดฮิตเหล่านี้ คุณมาถูกที่แล้ว

จุดเริ่มต้น เครื่องสล็อตเครื่องแรกมีอายุสืบย้อนไปจนถึงศตวรรษที่ 19 ไปยังเครื่องจักรที่ถูกพัฒนาโดย Sittman และ Pitt ในปี 1891 เครื่องมีไพ่ทั้งหมด 50 ใบพร้อมกับห้าดรัม เป้าหมายของการเล่นคือการจัดอันดับรูปแบบไพ่โป๊กเกอร์ที่ดีที่สุดเท่าที่จะเป็นไปได้ ดังนั้นเราจึงสามารถพูดได้ว่าบรรพบุรุษของเครื่องสล็อตสมัยใหม่ก็คือเครื่องโป๊กเกอร์นั่นเอง จากนั้นในปี 1907 Charles Fey เป็นผู้บุกเบิกเครื่องสล็อตเครื่องแรกในชื่อว่า Liberty Bell โดยมีวงล้อหมุนสามวงล้อและสัญลักษณ์ห้าตัว ได้แก่ เกือกม้า โพดํา เพชร หัวใจ และภาพระฆังแห่งเสรีภาพที่แตกร้าว เนื่องจากเป็นเครื่องสล็อตแบบหยอดเหรียญเครื่องแรก มันจึงได้รับความนิยมอย่างมาก แทนที่จะขายเครื่องสล็อต Fey ให้เช่าพวกเขามันโดยเก็บค่าคอมมิชชั่น 50%

ในปี 1907 เกิดการเปลี่ยนแปลงครั้งใหญ่ขึ้นกับเครื่องสล็อต กล่าวคือ สัญลักษณ์ผลไม้ถูกเพิ่มเข้าไปในสัญลักษณ์ชุดไพ่ดั้งเดิม

เครื่องสล็อตอิเล็กทรอนิกส์ถือกำเนิดขึ้น เครื่องสล็อตอิเล็กทรอนิกส์เชิงกลเครื่องแรกถูกสร้างขึ้นในชื่อที่ทุกคนรู้จักกันดีในโลกของซอฟต์แวร์คาสิโน นั่นก็คือ Bally ในปี 1963 มีการเปิดตัวเครื่องสล็อต Money Honey ที่มีชื่อเสียง ซึ่งเป็นสล็อตแบบสามวงล้อที่เล่นโดยการดึงคันโยกเชิงกล จึงทำให้มันได้รับสมญานามว่า One-Armed Bandit (โจรแขนเดียว) ซึ่งตอนนี้กลายมาเป็นคำที่ใช้กันอย่างแพร่หลายเพื่อเรียกเครื่องสล็อตทั้งหมด การพัฒนาเทคโนโลยีเสียงและวิดีโอในช่วงต้นยุค 70 ประสบความสําเร็จในการปูทางไปสู่สล็อตวิดีโอ ในปี 1976 บริษัท Fortune Coin ได้สร้าง Fortune Coin ซึ่งเป็นสล็อตวิดีโอเครื่องแรกที่ใช้ทีวี Sony ขนาด 9 นิ้วเพื่อแสดงสัญลักษณ์แทนวงล้อกล สิ่งนี้นับเป็นก้าวที่ยิ่งใหญ่ไปสู่อนาคต Fortune Coin เปิดตัวครั้งแรกในโรงแรมฮิลตันบนถนนลาสเวกัสสตริป ในปี 1978 บริษัท ถูกซื้อกิจการโดย IGT

สล็อตแจ็คพอตแบบโปรเกรสซีฟเครื่องแรก IGT เป็นผู้นําสิ่งประดิษฐ์ที่ยิ่งใหญ่อีกชิ้นหนึ่งมาสู่โลกของสล็อต ในปี 1986 พวกเขาได้เปิดตัวเครื่องสล็อตแจ็คพอตแบบโปรเกรสซีฟเครื่องแรกของโลกที่มีชื่อว่า Megabucks โดยเครื่องสล็อตจะสร้างพูลแจ็คพอตในจำนวนที่มากกว่าเครื่องสล็อตแบบคงที่ และพูลแจ็คพอตสามารถเพิ่มจำนวนมากขึ้นได้โดยไม่มีที่สิ้นสุดอย่างแท้จริง เครื่องสล็อตทั่วสหรัฐอเมริกาถูกเชื่อมต่อผ่านสายโทรศัพท์และ IGT รับประกันการจ่ายเงินรางวัลครั้งแรกสูงถึง 1 ล้านดอลลาร์สหรัฐ และจำนวนเงินรางวัลจะเพิ่มสูงขึ้นไปอีกตามจํานวนคนที่เล่นเครื่องสล็อต

