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jojotichakorn · 3 years

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my thoughts and opinions on "lovely writer": criticizing the critic

tw for discussions of age gaps, rape, and sex

before i turn into the mean and constantly dissatisfied archer that we all know and hate, i just want to say that i liked this show. i think it's great, actually! gene and sib are appropriately cute, the premise is nice, and the attempt at criticizing the industry is... well, an attempt, which is better than nothing. moreover, "lovely writer" came with gifts because it gave me my new favorite character, so you can't go telling me i'm trying to completely obliterate it or something.

besides, this specific post isn't going to get into analyzing the show as a whole anyway. i won't be talking about any irrelevant plot points, cinematography, sound design, or anything like that, though i could probably write a post just as long as this one about that side of things as well. however, i am here to specifically look at the problematic things that were both criticized by the show and included in the show without any criticism. i'm going to talk about the more serious side of things here, which means i'm going to get serious. and i'm going to be harsh. very harsh.

gene and nubsib: yes's and no's

overall, the relationship between gene and sib was a fair attempt at showing something complex, yet ultimately quite healthy, which i appreciate. there were some things i was especially glad about. the fact that sib dated other people before settling on getting together with gene, for example, makes the whole situation a little less codependent. however, as much as this show prides itself on not wanting to romanticize problematic relationships, there are at least two major problems with genesib.

the age gap (and why it was not needed)

i've tried my very best to give this entire concept the benefit of the doubt. at first, i was convincing myself that they were simply close childhood friends, then i was trying my best to believe that even though sib did have a sort of crush on gene (which sometimes happens to little children), gene only saw him as his younger brother, but eventually, the show gave me no choice, but to deem the entire storyline problematic, because they did their best to romanticize that relationship - from gene's dad seeing the "early signs" to the counting and kissing the cheek turning to counting and full-on lip-locking in the last episode.

i could go into how this could all easily be mended if little sib was shown as kind of obsessed with his older friend, but gene was shown as not being anywhere near interested in the kid. but the real question is - why was the age gap needed at all?

i've researched the age of the boys during the flashbacks to the best of my ability and it seems that gene is 11 and sib is 6 or 7. if sib was the same age as gene (or maybe just one year younger, but not any more than that), not only would none of it feel weird, it would also be quite appropriate to explore that first glimpse of romantic feelings some of us experience exactly around that age. i don't think it's necessary for sib to be much younger than gene (children can be just as impressionable at 11 as they are at 7, and as for gene being surprisingly nice and helpful and the other kids not wanting to play with sib, he could have easily been - for example - bullied by his peers instead, which would have the same effect).

moving forward to the present, i don't think the lack of an age gap would affect the storyline that much either. even if they desperately needed sib to be a university student, they could have that one-year difference i've talked about before, which is not as significant. sib could be in his last year of uni, while gene could have easily written his very first novel during his university years, which would actually make more sense (since that guaranteed him employment and freedom to write after he finished uni; and i would rather believe that he had time to write his first novel in-between classes than in-between shifts at work, which he would surely need to have if he started writing after finishing university).

so that brings me back to my initial question - why was it needed? and much like the show often does, i will leave this one up for your interpretation because i do not have any sensible answers myself.

the issue with sex and consent

"but archer!" - i hear you exclaim - "lovely writer is known for explicitly denouncing rape romanticization in bls, how could there possibly be any problems with consent here?" and i hear you, my dear reader. and you aren't incorrect, "lovely writer" is indeed very explicit at calling out bls for having rape scenes (and i do appreciate that). however, as i'm sure you know, there are different ways in which consent can be taken from a person, and there are different non-consensual acts that someone might perform. for example, there are many different forms of coercion, such as the person being persuaded until they feel like they have no other choice, but to say yes. touching someone or kissing someone without asking for permission are also non-consensual acts. i can go on and on, there are many examples outside of what so many people consider rape.

now, what if i tell you that though there (thank the gods) has been no rape present in "lovely writer", not all scenes with gene and sib are consensual? well, that's what i'm telling you because it's the truth. both the first kissing scene and the scene where gene and sib "try out different poses" have clear coercion in them. the entire "joke" of the scene before gene and sib's first time is literally built upon the concept of "a person is trying to run away from someone, who wants to have sex with them" and it is NOT funny. the later reveal of gene actually looking up how to have sex seems to be there on purpose, to show that everything that's happened is "ok" because gene was thinking about it. as a sensible person, i will only accept actual enthusiastic consent and not someone possibly maybe probably considering it. not to mention that right before having sex, sib asks gene one last time if he is sure, which is great, except it is immediately followed by "i'm not going to let you change your mind anymore", which - daily reminder - you are allowed to stop having sex at any point during the act if you start feeling uncomfortable with it. that's absolutely normal.

now the problem that we seem to run into here is that "lovely writer" appears to think that it's ok to push someone to the limit until they either finally agree or confidently and loudly disagree. the drama has repeatedly shown us that actually forcing someone to have sex is not ok; however, persuading and otherwise coercing someone, as well as taking an approximate guess of them wanting to have sex based on some marginally related factors, is ok. i would like to once again remind everyone that all of that is not ok.

one more issue i want to bring up in connection with sex is something i wish was common knowledge: it is NOT supposed to hurt during your first time. whether you are planning to have vaginal or anal sex for the first time, it should not hurt. and if it does, something has definitely gone wrong and you need to stop. you are not supposed to experience any pain or discomfort during sex, including your first time (outside of desired and therefore intentionally inflicted pain, but that's not what i'm talking about here). i have seen this misconception brought up many times in bls along with the other person "thanking the person who got hurt for bearing the pain to bring them pleasure" and absolutely none of that is normal. stop. please, just... stop.

criticism of the BL industry

there are certainly quite a few things i liked about the way "lovely writer" criticized the many problems that surround bls. i think they dealt especially well with the fan aspect. the breaches of privacy that are considered normal, the toxicity of social media that encourages people to comment on other people's personal life, harass and stalk them - all of that was shown in its full glory (or rather horror) and clearly condemned. it was also interesting to see how easily everyone around sib fell into the routine of having to hide genesib's relationship, just because "that's what's supposed to be done in these situations" - even tum did that without thinking twice.

however, i have not spent the past three years hating gmm for a show trying to criticize the industry not to focus on criticizing the production company and everyone professionally involved with the making of bls. don't get me wrong - they didn't completely overlook that side of things, but i found the way they approached it dissatisfying.

like yes, tum fights with his sister (aka sib's manager) and calls her out for her terrible actions, and the publisher (bua) eventually apologizes for what she did, but all of that feels a bit too... personal. i do not care about these individual stories. i care about you saying that the whole system is broken because it very much is. i wanted manner of death but with the bl industry, and instead, i got an "uwu the fans are demanding we do this, and our hands our tied" (which is a lie) and "uwu i'm just trying to make money" (which i mean... if you feel ok milking even more money than you already have by doing something unethical and immoral, then be my guest, but also go fuck yourself). besides that, i didn't see any criticism of tabloids or exploitative celebrities either (both of which we had examples of in the show), and that was kind of disappointing.

coming back to the fans for a moment, i also think that the criticism of real people shipping was entirely unsuccessful. we basically mostly got an "oh, what if this person's partner thinks they are actually dating", which... if a bunch of people on the internet who do not know your boyfriend personally and make all their judgments from screenshots and their imagination can convince you that your boyfriend is cheating, i've got some bad news for you and also a number for a therapist. partly i know why it was so complicated for them to get into it properly - the issue with real people shipping is an issue of privacy, boundaries, the perception of celebrities, acceptable interests, and many other complex topics. however, it's better to not criticize something than to criticize it badly and inaccurately (because the latter usually leads to even more encouragement of whatever you were attempting to criticize).

aey: the flamboyant villain

aey certainly starts as a promisingly complex character, but the farther we go from his backstory and his family, the less complex and the more evil he gets. eventually, the trauma he goes through is no longer enough to give him a get-out-of-jail-free card, and he loses all remaining sympathy after sexually harassing gene and pretending to drug sib. and i did start this post by saying that i am not to analyze any plot points or characters from the show here; however, i'm saying all this to prove a point that aey is a clear villain in the show. this is further cemented by the fact that by the end of the show he loses the only two people who cared about him, and the very last moment with him in the show is literally just him crying for about 3 minutes. there was no redemption arc, no pity, no revenge - he was left alone and broken, clearly punished by the narrative. and i've got a bone to pick here as well.

one of the first things that we find out about aey is that he is gay, and quite openly so. he is repeatedly described as very feminine by many characters, he flirts with men, he talks about being good in bed, and his entire character is built upon being gay (half of it directly, and the other half due to the fact that his entire backstory and therefore personality is also built upon the fact that he is gay). he is - for the lack of a better term - the gayest character in the show and the only one who is loud about being gay not because he is in love but simply because it is a part of him and he doesn't want to hide it. and he is the villain. not the disgusting publisher or the terrible manager - no, this guy was specifically chosen to ruin everyone's lives. and i can't say i'm particularly happy about that. *british voice* seems a bit homophobic love

not quite queer enough

as i said, aey is openly gay. gene and sib also eventually say that they are gay, gene's father teep is queer, so are tiffy and mhok. but it just doesn't seem to come up as much as it would in real life. the only time anyone has a problem with any of the characters being queer is when we deal with the parents. but knowing actual queer thai actors in real life, we are all aware how hard it can be for them, but it has not come up even once for aey, gene or sib (with genesib only being a problem because they are a "non-shippable couple"). being queer is far from being a non-issue in the industry, and i found it incredibly weird that it was never brought up (and i would also prefer if they brought that up instead of showing the unaccepting parents plot for the millionth time).

same goes for the lack of conversation around queer people on set. i think we all have a wonderful example of how much better a bl can get simply when it involves a queer director and/or screenwriter (gods bless p'aof), gay actors, etc. i also thought it was a missed opportunity that gene being a gay man writing a bl novel was never highlighted. if anything, everyone made a big deal out of him being a man writing a bl - never mind that he is a gay man that is far more qualified to write bls than a straight woman.

in conclusion, there are simply not enough queer issues talked about here for a show that is about queer people facing difficulties while making a queer drama.

tiffy and tum: the good, the bad, and the ugly

overall, tiffy and tum are quite cool. outside of my own personal feelings, i really liked the clear reversal of gender roles they have going on: he knows lots about make-up, she knows nothing about it, he knows how to sew, she knows how to repair a car, etc.

tiffy is also a nice addition to the precious few queer girls we have in bls. however, the way her being bi is executed... it isn't great. when she first talks about dating girls to tum, she says things like "even though i look like this" (implying queer girls have a certain look?) and "maybe it seemed normal because i was at an all-girls school" (which wtf does that even mean?). i think the worst thing, though, was when she assumed tum was gay. my best guess is she thought so because she initially thought that tum and gene were a couple; however, she should be the first person to know that just because he likes men, it doesn't mean that he doesn't like women or any other gender. even though there was nothing explicitly leading me to make this conclusion, this whole thing did kind of feel like the old "flipping the switch" stereotype (meaning, she used to like women, but now she likes men, and both of them can't happen simultaneously).

make it make sense

i think i've never been more confused in my entire life than when i found out that the director of "lovely writer" also happens to be the director of "th*arnt*pe". and if at first, i was asking a lot of questions about this peculiar individual, who went from working on the worst rape-romanticizing show we have ever had to a show that explicitly states that rape is not normal. but the more i thought about it, the less i was interested in him, and the more i was interested in whoever made the decision to hire him. there are dozens of different directors that have worked specifically on bls, and even more that haven't. yet out of all those, you decided to choose this one. the dude, who before your show has only directed the show with the biggest rape-y vibes. that casts a particular kind of shade on the entire show that i simply do not like.

conclusion

at the end of the day, i think what "lovely writer" tried to do was very interesting. it succeeded in some ways and failed in others. frankly, i think this show could have easily been made better if someone queer was involved in making it. that's always true, but especially so, when we try to talk about the issues of making a queer drama. either way, it's certainly a good start to this conversation; however - as i said - i'm still waiting for my manner of death but with the bl industry. this was unfortunately not it.

#it is here it is queer it has some controversial hot takes #archer speaks #lovely writer

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eretzyisrael · 3 years

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How the West was Lost

Today the world we live in is dominated by a Western alliance that includes the US and much of Europe, along with some smaller players. This alliance is threatened by two major forces: radical Islam, whose most dangerous expression is the revolutionary Iranian regime; and the People’s Republic of China (PRC), still smarting from its oppression by the West prior to its emergence as a great power. I’ll discuss Iran first.

Last week, Iranian drones attacked a ship near the coast of Oman, killing the captain and a crew member. Apparently the motivation was a tenuous Israeli connection. More recently, a ship in the same region was hijacked, and several others were disabled, apparently by a cyberattack. Although Iran denies being connected with any of these incidents, most observers believe that the Iranian regime was responsible for them.

The Iranian regime finances and arms terrorist groups throughout the region, including in Lebanon, Syria, and Yemen. Lebanon, which survived a brutal civil war, an attempt by the PLO to set up a “Palestinian state” within her borders, an Israeli intervention to throw out the PLO, and the systematic murders of members of its government by Syrian agents, has finally been brought to her knees by her exploitation by the Iranian-controlled Hezbollah. The Covid epidemic, and a massive explosion of a cache of Hezbollah’s explosives at the port that leveled a third of her capital city didn’t help.

Israel, which fought a vicious little war with Hezbollah in 2006, now lives in the shadow of 130,000 rockets located in South Lebanon. These rockets, which include ones with precision guidance systems that can strike within a few meters of targets anywhere in Israel, are deeply embedded in the civilian population, including private homes. Israeli defense officials have said that if Hezbollah activates its rockets, the IDF will be forced to employ massive firepower that will essentially destroy the country. The possibility of war breaking out due to escalation between Hezbollah and Israel is a constant threat.

Westerners who visit relatives in Iran or go there for business, educational, or other reasons are often arrested on trumped-up charges and held hostage, either for ransom or political advantage. Sometimes they are tortured. Conditions in prisons for Iranian political dissidents are atrocious, with torture and rape common. Hundreds of Iranians are executed every year, some for serious crimes like murder or rape, but also for “being gay, committing adultery, sex outside marriage and drinking alcohol.” Political opponents of the regime are sometimes charged with spying and executed as well.

Iranian women protesting Islamic dress codes that are forced on them are beaten, arrested, jailed, and tortured. Masih Alinejad, an Iranian feminist now living in exile in the US, was the target of a plot to kidnap her and bring her back to Iran. The plan was foiled by the FBI. Kidnapping and murdering dissidents abroad has been standard procedure for the regime since it came to power in 1979.

The new Iranian president, Ebrahim Raisi, has been nicknamed “the butcher of Tehran,” because of his responsibility for the execution of thousands, possibly tens of thousands, of people during a reign of terror in 1988. Raisi is considered one of the top candidates to succeed Ali Khamenei as Supreme Leader.

Last, but not least, is the regime’s plan to develop nuclear weapons, which is advancing rapidly. Whether such weapons would be directly used – something which is difficult to judge, due to the religious aspects of Iranian ideology – or whether they would be employed as an “umbrella” to shield its more conventional military aggression, it’s likely that the imminent attainment of nuclear capability would greatly change the balance of power in our region, and make war likely. The regime has consistently and explicitly threatened to “wipe Israel off the map,” and Israel takes these threats seriously.

The Iranian regime, while it is economically and militarily weak, has developed means of leveraging asymmetric warfare, which along with its aggressive and even messianic ideology makes it a serious threat – not just to the region, but to the Western alliance and its leader, the US, which it calls “the great Satan.” The threat is immediate in the short term, due to its nuclear program. It is a highly repressive society, and although there is a strong domestic opposition, attempts to overthrow the regime will be (and have been) met with great brutality.

As an Israeli, naturally I am concerned about the local and immediate threat of Iran. But the PRC is a far greater threat to the Western alliance. China is already a nuclear power, and has recently been reported building up its stock of weapons. China’s military and economic power is thousands of times greater than that of Iran, and is every bit as brutal in its repression of internal dissent.

Although China does not publicly announce that the US is Satan, it is quietly moving its pieces – military and economic – on the world’s chessboard to increase its power and influence. It operates an unprecedented system of industrial espionage that has already neutralized the technological superiority of the US. It is building infrastructure throughout the world under its “Belt and Road Initiative” that will not only provide its industries access to markets, but the large debts incurred by the recipients will provide China political leverage over them.

Chinese technology that is used in the most critical communications infrastructure may contain “backdoors” that allow access to traffic on the networks. Everything from mobile phones to PCs to military communications systems have been suspected to be compromised.

The US and other developed countries are experiencing a long-term transition of their economies away from agriculture and manufacturing and toward service-based economies. Manufacturing has moved to China and to other countries, most of which are, or soon will be, in the Chinese sphere of influence. At the time of the outbreak of the Covid-19 epidemic, the US suffered a severe shortage of personal protective equipment and medical devices such as masks and so forth. It was simply not produced in the USA.

China does not (as far as I know) export violent terrorism as does Iran. But it has been engaging in territorial expansionism in all directions. Chinese pressure on Hong Kong and Taiwan make headlines, while China quietly “nibbles away” at Japanese islands, territories under Indian control, bits of Nepal and Bhutan, and so on. In the South China Sea, China has built artificial islands which have greatly extended its territorial waters and provided locations for military installations, including missile silos.

I have not discussed the possible exploitation of the Covid-19 epidemic. Certainly the misinformation and disinformation that was provided by China at the time of its outbreak exacerbated the harm to Western societies. There is even a credible argument that once the disease had become established in Wuhan, authorities there – under the direction of the national government – deliberately allowed the residents of the city to travel worldwide during the Chinese New Year period, knowing that this would spread the disease.

The Chinese strategy is safer and surer, if somewhat slower than the Iranian one. But the West has done little to protect itself, either against the immediate danger of nuclear weapons in the hands of a proven rogue aggressor state, or the long-term combined economic, military, and possibly biological domination of a rising totalitarian superstate. Western nations should be confiscating the Iranian regime’s nuclear toys, reestablishing self-sufficient economies, protecting their technological intellectual property, and strengthening their military forces. They are not doing any of these things.

Instead, the most advanced states of the West are self-destructing over issues of race and gender identity.

Abu Yehuda

#China #Iran #War

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davidfarland · 3 years

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How to Start Publishing a Novel

What makes publishing difficult?

So you have written a book, maybe a novel. How do you start publishing it so readers will be able to find it? And why is it so hard and complicated? Because there is no perfect way in which to hack or game the publishing industry.

Gaming the Publishing Industry

I was at a writing conference last week and noticed that several times I passed groups of writers who were trying to figure out how to “Game the System.”

In case you didn’t know it, every distribution industry tries to set up roadblocks for creators so that they can’t bypass the system. For example, if you were to make a movie and try to go out and distribute it to movie theaters yourself, you’d find that the theaters have contracts with the major distributors that require them to not show your movie. The distributors want to make sure that the huge movies that they’ve invested in advertising are available at all of the usual outlets.

In publishing, we have two different distribution systems.

The traditional publishing industry has its editors, and they have contracts with the bookstores and with the book distribution companies that are designed to keep you from selling your books at bookstores—and these contracts are very effective. If you’ve ever tried to start your own publishing company, you’ll see what I mean. Not only will distributors refuse to distribute your books, but I once struggled for days to get some television and radio companies to advertise a book—but they refused to work with anyone who wasn’t already a major publisher.

In traditional publishing, the publisher typically creates a “list” of books that they want to promote.

The #1 book on the list gets most of the advertising dollars. This might include things like in-store displays, money for cooperative advertising so that the bookstores will place the book on certain shelves with the covers facing out, promotion on radio or television or in magazines or newspapers, and of course money to send the author out on a book tour.