ในปี 1987แจ็คพอตแบบโปรเกรสซีฟครั้งแรกซึ่งมีมูลค่าเกือบ 5 ล้านดอลลาร์ถูกตีแตกในเมืองรีโน

รอบโบนัสที่เพิ่มเข้ามา ไม่มีการเปลี่ยนแปลงสำคัญมากมายสําหรับเครื่อ��สล็อต จนกระทั่ง WMS ได้เปิดตัว Reel ‘Em ซึ่งเป็นสล็อตเครื่องแรกที่เพิ่มรอบโบนัสเข้ามาให้เล่นบนหน้าจอที่สอง เมื่อผู้เล่นได้รับโบนัส รอบโบนัสเกมใหม่ทั้งหมดจะปรากฏขึ้นสําหรับรอบนั้น ๆ พร้อมกับให้เงินรางวัลเพิ่มเติม

ยุคแห่งสล็อตออนไลน์

ความนิยมในสล็อตออนไลน์เฟื่องฟูขึ้นในช่วงปลายยุค 90 เนื่องมาจากการเปิดตัวคาสิโนออนไลน์ สล็อต 3 วงล้อแบบคลาสสิกพร้อมกับภาพและคุณสมบัติการเล่นเกมที่เรียบง่ายกําลังถูกแทนที่ด้วยธีมที่ซับซ้อน รอบโบนัส และรูปแบบของวงล้อและเพย์ไลน์ที่หลากหลาย เมื่อเทียบกับเครื่องสล็อตในสถานประกอบการคาสิโน สล็อตออนไลน์เหล่านี้มีผลตอบแทนกลับสู่ผู้เล่นที่ยืดหยุ่นและสูงกว่าและอัตราการแลกเหรียญที่ต่ำกว่า เกมสล็อตออนไลน์เกมแรกคือ Temple Of Isis โดย Eyecon ซึ่งเป็นบริษัทนักพัฒนาสัญชาติออสเตรเลีย

ตอนนี้เรามีสล็อตซึ่งมีกลไกที่เป็นนวัตกรรมเช่น Megaways โดยนำเสนอมากกว่าหนึ่งล้านวิธีในการสร้างคอม���บที่จะชนะแจ็คพอตแบบโปรเกรสซีฟระดับโลกมูลค่าหลายล้าน ดังที่พบได้ในสล็อต Mega Moolah โดย Microgaming และยังมีคุณสมบัติอื่น ๆ อีกมากมาย สล็อตเล่นได้บนเดสก์ท็อปและอุปกรณ์มือถือและมีธีมที่ซับซ้อนและโครงสร้างการจ่ายเงินที่ใคร ๆ ต่างคาดไม่ถึงในช่วงแรกของการเล่นเกมคาสิโนออนไลน์

อนาคตของสล็อตออนไลน์ อนาคตของสล็อตออนไลน์นั้นสดใสอย่างแน่นอน ด้วยการเพิ่มขึ้นของอินเทอร์เน็ตระดับ 5G, ความเป็นจริงเสมือน, ความเป็นจริงเสริม และนวัตกรรมทางเทคโนโลยีอื่น ๆ สล็อตจะยิ่งมีความสมจริงมากขึ้น ยกตัวอย่างเช่น สล็อตเสมือนจริง Gonzo’s Quest โดย NetEnt ด้วยการเล่นผ่านแว่นตา VR คุณจะพบว่าตัวคุณเองอยู่ในสภาพแวดล้อม 3 มิติ พร้อมกับมุมมอง 360 องศาเต็มรูปแบบ และการหมุนวงล้อของเกมสล็อตที่สมจริง ดูเหมือนว่าอนาคตของสล็อตออนไลน์จะอยู่ที่นี่แล้ว สิ่งที่เหลืออยู่ก็คือการคอยดูกันว่าผู้ให้บริการจะปรับตัวและส่งมอบผลิตภัณฑ์ของตนอย่างไร

[wortzentriert]

1

A Survey of the History of the Interpretation of 1 Corinthians 11:2-16

A. Philip Brown II, PhD

Aldersgate Forum 2011

This essay examines two aspects of the history of how 1 Corinthians 11:2-16 has been

interpreted:1

(1) What did Paul mean when he said men should not be covered and women

should be covered when praying or prophesying, and (2) What do Paul’s requirements regarding

men’s and women’s hair mean.

The aims of this survey are, first, to orient the interpreter to the ways in which this passage

has been understood, thereby guarding against an interpretation uninformed by church history.

Second, it will demonstrate that the church has historically understood Paul to teach that women

should have long hair and men should not. Third, it will provide what I hope is a plausible

explanation for how the dominant understanding of this passage developed, that is, that Paul

requires women’s heads to be covered with both hair and a material head-covering.

The history of interpretation divides naturally into three periods: early and medieval

interpretation (AD 120-1500), reformation, post-reformation, and Wesleyan interpretation (AD

1500-1850), and modern interpretation (AD 1850-present). In each period, the identity, setting,

and views of the major interpretive figures are discussed, and the distinctive characteristics of

that period are summarized.

Early and Medieval Interpretation (A.D. 120–1500)

The majority of extant commentators from the early and medieval periods identified the

covering Paul requires in 1 Corinthians 11:2-16 as a material veil of some sort. These same

commentators also understood Paul to teach that a woman was to have long hair and that a man

was not.

AD 100-200: Irenaeus, Clement of Alexandria, and Tertullian

Irenaeus is the earliest church father to comment on 1 Cor. 11, though he does so only in

passing.2

In his treatise refuting Valentinian gnosticism,3

he notes that the Valentinians appeal to

1

At present, the only history of the interpretation of 1 Corinthians 11:2-16 published is Linda A.

Mercadante’s From Hierarchy to Equality: A Comparison of Past and Present Interpretations of 1 Cor 11:2-16 in

Relation to the Changing Status of Women in Society (Vancouver: G-M-H Books, 1978). Mercadante, however,

begins her analysis with Calvin. Ralph N. V. Schutt, “A History of the Interpretation of 1 Corinthians 11:2-16”

(M.A. thesis, Dallas Theological Seminary, 1978), covered only two church fathers—Tertullian and Chrysostom—

and then jumps to Calvin, his only representative from the 16th century. Both Gerald Bray, ed., 1-2 Corinthians in

Ancient Christian Commentary on Scripture, ed. Thomas C. Oden (Downers Grove: InterVarsity Press, 1999),

7:106-109, and Judith L. Kovacs, 1 Corinthians: Interpreted By Early Christian Commentators in The Church’s

Bible, ed. Robert Louis Wilken (Grand Rapids: Wm. B. Eerdmans, 2005), 179-184, provide citations of various

father’s views on specific verses, but they do not seek to provide a survey of the history of interpretation.

2

Irenaeus lived c. A.D. 120-202, was bishop of Lyons (France) and a disciple of Polycarp who was a

disciple of the Apostle John.

3

Valentinian Gnosticism, one of the most influential forms of Gnosticism, taught that Jesus gave his

disciples secret knowledge (gnosis) without which one cannot properly interpret Scripture. Only the spiritual mature

can appreciate this knowledge. For details, consult Einar Thomassen, The Spiritual Seed: The Church of the

“Valentinians” (Leiden: Brill, 2006).

https://comeafterme.com/web_documents/English/Articles/2011-10-25%20A%20Survey%20of%20the%20History%20of%20the%20Interpretation%20of%201%20Corinthians%2011.pdf

[derzaungast]

Das Hamburger Fußball-Fachblatt legt nach: einfach nur einem Schwellenland mit BRICS-Ambitionen den verdienten WM-Triumph zu gönnen, kommt für werteorientierte ideologische Bindenträger natürlich nicht in Frage: der argentinische Superstar ist schon deswegen nicht zu feiern, weil er „geldgierig“ und „komplett uninformiert“ ist über Länder, „die Menschenrechte mit Füßen treten“!

Da kennen sich deutsche Journalisten aus, besonders wenn dabei Argentinien im Spiel ist. Jeder erinnert sich an das mutige Auftreten der BRD-Mannschaft bei der WM 1978 in Argentinien, als Mannschaft und DFB-Tross hocherhobenen Hauptes ein Zeichen nach dem anderen setzten angesichts der Fußballweltmeisterschaft vor der Kulisse einer Militärdiktatur, die Oppositionelle in Lagern, Folterkellern und auf Friedhöfen verschwinden ließ.

[asteriluv]

YooA & WM Entertainment Cultural Appropriation: What’s Happening and Why it Matters

(written by @asteriluv and @lizannbeth1999​)

As you may have heard, OhMyGirl’s Yooa’s new Bon Voyage promotions have been met with accusations of cultural appropriation from Native Americans and their allies (if not, you can check them out here). This post breaks down what was appropriated and the impacts associated with this appropriation. As fans, we were especially disappointed and hurt by this situation.