If you’re not #1 on your publisher’s list, you might not get any of these things.

Instead, your book is simply put out there and left to sink or swim on its own merits. Your editor might not even send it out for reviews from critics. And the publisher will actively stop you from doing too much. For example, let’s say that you don’t like the cover that your publisher gives you—either the picture or the typeface. What can you do? You can complain, and you might get some upgrades, but it is the job of the artistic director to make sure that the #1 book of the season gets the best cover and that each month when new books are shipped out, the monthly books look good, but not as good as the anticipated season hit. The reason for this is that the publisher doesn’t want to confuse the buyers.

They don’t want a mediocre book to have a great cover.

So as an author, you may find yourself trying to figure out how to “game the system”. This could include figuring out how to promote the book that your publisher won’t. In doing that, you might begin by advertising on social media. You can send books out to book bloggers, set up your own book signings, create a “book bomb” in order to generate some excitement for your release, and so on. All of that is fine, so long as you remember that the best advertisement for a book is to write another book.

Your current and future fans are always eager to see what you have next in the pipeline.

Indie publishers are often even more eager to game the system. In recent years, Amazon has been working to create a “system” that will reward good books with good reviews and promotion. Indie authors however, always seem to be bent on destroying that system. I’ve seen them buy favorable reviews (spending as much as $10,000 on a package), creating sock-puppets so that they can go online and create their own favorable reviews. They even use them to deride their competition, and of course trade positive reviews with other authors. As a result of such activities—all of which are immoral and some of them even illegal, Amazon has purchased review sites and now blocks reviews that they believe are fake.

In fact, I’ve known several authors who find that if their book does too well, defies expectations that Amazon has set, then their books are simply delisted—taken off of the bestseller lists, and even taken off of Amazon’s sales site.

To be frank, we need our distributors to create a fair and honest system that rewards great work.

How should we as authors handle this problem? I think that we need to promote ourselves in every way that we can, so long as it is honorable and honest. At the same time, put your emphasis where it belongs: On writing powerful works. If you do that, success will come eventually!

***

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#writer #writing #writingtips #writrblr #writerblrg #writblr #writ #write

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aion-rsa · 3 years

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How Mortal Kombat Became the Best Selling Fighting Game Franchise Ever

https://ift.tt/3iOdD3F

WB Games recently confirmed that Mortal Kombat 11 has sold over 12 million copies worldwide so far. That means that the Mortal Kombat franchise has sold more than 73 million games to date, which, as some analysts have already pointed out, also means that it now appears to be the best-selling fighting game franchise ever.

For reference: Mortal Kombat – 73 million units Smash Bros. – 65.1 million units (March 31, 2021) Tekken – 51 million units (April 2021) Street Fighter – 46 million units (March 31, 2021) https://t.co/f0mhQLMzeM

— Daniel Ahmad (@ZhugeEX) July 26, 2021

While WB has confirmed the lifetime sales of the Mortal Kombat franchise to date, it should be noted that some of the other current sales figures for the other major fighting game franchises are either estimates or are based on reports that haven’t been updated quite as recently. Having said that, it certainly appears that Mortal Kombat is now the best-selling fighting game franchise ever, which is even more impressive when you consider that it was nowhere close to dethroning Super Smash Bros. for that honor prior to the release of Mortal Kombat X and Mortal Kombat 11.

So how did we get to this point? Well, the success of the Mortal Kombat franchise isn’t a sudden thing nor is it one of those sales records that somehow make us question the direction of the video game industry or the tastes of gamers. No, Mortal Kombat‘s success can instead be attributed to a series of factors that highlight just what an incredible job its various developers have done over the years and the unique place this series has in the industry, video game culture, and certainly in the hearts of fighting game fans everywhere.

The Enduring Novelty of Mortal Kombat’s Violence

Look, you probably don’t need a complete rundown of how the original Mortal Kombat‘s violence helped set it apart. At a time when violent video games were still a novelty, Mortal Kombat offered one of the most celebratory violent gaming experiences the world had ever seen up until that point. It triggered Congressional hearings, protests, lawsuits, and, most importantly for our current purposes, an incredibly successful fighting game franchise.

What doesn’t get talked about quite as much, though, is how Mortal Kombat‘s violence has remained something of a novelty even as the idea of violent video games becomes much more common. See, there was a specific era of video games in which developers were trying to use violence/extreme content to court controversy for their games (Rockstar’s excellent Manhunt is one of the better examples of that era). It was kind of like the torture porn era for major horror movies. We experienced it, the fad burned out, and many of us left a little more numb to the idea of extreme violence as a draw. More and more game studios dialed back on the idea of implementing such incredible levels of violence, not necessarily on moral grounds, but because it slowly became less of a hook/novelty.

Mortal Kombat is different. The franchise could go toe-to-toe with most of the most violent video games released over the last 30 years or so from a pure content perspective, but Mortal Kombat‘s violence has always been…fun. It’s less of a torture porn scenario where violence is meant to disturb and test you and more like an ’80s slasher where the violence is so cartoonish and over-the-top that it’s often hard to take it seriously. It’s all about having fun, which is still a novelty compared to toned-down violence, violence as biting (sometimes hard to process) social commentary, or violence that is trying too hard to be controversial.

Mortal Kombat Is One of the Most “Accessible” Fighting Game Franchises

Talking about “accessibility” in fighting games is always tough. It’s a topic that draws gatekeepers who look down on the very concept of accessibility in gaming as well as those who think they’re defending a game by arguing it’s not really that accessible from a mechanical standpoint.

When we talk about Mortal Kombat‘s accessibility, though, it’s only as a positive. In fact, it’s not just about the game’s mechanics. Yes, the original Mortal Kombat games were perhaps “simpler” than something like Street Fighter, but as the series grew, it certainly adopted more complicated gameplay systems that elevated it in the eyes of some genre purists. I’d argue that modern Mortal Kombat games boast better pick-up and play credentials than some of its genre competitors, but you’re obviously not going to convince anyone who believes that is an inherently bad thing that it’s actually a very impressive quality.

No, the real magic of Mortal Kombat‘s accessibility is how the franchise’s various developers and designers over the years have maintained this aura of approachability that the series boasts to this day even as it has become a much deeper fighting game series. As we noted above, Mortal Kombat feels more fun than intimidating in a way that even some of the best fighting game franchises can’t equal. As we’ll look at below, a lot of the ways the Mortal Kombat teams over the years have achieved and maintained that image can be attributed to the elements of their games that they’ve intelligently chosen to emphasize over their closest competitors.

Movies

Mortal Kombat Sequel: What Should Happen Next

By Gavin Jasper

Games

Mortal Kombat: 15 Most Powerful Characters

By Gavin Jasper

Mortal Kombat is More Satisfying to a Much Wider Audience

You could maybe label this idea under “accessibility,” but it’s actually a slightly different point that proves to be very important when you’re trying to comprehend the incredible staying power of the Mortal Kombat franchise after all these years. “Accessibility” is what can help get gamers in the door and form their first impressions. What matters from there is how those players feel once they start spending time with the game, and that’s where Mortal Kombat really pulls ahead of some other notable fighting game franchises.

See, whether you play on the easiest difficulty setting and enable one-button fatalities or choose to master every combo and character, Mortal Kombat is really all about performing over-the-top moves with over-the-top characters in over-the-top environments while enjoying a, you guessed it, over-the-top story. That’s the core of the Mortal Kombat experience, and it’s the big reason why you’d ever bother to play one of these games.

You can enjoy the “core” Mortal Kombat experience no matter how good you are at the game. More experienced players can enjoy an evolved form of that experience that grows as they do, but the fundamental appeal of this franchise doesn’t demand a certain level of commitment. Ironically enough, that’s often what inspires a wider audience to spend more time with it in the first place.

Mortal Kombat’s Story, Characters, and World Give it a Personality That Many Other Fighting Games Don’t Have

Again, there’s no point in arguing that Mortal Kombat features better characters, stories, and world-building than Street Fighter, Guilty Gear, Tekken, or any of the other greatest fighting game franchises. That’s obviously a subjective argument.

What’s a little easier to objectively argue is the idea that the Mortal Kombat team has chosen to emphasize those elements more than other fighting games traditionally have. Mortal Kombat initially distinguished itself from Street Fighter 2 by offering a more cinematic (and obviously violent) gaming experience, and while you can still debate about which of those games were better, that kind of experience simply reached an audience that included many who would have otherwise never paid attention to a fighting game.

Over the years, Mortal Kombat developers from various studios have stuck with what brought the franchise to the dance, so far as emphasizing those personality-based elements go. It hasn’t always been perfect, but the fairly recent decision to turn Mortal Kombat‘s campaigns into this kind of cinematic universe has only helped ensure that more people continue to follow this franchise if only to watch what happens next. The Mortal Kombat franchise slowly forced other fighters to follow in its footsteps, and it honestly still does those “cinematic” elements better, or as good, as anyone else.

Mortal Kombat Constantly Reinvents Itself

Look, the Mortal Kombat franchise is far from perfect. In fact, I think you’ll find that other fighting game franchises may just be better on an installment by installment basis. There have certainly been Mortal Kombat games that have been cleanly outsold by their competitors over the years.

Yet, that strangely makes Mortal Kombat‘s success all the more impressive. When Mortal Kombat 4 made people question whether or not the novelty of the series had passed, the Mortal Kombat team decided to drastically change their design philosophy with the release of the surprising (and successful) Mortal Kombat: Deadly Alliance. That approach was still commercially viable by the time that Mortal Kombat: Armageddon was released, but in response to criticisms that things were starting to get a bit stale, NetherRealm Studios boldly decided to blow everything up again with 2011’s brilliant Mortal Kombat reboot.

There are few other franchises in all of gaming that have been this consistently committed to keeping things fresh even at times when “more of the same” would have been enough for many. You can point to a lot of factors that have contributed to Mortal Kombat‘s incredible success over the years, but let’s not forget that at the heart of it all are some really good games.

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stumpyjoepete · 3 years

Link

I. Inspiration

It’s difficult to identify a great economic reason to explore space. There are easier ways to extract minerals, doing anything at all is terribly expensive, and Mars is a hard place to make a living. The benefits of space exploration are instead mostly inspirational. Few other human activities are so grand to captivate the imagination, and doing these uneconomic projects have pulled forward technological capabilities that may otherwise have languished.

It’s difficult to identify a great economic reason to practice socialism. Its historical results have ranged from catastrophic misallocation of talent at best to mass deaths at worst. But socialism still retains appeal to broad segments of many populations, which shows that it has considerable inspirational value. For better or for worse, there are still many advocates for the creation of some form of a more equal society.

This year, I read every issue of Qiushi (translation: Seeking Truth), the party’s flagship theory journal, whose core task is to spell out the evolving idea of socialism with Chinese characteristics. For those not familiar, Qiushi reads like a cross between the New Yorker and the Federal Register. Published twice a month, the magazine features lengthy essays, thick pages, and some of the finest writers in the party. Each issue starts in the same way: a reprint of a speech or essay by Xi Jinping—in a font distinct from the rest of the magazine’s—and then commentary and reports from the rest of the party state. Accompanying pictures feature either the country’s leaders making inspections, scenes of the people, or major pieces of infrastructure and heavy industry.

Its audience? People with nothing better to do than read the party center’s commentary (like retired cadres), or those who are keenly interested in Beijing’s priorities, like local officials. Reading party speeches with its various annexes and cross references echoes my main professional activity these days. That is the study of the US sanctions regime—namely Commerce’s Export Administration Regulations and Treasury’s IEEPA-based authorities. Party speeches and US regulations are both made up of arcane, formal language that make references to more obscure texts, which themselves hint at still more distant and terrible truths. US sanctions lawyers, I suspect, can have a splendid time with Qiushi.

Steady engagement with the journal throughout the year has forced me to think more deeply about the Chinese Communist Party. There are many things that Xi wants to do, I believe that his most fundamental goal is to make this Marxist-Leninist party an effective governing force for the present century. His patient work to reshape the bureaucracy are aided by a distinctive feature of the Chinese system: the use of propaganda to create centralized campaigns of inspiration. Some of Xi’s efforts have borne fruit: the country’s governance capabilities have markedly improved, a trend that is observable in daily life. At the same time, the state has grown much more repressive. A focus on repression shouldn’t neglect the improvement in the country’s institutional and commercial strengths; and appreciation of this improvement ought to be tempered by the party center’s growing mania for control.

When foreign commentators discuss the experience of reading state media, they rarely fail to attach a reference to its “turgid prose.” While some partyspeak is indeed unreadable, I’ve always seen that dismissal as a signal of contempt for the party’s pronouncements, thus deterring people from taking it seriously. But there is reason to treat its content with care. Propaganda might not matter to you, but it matters to the party. Anne-Marie Brady has pointed out that the leadership considers propaganda to be the “lifeblood” of the party state. Propaganda work is considered so powerful that the person in charge must be only a functionary. Brady shows that the head of propaganda always has a seat on the Politburo, but shouldn’t usually be allowed to reach the standing committee. He is not to be too imaginative, or he might dominate the entire political system. Propaganda is key to understanding the party, since it governs not in itself, but in symbiosis with state institutions. For the most part, the party’s role can be boiled down to two items: inspiration, by setting the ideological direction, and control, through its power to select personnel.

Qiushi offers an authoritative articulation of the central government’s priorities at any moment. Its job, like the rest of the state media, consists of repetition and explication of a few phrases. It’s easy to roll one’s eyes at crude sloganeering, like the two centenary goals of achieving a “moderately prosperous society in all respects” by 2021 and “a modern socialist country and the great rejuvenation of the Chinese people” by 2049. But the need to fix slogans makes good sense in Chinese governance: the party center has to speak to all local officials as well as the entire population. As Richard Epstein has argued, the greater the complexity in a system, the simpler the rules that govern it must be. One should allow, for example, extensive and nuanced bargaining between buyer and seller at the vegetable stall, but for an online marketplace to manage millions of transactions a day, then its rules must be very simple indeed.

[...]

Centralized campaigns of inspiration, which usually manifests through fixing slogans, is a distinctive feature of the Chinese political system. In the US, political candidates trot out slogans when they run for election; in China, one is never far from the next big named initiative. At its best, defining major goals is the essence of political leadership, and nowhere is this principle better illustrated than Apollo. John F. Kennedy announced the target in 1961: land a man on the moon and return him safely to earth before the decade was out. By fixing this clear goal, as well as committing the necessary spending, he accelerated the creation, development, and deployment of technologies that made the lunar landings possible.

Xi grasps this idea of leadership. In his tenure, he has unleashed a torrent of new initiatives. In my view, he feels that the practice of governing China under socialism cannot be an exercise in sustained mendacity. The political system can no longer continue to be an unstable structure based on ad hoc compromises; instead it must have a clear organizational structure, with the party at the top. And the ruling party needs to have the political consciousness of an effective governing force.

[...]

It’s easy to enumerate the grave problems facing the country, but critics tend to under-appreciate its strengths. Chief among them, in my view, has been the party’s surprising adaptability. At any given point, commentators have said that the problems have become too big for the government to handle. Meanwhile, the country has achieved a good record of pulling itself out of sticky situations: in 1992 when it restarted reform, after the financial crisis of 1997, and again in 2008. That record was validated most spectacularly again this year in the aftermath of the Covid-19 outbreak.

This year made me believe that China is the country with the most can-do spirit in the world. Every segment of society mobilized to contain the pandemic. One manufacturer expressed astonishment to me at how slowly western counterparts moved. US companies had to ask whether making masks aligned with the company’s core competence. Chinese companies simply decided that making money is their core competence, and therefore they should be making masks. The State Council reported that between March and May, China exported 70 billion masks and nearly 100,000 ventilators.

I’d highly recommend reading the rest (at least up until he switches to book reviews and personal reflections).

#chinese #politics

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howwelldoyouknowyourmoon · 3 years

Text

Understanding Sun Myung Moon’s attitude to sex by taking a look at Korean history

by a Korean professor

Human Dignity and Sexual Culture: A Reflection on the ‘Comfort Women’ Issues

Chunghee Sarah Soh, Ph.D. San Francisco State University

Introduction

The purpose of this paper is to reflect on a particular dimension of the complex issues involving the Comfort Women movement for redress by focusing on what I call ‘masculinist sexual culture’. For the purpose of this paper I use the term ‘masculinist’ to refer to those men and women who believe not only in the Confucian principle of male superiority but also in male ‘sex-rights’(1) to have access to the female body both inside and outside marriage. Masculinists believe that men, in contrast to women, have biologically rooted sexual needs, and consequently, concede to men their ‘natural’ right to seek sexual comfort, both premaritally and extramaritally. Masculinist sexism permeated the traditional cultures of Japan, Korea and other patriarchal societies and is still prevalent today.

The androcentric euphemism ‘comfort women’ (ianfu) is an official coinage of imperial Japan, and was used to categorically refer to young females of various ethnic and national backgrounds and social circumstances who became sexual laborers for the Japanese troops before and during the Second World War. In contrast, the soldiers came to refer to these women as the ‘pi’ (pronounced as ‘pea’), a Chinese term meaning goods or articles, which, as a slang term, stood for female genitals.(2) The estimates of the number of women used as comfort women range between 50,000 and 200,000.(3) It is believed that about 80% of them were Korean.(4) There is no documentary evidence to determine either how many women were used or how many were forced to serve as military comfort women, except for the Dutch case.(5)

Seen from an anti-Japan, nationalist perspective prevalent among activists especially in South Korea, the comfort women issue is simple and clear: Japan as a colonial power exploited Korea’s human resources by rounding up tens of thousands of young unmarried girls and women to be used as military sex slaves. Seen from a more global perspective, however, the issues involved in the comfort women case are complex, running the gamut from the problem of ‘militarized prostitution’ to that of sexual slavery based on gender, age, social class, and ethnicity. Coerced sexual labor, i.e., sexual slavery, was inflicted primarily upon lower class young females of colonial Korea by imperial Japan during the Asia-Pacific War,(6) but not every former comfort woman had been forcibly drafted by the state power. In addition, while teenage Korean maidens from impoverished families constituted the overwhelming majority, relatively older Japanese prostitutes, and primarily lower-class women of colonized Taiwan and other occupied territories were also used as comfort women during the “Fifteen Year War” of aggression pursued by imperial Japan, starting from the Manchurian invasion in 1931 to its unconditional surrender in 1945.

At the core of the contestation over the representation of the military comfort women as sex slaves versus licensed prostitutes(7) lies the issue of state responsibility in forced recruitment of comfort women and the maintenance of the comfort system. On a deeper level, however, many of the central issues around sexual violence in warfare and its relationship to the cultural constructions of gender and human sexuality--more specifically heterosexuality--in patriarchal societies, are being called into question, including the masculinist sexual culture and the perennial question concerning the proper relationship between prostitution and the state. The Rest & Recuperation program for the U.S. soldiers during the Vietnam War was a recent example of a state institution looking after the physical needs of military men.(8) In fact, there still exist thousands of prostitutes in the kijich’on, the U.S. military camptowns in South Korea, and the Korean media used to refer to them as wianbu (“comfort women” in Korean).(9)

The comfort women movement formally began in South Korea in November 1990. The Korean Council for Women Drafted for Military Sexual Slavery by Japan (hereafter, the Korean Council), a non-governmental organization (NGO), is responsible for internationalizing the comfort women issue as a war crime and violations of women’s human rights in situations of armed conflict. With a series of hearings by the United Nations Commission on Human Rights (UNCHR) beginning in 1992, the comfort women issue leaped to the attention of the world community nearly half a century after the end of the War. The Korean Council as a newly formed NGO has accomplished in less than a decade a level of success that went beyond the wildest dreams of the leadership in bringing the attention and support of the international community for their reparation demands against the Japanese government.(10)

As a sociocultural anthropologist specializing in gender issues, social inequality and the processes of culture change, I have followed closely the developmental processes in the internationalization of the Korean comfort women movement from the start. In addition, I have conducted ethnographic field research in Korea, Japan, and the Netherlands. As an example of ‘multi-sited’ ethnographies George Marcus discusses in his latest work,(11) this ongoing research aims to present from the perspective of critical anthropology a multilayered analysis of the complex issues involved in the redress movement. As a Korean American interested in comparative studies of the cultures of Korea and Japan, my goal is to go beyond the national boundaries and to present a balanced and nuanced analysis of once an unproblematized and almost forgotten issue of comfort women from the perspectives of cross-cultural, critical anthropology. And in order to do that, we must delve into the intersections of sex, power, and justice, not simply in heterosexual relations between men and women but also in international relations between nation-states of unequal power.