Our goal with this post is not to cancel, bully, or otherwise insult YooA, OhMyGirl or WM Entertainment. Instead, our goals are to educate people about the situation, change the narrative surrounding the situation, and call activists, allies, and fans to take action against this cultural appropriation. After reading this post, please sign our petition here to demand the removal of the appropriated imagery from Bon Voyage promotions and other releases.

Overall, we want people to understand that this concept is not inspired work, it is cultural appropriation. While some pieces of this concept may be inspired by Princess Mononoke, the other pieces that we take issue with are based on a racial stereotypes, primarily about Native American plains people. This incident is inexcusable, and we ask that you join us in taking action against this cultural appropriation. Details on how to take action are included at the end of the post.

Long post below, so, tldr: The Bon Voyage promotions culturally appropriate multiple Native American cultures through the usage of war paint combined with other factors such as jewelry and paint in traditional tattoo patterns. 

[Image description: Bon Voyage album release promotion featuring Oh My Girl’s YooA wearing face paint mimicking war paint and wearing turquoise jewelry]

Firstly, the face paint used in the Bon Voyage promotions is similar to both traditional Inuit tattoos and Cherokee war paint for new warriors. War paint for all Native American tribes is a part of culture and spirituality which was criminalized in the United States up until 1978, when the AIRFA (American Indian Religious Freedom Act) was passed granting Native Americans freedom of religion. 

[Image description: man in war paint]

Additionally, war paint has been appropriated in redface (when a non-Native person wears traditional Native American paint and clothing in a disrespectful way), as well as in the promotion of racist tropes. This happened even during times when Native Americans could not wear their traditional war paint legally. You can find many prominent examples of redface within old west movies, fashion events, and Halloween costumes. We were unable to find a photo of war paint exactly the same as the style as YooA is wearing because it is a style of face paint most often worn by people participating in redface.

The picture below was found on Pinterest (photo credit:  amylynnlarwig.com). It was tagged as “tribal face paints”, “Halloween ideas”, and “Halloween makeup”. See the problem?

[Image description: Model wearing face paint meant to mimic traditional Native American war paint.]

[Image description: Bon Voyage album release promotion featuring Oh My Girl’s YooA wearing face paint mimicking war paint]

Within this context, YooA is using the traditional war paint as an aesthetic. This is wrong and never justifiable. This is not appreciating, promoting, or sharing Native American cultures, this is mocking it. It de-humanizes Native people by reducing them to an aesthetic.

Asteri: “For people who don't think it's war paint, it is, as a Native person I'm telling you it is. Seeing this caused my stomach to swell from anxiety. A lot of racism towards natives comes from using us as costumes or just general redface... Second Nations (non-Natives living in the Americas) playing cowboy and Indian, calling the "Indian" kids injuns or squah, but that's extreme. Oftentimes, it’s over sexualised costumes and misuse of our cultural clothes and the inaccuracy of their portrayal. This is redface to me and is inappropriate. It also reminds me of non-Native kids uvulating at native kids while wearing fake feathers and face paint.”

Many people have been claiming that the paint that she is wearing is not war paint, but instead paint inspired by characters from Princess Mononoke. While aspects of the album concept may be inspired by the film, the war paint is most definitely not. Even if the concept was completely based on Princess Mononoke, it would still be cultural appropriation for YooA to wear the face and body paint because many characteristics used in the film’s character designs are based on Japanese shamanism.

[Gif description: clip from Princess Mononoke with the title character riding a wold]

Some people have also pointed out that the face paint in some photos is also extremely similar to Inuit face tattoos. Inuit people have been persecuted for participating in this and other aspects of their own culture. In addition, their culture and traditions are closed to those outside of their tribe. 

(note: neither or the writers are Inuit, and we do ask for input from Inuit people about the accuracy of this claim as well as their opinions on this situation)

[Image descriptions: 1-3: YooA wearing black face paint with two black, horizontal lines on each cheek and one vertical line extending from her chin to her lower lip]

Some of the jewelry used within the Bon Voyage promotions is also appropriated from Native American cultures. Now, the jewelry itself is not an issue. It is completely okay for Second Nations or Non-Native people to wear if it is ethically sourced. But mixing war paint with turquoise jewelry shuts down the Princess Mononoke argument. Wearing war paint as a Non-Native, which on its own is redface, and pairing it with jewelry that has been considered sacred and is specifically a Native American style severely weakens all arguments that this is not Native American CA(Cultural Appropriation)/Red Face.