In this paper I will trace the social origins of the movement and to consider the tasks that remain to be tackled at the societal level in order to help prevent gendered violence against women from occurring not only in situations of armed conflict but in everyday life in many patriarchal societies. One of these tasks, I believe, is to start serious public debate on the ‘masculinist sexual culture’ that is at the root of diverse forms of pervasive social oppression and sexual violence against women.

Indeed, I would argue that it is masculinist double standard for sexual conduct that has contributed to lifelong psychological sufferings for an untold number of comfort women survivors because they were socialized to regard the loss of virginity as a shameful condition deserving social ostracism. Generally speaking, these survivors were socialized from childhood to regard the preservation of sexual purity (chongjol) as important as life itself. Thus, when they returned home after the war, some women were unable to reveal their ordeals even to their mothers. They gave up any hope of finding men who would accept them as legitimate wives if/when they found out about the loss of their virginity and their past as comfort women. They carefully hid their past for fear of social stigma and ostracization its revelation would bring to them and their family. Given the sexual mores of the Korean patriarchy, it is understandable that the survivors of sexual slavery for the troops of imperial Japan during WWII kept their silence for nearly half a century until the early 1990s. Some of them still refuse to reveal their past as comfort women. Others insist on using pseudonyms.

I should point out here that until the redress movement began, the Korean society generally regarded Japan’s comfort system as a military version of licensed prostitution. Koreans are justifiably angry that imperial Japan forcibly recruited young girls and women of colonial Korea for prostitution and sexual enslavement. However, they are unwilling to acknowledge the complicity on the part of some Koreans, which is amply revealed in the survivors’ testimonies. Korean men--and sometimes women as well--participated in the deceptive and/or forcible recruitment and some did so with a purpose of economic gain.

Le me now provide an historical overview of the masculinist sexual culture in Korean society and the social and political economic context that contributed to the emergence of the comfort women movement. In particular, we will examine the phenomenon of kisaeng tourism and consider the plights of the kijich’on sex workers in South Korea in order to highlight the underlying, invisible threads of masculinist sexual culture combined with the political economy of global capitalism that continue to influence the patterns of unequal power relations between the sexes and nation-states in the everyday lives of women working in the sex industry.

Korean Sexual Culture: An Historical Overview

Not many people are aware of the fact that the Korean comfort women movement grew out of feminist and nationalist opposition to the phenomenon of the so-called kisaeng tourism, which is a euphemism for prostitution tourism. The term kisaeng traditionally referred to professional female entertainers. The institution of kisaeng or kinyô was firmly established in Korean society by Koryô dynasty (918-1392) and continued throughout Chosôn dynasty (1392-1910).(12) Kisaeng were chosen from among young females of the lower classes and trained in the arts of entertainment for men, such as playing musical instruments, singing and dance. By the time of King Sejong (r. 1418-50), prostitution came to dominate the life of kisaeng. There were several proposals to abolish the institution of kisaeng by high-level Confucian scholar-officials. However, the opponents to the proposal successfully defended the institution by arguing among other things the likelihood of increased sex crimes if it were to be abolished.(13)

In the masculinist sexual culture, it is not surprising that such a biological-determinist argument would win the debate with relative ease and could continue to defend masculinist interests in satisfying men’s desire for sexual recreation by supporting the social institution of kisaeng and the customary practice of acquiring a chôp (concubine). The masculinists upheld the double standard for sexual behavior of men and women by classifying women into two types according to the main functions of their sexuality: women to marry for procreation and women to hire for recreation. The custom helped to further discriminate women according to their marital status. While married women as mothers and wives were accorded due respect for their contributions to the family life, unmarried women working as professional entertainers were social outcastes and were commodified as sexual playthings. Even when a kisaeng was taken as a concubine of a yangban (upper-class) man, she suffered legal and customary discrimination as a secondary wife. She could not participate in any formal events of the family. Her children were labeled as sôja (illegitimate offspring) in contrast to the chôkcha (‘legitimate children’ born of the lawful wife).

Typically, men in traditional Korea, especially those belonging to upper classes and working for the government engaged in recreational sex supported by the state-run system of kisaeng and the customary practice of concubinage. Traditionally, the masculinist sexual culture in Korean society rigidly controlled women’s sexuality by means of the cult of female virginity/chastity while it condoned, if not encouraged, sexual freedom for unmarried men and generally overlooked infidelity of married men. As mentioned earlier, unmarried women were expected to maintain their virginity until marriage and widows, especially of the upper classes, were prohibited from re-marrying. Regardless of the individual circumstances, women who lost their chastity were considered sullied, made to feel ashamed, and likely to be ostracized by their own families. In this cultural context, many women committed suicide after being raped or in order to avoid being raped during the two Japanese invasions of Korea in the late 16th century. Their deaths were recognized as honorable deeds of yôllyô (virtuous women), whose families were honored by royal commendations.(14)

When some widows of lower classes remarried out of economic necessity, they usually had to leave their children of the deceased husband behind, either with the late husband’s relatives or with their own natal family. In the case of Kim Hak-sun (1924-1997), who became the first Korean survivor to give a public testimony of her life as a “comfort woman” in 1991, her remarried mother left Hak-sun with a foster father. He sent Hak-sun to a training school for the kisaeng. When she finished her schooling, the foster father took her to China hoping to find her a job there since as a seventeen-year-old minor she was not allowed to work yet in Korea. It was there that she was taken by the Japanese military to a comfort station.(15) In the case of Kang Tôk-kyông (1929-1997), another former comfort woman, she lived with her maternal grandparents after her widowed mother remarried. She joined the so-called ‘Women’s Volunteer Corps’ or Yôja Chôngsindae in Korean in defiance against her estranged mother’s advice. She worked at a factory in Japan and fled from her factory dormitory to escape from hunger and hard life only to be caught by the military police and taken to a comfort station. The point here is that the tragic lives of numerous former comfort women, the great majority of whom came from poor families in rural areas, were embedded in the intersections of gendered oppression in the patriarchal marriage and family system and class inequality, as well as colonial exploitation.

Prostitution and Women’s Movement in South Korea

In the twentieth century, Japan’s colonization of Korea and its assimilation policies resulted among other things in the transplantation of some Japanese terminologies(16) and social institutions, such as the systems of family headship (hoju) and licensed prostitution, in Korean society. Thus, Japan’s modern system of licensed prostitution was firmly grafted in the soils of colonial Korea by the mid-1910s. It was formally abolished in post-colonial Korea in 1947.(17) Nevertheless, prostitution of female sexuality as a commodity has continued in South Korea in a variety of manners and places, sometimes with semi-official support, as exemplified in the development of kisaeng tourism targeting Japanese male visitors and the kijich’on sex industry catering to the U.S. military.

Kisaeng/Prostitution Tourism

It is not clear when and how the kisaeng tourism emerged in South Korea but it came to flourish by early 1970s after Korea and Japan signed the bilateral agreement to normalize diplomatic relations in 1965. The increase in the number of Japanese visitors to South Korea after 1965 has been phenomenal. In 1965, there were 5,110 Japanese visitors and 14,152 American visitors. By 1971 the Japanese visitors (96,531) greatly outnumbered those from the United States (58,003). In 1973, nearly half of a million (436,405) Japanese tourists visited South Korea, which was more than eighty-five times increase over the figure for 1965. And the 1973 figure was more than double the previous year (217,287), which was mainly due to Japan’s severing of diplomatic relations with Taiwan in September 1973. The majority of the Japanese men who visited Korea for the purpose of kisaeng party, according to a study by a Korean Christian women’s organization, came from lower classes to enjoy sexual entertainment at the one-fifth of the cost required for comparable service in Japan.(18)

In the 1970s Korean women who wished to work formally for foreign tourists staying at hotels had to acquire a license that certified their health status and the completion of required orientation education. The contents of the orientation lectures given by university professors were a modern version of those for imperial Japan’s Yôja Chôngsindae, the Women’s Volunteer Corp, emphasizing the importance of their work in earning precious foreign currency for the nation’s economic development.(19) I should mention here that in the 1970s the Korean government was also engaged in the surveillance and authoritarian control of the prostitutes servicing the US military. At the request of the latter that complained of the unhealthy conditions of the kijich’on sex industry, the Korean government started a clean-up campaign in 1971 that included infrastructural improvements and enforcement of regular medical examinations of prostitutes, detaining infected women at special centers.(20)

Women’s Activism: Linking Kisaeng Tourism to Wartime Comfort System

The first organized protest by women in Korea and Japan against kisaeng tourism took place in December 1973, both in Seoul and Tokyo.(21) Ewha Womans University students staged a demonstration at Kimpo Airport confronting Japanese tour groups with a placard reading, “Stop Sex Tourism”. Representatives of women’s organizations in Japan demonstrated at Haneda Airport in Tokyo in front of Japan Air Lines office aiming at Japanese tour groups and carrying placards reading, “Don’t go to Korea for sex tourism.” As of 1979, an estimated 100,000 women worked as tourism kisaeng.(22) In some cases, tourists at kisaeng houses/restaurants could choose their partners among those gathered in the waiting lounge. A Japanese tourist who contributed an essay to a magazine published in Japan compared figuratively his experience of kisaeng party to that of going to a slave market.(23) By late 1970s sex tourism spread to Southeast Asia, particularly the Philippines and Thailand. By early 1980s Japanese businessmen started running kisaeng houses in Japan by importing Korean women. In 1988 the Korean Church Women United sponsored the International Conference on Women and Tourism in South Korea. It was there that Professor Yun Chông-ok of Ewha Womans University first presented her research on Korean comfort women issue, which helped the participants from Korea and Japan see the underlying linkage between the issues of the comfort women in colonial Korea and kisaeng tourism in contemporary Korea. (24)

In January 1989 when the Korean government sent an emissary to the funeral of Emperor Hirohito, women’s organizations in South Korea protested to the government for not taking up against the Japanese government the unresolved issues of the latter’s postwar responsibilities including the comfort women issue. Feminist activists raised the same issues during the state visit of President Roh Tae Woo to Japan in May 1990. The comfort women issue was first raised in Japan’s Diet in June 1990 when a government official flatly denied any involvement of the state in the recruitment of comfort women. This denial angered women activists in Korea to an action that resulted in the formation of the Korean Council in November 1990. And the rest, as they say, is history.

I should also mention here that until the 1980s, when the Korean and U.S. troops regularly conducted the joint military exercises called “Team Spirit,” the kijich’on sex workers became camp followers.(25) Calling themselves “the blanket brigade,” they would follow the soldiers’ move during the exercise and each would offer sexual service to twenty to thirty soldiers a day. In the 1990s, the joint military exercises were curtailed but the camp following prostitution for the U.S. military continues, generating the coinage of the ‘second generation of military comfort women’. The activists working for the kijich’on sex workers point out that the historical legacy of Japan’s comfort women continues in Korea’s kijich’on serving this time the U.S. military. The atrocities of Japan’s imperial army in violating women’s human rights have been revealed in recent years, but few people in the United States are aware of heinous sexual crimes committed by American military men, most of whom go unpunished due to the unequal Status of the Forces Agreement (SOFA) contracted between the superpower United States and the newly industrializing Republic of Korea in 1967.

Let me mention one murder case that prompted an unprecedented mass demonstration of 3,000 people in a kijich’on called Tongduch’ôn in 1992.(26) Kenneth Markle (twenty years old at the time of the crime), a private of the U.S. Army stationed in South Korea, murdered Yoon Keum-I, a twenty-six-years-old sex worker, by battering her with a Coke bottle and stuffing it into her womb. He also shoved an umbrella into the anus of the bleeding, dying woman and stuffed matches into her mouth. He then sprinkled soap powder over her body, apparently to eliminate evidence of the murder. The cruelty of the crime enraged the residents of the kijich’on to stage a series of mass demonstrations, and eventually contributed to the formation of an NGO, “The National Campaign for Eradication of Crime by U.S. Troops in Korea,” in 1993. According to them, an average of two crimes were committed daily by U.S. troops from January 1993 to June 1996 and that on average the Korean government exercises jurisdiction in 0.7 percent of cases. The above-mentioned murder case is one of the very few cases in which the criminal is serving his sentence in a prison in South Korea.

Concluding Remarks

In the Korean media and official discourse, prostitutes are referred to as yullak yôsông, literally ‘ethically fallen women’. Yet men who purchase sexual service from these ‘fallen women’ are not called ‘ethically fallen men’, reflecting the fundamental bias against women sex workers in masculinist sexual culture. It is in this social and cultural context that some survivors have chosen not to reveal their past, and I am sorry to report that some of those who did had to suffer ostracism from their relatives and friends after their coming out. The survivor I interviewed in April 2000 was most bitter about it.

If we are serious about our commitment to the enhancement of life conditions of humanity, we must confront the global realities of predominance of men’s sex-rights over women’s human rights,(27) be they sex workers, single or married women. Many women and children who work in the sex industry whether willingly or forcibly are predominantly from poor families in search of livelihood. Prostitution is regarded as the world’s oldest profession and no society has gotten rid of it. If this new century is to be a century of human rights, we cannot avoid the issue of human dignity of sex workers in the booming international sex industry in which consumers of sexual service belong to richer classes and/or more powerful nation-states that not only exploit providers of sexual service economically but also demean them socially and psychologically.

Although there are various signs of significant change in the patterns of gender power relations, masculinist sexism that permeated the traditional sexual cultures of Korea, Japan and other patriarchal societies is still prevalent today. More than a quarter of a century after women began fighting against sex tourism, Japanese men’s sex tours flourish discreetly in South Korea. In December 1998, the police in Seoul arrested fifteen people including the bosses and employees of five sex trade organizations. What shocked the public was that the women involved in the sex tours included not only professional women working in the entertainment industry but also television and theater actresses, fashion models, foreign flight attendants, department store employees, and graduate school students.

The sex crimes of the U.S. servicemen in South Korea continue. The latest murder of a Korean woman working at a bar for foreigners in Itaewon by an American soldier that came to my attention was first reported in a newspaper on March 29, 2000. The soldier, a twenty-two-year-old corporal, fled from the 8th U.S. Army compound after a consultation session with a lawyer in the morning of April 28, 2000, when the first hearing on his murder charge was scheduled at Seoul District Court.(28) The Korean police arrested him several hours later but had to hand him over to the U.S. authority due to the SOFA terms.(29)

To conclude, human rights activists for the comfort women issue in Korea and elsewhere, whose representation of comfort women as military sex slaves has focused on Japan’s postwar responsibilities, must acknowledge that masculinist sexual culture was at the root of the comfort system, and address a fundamental social and political reality that the gross violations of human rights of comfort women originated from power inequity between the sexes, classes, and nation-states. One of the social implications of personal ordeals former comfort women had suffered both during and after the war is that similar tragedies will befall many more women unless patriarchal societies change their sexual culture. Prostitution is conventionally defined in terms of unethical behaviors of ‘fallen women’ while many men commonly depend on the sexual labor of socially despised women. We must move away from the mentality of blaming the victims to that of according full humanity to the downtrodden and search new ways to deal with old problems in order to help improve life conditions for all humankind. The masculinist sexual culture must give way to a humanist sexual culture in which each person’s humanity is respected regardless of sex, race, and social status.

Acknowledgements: I acknowledge with gratitude the financial support from the Northeast Asia Council for the Association for Asian Studies, San Francisco State University, the Japan Foundation, and the International Institute for Asian Studies of the University of Leiden, the Netherlands, which funded field research in Korea, Japan, and the Netherlands. The research time to write this paper was supported by a grant from the Research and Writing Initiative of the Global Security and Sustainability Program of the John D. and Catherine T. MacArthur Foundation, for which I am thankful.

Endnotes

1. See Pateman 1988. 2. Nishino 1992:46. 3. See Yoshimi 1995:79-80. 4. Hata (1998) asserts that Japanese women, not Koreans, constituted the majority ethnic group at comfort stations set up for exclusive use of the military. 5. See Soh 2000a for a further discussion of the Dutch case. 6. In this article I add Asia to the term “Pacific War” (which Ienaga [1978:xiii] uses to cover the “Fifteen Year War,” from the Manchurian Incident in 1931 to Japan’s defeat in 1945) with a purpose to highlight human sufferings experienced by the peoples in Asia during that war. 7. See Soh 2000a. 8. For more details see Enloe 1990, 1993; Sturdevant and Stoltzfus 1992. 9. See Soh 1996. 10. Interview with Yun Chông-ok, a co-representative of the Korean Council, January 7, 1995. 11. Marcus 1999. 12. Kwon 1999. 13. Ibid., pp. 215-217; Chang 1986. 14. See Kim et al. 1972. 15. For Kim’s testimony, see Chôngsindae Yôn’guhoe and Chôngsindae Munje Taechaek Hyôpûihoe 1993. 16. Korean automobile mechanics and many drivers use the Japanese term, jôshi, to talk about the condition of the engine. For example, engine jôshi ga chotta (The engine is in good condition) uses the Japanese term, jôshi, as well as the English term engine. 17. Licensed prostitution was abolished in postwar Japan in 1946 (see Garon 1997). 18. For more details, see Korean Church Women United (KCWU) 1983. 19. Ibid., p. 24. 20. See Moon 1997. 21. See KCWU 1983: 55-56. 22. Han’guk Kyohoe Yôsông Yônhaphoe 1983:23. 23. Ibid., p. 16. 24. For more details, see Soh 1996. 25. See H. S. Kim 1997. 26. The National Campaign for Eradication of Crime by U.S. Troops in Korea, n.d. 27. See Soh 2000b for a discussion of the meaning of women’s human rights for the survivors. 28. Han’guk Ilbo (April 29, 2000, B11). 29. KBS TV evening news, April 28, 2000.

References

Chang, Sa-hun. 1986. “Women Entertainers of the Yi Dynasty.” In Women of the Yi Dynasty, ed. Park Young-hai. Seoul: Research Center for Asian Women, Sookmyung Women’s University.

Chôngsindae Yôn’guhoe and Chôngsindae Munje Taechaek Hyôpûihoe, eds. 1993. Kangje-ro Kkûllyôgan Chosônin Kunwianpudûl (Forcibly Recruited Korean Military Comfort Women). Seoul: Hanul.

Enloe, Cynthia. 1990. Bananas, Beaches & Bases: Making Feminist Sense of International Politics. Berkeley: University of California Press.

______. 1993. The Morning After: Sexual Politics at the End of the Cold War. Berkeley: University of California Press.

Garon, Sheldon. 1997. Molding Japanese Minds: The State in Everyday Life. Princeton, NJ: Princeton University Press.

Han’guk Kyohoe Yôsông Yônhaphoe (HKYY). 1983. Kisaeng Kwan’gwang (Kisaeng Tourism). Seoul: HKYY.

Hata, Ikuhiko. 1998. “‘Ianfu densetsu’ o minaosu” (Rethinking the ‘comfort women legend’). In ‘Ianfu’ mondai to azia josei kikin (“Comfort Women” and Asian Women’s Fund), ed. Onuma Yasuaki, Shimomura Mitsuko, and Wada Haruki, pp. 197-199. Tokyo: Toshindo.