(Asteri notes that the jewelry has many similarities to Diné designs; we are not Diné , and we do ask for input from Diné people about the accuracy of this claim as well as their opinions on this situation)

Through these points, the disrespect to American indigenous cultures through cultural appropriation is shown. There will continue to be arguments about this situation, but it does not change the fact that this is cultural appropriation and both YooA and WM Entertainment have disrespected Native people and their cultures. Cultural appropriation de-humanizes those whose culture is being taken by reducing their people to an aesthetic and mocking their cultural and spiritual identities. Here is what we are asking for from YooA and WM Entertainment:

Here is what we are asking for from YooA and WM Entertainment:

Written apologies from WM Entertainment in both English and Korean that include details of what they have done, the impacts of what they have done, and a commitment to educating staff about cultural appropriation to make sure that situations like this are not repeated.

A video apology from YooA

The complete removal of culturally appropriated content from the Bon Voyage promotions and videos

Now, you may be wondering what you can do about this situation. Here is what we are asking people outside of the company to do:

Sign our petition here and share it

Contact WM Entertainment on Instagram and on Twitter (WM Entertainment main and OhMyGirl accounts)  through comments, tweets, and DMs to tell them that the promotional concept is disrespectful and harmful; explain how you are impacted by the situation and/or how you are standing in solidarity with Native Americans (WM Ent: Instagram, Twitter; Oh My Girl: Instagram, Twitter)

Boycott the single and album releases until the previously listed demands are met

(If you choose to complete any of these actions, please be respectful toward YooA, OhMyGirl, and WM Entertainment. Remember that our goal is to change the narrative surrounding this situation and take action against cultural appropriation and its harmful effects. We do NOT want to cancel, insult, or bully YooA, OhMyGirl, or WM Entertainment. In addition, please act respectfully toward everyone involved in the conversation, whether they be activists, fans, or others. 

Additionally, we do not wish to harm YooA’s career. As fans, we hope that she will continue to have a successful career after this situation is dealt with appropriately.)

Thank you for reading this post and for your support in working toward a solution.

Other Resources:

About cultural appropriation

Tumblr Post of a compilation of links to readings about settler colonialism

[theblackestofsuns]

Doorway To Nightmare #2 (March / April 1978)

Cover by Michael Wm. Kaluta and Tatjana Wood

DC Comics

[weemsbotts]

Fallen And Not Forgotten: Andrew Leitch’s Short & Fascinating Life in Dumfries

By: Lisa Timmerman, Executive Director

On 10/05/1776, George Washington wrote to Samuel Washington describing the Battle of Harlem Heights and writing, “In this Ingagement poor Majr Leitch of Weedon’s Regiment received three Wounds through his Side, of which he died…” Dying so early in the Revolutionary War and away from home certainly meant hardships for his family. Due to his active political career and wealth, we can trace him and his family through different newspapers, court records, and letters/petitions to see how his family fought to honor his legacy and service.

On 03/04/1775, Andrew Leitch purchased “all those 2 lotts or 2 acres of land situate lying & being in the said county of Pr. Wm. & joing the N.E. end of the town of Dumfries beginning for 1 acre & the said land on the main street & on the town line opposite to the corner of Mr. Wm Graysons  lotts extending…the other lott or 1 acre is to join the said town on the level opposite to lotts of Mr. Thomas Chapman.” Moving from Maryland to Virginia the previous year, Leitch did not hesitate to establish his mercantile business and political interests. While in Dumfries, Andrew and his wife Margaretta Augustina Brice Leitch visited and dined with George Washington and established a strong enough connection for the later orphaned Leitch children to appeal directly for Washington’s help.

While Leitch’s social affairs seemed solid, his indentured servants were actively fleeing from him. Leitch tried to control his labor force by placing the following runaway advertisement in the Virginia Gazette in 04/1775 for the stout William Pearce and strong Ralph Emmanuel, “2 convict servant men just imported from London in the Justitiae Capt. Kidd lying at Leedstown”. His luck at keeping his convict labor force fared no better later in 1774 as he placed another runaway ad for Joseph Fischer, a tailor with a “dark visage – down look”, tailer William Booth with a “wooden leg which he endeavors to hide with his trousers” and indentured tailor Patrick Creamer.

In 1774, Leitch joined the Prince William County Committee of Correspondence. Washington recorded lodging with Leitch with evening entertainment at the Graham’s as Washington reviewed the Independent Company in Dumfries. By 02/1776, Leitch was commissioned a captain in the 3rd Virginia Regiment and led the Prince William Battalion, later receiving a promotion to Major in the 1st Virginia Regiment. Major Leitch actively fought in the Battle of Harlem Heights (09/16/1776), at the head of the attacking column, and suffered three musket ball wounds in his abdomen. Although Washington and other officers seemed hopeful for his recovery, he died on 09/28/1776. Sidenote: To read more about the actual battle, check out the Emerging Revolutionary War Era blog here. 

(Source: Shannon, Joseph, Noel Francis Parrish, and W.C. Rogers & Co. Map of the upper part of the Island of Manhattan above Eighty-Sixth Street arranged to illustrate the Battle of Harlem Heights. [New York?: s.n, 1776] Map. https://www.loc.gov/item/88694229/)

Further devastation to the family occurred when Margaretta died in 1781. Now orphaned, Sarah Leitch appealed on “behalf of herself and her Infant brother James Frisby Leitch” directly to George Washington in 01/1791:

“That their said father being a Merchant and possessing but a small Capital was in a great degree dependent on his personal exertions for the support of himself and his family, but actuated by Zeal in the cause of this Country entered into the Army of these States, and in the year 1776 Sacrificed his Life in executing the orders of his General—Your Petitioners on this Subject can only relate the information they have received from others, but, for the truth of these facts they are told, they may appeal with confidence to the knowledge of the Commander in Chief.

Your Petitioners further shew that the additional Misfortune of losing their Mother soon afterwards left them altogether dependent upon the bounty of friends, and while they contemplate these Melancholy Events they cannot but hope they shall receive from the Humanity and generosity of this Government the same compassion that they are informed others have experienced in similar circumstances—They humbly intreat therefore that the half pay of the Commission possessed by their said Father, may be extended to your Petitioners commencing from the date of his Death, or for such other provision as you may think most proper.”

Leitch’s inventory from 1777 indicated his “small Capital” included a book collection, mahogany desk and bookcase, and the following enslaved persons: Dinah, Harry, Hagar and her child estimating their “price” from 30 to 120 pounds. Although Secretary of War Henry Knox was in favor of granting the petition and the House of Representatives approved the petition in 02/1791, it is unclear whether anyone implemented it. On 06/30/1834, Congress resolved, “to the legal representatives of the late Margaret Leitch, widow of the late Major Andrew Leitch, a major in the army of the revolution . . . the seven years’ half pay” noting women and children received this entitlement from the Congressional resolution of 08/24/1780. This continued in the records into the 1840s as the family continued to affirm Leitch’s sacrifice in the Revolutionary War. Upon Sarah’s death in 1842, her children appealed to the courts and received “…from the Register of the land office, warrant or warrants due for the service of Andrew Leitch as Major in the Rev. war.”

Although Leitch was only active in Dumfries for a short time, his business as a merchant and enthuasiasm as a patriot directly impacted Prince William County. While he died early in the Revolutionary War, his family fought for decades for the recognition and rights based on his ultimate sacrifice. One lingering thought: Were Leitch’s tailors truly convicts and did the man with the wooden leg successfully hide it in his trousers?

Note: The Weems-Botts Museum is kicking back into high gear as we rush into September! From a featured guest speaker discussing Hessians in Dumfries to scheduled tours, we are excited to engage our community with both f2f and virtual programming! Check out our seasonal programs and tour availability on our website here.

(Sources: HDVI Archival Files; Orrison, Robert. “He Stood the Field with Great Bravery”: The Story of Major Andrew Leitch, Part 1 & 2, Emerging Revolutionary War Era Blog; “From George Washington to Samuel Washington, 5 October 1776,” Founders Online, National Archives, https://founders.archives.gov/documents/Washington/03-06-02-0371. [Original source: The Papers of George Washington, Revolutionary War Series, vol. 6, 13 August 1776 – 20 October 1776, ed. Philander D. Chase and Frank E. Grizzard, Jr. Charlottesville: University Press of Virginia, 1994, pp. 486–488.];“[March 1775],” Founders Online, National Archives, https://founders.archives.gov/documents/Washington/01-03-02-0005-0005. [Original source: The Diaries of George Washington, vol. 3, 1 January 1771–5 November 1781, ed. Donald Jackson. Charlottesville: University Press of Virginia, 1978, pp. 311–317.] “To George Washington from Sarah Leitch, 25 January 1791,” Founders Online, National Archives, https://founders.archives.gov/documents/Washington/05-07-02-0156. [Original source: The Papers of George Washington, Presidential Series, vol. 7, 1 December 1790 – 21 March 1791, ed. Jack D. Warren, Jr. Charlottesville: University Press of Virginia, 1998, pp. 282–283.])