Ienaga, Saburo. 1978. The Pacific War: World War II and the Japanese, 1931-1945. Trans. Frank Baldwin. New York: Pantheon Books.

Kim, Hyôn-sôn. 1997. Kijich’on, Kijich’on Yôsông, Honhyôladong Silt’ae wa Sarye (The status and cases of Kijich’on, Kijich’on Women, and Children of Mixed Blood). Seoul: Saeumtô.

Kim, Ok-gil et al. 1972. Han’guk Yôsôngsa (History of Korean Women). Seoul: Ewha Womans University Press.

Korea Church Women United (KCWU). 1983. Kisaeng Tourism. Seoul: KCWU.

Kwon, Sun-hyông. 1999. Koryôsidae Yôsông i Kyubôm kwa Saenghwal (The norms and lives of women of Koryô). Pp. 135-162. Uri Yôsông i Yôksa (History of Our Women). Seoul: Han’guk Yôsông Yôn’guso Yôsôngsa Yôn’gusil.

Marcus, George E. 1999. Ethnography through Thick and Thin. Princeton, NJ: Princeton University Press.

Moon, Katharine H. S. 1997. Sex among Allies: Military Prostitution in U.S.-Korea Relations. New York: Columbia University Press.

National Campaign for Eradication of Crime by U.S. Troops in Korea (NCEC). N.d. Cases of Crimes Committed by U.S. Militarymen. Seoul: NCEC.

Nishino, Rumiko. 1992. Jugun Ianfu: Moto Heishitachi no Shogen (Military Comfort Women: Testimony of Former Soldiers). Tokyo: Akashi Shoten.

Pateman, Carole. 1988. The Sexual Contract. Stanford, CA: Stanford University Press.

Soh, Chunghee Sarah. 1996. Korean ‘Comfort Women’: Movement for Redress. Asian Survey 36(12):1227-1240.

______. 2000a. From Imperial Gifts to Sex Slaves: Theorizing Symbolic Representations of the ‘Comfort Women’. Social Science Japan Journal 3 (1):59-76.

_____. 2000b. Human Rights and the ‘Comfort Women’. Peace Review (In press).

Sturdevant, Sandra P., and Brenda Stoltzfus. 1992. Let the Good Times Roll: Prostitution and the U.S. Military in Asia. New York: The New Press.

Yoshimi, Yoshiaki. 1995. Jugunianfu (Military Comfort Women). Tokyo: Iwanami Shoten.

http://www.icasinc.org/2000/2000s/2000scss.html

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Psychological Terrorism by The Unification Church at Cheongpyeong

Excerpts from Korean comfort woman Mun Ok-chu’s memoir

Almost all these Comfort Station managers / owners were Korean

Koreans who experienced the Japanese annexation of Korea explain some facts

Sun Myung Moon: “Women have twice the sin”

“About 100 Korean women were abducted by Korean prostitution brokers but were rescued by the Japanese military police.”

Japanese woman recruited by the Unification Church and sold to an older Korean farmer

6,500 Japanese women missing from Sun Myung Moon mass weddings

#Comfort women #Korean History #Sun Myung Moon

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warsofasoiaf · 4 years

Text

The Celtic Tiger - A Kaiserreich Ireland AAR Chapter 4: Soldiers Are We

“Being Irish, he had an abiding sense of tragedy, which sustained him through temporary periods of joy.” -W.B. Yeats

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4 January 1939 - Economic Session of the Dail, Dublin, Ireland

Michael Collins had been debating initiatives to help smooth things over with the Ulster Unionists in the North. He had already revitalized plenty of the region’s industrial base, Harland and Wolff and the Short Brothers Aerospace PLC were employing plenty of people in Belfast, but the new American refugees had caused a great deal of cultural friction. The Unionist Party was never particularly quiet about their opinions on the state of affairs, but things were actively getting worse in Northern Ireland.

“We should expand the steel initiative.” Collins had addressed the Dail in the annual IEAA meeting. “Producing steel domestically will allow us to better manage supply shortages in the event that our trade is cut off, and domestic steel production will be invaluable to the factories and shipyards. Belfast has made a compelling point, they have a significant amount of steelworking knowledge and experience that would meet the target goals faster than they would in other regions. Belfast will reclaim her old mantle as our very own Steel City. The Open For Business Initiative has put us significantly in the black this past year, we can afford to invest heavily in steel production in Ulster along with zinc mining in our rural provinces. That should keep us in boom times and diversify our economic base, in case any post-Black Monday bubbles pop.”

Privately, Collins was more concerned with placating the Unionists. They had been complaining that Dublin was largely favored over Belfast, and that the Open for Business Initiative was an attempt to lure away the young workers of Northern Ireland to Dublin where they would lose their culture, and their voices, largely swallowed up by the Catholic voters. Violent crime was steadily rising in Belfast, the victims being either Catholics or American refugees, or reprisal attacks by Catholics. If there was a war, he could not reliably count on Ulster, even in the face of aggression from the Union. That was a pity. That had been the British strategy against Ireland, divide and conquer. Something would have to give very soon, no amount of economic bandaging was going to resolve the core tension within Ulster - they did not see themselves as part of an Irish Republic.

An aide burst into the meeting hall, causing a minor clamor and it took some time to restore order. The aide burst out breathlessly. “The Union, sir, they’re steaming out of port. The RMS Rebecca is going full-speed at our destroyers in the Irish Sea.” The poor fellow could barely complete a full sentence, his stammering professed an almost lack of belief in what was happening.

“Have they declared war?” Collins asked. The Union and Ireland did not have normalized relations, but that did not mean no information passed between the two countries. G2, the Directorate of Military Intelligence routinely monitored diplomatic intentions within Mosley’s government. Of all the espionage work performed by the Directorate, the Union accounted for almost fifty percent of its foreign operations, perhaps even more.

“No, sir. No word.”

What was frightening about Mosley’s intentions was how much sense it made to Collins. Mosley and Deat, despite their opposition to each other, had stressed the urgency of the revolution at their electoral campaigns, and had prosecuted an aggressive foreign policy to export syndicalism to the world. Both had turned inwards, Deat had been particularly violent in his purging of Blum and Gamelin, and they believed now that without dissent, they would not have naysayers and fifth columnists betraying their governments. By all accounts, their countries were ready to stand at the forefront of a global transformation. Yet the results were not successful. France and Britain had been completely humiliated in the Second American Civil War, with Reed about to face a war crimes tribunal. The Commune of France had threatened to annex Savoy only to have Switzerland seek German support and membership within the Reichspakt, and Deat had backed down. A defeat, militarily, within Europe, would be a disaster, evidence of endemic weakness of the Internationale’s new leadership.

Ireland would have been Mosley’s choice for a target. The stunning growth of the Irish economy and rise in the Irish standard of living would be an ideological foe, proof perhaps, that another way would be better. It was close to Britain and far from Mosley’s foes in Germany, Canada, and the United States. Its army and navy were tiny, compared to the Union’s. If they hurried, it could be a fait accompli no matter what any of the other great powers would do.

Collins thought for a moment. Ireland had benefited significantly from its neutrality between Entente and Reichspakt, not the least of which because it hadn’t been drawn into Germany’s wars as it had in Ukraine. The Open for Business Initiative never would have succeeded had Ireland been fully within the German sphere, and trade with the Entente had pacified the Anglophiles in the Centre Party. It was a natural pivot point that Ireland, as the middleman, could profit from. But an invasion of Ireland would see Ireland severely outnumbered in manpower and industrial capacity.

“Get ahold of Admiral O’Muiris, have him mine the Irish Sea. Conduct a full investigation of the radar stations and anti-aircraft batteries, I want them in perfect working condition yesterday. No more drills, our men must go immediately to battle positions. See what we can learn about any invasion plans, put G2 on it; if they’re planning to land, I want to know where so we can put enough guns to turn their landing craft to splinters.” Collins spoke as if it were 20 years ago, as if he was that same man, ready to fight the last time the British refused the demand of Irish independence. “Also, let’s see if there are others as willing to fight for Ireland as we are, start with the Kaiser.”

“And if he isn’t?”

“We look farther then. Look to Canada if you have to.”

“Are you going to invite the Windsors back in?”

“Not for a moment, but sometimes you must deal with devils. ”

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25 January 1939 - Áras an Uachtaráin, Dublin, Ireland

It was the worst possible news.

The Kaiser had been unable to provide support for Ireland. The Vozhd was threatening the Baltic Duchy and White Ruthenia with his goal of one land for all the Russian people, and Wilhelm II would not abandon them for a western war, especially not one who was not in the Reichspakt. Canada too, could not commit to protecting Ireland, as they were engaged in a large-scale war in India with the Princely Federation. The United States was still deep into Reconstruction, President Garner would not deploy the badly-battered US Army into a foreign campaign when there were still cholera outbreaks and people dying of exposure. They were all perfectly reasonable excuses, but it led Collins to an inescapable conclusion: Ireland was on its own.

No doubt Mosley was jumping for joy. His ambitions would not be curtailed by the major anti-syndicalist factions. Protests certainly arose, even within the Union itself, but Mosley had been able to quell them with daily speeches against Ireland, lambasting the nation for its capitalist economic policies, its embargo of British goods, and the ethnic tensions between Ulster and the rest of Ireland, which Mosley alleged to be inspired by Stephen X and a precursor to the establishment of a Catholic theocratic state. He had harshly criticized Dan McKenna, accusing him and the Thunderbolts of war crimes, summary executions of British volunteers, and torture of Union prisoners; a pointed criticism given that McKenna was soon to return to the United States to give his testimony on Welfare Island and the atrocities that had taken place in the Mississippi Delta.

Collins had established the Mosley Gan Mosley program on 2RN in response, with Irish comedians regularly mocking Mosley’s wild proclamations and providing evidence against his more spurious claims. Collins ensured that the broadcasts were transmitted on a wide band toward the British Isles, focusing on Scotland and Wales as the Autonomists had chafed under Mosley’s centralization and embrace of British nationalism. Collins directed the program to emphasize Mosley’s speeches as expressions of old British imperialism in the hopes of creating public unrest at home. He wondered if it was working at all, or if he was simply trying to give everyone a laugh before the end.

The days after the German and Canadian refusal had been a tense form of limbo. The An tAerchór only had a few fighter planes with limited training, nothing compared to the British Republican Air Force. Sending up pilots would be risky, and casualties would be high. The An tSeirbhís Chabhlaigh was only slightly better off. The cruisers and destroyers were unlikely to match the British Navy in naval combat, but the submarines could pose a serious threat, and advances in naval mines would help cause further casualties among the landing craft. There was no getting around it, the Irish did not have the ability to contest the seas and so would be forced to repel the invasion with their ground forces. Civilians had been preparing for the coming disaster with air raid drills. Last-minute preparations for war were almost all that Collins could hope for, war would come, and Ireland would be alone.

“To ensure the liberation of the working class from the chains of oppressive and exploitative political and economic systems in the pursuit of global peace has been the compelling and continuing mission of the Socialist Union of Britain. To cultivate friendly relationships with nations likewise dedicated to the emancipation of those enslaved peoples and continue to progress toward the prosperity of mankind has always been the foundation of our foreign policy.

Wherefore the government of Michael Collins has engaged and continues to engage in an economic and political system within the Republic of Ireland that deprives the Irish Worker of the fruits of his labor and depends upon his continued shackling to the dictates of Capital in violation of the Internationale Declaration of Human Rights. In pursuit of its goals against the working class, the Irish Republican government has illegally prohibited the Irish Worker to establish a political party to advance their interests in violation of the 1925 Irish Constitution’s declaration of freedom of association by banning the Labour Party.

The Socialist Union of Britain, in defense of the Irish Worker, therefore demands the reformation of the Irish government to that of a Regional Provincial Workers Council to be directly administered under the oversight of the Trades Union Congress and in accordance with the laws and principles of the Socialist Union of Britain.”

Yet, instead of an immediate declaration of war, Mosley had elected to send words, much to Collins's surprise. For a moment, the Taioseach wondered why Mosley had even bothered, such was the extent of his demands. Perhaps it was to spare himself a war while the Internationale conserved their fighting strength for other targets, or perhaps it was a compromise asked by France. Maybe Mosley thought that Ireland would surrender and he could one-up Deat who had failed to have his ultimatum obeyed. As he had read the words, Collins had almost torn the paper in anger, and among the ministers he had invited to the closed session, he had seen similar expressions on their faces. They may have disagreed on everything else, but not on this.

“The Republic of Ireland will not submit to the colonial dictates of Oswald Mosley. We consider these demands completely illegitimate and a violation of the sovereignty of the independent Republic of Ireland and the government recognized by the Irish people. The Irish Republic is a free and independent nation, and shall not surrender to the British yoke that has for centuries defined the history of Ireland with cruelty and deprivation. We demand the unequivocal cessation of all hostilities against the Republic of Ireland, the immediate removal of British ships from Irish territorial waters, and the abrogation of all demands and claims against the island of Ireland. We also call on the Third Internationale to condemn such a demand and reconsider their relationship with an aggressive nation dedicated to a mission of subjugation.”

Collins was sure that would get Mosley’s anger up. His support of the Anti-Colonialist movement could not abide a direct challenge by naming him the colonist that his government had spoken so long about overthrowing. The Union fixated upon proving that they were not the old British Empire, that they were a modern, just triumph over backward authoritarianism. Questioning the Union’s place in the Internationale was sure to cause some stir as well. South America had long spoken against European colonialism, and Chile had considered itself a bastion of colonial liberation within the continent. Even though Chile had not joined the Internationale, their success in Latin America and their support of Britain and France’s mission had mattered greatly within left-wing intellectual circles; it was their testament against accusations of colonialism. Robbing Mosley of Chilean support could cause unrest at home and with other syndicalist nations like Burma, and perhaps end his expansionist ambitions on Ireland.

Collins was only half-right. None of the major syndicalist nations saw fit to criticize Mosley, neither Chile, nor Burma, nor France, nor the Socialist Republic of Italy in Torino had seen fit to condemn Mosley’s action, nor was any independent comment from the Third Syndicalist Internationale forthcoming, at least not any that Collins had seen or heard. What was true is that Mosley was furious. He had read the Irish response out loud in the Trade Union Congress, and had immediately moved for a declaration of war. It had not been a request, not that any would oppose him after his centralizing purges in ‘37 and ‘38, but the British people were fired up. The declaration of war had been delivered, and almost immediately, planes began flying overhead, and the air raid sirens gave their low bleak wail. For a moment, Collins was certain that he could hear them as a banshee’s wail, and wondered whose death warrant he had just signed.

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28 March 1939 - Command Bunker, Dublin, Ireland

It had been months since the declaration of war, and bombing missions had been flown against Ireland daily. The anti-aircraft guns and radar stations did their part, but the Union still commanded the skies. They had prioritized strategic bombing, hitting factories, port facilities, and coastal fortresses, but any target would do in a pinch. Each day, Collins made sure to hear the casualty counts, and each day he would address the nation by radio, encouraging them to continue to fight on. Every man, woman, and child had been doing their part. The Union had done a good job choking the imports of steel in an attempt to starve the Irish industrial machine. Air raid shelters had been a regular part of construction during the massive push for industrialization, and for that Collins had been grateful for what foresight he had. Even one life saved was worth it, but thousands had been spared being killed or maimed in a night raid or building collapse. That was small comfort, because fewer people dying still meant people were dying on his watch, soldiers and civilians alike.

G2 had conducted countless missions against the Union. Infiltrating the Army and Marine Corps were a top priority, any landing or invasion plans were a high priority for their agents. It had been a difficult endeavor, but Nancy Stewart, a Union turncoat who had lost her family members in Mosley’s purges and had been recruited to G2 as a local asset, had outdone herself. She had spoken to an overworked member of base security, stolen his keys and identification card, and had snuck it to her colleagues after drugging the man’s gin and dragging him home posing as his girlfriend. From there, Nancy and Rachael O’Brien, who had been recruited from the Cumann na mBan as part of Collins’s efforts to recruit sabotage experts for the Irish intelligence services, had been able to copy the plans all night before sneaking out the next morning, returning everything that they had left before their victim recovered from his night. The plans had been scheduled for late June, to land in the Clew Bay and Killary Harbor, on the west of Ireland.

Surprise was the Union’s primary goal, the territory in that region was a difficult landing, but if the Union soldiers were able to land and fortify, they could use the terrain to repulse an attack, perhaps even establish a breakout while forces had to cross the River Shannon and potentially seize Irish fortifications. The Republican Army was not concentrated in County Mayo, the likely destination would be on the east coast and it was there that they fortified with machine guns and artillery. The Union elected to launch from Cornwall, with a diversionary operation from Liverpool and the Isle of Man. Admiral O’Muiris elected to keep a defensive posture in a double-bluff; he didn’t want to risk any of his few ships on pursuing the Republican feint but kept his ships close to make it seem that he had not known about the Galway-Mayo landings. He didn’t like it, but if they could push back the attack, it might force Mosley to abort his attempt.

Tom Barry had stationed his men in Sligo and Galway city, waiting for forward observers to spot the landings on the western coast. The 1st Armored Division and the 2nd ‘Spearhead’ infantry would strike from Galway, while a mobilized force of cavalry Gardai would strike from surprise from the northeast. The 1st Thunderbolts were given the most difficult position, to fight a pre-dawn attack against the northern landing. Once they had attacked and cleared the beaches, they would march south and attack the main landing zone where the beaches were longer and flatter, supporting the most landing forces. Collins had hoped that he could bombard the beaches to oblivion, pinning the British invasion force soon after it had landed, and destroying their landing craft so they could not retreat.

The landings were commanded by Thomas Wintringham, who had decided to primarily use regular army forces. He had petitioned Mosley for more men, but as that would have compromised the Welsh and Cornwall defensive region, so he was forced to call upon the West Lowlands Home Guard to fill out the invasion. In the middle of the night, the British had attempted to make the landings, but the currents had taken several of the landing craft off course to Galway, where a general alarm had been sounded and the landing craft subject to a heavy barrage. The anti-aircraft turrets weren’t able to be redirected toward the sea, but the river defenses on the Claddagh had utilized static artillery and machine gun pillboxes to create killzones, and the ports within Galway city had been blockaded.

The mobilized Gardai Síochána and the 1st Thunderbolts moved to their northern position, and Barry began to push with a combined infantry and armor push toward the main landing zones. As it was a night landing, the Republican Air Force was unable to provide air support to its invasion zones. The Thunderbolts had marched all night and shot the Mayo landing forces to pieces as they arrived, keeping in contact with radio and light signals, before turning south to attack the main landing point. The 1st Armored advanced rapidly with light tanks before abruptly turning. Ground forces commanders, thinking that the Irish attack had been aborted because the tanks had outpaced their infantry, had attempted a shock charge to attack the Irish armor when they were out of position. Having advanced quickly, Barry closed the net, attacking with the South Mayo Flying Column and the 2nd Spearhead Division as the light tanks returned to repair the damage they had sustained during the light engagement. The ambush had taken the Union forces completely by surprise, and they were scattered, allowing Tom Maguire to push forward with his native Mayo forces and the Dublin Rifles toward the beach landings.

Continuing his hard push, Barry repeatedly probed the Union lines on the beaches, following up weakpoints with infiltration tactics and strongpoints with a withering suppressive barrage of artillery fire. Admiral Richard Boyle, commanding the U-Boats, attacked as the sun began to give visibility, sinking supply ships and troop transports. As the British Republican Air Force began to fly to support their mission, they had found the beaches to be a disaster area, littered with dead Union soldiers and destroyed Union equipment. The Union soldiers had fought tenaciously, but ultimately could not break out of the beachhead. As the hours stretched on, eventually the divisions surrendered. The first invasion of Ireland had been successfully repulsed.