[todaysdocument]

Patent Drawing for Wm. S. Hicks Pencil Case, 3/21/1871

Series: Utility Patent Drawings, 1837 - 1911. Record Group 241: Records of the Patent and Trademark Office, 1836 - 1978.

[kichisaburo3]

Ruud Krol Nethlands Footballer for WM 1978 Argentina Twitter Reblogged

TAG of Nostalgy Football Stadium in My Tumblr https://kichisaburo3.tumblr.com/tagged/ nostalgy football stadium

#RuudKrol #Netherlands #WC1978. pic.twitter.com/1bdxSKvuZb

— OldFootballPhotos (@OldFootball11) January 17, 2023

08 MAY 2023 Monday

[20th-century-railroading]

WM-6, New Oxford, PA, A, 12-78 by Robert Kaplan Via Flickr: The station at New Oxford was decorated for Christmas.

[wisdommanagement]

Wisdom Management Services Sdn Bhd

Wisdom Management Services (WMS) is committed to making a difference in the lives of our life planners and end-clients with our top-notch services. Being a leading wealth planner firm, we strongly believe that wealth management is an important aspect of an individual’s life that should be deal with the utmost professionalism. People often need planning regarding Investment Management, Legal & Tax consultancy, Mortgage loans; Insurance Trust and Will Writing, Retirement & Savings, etc. We at WMS provide effective and exceptional solutions to our end-clients so that they can manage, grow their asset and protect their legacy in order to have a high net worth at any stage of their life.

Website: https://wisdommanagement.com.my

Address : 22A, Jalan Tiara 5, Bandar Baru Klang, 41150  Klang, Selangor, Malaysia

Phone Number: 017 668 1978

Contact Email ID: servicecentre@intouchwealth.com.my

Business Hours: Mon - Fri 8:30 am - 5:30 pm

[starlightinkwell]

Fred Astaire's 121st birthday was this past Sunday, 10 May 2020. Astaire died 43 days after his 88th birthday on 22 June 1987. So much ink has been dedicated to Astaire's dapper elegance, his style, but this quote from Astaire says far more about his quest as an artist:

“This search for what you want is like tracking something that doesn’t want to be tracked. It takes time to get a dance right, to create something memorable.”

Thinking critically about Astaire, he has become somewhat a victim of the very style for which he is so admired. He came to fame during a time when want and hunger created a longing in the public to escape into some fantasy world that was completely set apart from the realities of the Great Depression, where characters wanted for nothing more than a calm sea, a polished dance floor, a witty rejoinder, and a well-turned out romantic interest. One could make an argument that he has, to some extent, become entangled and trapped by his top hat, white tie, and tails. A contemporary coming across the bulk of work for which he is remembered could easily find it "of a time": dated, charming, quaint, often cute, always dazzling, but somewhat irrelevant.  

Although Astaire did create the choreography for his dances with his sister Adele, and is said to have done most of the choreography for his own dances, he did always work with a choreographer, most notably with Hermes Pan. Perhaps he felt he needed the input of someone else in his pursuit of what was so elusive.

His early success as a dancer did not rely on storytelling; it was all tap and ballroom, joy, grace, and elegance. The characters he played in his films from the 1930s had snark and style, but the biggest challenge they faced was really never anything more than trying to get the girl.

Astaire was an innovator as a dancer, but even in his Broadway career with Adele, the two "performed dances". But the dances were not created to reveal character or further the story. During the entire first half of Astaire's life, storytelling in dance had been the purview of classical ballet, and Astaire never trained as a classical dancer. He and Adele had spent their childhoods saving their family by performing as an act in Vaudeville; fanciful things such as ballet training was simply out of the question.

It is has been written that Astaire had wanted to dance to the song, Limehouse Blues, since it was first presented in the 1921 West End production, A to Z, in London. What his thoughts were about creating such a dance seem to be unknown, but it was not until 1943 when he became sole choreographer for the film, The Sky's the Limit, for which he created the dark and troubled "One for My Baby", that he began a deeper exploration into storytelling and character revelation through dance. One can only speculate that Astaire might have seen a young Gene Kelly's Broadway performance as Harry the Hoofer in Wm Saroyan's Pulitzer Prize and NY Drama Critics Circle Award winning, The Time of Your Life in 1939, How that might have influenced Astaire is a curiosity worth pondering. Kelly created something of a revolution by "dancing the character of Harry" instead of just being a guy in the bar who danced.