Collins hadn’t been able to sleep, and paced in his command center the night of the march no matter what he tried. Mulcahy had opted to handle the long wait and let Collins try to get a few hours of sleep on a cot, but neither man believed that such a thing could really happen. When the news had come, Collins had listened to Maguire’s report almost dumbfounded, as if he expected to be woken up at any time. A complete success on all fronts, the British invasion had been foiled, and Irish casualties had been exceptionally low. Killed and wounded, Ireland had suffered just short of 3,000 casualties, roughly evenly split among the divisions in theater. The Union had suffered over 111,000 killed or captured in the failed raid, and what few weren’t captured were isolated and fleeing for their lives in the Irish countryside. It had been an overwhelming victory.

“My God, we certainly gave them a bloody nose.” Mulcahy, just as stunned as Collins himself, nodded approvingly.

“Then let us hope all it takes is a bloody nose.” Collins replied glumly.

---

“To conclude, what I witnessed in my almost-two years of volunteer service within the Second American Civil War was commitment in its best and worst forms. The Federal government, armed forces, and civilians of the United States had acted in devotion to their government and their mission, preserving their country and Constitution. Its reverse was true of its foes, a commitment to the annihilation of those who did not fit within their vision.” -Daniel McKenna, closing remarks, Denver Trials

McKenna didn’t belong here. Mosley had tried to invade his homeland. Every man was needed to fight. It was only a direct order from Michael Collins that had sent him to the United States. “We need foreign support more than we need one more general. The Thunderbolts will be well-led, you have my word. If the truth can come out about what had happened in New York, then we can push for further support. Your actions may help the war effort far more than back here in the homeland.”

McKenna thought the idea was sound, but he wasn’t seeing it pan out. Foreign support wouldn’t be pouring in, what had happened in the United States was already known and rationalized away. It was closure for the Americans, perhaps, but abstract notions of justice being punished hardly mattered when real Irish men and women were dying from British bombs. He had gone because he was a soldier and that meant obeying the orders of his commander-in-chief. McKenna had hoped that he could give a quick testimony and return, but he had been approached by the Irish-American Aid Association to give speeches to raise funds to donate supplies for Ireland. The United States was still recovering, but there were plenty of descendants from the Irish diaspora who were willing to donate food, money, and weapons to the Irish cause. That was something at least, some good had to come from this excursion.

McKenna remained in Denver as the tribunal judges deliberated their verdict. Reporters had hounded him the second he stepped out of his hotel until the second he stepped back in, even preventing him from enjoying any meals, calling them a bunch of cicadas in private. However, he was surprised to meet the reporter that he had met in New York covering the Denver Trials. Ruth Sofer had become a minor celebrity for her coverage of Welfare Island, and had resolved to write about the victims and perpetrators of the Second Civil War. “In my view, anything less would be cowardly, and I’ve been told I have an ironclad heart.“ Over dinner, Sofer interviewed McKenna, not only asking him further about Welfare Island, but telling him what she had learned in interviewing members of the Union State and Combined Syndicates who had been guilty of categorical atrocity, and what could have motivated them to do such a thing. It had sickened McKenna to his stomach, but no battle was too difficult for a soldier, and he obeyed his orders.

McKenna had wanted to return to Ireland quickly, but felt compelled to stay to help Sofer until she had finished her manuscript. Her book, Superfluous People, was a chilling examination of the systems of the two rebel movements within the Second American Civil War, their conceptions of a new transformation of reality in a form of secular millenarianism. Most of the second section of the book detailed the rationalizations regarding those to be left out of the new world, and the philosophies of the movements that originated these rationalizations, and the appeals both real and imagined that gave strength to these movements. The third and final section detailed the jump from theory to practice, exhaustively compiled through interviews of ground-level commanders that oversaw these eliminations in action. Notably, Sofer expounded at length on the Federal government in permitting Jim Crow legislation in the South as the foundation for groups like the Silver Legion.

Once the manuscript had been completed, only then did McKenna, hitching a ride on a supply ship from the Irish-American Aid Association, return home, to take up the command of his Thunderbolts once again.

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12 June 1939 - Forward Command Post, Carrick-On-Shannon

After the failed invasion of Connacht, Mosley had blamed the militia system of the Trade Union Congress, finding the failure of the invasion to principally be the fault of the militia system’s poor organization. To Mosley, the inability of the Union Army to probably organize into a coherent and effective fighting force prevented them from successfully managing the Irish counter-attack until the greater numbers of the British army could land. Mosley dissolved the militias and established a more formalized military with an established central command structure. Officers could no longer be elected by fellow soldiers, Mosley had instead integrated soldier assent via the promotion board and mandated promotion in part on merit and ability to accomplish objectives.

Mosley also reached out to the Communards across the Channel. Deat had not supported Mosley’s invasion of Ireland initially, but he was eager to demonstrate the prowess of the Communard Army. He had anticipated Mosley seeking help, but had thought it would have been more for occupation duties, and had planned for landing from Brittany to land in County Cork on the southern side of Ireland in the middle of August. The initial attacks were mere probing attempts, to see the Munster defenses and better analyze how best to invade Ireland. The weather conditions were right on the 15th of August. Unlike the earlier British invasion, the Communard elected on a daylight landing so their airpower could support the ground invasion. The increased visibility meant the Fenian Rams were able to find the French landings, sinking several troop transports and escort vessels and sinking before the destroyers and naval bombers could attack. Despite the navy’s efforts, French forces were also able to land at Baltimore and in a pasture in County Wexford after being shelled by Irish Republican forces in Waterford. The Dublin Rifles and 3rd ‘Black Badgers’ Division attacked in the Battle of the Sheepfold, where the lack of cover led to high casualties on both sides. The Baltimore landings fared little better, the rocky and open ground provided little cover, and the Irish forces were hard-pressed until reinforcements were trucked in from Limerick.

The landings had similarly failed, though Deat had committed few forces and his troops were far more successful than Mosley’s initial foray. Deat had demanded that Wintringham coordinate with the Communard army for a joint invasion of Connacht. Collins had been able to repulse the Communard landings because his forces, not pressured on multiple fronts, had been able to relieve each other. Overwhelming numerical force would be able to do what smaller forces could not. As Ireland was considered Union territory and the Commune required most of its divisions along the border with the Kaiserreich, the Union would supply most of the manpower for the invasion, although the supreme commander would be from the Communard Army. Union and Communard planes and ships would combine for the endeavor, to support landings from County Claire to Sligo.

The larger invasion force did succeed in its goals. Mosley’s centralization efforts had restructured the militias into an effective and organized fighting force. By standardizing equipment and radio procedures, the Union had been able to break through at Clew Bay, getting off the exposed beach. The Donnelly Division had been scattered, and the French were able to land in County Mayo and attack Sligo after a ferocious onslaught of terror bombing. The initial objectives only sought to reach the River Shannon, as the fortifications made crossing the river a daunting task. The Union took Galway after three days of fighting, Irish Republicans had retreated to the forests and hills outside of the urban centers. After five days, almost the entire province of Connacht was under Communard control. In Sligo and Galway, the Irish tricolor was lowered from the city halls and replaced with the hammer and torch of the Union of Britain, and the Internationale was sung.

The Internationale also executed Irish Republican prisoners. A captain of the 1st Thunderbolts was singled out as a particularly grave offender, accused of having committed war crimes against Union volunteers in Philadelphia during the Second American Civil War. During his impromptu tribunal hearing, he loudly denied the charges against him, demanded hard evidence be presented instead of “self-serving lies from a nation of cowards,” and accused the Internationale of being mass murderers, imperialists, and “the bootlicking spawn of Oliver Cromwell,” disrupting the impromptu tribunal to the point where it was impossible to convene any proper hearing. During the occupation of Connacht, hundreds of civilians were executed. Some were executed for supporting Irish Republican partisan activity or giving supplies to holdout forces, some were members of the Catholic clergy, some others for not turning over foodstuffs to the Internationale army, and yet others were executed after being identified as business owners or landlords by native Irish socialists. The accused were given drumhead trials, their property seized, and hanged from lamposts.

When the news out of Connacht reached Collins, he ordered an effort to retake the lost province. That night, Richard Mulcahy, Hugo MacNeill, and Tom Barry outlined their combined plan to surround and eliminate the invaders, called Operation Execution Ground. A night march along the Atlantic Way from Derry to Sligo led by Barry and Maguire, a march north along the River Shannon toward Sligo for Dublin forces, and the main force pushing up toward Galway from their previous positions in Munster led by MacNeill. The Thunderbolts and Black Badgers, the elite infantry units of the Irish Republican Army, would bloody the Commune in Sligo, while the 2nd Spearheads would seize and destroy stockpiles and command posts that led from Sligo to the Mayo landing points, preventing resupply. Police volunteers from the Gardai offered to help encircle the Communards while the Union forces faced the main infantry force southeast of Galway. It left Belfast and Dublin critically exposed, only their naval minefields and garrison forces would protect them.

Cathal Brugha, already getting old, volunteered to lead any home guard for Dublin. Unafraid of any invasion, he insisted that regulars and volunteers support the Irish Republican Army. With a pistol in hand, he gave a stirring speech, that he would defend the Four Courts by himself if it meant that the interlopers were driven from Irish soil. Collins and Brugha took a photo of themselves, pistols in hand, standing on the steps of the Dail, saying that all Irish citizens young and old can do their part for the fight.

Liam Lynch commanded the infantry coming from the south. When he had seen the bodies in Galway, he told the troops under his command that they were not obligated to “be kind to those who have shown us their cruelty.” Both in Sligo and Galway, the Irish Republican Army ordered heavy shellings on enemy positions followed by aggressive charges. The cavalry forces and the Spearheads moved along the shore, attacking supply lines and cutting off avenues of retreat. To complete the encirclement, the Thunderbolts moved to the west, hoping to break the Communard forces first so that they would flee east into hostile territory rather than west toward the Union.

A G2 agent, masquerading as a sympathetic Irish turncoat, made contact with the Communard forces in their forward positions by the River Shannon. Carrying mock orders, G2 successfully tricked the Communard forces into believing that the Irish had seized radio equipment and were attempting to trick them into thinking that they were attacking their landing sites in an attempt to move them out of their defensive positions and ambush them. The Communards didn’t leave for several hours until communications were severed entirely, exposing the ruse. The extra time proved invaluable to the Irish Republican Army, who were able to complete their encirclement before ordering an attack from all sides. Without radio communications, and surrounded on all sides, the Communard forces were shot to pieces. Only the units hunting the partisans to the west were able to successfully rendezvous with Union forces, the rest, after a ferocious battle, surrendered en masse.

The Union forces opted to abandon Galway early, and establish a strong position near their landing zones with Communard forces that had been ambushed in the forests to the west of Sligo. Lynch continued to push aggressively with his infantry, issuing Pervetin rations to the infantry under his command to sustain the attack. As Lynch turned to support the French encirclement, the Union returned to attack the city, revealing their earlier retreat as a ruse to attack while the Irish before their armies could get into position. The Donnelly Division, who had tried to hold Galway, were almost completely destroyed as a fighting unit, losing almost half of their fighting force. A relief effort from the Spearheads was the only thing to save Galway from being overrun.

Only after the Communard Army was defeated did the army regroup and push toward Clew Bay. In the same position that the previous invasion failed, the Union and Communard forces fought a desperate defense. Eventually, the Internationale’s forces were ground down as they began to run out of ammunition and wounds began to take their toll. The news of the murdered civilians and POW’s had enraged the Irish Republican Army, and the Internationale’s landing zone was subject to intense bombardment that, in the words of one private: “seemed to be the devil’s own hand reaching out with one fell swoop to wreak his evil upon the world.” With little in the way of functional radio equipment, surrender was only possible at night when a desperate signals operator flashed Morse code using a spotlight to communicate surrender.

The aftermath of the invasion of Connacht was tragic. Prisoners were marched in chains to prisons in the center of the country, and many officers and enlisted both were sent to firing squads if they were found to have had a hand in executing Irish civilians or in stealing food from non-combatants. Confessions were broadcast around the world about what had happened in Connacht, with the Internationale virulently denying the charges, accusing the Irish of fabricating war crimes to inflame public support and justify their unjust executions of prisoners of war. Collins had barely heard the figures - eight thousand Irish soldiers had been killed or wounded, while the enemy had suffered 179,000. Most of them had been Union soldiers, about 115,000, while France had taken around 75,000. The numbers were one thing, but his people were executed by a foreign power on Irish soil. It was the subjugation of Ireland all over again. Even if they had taken back their territory, how much more would it cost? The Internationale had six times the industrial capacity and fielded far more men. Even now, there had been no indication that Deat would abandon the fight or Mosley call for a truce. Perhaps they would drown Ireland in blood, if they couldn’t have it for themselves.

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30 June 1939 - Special Joint Session of Congress, Washington D.C., United States of America

“If you will not fight for the Irish, help the Irish fight.” -Eamon “Dev” de Valera

If there was one good thing to come out of the failed invasion of Ireland, it’s that the world finally seemed to wake up to Ireland’s plight. Eamon de Valera had gone to the United States to lobby for more support, and he had been received warmly by President Garner. Warm regards, however, hadn’t translated to what Dev had actually sought, a threat from the United States to back down or face war. The Gallup polls had been encouraging: 47 percent of Americans favored unqualified economic and materiel support to include shipments of food and oil to Ireland, which went up to 57 percent when the responses included “provided it does not enter us into the war.” Most opposition had come from the thought that America still required all of its strength to rebuild, but estimates had been heartening, support for Ireland wouldn’t threaten American recovery, or so the economic analysts had said. There had been much pain suffered by the United States, but it was on the road to recovery. Major Longist guerrilla networks that were uncovered in the Lousiana bayous had been broken up, and the last remnants of the socialist resistance had been killed or arrested among the factory wreckage of Chicago’s industrial district. It was heartening to see America recovering so quickly.

Food and medical supplies, unarmed and flagged as humanitarian aid vessels, had already sailed to Ireland mostly without problems. The Union Navy demanded the right to search the ships, but Collins had threatened that if humanitarian food aid to Ireland was cut, the first people to starve would be the prisoners taken during the failed invasion. Dev had hoped to acquire more significant war support than mere food aid. Even basic equipment was starting to run bare in the depots, and bombing raids had started to take their toll on the factories. America had the industrial capacity needed to supply the Irish war effort, if it could only turn on the taps, an endless river of artillery, planes, and ships could flood the Irish Republican Army with everything it needed to fight the war.

Harry Hopkins had drawn up a bill with considerable bipartisan support, one that he hoped could both provide vital jobs for a recovering America as well as helping Ireland. Ireland could receive oil and war materiel on credit, to be returned when the war was concluded unless “the return of the equipment is made impossible due to use or damage.” Dev had asked Hopkins just how anyone was expected to return spent ammunition or artillery shells after they had been fired, answered with a simple chuckle.

Dev gave a rousing speech in the halls of the US Congress, and had specifically asked for the German and Canadian ambassadors to be invited to the session as well so that he might be able to address the Entente and the Reichspakt together. The pictures of what had happened in Connacht had risen the ire of many Americans, and shouts of “Remember Welfare Island” had frequently been shouted at pro-Ireland rallies.

“We are a small nation, and in our young history as an independent republic we have never once acted with aggression toward another nation, whether stronger or weaker. In our history we have been the victims of aggression, not its perpetrator. We have now come to yet another chapter in the long history of struggle, a new foe empowered by an industrial war that far surpasses the Weltkrieg. We have stood strong, taken with calm courage and confidence in our people, that our nation will endure. We know full well that we cannot demand any other to stand beside us, or ask that their fathers, husbands, or sons do so in their stead. We ask only that you remember Ireland, a land who with tearful hearts had her sons and daughters leave her fleeing the horrors of famine and destitution, and who welcomed many of America’s sons and daughters fleeing the horrors of war and deprivation. We ask that you remember a land with blue rivers choked with blood and oil and green fields burnt and stained red. We ask you, America, such a vast and mighty nation, to remember a nation that could be swallowed by most of your own constituent states. We ask that you remember the injustice being wrought upon her, and we ask that you remember the words of your Benjamin Franklin, about how a great nation may be reduced to a lesser one. We know firsthand how difficult the path of justice is, but acting justly has its reward.”

Transcripts of the speech, personally written by de Valera, were delivered to the Canadian and German ambassadors, with slight modifications. Instead of referencing Benjamin Franklin, Dev had referenced British and German liberal thinkers. The Canadian speech had omitted about how Ireland had a long history of oppression, instead focusing upon Union aggression wishing to expel people from their homeland. These speeches were eventually collected together, with the German Foreign Minister secretly praising de Valera for the craft of tailoring his message to his audience. The response had been beyond what de Valera had hoped. In Germany, Kaiser Wilhelm had declared the German Empire recognized the plight of Ireland, and had promised shipments of materiel protected by the Kaiserliche Merchant Marine. In Canada, the Tories were emboldened, accusing the sitting Prime Minister MacKenzie King of not doing enough to support the effort to reclaim the Home Isles, and that Ireland was fighting the Union just as the Entente had been fighting against the Totalists in the Bharatiya Commune in India. With overwhelming support, the Canadian Parliament authorized shipments of weapons to Ireland, emboldening the hawks in the Entente to push for Reclamation Day. Argentina, preparing for its own war with Chile, had independently recognized Ireland’s plight, and offered several large field guns every month to help keep the Irish in the war effort.

The shipments were invaluable, and protected by convoy systems, most of the promised aid had landed in Cork and Galway. A reporter was on hand and took a picture of marching Irish soldiers wearing the German stahlhelm and carrying the Lee-Enfield rifle. The quartermasters had difficulty initially in supplying troops in the field, as German and Canadian rifles used different calibers and parts were often not interchangeable. Eventually, units were marked as “Grey” or “Blue” by the nationality of the loaned equipment. Speaking for the cameras, Collins was in high spirits, stating: “This is the turning point in this war. The Internationale knows that it has not cowed us. While we seek a just peace and an end to hostilities, we are capable of fighting this war forever, and this commitment proves it. Neither the Reichspakt nor the Entente would provide supplies to a nation that was doomed; they would not extend credit to a nation whose defeat was inevitable. We are committed as ever before, because we know that we have already won this war.”

Privately, Collins was less enthusiastic, but he had to keep the faith. Every soldier was doing so, and Collins could do nothing less, because he was still a soldier through and through.

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17 August 1939 - G2 Headquarters, Dublin, Ireland

The new supplies were put to use almost immediately, as the Union had attempted a quick invasion at Leinster before the Irish Republican Army could field an effective response. Army engineers had not been idle, the An Balla program had established an extensive array of coastal fortresses facing the Irish Sea. Fielding only 10 divisions, the Union attack only achieved anysuccess at the earlier French landing sites in Wexford, but an aggressive counter-attack by Richard Mulcahy had achieved great results. As much as Collins didn’t like it, ceding the landing grounds to the invaders and then attacking them after they had landed was far more productive than attempting to engage them at sea. Poorly supplied and out of place, they could be driven back to the sea, and the landing crafts weren’t able to pick many back up, if at all. The casualty counts had to be discouraging for the Internationale. 2RN had made sure to broadcast the figures of killed and captured every day toward the Union, to help spread fear and discouragement among the Union’s public. They didn’t have the strength to attack the Union directly, if they were going to win they had to make the cost unbearable, and prayed that the enemy called it quits first.

G2 had launched their most audacious campaign yet in an attempt to deter the Internationale’s invasion of Ireland given the new shipments. The new Argentinian cannons had included several decoy pieces meant to be installed on mock forts to draw fire away from real artillery pieces; a technique that was invaluable in their conflict with Chile to cause the enemy to expose their position for no gain. G2 had opted to go further, and opted to make an entire phantom army. The radio office had highlighted that the expanded conscription laws, increased volunteerism in support for the war effort, and new shipments of equipment from the Great Powers had finally allowed Ireland to double the size of their armies. Dan McKenna, freshly returned from the United States, would lead this new army with the 1st Thunderbolts at its head. Taking advantage of young, patriotic artists, G2 designed inflatable tanks and prop equipment to be used for staged photo ops. To properly seed the information, G2 designed the ‘public’ news to be disseminated through the public radio waves in Ireland itself and friendly countries, including a few foreign divisions signing on for adventure and the chance to fight syndicalism. Ireland couldn’t directly claim to receive foreign volunteers, that would undoubtedly run afoul of their foreign partners, but “expatriates” would be invaluable, drawing on the formation of the United States Refugee Brigades during the Second Civil War. G2 had expertly designed one division of British emigres in Ireland electing to “fight the syndicalist menace that the crown itself would not” called the Blue Lions, and a division of German emigres called the Iron Wolves whose goal was to secure “a peaceful future for the Irish Republic and the German Empire both.” McKenna had drawn upon his experience with the Volunteer Brigades to help design the false brigades, combined with the intelligence division’s Army Department to establish a formalized command structure complete with unit patches, fake pay records, and even a speech given to the new army by McKenna himself.

To make sure that the Union got it, Ireland elected to release a few wounded POW’s back to the Union after ensuring that they had overheard the information while they were in convalescence. Not sure of how much each man could remember, G2 had made sure to release multiple POW’s. Collins himself had made the offer, suggesting that as a humanitarian gesture, certain prisoners who were well enough to be moved could be released in order to free up hospital beds for other wounded individuals. Collins had instructed his negotiators to push for a payment in gold, but to back down if pressed. Mosley had thought he had secured a win, but Collins was the man with the last laugh. The news of the new Irish army, primarily stationed in Leinster, gave Mosley reason to pause, and instead he focused his attention upon County Kerry, hoping to secure Munster and establish a secure foundation to offload more Internationale troops with a short naval trip after a successful invasion.

The trap had worked perfectly. Collins had ordered general evacuations to ensure civilians would be able to flee, and had ordered the armies to wait until the enemy had landed in order to attack. On the day of the attack, Collins had ordered the An tAerchór to fly and contest the skies from the Internationale with the new delivery of fighters and close air support aircraft from the United States. The Irish pilots were not well-trained, but had been drilled extensively on formation flying for air superiority missions. The surprising attack blindsided the Republican Air Force, who had grown lax in their patrols due to their dominance over the skies since the beginning of the early war. Now with the aircraft to match the Communard and Republican Air Forces, the Irish were able to wrest control of the airspace over the Irish island and attack enemy bombers. Casualties were highest among the Air Force, many of whom were outmatched by the more experienced enemy pilots, but the surprising victory and establishment of further control had further enraged the Commune of France, who elected not to pursue “any Irish ventures” further. They had returned to focus on their Alpine Warfare program, and reinforce their borders with Germany and Spain, recalling their forces from the British Isles and reminding Mosley of the greater mission against the Reichspakt. Half a million casualties in a short campaign, multiple failed invasions only useful for teaching lessons on how to repulse the Entente when the French had elected to cross the Mediterranean; a true waste in every sense of the word. While the war was not ended, the Internationale had decided on other priorities. With Ireland in control of her skies and her territorial waters, they had held on, and they had won.

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23 September 1939 - Áras an Uachtaráin, Dublin, ireland

According to the poets, autumn was the time of loss, from the possibilities of summer into the chill of winter. The poets had not seen fit to think of Ireland in that summer of 1939, where the possibilities of summer were to be bombed by a Syndie plane or executed for failing to turn over their food and valuables to an invader. Yet Ireland’s salvation was no balm, an end to war. On the 9th of September, Deat’s Communard government demanded the return of Elsaß-Lothringen, calling it Alsace-Lorraine, and flew over German airspace to drop leaflets in both French and German detailing their grievances. The Kaiser had refused the audacious demand, claiming that the territory had been German territory for over fifty years. The next day, the Commune of France had declared war on the Kaiserreich, with the Union of Britain joining. The Socialist Republic of Italy, already in a border war with the Kingdom of Two Sicilies, joined the Internationale, and King Ferdinando II responded by joining the Reichspakt. On the 10th of September, Savinkov, declaring the necessity to liberate the Russian people from German subjugation and second-class citizen status, declared war on White Ruthenia, the Baltic Duchy, the Polish-Lithuianian Commonwealth, and Germany itself. On the 15th of September, the Entente declared war on the Union of Britain, the Commune of France, and the Socialist Republic of Italy, citing the illegitimate nature of the governments there, and prepared their invasions. Finally, on the 20th of September, the Empire of Japan, citing pan-Asian ideals and the need to liberate the Far East from Western Dominance, declared war on German Indochina in addition to their ongoing wars in China.

Ireland was no longer the focal point on the world stage, but the rest of the world would feel the fires of war that the Irish had borne, and the fires would burn hotter and brighter than any the world had ever seen. Collins wondered who had been listening to his wish

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Diplomatic Moves in Ireland

Show of Force

Ireland Abandoned

Britain Demands Annexation

Mosley Declares War

Infiltrating the Army

Come Weal or Woe!

Ambush in Connacht

Casualties - First Invasion

French Landings in Southern Ireland

Casualties - Second Invasion

French Forces Encircled in Connacht

Casualties - Third Invasion

Irish Soldiers with Canadian Rifles and German Helmets

G2 Invents a Fake Army

Casualties - Final Count of the Irish War

Alsace Ultamatum

Alright then, 1939 is down. It’s the longest chapter so far, with the Second Weltkrieg having begun, all the Great Powers (except the US) at war. It’s a more successful tale of Czechoslovakia in 1938 combined with some Battle of Britain and some Operation Fortitude. Let me know what you think

#kaiserreich #creative #celtic tiger

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justowrites · 4 years

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opinions regarding the joshua bassett drama/allegations?

I’ve been thinking about this a lot, so thank you for asking. I’ll start by saying this: I believe it is fundamentally crucial to believe survivors when they share their stories. However, believing survivors is not the same thing as immediately crucifying the alleged perpetrator. It’s such a fine line to walk, but in any conversation about justice, we must also remember that a major tenet of any sort of justice is the presumption of innocence. It’s a balance I’m still trying to find because the two ideas feel so in-conflict with one another most days. Here’s where I’m at. We should believe survivors when they share their stories. That means recognizing their vulnerability and offering them support. It is then upon us to look into the claims in an unbiased manner. We should examine their stories and consider: are there holes in this story that don’t add up? Are the details too vague to corroborate? And if so, we should consider why. At the end of the day, we must be ready to accept that not all people who claim to be survivors are, in fact, survivors. While the vast majority of allegations turn out to be substantiated, there are those few who will seek to make accusations out of malice. By vigorously pursuing every alleged perpetrator without stopping to reasonably examine the claims against them, we run the risk of watering down the testimony of survivors who come forward with the truth. We run the risk of sowing a larger seed of doubt in the minds of the public. And we damage survivors’ ability to pursue justice and peace. With regard to the allegations/drama around Joshua Bassett specifically, from what I’ve read it seems that the original accuser has since claimed that they were making allegations against him as a “social experiment.” This matches a string of recent allegations against male celebrities that have later been proven to be false. So in this case, in taking into account the accuser’s own words, I do not believe they were being honest in their accusations. I can understand people’s initial outrage and the backlash against Josh, as much as I wish it wasn’t such a knee-jerk reaction. What I’m more disheartened by is the fact that those same people, confronted with evidence from the accuser themselves, are refusing to back down and are continuing to push the idea that he is an abuser. That, to me, says that this was never truly about believing the narratives of survivors. We should believe survivors. But we should also be ready to admit if we were wrong. I think a lot of the toxicity of the fandom/its propensity for drama can be boiled down to a number of things: (a) the fanbase of this show/the stars in general is relatively young. This is a show targeted at tweens/early teens that happens to also hold appeal to adults like me. The idea of launching assault allegations against someone as a “social experiment” is logically irresponsible to an adult, and most adults would never consider such a thing. I teach middle school, though, and I can assure you that people in that age range do not have the same ability to consider their actions and the far-reaching consequences they may have. (b) Twitter is an especially vicious social media platform in my experience, and allegations like this catch like wildfire there, which leads to people getting second or third-hand information and forming an entire, immovable opinion based on that information without any critical thought or research of their own. (c) We’re still in quarantine, which means less (or no) work/school/etc. I don’t want to reduce false accusations to simply “bored kids being bored” because that makes it sound a lot more innocuous than it is, but I do also think that part of the reason these things spread so quickly and so viciously is that we all have so much more free time to inundate ourselves with social media. So yeah. It’s a terrible situation all around, and I’ve distanced myself even more than usual from Twitter because the toxicity is stomach-churning. Based on the evidence presented, I don’t believe Josh Bassett is guilty of the initial allegations, especially in light of the accuser claiming it was a “social experiment.” I hope that this doesn’t lead to people taking survivors less seriously when they come forward, and I seriously hope that this recent trend of making baseless accusations stops because it is very damaging to a movement that has helped shed a light on the ways the entertainment industry exploits people - particularly women - within it. TL;DR: Believe survivors, but also examine evidence with a critical eye. We do no one any favors by ruthlessly pursuing those with accusations against them even after the preponderance of evidence suggests the claims were false.

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queermediastudies · 3 years

Text

Feminist Vampires: Don’t Invite Mainstream Audiences Inside! (Madi Mackey)

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Bit, written and directed by Brad Michael Elmore, is the story of a young trans woman named Laurel who moves to Los Angeles and finds herself mixed up in a friend group of female vampires. She is quickly turned into a vampire herself and thrust into their world. Duke, the leader of the girl gang, implements some very strict rules for the group. The most important rule is to never turn a man into a vampire, stating that they can’t handle the power. The film follows the five young women as they navigate their lives as both vampires and members of a bustling Los Angeles night life. The drama comes to a peak when Laurel accidentally bites her brother and has to decide between saving his life and following Duke’s rules.

The film is an excellent example of modern day intersectional feminism. The core group of women is very diverse, representing African American, latina, butch, and transgender identities. They are all women-loving women in some sense, though their specific sexualities are never detailed. They are unflinchingly focused on retaining their power and their sisterhood by refusing to let a man into their groups and forbidding any usage of their mind-influencing powers on each other. However, the film is not perfect, and does not hold up to much scrutiny from a queer perspective. Duke, the previously mentioned leader, is also the only white girl in the group. Their hatred toward men could push the idea that all feminists hate men, further isolating the movement. Finally, the film does not mention class or any struggles associated with the marginalized communities the characters belong to, reducing the film to a post-gender, post-sexuality world. For these shortcomings, I argue that Bit is a great stride in the queer movie industry, but it misses the mark in many categories, and could therefore cause more damage to the trans, lesbian, and feminist communities than the positive impacts of such representation could outweigh, if it were to leave the arthouse and break into the mainstream.

One major theme in Bit is intersectional feminism. As mentioned before, the group of vampires is quite diverse, but this inclusion is only skin-deep. Their dynamic still enforces white, middle-class homonormativity. The girl with the most power is white and cisgender, and all of the girls are able-bodied and middle- to upper-class. Joyrich explains that television industries must continually portray homonormativity to maintain profits, and the same can be said for the film industry (2013, p. 5). Although this is a low-budget film that premiered at an independent film festival, the director, Elmore, stated in an interview that one of his main goals was for the movie to reach a larger audience of at-home viewers (Dunagan, 2019). His yearning for mass reception might have caused him to reproduce homonormativity for the film to be more palatable and, therefore, more profitable.

This is not the only flaw within the production practices for this film. Similar to criticisms regarding Pose and The Death and Life of Marsha P. Johnson, Elmore is a cis white man who took it upon himself to tell a queer story. By doing so, he took production resources and material benefits from its popularity away from the trans, lesbian, and POC communities who live the stories that he is telling (Tourmaline, 2017). Elmore explains that he read multiple theoretical texts and memoirs regarding gender while writing the script, and then had a close, gender non-conforming friend of his approve it before he, “felt more comfortable to show it to people in and around that conversation and community that I wasn’t close to” (Dunagan, 2019). While he did a fair bit of research into the community before creating the film, this isn’t the same as being a member of the community. Cavalcante explains this difference as a split between identifying with and identifying as a character, with identifying as a character always hitting closer to home and being more personal (2017, p. 14). Although Cavalcante makes this distinction in regards to audience reception, I believe it can be applied to production as well, and how Elmore wrote characters he could identify with, whereas a trans or POC writer could have written more personal characters that they identify as. Because Elmore is not trans or a POC, he needed to enforce homonormativity in his film in order to create characters that he identified with, as he has never lived as someone on the margins.

(Brad Michael Elmore, writer and producer of Bit)

Still, the production methods and content of the movie themselves could absolutely be described as queer. Benshoff & Griffin describe new queer cinema as films that have low-budgets, usually remain in the arthouse, and show the inadequacy of labels, instead focusing on the social discourses surrounding gender, race, and class (2004, pp. 11-12). Bit checks all of these boxes, even offering some helpful insights into social discourses. When Laurel, the transgender protagonist, is turned into a vampire, Duke tells her that their number one rule is to absolutely never turn a man. Laurel looks worried and asks, “What about me?” to which Duke responds, “Never even crossed my mind” (Elmore, 2019). Her immediate acceptance of Laurel’s identity expresses a consistent mood throughout the entire movie. Laurel’s transition and identity are never remarked in more explicit terms, and the sexuality and ethnicity of the other women are all treated with the same unspoken acceptance. The only identities that are ever mentioned are class and sex; Laurel asks one of the girls how they afford to live in L.A., and anyone who identifies as a man is immediately treated with contempt.

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(watch video until 42:50)

While these approaches to intersectional identity may function well within the underground audience of new queer cinema, they could cause problems if Bit were to hit the mainstream. As Tongson explains, media representations help to produce our material realities; we rely on media to understand identities that we don’t know in the real world (2017, p. 158)). By ignoring the struggles of marginalized communities in the film, Bit raises more questions than it answers for viewers who are unfamiliar with these communities. Their confusion could cause these people on the margins to become cultural interpreters and explain their communities to those who don’t understand. Some see this as an opportunity to share their life experiences and cross cultural bridges; for others, it can become a burden of representation and they may lose a feeling of privacy (Cavalcante, 2017, p. 11). Bit could be seen as a welcome break from tragic representations for people within the trans community. Conversely, Elmore’s silence on these issues could also lead mainstream audiences to believing that marginalized communities do not face any struggles in modern America, and therefore lose some empathy.

This mediated understanding of reality could also be greatly detrimental to the feminist movement if it were to hit the mainstream. While I loved the explicitly feminist tone of the film, other audiences could find it off-putting and apply Bit’s ideology to all real-life feminists. The group of women in this film are quite outspoken around their distrust and distaste toward men. This could be applied to feminists, who are already called “man haters” in the real world as an attempt to invalidate their arguments. Elmore could be adding fuel to this fire by depicting feminists as exactly what the mainstream fears them to be.

Simultaneously, this bold approach to intersectional feminism is exactly why I, and many other queer viewers, love this film. My own subject positionality influences my understanding of Bit, just as those of mainstream audiences would make them feel differently about the film. I am a college-educated, middle-class, white, bisexual woman. I am also an outspoken feminist and socialist. All of my converging identities influence my view on this film and the opinions I have on its themes. As a young person who spends a lot of time in feminist spaces online, I felt such a rush while watching this film and hearing them directly saying things like, “Men can’t handle power. They have it already, and look at what they have done with it” (Elmore, 2019). A lot of people online say things about hating men, and I know from my own personal experience that the argument is so nuanced that it is simply easier to say “kill all men” than it is to explain what feminism really stands for and how it is, in fact, not simply man-hating. I love that this film expects the viewer to have this same knowledge, and can therefore say things like this without needing to defend itself and explain all of the nuance behind such a statement.

My status as middle-class and a socialist also have a great impact on my subject positionality and interpretation of Bit. Coming from a middle-class family and city, everything in the movie seemed normal to me. I was able to identify with the characters’ struggles, as they didn’t have anything to do with money or family issues. However, I could see this posing an issue for people who are struggling financially or with their family dynamic. To make up for this, the film has a lot of discourse regarding the redistribution of power and resources. Downward redistribution is a key tenant of leftism, so this movie displays clear leftist ideologies from a socio-political perspective (Duggan, 2002, p.XVI). We can see this in lines like, “How would you like to hold the keys to the kingdom for a change?” when Duke is talking to Laurel about turning, and at the very end of the movie, when Laurel’s brother asks her what they should do next and she responds, “Maybe what everyone with power should do and never does: share it” (Elmore, 2019).

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(watch video until 1:30:00)

Finally, watching this film from the subject positionality of a woman greatly influenced my interpretation and reaction. At first, I was appalled by the group of girls and how nonchalantly they killed people, especially men. Laurel was written to have the same feelings of shock and disgust. So, when Duke said, “Our role is secondary. Our bodies are suspect, alien, other. We’re made to be monstrous, so let’s be monsters,” (Elmore, 2019) that was enough of an explanation for Laurel, and for myself, to become sympathetic to their cause. I have been personally affected by the feelings of otherness and being secondary that Duke lists, so this was a perfect line to change my opinion on their actions. However, if a man were to watch this film, especially if he were not to be a feminist, he might not be so sympathetic because he does not have the same experiences and understanding of what it is like to live in this world.

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(watch until 41:12)

Bit is a film that crosses many boundaries, while still upholding some homonormativity for the sake of profit and consumption. It was written with the expectation of an audience that is knowledgeable of marginalized communities and social issues, making it thoroughly enjoyable to watch from a queer perspective. However, if the film were to break into the mainstream spotlight, its lack of nuance could cause harmful backlash toward trans communities, people of color, woman-loving women, and feminist movements.

References

Benshoff, H. M. & Griffin, S. (2004). Queer cinema: The film reader. Psychology Press.

Cavalcante, A. (2017). Breaking into transgender life: Transgender audiences’ experiences with ‘first of its kind’ visibility in popular media. Communication, Culture & Critique, 10(3), 538-555. https://doi.org/10.1111/cccr.12165

Duggan, L. (2002). Introduction. In The twilight of equality? Neoliberalism, cultural politics, and the attack on democracy (pp. X-XXII). Beacon Press.

Dunagan, R. (2019, August 2). Interview: A talk with Brad Michael Elmore, Director of OUTFEST’s ‘Bit’. Flipscreen. https://flipscreened.com/2019/08/02/interview-a-talk-with-brad-michael-elmore-director-of-outfests-bit/

Elmore, B. M. (Director). (2019). Bit [Film]. Vertical Entertainment.

Joyrich, L. (2013). Queer television studies: Currents, flows, and (main)streams. Cinema Journal, 53(2), 133-139. https://doi.org/10.1353/cj.2014.0015

Tongson, K. (2017). Queer. In L. Ouellette & J. Gray (Eds.), Keywords for media studies (pp. 157-160). NYU Press.

Tourmaline. (2017, October 11). Tourmaline on transgender storytelling, David France, and the Netflix Marsha P. Johnson Documentary. Teen Vogue. https://www.teenvogue.com/story/reina-gossett-marsha-p-johnson-op-ed

#Bit movie #Queer Movie Review #Feminism #Transgender Representation #Woman-loving women #Redistribution

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stereostevie · 3 years

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“I sacrificed the quality of my life to help people experience something that had been unreachable before then,” Grammy winner says in rare interview

In the late Nineties, the story of popular music became the story of Ms. Lauryn Hill. She first rose to fame as an actress and a member of the Fugees, whose second and final album, 1996’s The Score, remains one of that decade’s biggest albums. Then, at just 22 years old, Hill took a huge leap and decided to go solo. Released in 1998, The Miseducation of Lauryn Hill filled clubs, radio stations, and MTV with her smooth voice and biting rhymes. Hill herself became as big as her music, appreciated in the fashion world and sought after by movie executives for roles she would eventually decline.