Astaire finally got his chance with Limehouse Blues in the 1946 film, Ziegfeld Follies. He dances the tragic character of a Chinese peasant, a "coolie" trying to obtain a fan to give to a glamorous woman, danced by Lucille Bremer, with whom he has fallen in love. But by this time, Gene Kelly had burst upon the world playing the amoral Pal Joey on Broadway, created the alter ego dance in Cover Girl, danced with Jerry the Mouse in Anchors Aweigh, and also received a Best Actor nomination for the character he played in that film. This explosively charismatic young dancer/choreographer from Pittsburgh who had become a Hollywood sensation could not have failed to have a big impact on an artist of Astaire's sensibilities and talent.

As Astaire was well into his 40s and fearing his career was in the descent, he announced his retirement in 1946 while filming Blue Skies. But it was a very short-lived one because he received a call from Gene Kelly in 1947 asking Astaire to please reconsider retirement. Kelly had broken his ankle while he was in pre-production for the film he was working on with Judy Garland, Easter Parade. It took some convincing by Kelly, but Astaire finally agreed to step into the part. The film was one of the biggest hits of 1948, and Astaire's career was off and running again.

In 1954, his adored wife, Phyllis, died suddenly at the age of 48 of lung cancer. Astaire, who was working at the time on the film, Daddy Long Legs, felt as if his life was over. He asked for the production to be shut down and offered to pay the studio out of his own pocket for its lost production costs. But Johnny Mercer and several others, including Gene Kelly, who himself had despaired his career was over when he broke his ankle and had to back out of Easter Parade and who had received great support, reassurance, and encouragement from Astaire, came to Fred and convinced him once again to not withdraw from the thing that was his life--dance. Astaire finished Daddy Long Legs, made Funny Face and Silk Stockings (both of which did not do well at the box office because musicals were declining in popularity at the time), then went on to great acclaim with his television specials with Barrie Chase, and won a Best Actor Emmy in 1978 for his performance with Helen Hayes in A Family Upside Down, a drama about an aging couple dealing with failing health.

The last time Astaire danced on screen was for a 1979 episode in the TV series, Battlestar Galactica. Astaire had asked his agent to get him a role on the series because it was a favorite of his grandchildren's. His last film role, along with Melvyn Douglas and Douglas Fairbanks, Jr., was in the 1981 adaptation of Peter Straub's horror novel, Ghost Story.

Astaire's impact on dance cannot be overstated. His sense of rhythm is legendary, as are his elegance and grace. His place in history is assured. But if what contemporary dancers find inspires them to become dancers, it would seem that they find timeless relevancy in the work of Gene Kelly. In Astaire they find excellence, but a style that now feels somewhat locked in time.

What do you think? Let the arguing and debating begin.

[musicallyrich]

Crate Digger’s Corner: R.I.P. Neil Peart

Crate Digger’s Corner…by DJ Musically Rich

(If you’d like to listen to a track from Rush as you read, go to the end of the post to start the song)

Neil Peart, best known as the drummer/lyricist for Rush, passed away on January 7, 2020. He had been fighting brain cancer, which he had only shared with his most inner circle. When Rush retired from touring a few years ago, the reasoning was that Peart was having shoulder issues. He joined Rush prior to their second album, “Fly By Night” and took their music to another level of complexness. Considered one of the best technical rock drummers, he should be mentioned with names such as Bill Bruford, Terry Bozzio, Ginger Baker along with many others. Highly influential, Neil will be missed by the rock community.  

These pictures are the Rush albums I own that have Neil on them, I put the studio albums in the order I would suggest listening to them in general in the list below (if I know your tastes, it’s possible I would put them in a different order). Then, I’ll list the live albums separately (you can’t go wrong with any of their live stuff).

Studio

1.       2112

2.       Caress Of Steel

3.       Moving Pictures

4.       Clockwork Angels

5.       A Farewell To Kings

6.       Fly By Night

7.       Permanent Waves

8.       Hemispheres

9.       Vapor Trails Remixed

Live

1.       Agora Ballroom, Cleveland, Ohio 16th of December, 1974 (picture disc)

2.       All The World’s A Stage

3.       Exit…Stage Left

4.       Different Stages- Live

5.       Working Men

For the live albums, the first was a live show shortly after Peart joined the group before the release of “Fly By Night”. “ATWAS” was released on the tour that followed “2112”. “E…SL” was released from the tour following “Moving Pictures”.  “DS-L” was largely taken from the 1997 “T4E” tour with a few tracks from the “Counterparts” tour in 1994, also included is a third disc of an entire show from 1978. “WM” is a CD compilation from the DVD’s “Rush In Rio”, “R30” and “Snakes & Arrows Live”.

To see photos of other albums in my collection follow my IG: djmusicallyrich

To listen to a track from Rush…