Miseducation took home five Grammy Awards and led to a huge tour. But by the early 2000s, Ms. Hill left behind the fame and the industry almost entirely. She has never released another studio album; her last full-length release was MTV Unplugged No. 2.0 from 2002, where she performed new songs in an acoustic style to a largely tepid reception.

The Miseducation of Lauryn Hill lives on. More than 20 years after its release, it is still regarded as one of the best albums ever made, landing at Number 10 on Rolling Stone’s voter-based 500 Greatest Albums of All Time List this past fall. Many of her songs continue to permeate culture, like the single “Ex-Factor,” which has been sampled or interpolated on major hits by Drake and Cardi B. Beyond that, the album’s impact on multiple generations of musicians is unmistakeable. Everyone from Rihanna to St. Vincent has cited Hill as having heavily influenced their own music.

The years that followed Miseducation have been complicated. After the album’s release, some of Hill’s collaborators filed a lawsuit claiming she did not properly credit them for their contributions; that suit was settled out of court three years later on undisclosed terms. In 2012, she was charged with tax fraud, and went on to serve three months in prison. More recently, she has found herself back on the road more frequently, sporadically releasing music but mostly basking in the collective love and power of Miseducation through special performances of the album.

For the latest episode of Rolling Stone’s 500 Greatest Albums podcast, Ms. Hill granted a rare interview on the making of Miseducation as well as what happened after. Over e-mail, she spoke candidly about protecting her family and the little support she had after her first album cycle ended. Excerpts from the interview can be heard in the podcast episode, available on Amazon Music, along with tales from several of the musicians who were part of those sessions, like “Commissioner Gordon” Williams, Lenesha Randolph, and Vada Nobles. Ms. Hill’s written responses are here in full.

When you began recording Miseducation, you were 22 and already experiencing immense success with the Fugees. What were you hoping to prove with this album? As far as proving myself goes, I think that’s a larger and more involved story best told at a later time, but I will say that the success of the Fugees absolutely set up The Miseducation to be as big and as well received as it was. When I decided that I wanted to try a solo project I was met with incredible resistance and discouragement from a number of places that should have been supportive, so that had a motivating factor, but it was less about proving myself and more about creating something I wanted to see and hear exist in the world. There were ideas, notions and concepts that I wanted to exist, I set off in a particular direction and kept going. Initially, I intended to work with other producers and artists but found that what I wanted to say and hear may have been too idiosyncratic at the time to just explain it and have someone else try to make it. It had to be made in a more custom manner. The team of people who would ultimately be involved, we all witnessed as it took form. It was unique and exciting.

You’ve said you found yourself especially creative during your pregnancy. How did that experience shape you as a songwriter?

It’s a wild thing to say but I was left alone during my pregnancies for the most part. It was like all of the people with all of their demands had to check themselves when I was pregnant. The resulting peace may have contributed to that sense of feeling more creative. I was pregnant with my first child during the making of The Miseducation and the situation was complicated, so I was motivated to find more stability and safety for myself and for my child, that definitely pushed me to disregard what appeared as limitations. If I struggled to fight for myself, I had someone else to fight for. This also introduced my first son’s father, Rohan Marley, into the picture, who at that time, was a protective presence. If there were people or forces attempting to prevent me from creating, he played a role in helping to keep that at bay.

During those times especially, I always wanted to be a motivator of positive change. It’s in all of my lyrics, that desire to see my community get out of its own way, identify and confront internal and external obstacles, and experience the heights of Love and self-Love that provoke transformation. I sang from that place and chose to share the joy and ecstasy of it, as well as the disappointments, entanglements and life lessons that I had learned at that point. I basically started out as a young sage lol.

When you look back on it now, is Miseducation the album you intended it to be? I’ve always been pretty critical of myself artistically, so of course there are things I hear that could have been done differently, but the LOVE in the album, the passion, its intention is, to me, undeniable. I think my intention was simply to make something that made my foremothers and forefathers in music and social and political struggle know that someone received what they’d sacrificed to give us, and to let my peers know that we could walk in that truth, proudly and confidently. At that time, I felt like it was a duty or responsibility to do so. I saw the economic and educational gaps in black communities and although I was super young myself, I used that platform to help bridge those gaps and introduce concepts and information that “we” needed even if “we” didn’t know “we” wanted it yet. Of course I’m referring to the proverbial “we.” These things had an enormous value to me and I cherished them from a very young age.

I also think the album stood apart from the types and cliches that were supposed to be acceptable at that time. I challenged the norm and introduced a new standard. I believe The Miseducation did that and I believe I still do this — defy convention when the convention is questionable. I had to move faster and with greater intention though than the dysfunctional norms that were well-established and fully funded then. I was apparently perceived by some as making trouble and being disruptive rather than appreciated for introducing solutions and options to people who hadn’t had them, for exposing beauty where oppression once reigned, and demonstrating how well these different cultural paradigms could work together. The warp speed I had to move at in order to defy the norm put me and my family under a hyper-accelerated, hyper-tense, and unfortunately under-appreciated pace. I sacrificed the quality of my life to help people experience something that had been unreachable before then. When I saw people struggle to appreciate what that took, I had to pull back and make sure I and my family were safe and good. I’m still doing that.

This album permeated culture in a way that few albums have before it existed and made you a massive star. How were you handling the public gaze at the time? There were definitely things I enjoyed about stardom, but there were definitely things I didn’t enjoy. I think most people appreciate being recognized and appreciated for their work and sacrifice. That, to me, is a given, but living a real life is essential for anyone trying to stay connected to reality and continue making things that truly affect people. This becomes increasingly harder to do in the “space” people try to place “stars” in.

The pedestal, to me, is as much about containment and control as it is adulation. Finding balance, clarity and sobriety can be very hard for some to maintain. For example, being yes’d to death isn’t good, and people fear stardom can only result in this, but if the actual answer is yes, being told no just to not appear a yes-man is silly. Never being told no if the answer is no by people afraid to disappoint will obviously also distort the mirror in which we view ourselves. On the other hand, a person with a vision can be way ahead, so people may say no with conviction and resist what they fear only to find out later that they were absolutely wrong.

The idea of artist as public property, I also always had a problem with that. I agreed to share my art, I’m not agreeing necessarily to share myself. The entitlement that people often feel, like they somehow own you, or own a piece of you, can be incredibly dangerous. I chafe under any kind of control like that and resist expectations that suggest I should somehow dumb-down and be predictable to make people feel comfortable rather than authentically express myself. I also resist unrealistic expectations placed on me by people who would never place those same requirements on themselves. I can be as diplomatic and as patient as I possibly can be. I can’t, however, sell myself short through constant self-deprecation and shrinking.

“The entitlement that people often feel, like they somehow own you, or own a piece of you, can be incredibly dangerous.”

Is there a version of “Lauryn Hill” that you feel people expected of you, and how did that compare to how you saw yourself? Absolutely, which I touched upon in the answers before this one. Life is life, to be lived, experienced and enjoyed with all of its dynamism and color. If you do something well that people enjoy, often they want the same experience over and over. A real person can be stifled and their growth completely stunted trying to do this without balance. It’s not a fair thing to ask of anyone. We all have to grow, we all have to express ourselves with as much fullness and integrity as we can manage. The celebrity is often treated like a sacrifice, the fatted calf, then boxed in and harshly judged for very normal and natural responses to abnormal circumstances.

I saw someone lambasted once for discussing episodes of anxiety before going on stage, as if anxiety was only a condition of the non-famous. It was absurd, like someone with a record out can’t get a common cold. Someone in love with the art doesn’t not experience fear or anxiety, they just do their best to transcend it or work beyond it so that the art or the passion can be made manifest. Some days are better than others. For some people it gets easier, for some it doesn’t. The unfairness, the harshness was excessive to me. I didn’t like how I was being treated at a certain point. I just wasn’t being treated well and definitely not in accordance with someone who’d contributed what I had. I had a ton of jealousy and competitiveness to contend with. That can exhaust or frustrate your efforts to make anything besides primal scream music, 😊.

Provoking that kind of aggravation was probably intentional. You have to find reasons to still do it, when you’re exposed to the ugly. People often think it’s ok to project whatever they want to on someone they perceive as having “it all” or “having so/too much.” Hero worship can be an excuse for not taking care of your own sh#t. The flip side of that adulation can turn severely ugly, aggressive, and hostile if people make another person responsible for their sense of self-worth. You can either take that abuse or say no to it. After subjecting myself to it for years, I started to say no, and then no turned into hell no, then hell no turned into f#ck no…you get my point. 😊

If you could talk to yourself at 22 now, what would you say? I’d share the things I do now with my 22-year-old self. If I had known what I know now, things would probably have unfolded differently. I would have continued to invest in people but I would have made sure I had people with the love, strength, and integrity around me to really keep their eye on the prize and my well-being. The world is full of seduction and if they can’t seduce you, they go after the people you love or depend on in some way. I would have with greater understanding tried to do more to insulate myself and my loved ones from that kind of attack.

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Looking back on that period of your life, do you have any regrets?

I have some periods of woe, some periods of sorrow and great pain, yes, but regret is tough because I ended up with a clarity I might not have been able to achieve any other way. I would have done a few things differently though if I could go back. I would have done my best to shield myself so that I could better shield my children. I would have rejected the manipulation, unfair force and pressure put on me much earlier. I would have benefitted from having more awareness about the dangers of fame. I would have been more communicative with everyone truly involved with The Miseducation and fought hard for the importance of candid expression. I would have demanded what I needed and removed people antagonistic to that sooner than I did.

You have released music since Miseducation and have continued to play live. Do you ever foresee releasing another full-length studio album? The wild thing is no one from my label has ever called me and asked how can we help you make another album, EVER…EVER. Did I say ever? Ever! With The Miseducation, there was no precedent. I was, for the most part, free to explore, experiment and express. After The Miseducation, there were scores of tentacled obstructionists, politics, repressing agendas, unrealistic expectations, and saboteurs EVERYWHERE. People had included me in their own narratives of THEIR successes as it pertained to my album, and if this contradicted my experience, I was considered an enemy.

Artist suppression is definitely a thing. I won’t go too much into it here, but where there should have been overwhelming support, there wasn’t any. I began touring because I needed the creative outlet and to support myself and my family. People were more interested in breaking me or using me to battery-power whatever they had going on than to support my creativity. I create at the speed and flow of my inspiration, which doesn’t always work in a traditional system. I have always had to custom build what I’ve needed in order to get things done. The lack of respect and willingness to understand what that is, or what I need to be productive and healthy, doesn’t really sit well with me. When no one takes the time to understand, but only takes the time to count the money the fruit of this process produces, things can easily turn bad. Mistreatment, abuse, and neglect happen. I wrote an album about systemic racism and how it represses and stunts growth and harms (all of my albums have probably addressed systemic racism to some degree), before this was something this generation openly talked about. I was called crazy. Now…over a decade later, we hear this as part of the mainstream chorus. Ok, so chalk some of it up to leadership and how that works — I was clearly ahead, but you also have to acknowledge the blatant denial that went down with that. The public abuse and ostracizing while suppressing and copying what I had done, (I protested) with still no real acknowledgement that all of that even happened, is a lot.

“I wrote an album about systemic racism… before this was something this generation openly talked about. I was called crazy.”

I continue to tour and share with audiences all over the world, but I also full-time work on the trauma, stifling, and stunting that came with all of that and how my family and I were affected. In many ways, we’re living now, making up for years where we couldn’t be as free as we should have been able to. I had to break through a ton of unjust resistance, greed, fear and just plain human ugliness. Little else can rival freedom for me. If being a superstar means living a repressed life where people will only work with you or invest in your work if they can manipulate and control you, then I’m not sure how important music gets made without some tragic set of events following. I don’t subscribe to that.

Lastly, I appreciate the people who were moved by this body of work, which really represented a lifetime — up to that point — of love, experience, wisdom, family and community investment in me, the summation of my experience from relationships, my dreams, inspirations, aspirations and God’s ever-present grace and Love in my life through the lens of my 20-something but wise-sage existence, lol. I dreamed big, I didn’t think of limits, I really only thought of the creative possibilities and addressing the needs as I saw them at that time. I also had the support of a community of talented artists, thinkers, and doers, friends and family around me. Their primary efforts (THEN) seemed to be to help clear a path and to help protect. However, when you effectively create something powerful enough to move the bulls#t out of the way, all kinds of forces and energies may not like that. They may seek to corrupt and discourage, to disrupt and distract, to divide, and sabotage…but we bore witness to the fact that this happened — a young, black woman through hip-hop culture, a legacy of soul, Spirit and an appreciation for education and educating others communicated love and timeless and necessary messages to the world.

The music business can be an industry of entanglements, where a small number of people are expected to be responsible for a very large number of people. It’s hard to find fairness in a situation like that. Now, I look for as much equity and fairness as possible. I appreciate being loved for my contributions to music, but it’s important to be loved for who you are as a person just as much, and that can be a delicate but extremely important balance to achieve. Experiencing that is important to me.

#black women #fame #hip-hop #lauryn hill #ms. lauryn hill #music #music industry #r&b #robert glasper #rollingstone #soul #the fugees #the miseducation of lauryn hill

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your-brilliant-lady-m · 3 years

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South Korean music industry at a glance: an outsider perspective

I watched one particular AMV last week. The song used for the video was “I’m afraid” by Korean rock band DAY6. I was pleasantly surprised as someone who values lyrics in song first and foremost. The music itself was great. I’ll listen to their songs again. It’s a nice fit for my music taste. Naturally, YouTube’s algorithm decided that I’m a fan of everything Korean after 1 video and started spamming my recommendations with k-pop songs, documentaries and everything in-between.

I watched a couple of videos, listened to some songs and discovered fascinating patterns. So, I went down to the comment section. And it was rather interesting experience, should I say? The concept of entertainment industry in South Korea simply begged to be explored more after this. I dug deeper and visited Tumblr k-pop tags and briefly glanced upon Instagram and Twitter. And, oh...

I am a big picture person and I enjoy both studying and creating systems. This one was particularly fun to explore. I discovered a lot of new things for myself. Perhaps, you can discover something new for yourself too or take a step back and look at this from a new angle.

Disclaimer: it’s impossible not to offend someone on Tumblr, so keep that in mind. That being said, I do NOT intend to insult of offend anyone. It’s just a little research done for fun, because I love research with a purpose. This post is NOT A HATE post. No hate intended for fans, artists or other people involved. It’s meant to be a discussion, nothing more and nothing less. If it sounds like hate, it’s just my sarcastic sense of humour.

Content Warning: I mention suicide, death, depression, rape in a couple of sentences. There’s nothing major or graphic, but it’s there.

In this long post I decided to share with you my opinion, a so-called outsider perspective, on the world of music entertainment industry in South Korea and people involved in it on different levels. I use the word “outsider” mainly because, that’s exactly what I am in this case, as someone who is in no way involved in k-pop community. I can’t name you a single band or their members. I don’t know any solo artist and can’t neither sing nor name you any song.

And to be completely honest, I don’t think I will set my foot into k-pop fan-circles ever again after everything I saw.

Think of this as “In this essay I will...” meme, except there’s an actual essay.

As far as I know, in South Korea “k-pop” refers to all music produced in SK, including solo artists, various bands, singers-songwriters. It doesn’t even have to be pop music. Koreans include in this definition all genres of music. However, around the world “k-pop” means primarily music made by idol groups and bands marketed for children, teenagers and younger people. In this post I use the latter definition, because that’s how most people understand “k-pop” in other countries. Therefore, my statements, opinions and conclusions here would concern only idol music.

The music industry in South Korea is heavily influenced by culture and traditions of the country, just like all things are. And there’s nothing wrong with that. After all, different backgrounds are what makes people so interesting and unique. However, when combined with consumer mindset, desire to generate profit at any cost and fast-paced nature of modern life these neutral cultural elements could produce something concerning, and it can lead to disastrous consequences.

1. Idol

These people are called artists, musicians, singers, bands, groups, performers. In South Korea and in Japan, however, people call them Idols or Stars. I’ve also seen Muses, Princes and Queens. Interesting, isn’t it? The terminology used to describe these musicians in South Korea is one of the key elements in this whole entertainment system. You’ll see why.

But who or what is an idol exactly? Let’s take a basic definition from Wikipedia.

“In the practice of religion, a cult image or devotional image is a human-made object that is venerated or worshipped for the deity, person, spirit or daemon ... that it embodies or represents. In several traditions, including the ancient religions of Egypt, Greece and Rome, and modern Hinduism, cult images in a temple may undergo a daily routine of being washed, dressed, and having food left for them. Processions outside the temple on special feast days are often a feature. Religious images cover a wider range of all types of images made with a religious purpose, subject, or connection. In many contexts "cult image" specifically means the most important image in a temple, kept in an inner space, as opposed to what may be many other images decorating the temple.

The term idol is often synonymous with worship cult image. In cultures where idolatry is not viewed negatively, the word idol is not generally seen as pejorative, such as in Indian English.”

Cambridge Dictionary defines idol as follows:

And here’s the definition from Oxford Dictionary:

This is a centrepiece of this tapestry. Surely, you have noticed by now what these definitions have in common.

Idol = a cult image of a god, a deity

By calling these musicians “idols” industry makes society and audience treat them in certain way, namely as gods. What characteristics do gods possess? They are beautiful, talented, funny, confident and graceful, blessed by eternal youth of immortality. Gods have no flaws, they do not bleed, they are above human concerns. They are an embodiment of perfection. They are stars, you could not reach.

But real people are not like that. They can be sad and angry, insecure. People don’t have perfectly symmetrical faces. They can’t dance in sync without preparation. They can’t sing like angels at any given moment throughout the day.

What happens when idols accidentally reveal their humanity? What happens when people see, that they make mistakes and do stupid things, that they need to train hard to appear graceful on stage?

I will tell you. And it’s not pretty. But, first, let’s look at other elements of this system.

2. Y/N and Self-insert fantasy

Aside from the music, K-pop sells the self-insert fantasy to the audience. It’s carefully arranged to appear real, where the cracks are masked and every word is scripted. The reality is so vivid that one doesn’t even have to use imagination all that much, because all scenarios and decorations already exist. Countless interviews for TV and magazines, fan meetings, talk shows, reality shows made sure people are privy to all juicy details of personal lives and opinions of musicians. And also one word - merchandise. Some of that merch made me question my life choices. Some of it is, ah, creepy or has weird vibes. All of this provides plenty of material for people to work with. Fans can effortlessly imagine themselves beside their idols or even in their place.

In a highly competitive society, where people throw themselves into studying and work since young age, forming deep and lasting connections with others is very hard, sometimes impossible. As a result, people long to have a group of close friends with similar interests, a loving partner who would cherish them endlessly. People want to be rewarded for their backbreaking efforts to succeed by the carefree life of fame and music, everlasting friendships and love. And in a way you can’t really blame them for his.

Does this dream life sound familiar? We are looking at K-pop bands here. It doesn’t really matter if their members don’t always get along or that they can live in debt, that fame is fickle and adoring fans can tear your self-confidence to shreds. Audience wants the glamour of fantasy and the industry is more than happy to cater to these desires.

Perhaps, knowing that even for idols this fantasy is sometimes unattainable makes the whole set up feel just a little cruel.

3. Fans, stans and fandom culture

We’ve already established earlier that idols are gods in the eyes of people and listed traits they must possess. So, what else do gods need to exist? Worshippers. Because a cult is worth nothing without its followers. Gods need a group of people to worship them and spread their beliefs. The role of worshippers is performed by a fans in this case.

Apparently, there is a running joke that girl groups need to win a general public popularity and boy bands need a big passionate fandom. It seems to be true according to my observations.

In k-pop fandom people use the word “stan” to state that they like or support particular group. Now, I am sure everyone here knows that in other fandoms, dedicated to movies, shows, books and games there’s an important distinction between being a “fan” and a “stan”. What is it?

A fan is someone who likes a ship or character, creates and/or consumes fandom content, supports certain ideas, discusses things they enjoyed and disliked, criticises canon. Stans, however, are a different breed. They engage in all typical fandom activities, but their support and enjoyment becomes obsession. Stans believe their favourite characters and ships are immune to criticism, that they are superior no matter what others say. Stans start shipping wars, send anon hate, death threats over fictional characters and hurt real people. Stans are considered toxic fans. And majority of normal civilised people don’t like them and try their best to let stans hang out in their echo chamber by themselves.

In other fandoms and communities, to be a fan means to love, support and enjoy something, while to stan means to obsess over and hyperfixate on these same things. Words “I stan” rarely mean “I support” for most people, and if they do mean that, it’s only used in a joking manner (”We stan procrastination legend!”, “I stan our miscommunication kings”).

Everywhere else “stan” has only negative connotations, except in k-pop. But what has changed? What’s the difference? Why do international fans scoff at “shipper stans” and then turn around calling themselves “stans of X k-pop group” at the same time? Does it make you wonder?

And this is another core theme of k-pop, in my opinion. In fandom where stan = obsession = support, you can see interesting patterns.

Fandom loves their flawless gods. But watching them from afar is not enough for some people, because unlike deities in different religions, these gods live among us. People are very much aware of that. Industry has created a cult and laid the groundwork for worshippers to express their adoration in every way including personal contact. And who wouldn’t want to meet their god? Who wouldn’t want to know more about them or tell them how much you love them? In talk shows and fan meetings there is only so much one can do after all.

People desire to know more, to have more so much that their obsession transforms into concerning stalker tendencies. These crazy individuals follow idols, stalk them on social media, in hotels, research flight numbers, bribe security. Musicians were attacked and poisoned. I strongly suspect there were cases of rape that no one knows about. There is even a special term for these fans - “sasaeng”.

Is there a definition for stalkers of actors or musicians in western world? No, I’m pretty sure there isn’t. They are just called “invasive/obsessive fans” or “stalkers”.

Also, there are sasaeng memes. Yeah, you heard that right. I enjoy some classy dark humour as much as the next person, but there is a fine line between normal and questionable.

Back to the topic of stalkers. Do you realise how disturbing that is? Such behaviour is so common that there is a term for it. You create a fandom-cult, encourage people to worship k-pop idols as gods and then act surprised when members of said cult become fanatics and their adoration becomes obsession.

And it’s so easy to step on this slippery road. The system makes it ridiculously easy. Lines begin to blur. How much is too much? Where do you draw the line?

While sasaeng fans engage in extreme real-life obsession, people online aren’t that far off, to be honest. I’ve seen it all: imagines, headcanons, fanfiction, real-person shipping, reactions. Real person shipping is a controversial topic. Some people support it, others don’t. I suppose I’m among those who don’t get it. I’m not exactly against it, but I find it strange. Mainly because it’s based on assumptions made by fans about personalities and behaviour of real people.

Assumptions. Dear me! K-pop fandom has this thing with video compilations. I’ve never seen this phenomenon being so widespread in any other community or fandom. Basically people edit together a collection of short clips from talk-shows, interviews, Instagram stories, some YouTube videos, etc and then proceed to analyse every gesture, word, facial expression of idols and provide both audio and on-screen commentary. These videos and many other forms of similar analysis allow people to imagine what kind of personalities idols have, what kind of life do they live. It’s the source material for fanfiction, imagines and headcanons.

But it’s not real. It’ll never be real. It’s an illusion, an image, a stage persona. They fall in love with a face and made up personality. And I think that when people create this content they can forget this. Fans can develop certain emotional dependence and unhealthy attitudes in the long run. In some YouTube comments even supportive and encouraging words sound whiny and obsessive. And semantics of being a “stan” of certain group or individual doesn’t help.

4. Industry, companies and liars

At last we arrive at the most important aspect of music entertainment industry - its creators.

Have you seen “The Road to El Dorado”? It’s one of my all time favourites. It has iconic characters, adult jokes that I didn’t get as a child and iconic soundtrack. I’ll quote “It’s Tough To Be A God” a lot here.

In South Korea music industry is a factory, the production line to be exact. This kind of set up affects everything in the grand scheme of things. Companies and agencies play the role of training centres and record labels. And there are so many of them that a whole new scamming system developed based around fake idol agencies. It implies that there are people who fall for offers of these agencies and continue to do so. I suspect that victims must pay a fortune upfront before they realise their mistake. Are there any kind of legal protection against such scams? How can people verify the authenticity? Because a well masked scam can exist for a long time before someone discovers it and calls them out on their nonsense.

As far as I understand legal companies work like this. After high school, which is often focused on performing arts (and private schools can get away with using talents of students for personal gain, which is totally not surprising), young people can audition for an agency and become an idol in training or idol-trainee. And passing audition is hard. But good recommendations can help, connections too.

During training you don’t get paid. Only a few companies pay aspiring musicians. People can spend years in training and don’t debut. But rent, necessities, clothing and food (not that you need much of it, but more on that later) cost a lot. Where do you get the money to live then? Support from parents, one or two part time jobs at most and bank loans. Surprise! We found an unexpected (just kidding, it’s very obvious) party, who reaps benefits from the system.

You need skill to be an idol. Natural talent helps too. The more skills you have, the cheaper and faster your training is. To level up your game you attend classes every month offered by your agency, which are not cheap (dance classes range from 400$ to 1000$ per month, sometimes more). There are four main categories in evaluation process: vocals, rapping, dancing and visuals. Idols are multitaskers, to have a chance on stage one must be perfect at everything. And people are ready to invest thousands of dollars into their kids training so that they could have a chance in entertainment industry. South Korea thrives on revenue k-pop industry generates every day.

Let’s pause here for a second and think about what kind of people come to these agencies. The answer is easy. People who have a dream, a desire, a real goal. You don’t wake up one day and decide to become a k-pop idol. Sometimes people get invited by agencies (after prior acting, modelling career or any other form of exposure). These people are usually very young. Some start straight after high school, some after university, but 25 years old is considered a late start. Compare that to western musicians who start singing at any age and still become famous.

But why this age limit? Because idols are eternally young. So that in public eye musicians are remembered as 20 year old gods. People would listen to their music and imagine a young attractive face. Career in k-pop is short, it lasts 5-7 years, rarely longer than that. It’s even less than modelling or acting can offer. And professional sportsmen retire in their late 30′s. Some play longer, but usually, that’s it.

If you live in Los Angeles and say that you want to be an actor or performer, no one would bat an eye. It’s like saying that you want to be an engineer or accountant. Similarly, in South Korea becoming an k-pop musician is a real career. Because part of the self insert fantasy that the industry sells is the idea that anyone can be an idol. It’s easy after all. Anyone can pass auditions and become a trainee. A trainee with no guarantee of debut. But one should never underestimate the power of idol-dream. After all, idea is the most resilient parasite.

“My friends started training in kindergarten. They have wanted to become idols since young”

“A lot of young kids get interested in Korean music”

A 6-year old child sees the performance of k-pop group for the first time on TV. Let’s say it’s a girl. She is enraptured and decides that she will be like that too someday. She grows up, while being part of the fandom, just like all idols are in one way or another and whose fan-obsession transforms into desire to succeed. Her parents spend time and money to find her tutors, to fund dancing and singing classes. Perhaps in high school this girl decides to fix the shape of her eyes and make nose straighter. She trains hard and passes the auditions in her dream agency. And during training this girl faces the reality of behind the scenes life in music industry.

“Why are you crying? I’m not even pushing you”

“How many times have I told you? The rest are doing it perfectly”

“She is dancing like an elementary school student“

“I watched your performance as a spectator who bought a ticket to your concert. I want a refund“

“You make my ears hurt. I don’t want to listen at all”

“Listening to you was tiring”

“I’ll kick you out instead. You won’t debut”

“I thought I was going to die. That’s how determined I was”

While I do understand that keeping a high quality standards in media industry is important, there are more productive and healthy ways to motivate someone to improve and be more passionate, you know? Constantly insulting people with sadistic glee and putting them down at every opportunity or calling them ugly to their face doesn’t do much.

Do you think that children know about this? Do they know about soulless teachers and belittling managers? Do they know about friends who are really your competition, so you shouldn’t get attached? Do they know about living in debt? Do they know any of this? No, I don’t think they do.

Children dream about the stage, about the sea of lights and crowds who chant your names. They want adoring fans and photoshoots. They want to appear on TV and magazine covers. Teenagers want the thrill of performance, they want to share their music and dancing with others.

“I don’t know how many times I cried alone”

The truth is cruel. But they won’t give up easily even if it means sleeping 4-5 hours and consuming no more than 500 calories per day. Because giving up means that your whole life was a lie. One can’t afford not to be good enough. Giving up means admitting that all efforts and money your family invested into your dream were in vain. It means losing face before your family and friends - a fate worse than death. Imagine living this idol dream and building your whole future around it and then being told that you’ll never debut because of the circumstances outside of your control or something minor, like face shape or 1 kg of weight that your body refuses to lose. It can break you. Especially if you are like 18 or something.

5. “And who am I to bridle if I'm forced to be an idol If they say that I'm a God, that's what I am”

“I don’t think there’s anything a tough as being a trainee in Korea”

Once you are a trainee at the agency your personal life does not belong to you anymore. You can’t go out without permission of the agency. You phone is taken away. Your diet and weight are monitored. Bad habits are not allowed (no smoking, drinking or drugs). Oh! I think I found the good thing in the system! Unfortunately, it won’t last. Trainees can’t date or meet with family without permission of agency. Dating is very taboo. Even established idols can’t openly date.

Why is that? Because gods can’t belong to anyone. Their lives are property of the fandom. Because openly dating idols destroy the self-insert fantasy. There was a former idol girl who dated another musician. She was called a whore by her fans, her loving and adoring stans. You might know who I am talking about. Would you call an American actor or singer a prostitute for dating someone?

Trainees sign the contract. And how can a young person straight out of school or university know much about what makes a good contract in entertainment industry or what makes a good contract in general? Even if you do understand the terms fully you would still sign it because if you have come so far, you can’t let your dream slip this easily. There isn’t a choice. Not really. If you want to debut, you will agree to anything.

What about life after debut? You have to pay off your loans. And company takes 60-70% of your group’s earnings. Artists themselves get 30-40% and split it between themselves. K-pop groups have from 5 to 10 members or more than that. Each person gets less than 6%. Idols are not filthy rich. They are not. These earnings are practically nothing compared to the work you have put into this.

Idols are musicians, who often don’t even write their own songs, music or create choreography. But if public doesn’t like the song and musical number the company created, they blame idols for the failure. Such an amazing logic we see right here. But people say that sharing music is the best part of idol life. But whose music?

Models on catwalk are not there to demonstrate their physical beauty, they are blank canvas for works of clothing designers. Same with k-pop musicians. They act like puppets in a way, whose faces and voices are used to show audience someone’s music and songs. Some groups do write their own music and lyrics and it’s nice to know that. But those, who don’t are rather unfortunate. It’s a nice tool of psychological control and pressure for an agency. They can hold it over group and use the following rhetoric: “We gave you everything! Why can’t you follow the simple instructions” or “Where would you be without us? It’s not even your music!”

I called k-pop industry a factory. That’s true. Dozens of people become trainees every year. These talented young people are fully prepared to do anything to achieve their goal. They are ready to practice until they collapse, starve themselves and pour themselves into every song. Companies know that. Tell me why would they value their idols as individuals, as people, as human beings if they always have a replacement? Why bother with mental health of their artists if next year they could have a fresh set of people, who are younger and prettier? Why try to improve relationships inside groups if you could fire any member and replace them within a month or two?

In western countries famous bands have different stories. Some were friends since high school, who played in bars and during festivals and then they were noticed by some representative of label company, who offered them a contract. Some groups were formed by like-minded people who bonded and decided to share their music with the world. There are many stories, but ultimately the have one thing in common. Bands in the West often form themselves. These people had time to bond, connect, discover each other, solve some disagreements and learn to work around their differences.

K-pop groups are formed by their agencies. They are their property in a way. Company selects the best and puts together these total strangers, appoints the leader with marketable face and personality and then expects them to work together like a well-oiled machine. No one has time to bond during training, because other people are you competition, not friends. And then you must learn to work as a team and be best friends on camera for the audience to support the self-insert fantasy. It’s no wonder that k-pop groups don’t get along sometimes. And every member knows that they are replaceable. It doesn’t help in forming connections. Groups can’t just terminate contract and go to work with another agency. I heard it happens sometimes, but it’s not a done thing. Unlike in other countries where bands just sign the deal with a different label and release their music under their name if they don’t like the old conditions.

“It's tough to be a God But if you get the people's nod Count your blessings, keep them sweet, that's our advice Be a symbol of perfection Be a legend, be a cult Take their praise, take a collection As the multitudes exalt Don a supernatural habit We'd be crazy not to grab it So sign up two new Gods for paradise”

But is it really a paradise?

Idols are expected to act cute, to match personalities created for them by fans or media. They have to act according to the concept of their group. They have to be a symbol of perfection: skinny, single and with a face perfected by surgery. They are allowed to mess up, but only in a cute way. They can break down and cry, but only if it’s “aesthetic”.

Weight issues are a separate topic. Sometimes I wonder whether managers in companies understand how weight loss or human body in general works. To be honest, I think that scales in agencies are rigged. And only managers know that. I know it can be done from personal experience. Some beach resorts tweak their scales and make them show 4-6 kg less than actual weight, so people wouldn’t get upset if they gain some. There is no way a girl as tall as I am (173 cm) could weigh like 47-50 kg and be able to perform complex choreography on stage and sing without being out of breath, visit the gym on a regular basis and generally function as a normal human without fainting every other day.

“I developed a lot of eating disorders”

“I think I consumed about 300 calories today“

“Someone, please, trim the fat off her arms”

If you grow up thinking of idols as gods and then, when you become one of them you think that you must act as one too. But being an easily replaceable god is a heavy burden. The industry, companies and audience want you to be perfect, to always be on your best behaviour. And the thought of not being good enough or divine enough terrifies you, because stans have no mercy (black ocean concept is the most stupid thing ever by the way). This kind of pressure can destroy even the most resilient. And it does.

Almost everyone knows that situation with mental health in South Korea is not the best to put it lightly. In many ways it’s a cultural thing. But in k-pop mental health issues are treated with even less care. Gods are not supposed to be depressed or suicidal. They are not supposed to have fears or insecurities, can’t be upset or angry. They try hard to be this deity, this image. So, even when they realise they need professional help or even a friend to talk to, they either won’t seek said help or reach out only to be met with silence. Some agencies disapprove or forbid therapy altogether.

Sometimes fandom becomes self-aware.

“Don’t forget that idols are people too!”

“Your favourite idols are running out of breath just to keep you entertained“

“They are humans, who have feelings!”

Oh, but here’s the thing, my friend. The industry doesn’t want you to think of them as people. Companies and media repeatedly reinforce the idea that they are not people, they are your idols. And strangely enough, the audience supports this idea. People continue to call them idols, developing worshiping tendencies in the process, imitate them, scrutinise their flaws and triumphs. Because, you know, only “real and ordinary humans” can have flaws, not “idols”.

So people who say “they are human too” and people who say “wow, this concert was amazing, but vocals in the beginning were so off-key, I simply can’t” are one and the same.

This thought process would have been funny if it wasn’t so disappointing. But that’s just my observation.

And here’s another thing about sexualisation. I said before how appearances are everything, marketable face and body could drastically improve your chances to succeed. Companies know about this too and concepts and aesthetics of groups are designed accordingly. Girls are dressed in skimpy outfits, their dances are unnecessary suggestive, they wear heavy make up and try to have “mature” vibes. Boys don’t avoid such objectification either: suits, tight pants and dress shirts along with make up and hairstyle to give audience a promise of the things to come. Grown adults are not supposed to lust after 15-17 year olds. You can’t just create a sexy stage persona for teenagers. Do you remember my earlier words about creepy merch? Yeah. All of it neatly plays into the self-insert fantasy and encourages obsessive behaviour.

This happens in western countries too. In some way that’s understandable. Beautiful and sexy image with a hint of innocence attracts more people and sells, because it caters to one of the base human instincts. But some things make your skin crawl.

Sponsorships are another topic. Some k-pop bands seek out sponsors to provide financial aid and cover expenses, when earnings are not enough. Sometimes these sponsorships are fine, perfectly civil. But sometimes it’s a prostitution. Girl groups receive money and provide sexual favours to their patrons. It’s a way for the group to gain financial support and even find new opportunities in the industry. Companies can encourage such deals. Let that sink in for a moment.

6. “Any advice to those who want to become a k-pop idol?”

A lot of former idols and trainees have similar responses to this question.

“I don’t want to discourage anyone, but think twice”

“You only see the glamorous side, but don’t see all the hard work that goes into it”

“It’s not what you think”

“They think ‘Since I am good looking and can sing and dance really well, maybe I should become an idol?’, but there is much more to it“

“They think it’s something that is easy and will keep their family set for life financially”

And this implies that most people don’t know what kind of lifestyle k-pop stars truly have, despite the amount of information available online about “behind the scenes” proceedings.

7. Moving on

I am a practical person and every decision I make is subjected to scrutiny. And after seeing everything I can't help but wonder whether idols believe it's truly worth it. What keeps the industry alive is the idol-dream, the wilful ignorance of its reality and youthful idealism, the beautiful naïve belief that it'll get better, even if it never does in the end.

Sure no one would ever admit it out loud, because it's one of those things you never say on camera, no matter how sincere you have to be. It's the matter of professionalism after all, and idols have it spades. And also, because admitting this would equal admitting that you spent your best years doing something you both loved and hated, admitting that this was a mistake.

When you grow up in a society where appearances matter the most, where saving face and being polite is more important than staying true to yourself, where individuality is tolerated only to a certain point, it takes a lot of courage to admit that you need a break. I greatly respect those who decided that idol lifestyle is not for them and moved on.

8. Conclusion

To sum up, I hope you enjoyed my small research and this perspective, since you have read it all the way to the end.

You have noticed that entertainment industry is an intricate system and its every component makes sure nothing changes. Companies have power over idols and audience, fandom has power over idols and their careers, and musicians themselves have fame and their music, but not always the promised fortune or happiness.

It’s important to understand the big picture to draw your own conclusions and encourage positive and heathy attitudes in fandoms. Being open minded and allowing people to make mistakes and live their lives the way they want to is a part of being a decent person. People don’t owe anything to others. Art is about sharing your thoughts and feelings, promoting ideas and spreading beauty. It’s not always about money. And I think that this is what k-pop lacks as an industry. It turned dreams and human need for self-expression into business. Here everything is turned into a product. Everything idols touch can be sold, sometimes literally. Industry created problems, which can’t be solved anymore, because doing so would topple the system. And I find it tragic. Trapped in an endless chase after perfection creators of k-pop forgot that beauty lies in the eye of the beholder.

If you take a look at comment sections and posts on different platforms, what will you see? What kind of things resonate with audience? What makes people laugh and cry? When people start to appreciate the substance?

“Everyone needs to hear this song in their darkest moments”

“Thank you for your music!”

“They always deliver! These guys can’t make a bad song!”

“It inspired me to write again!”

“Their songs brought me and my sister together once again”

“This is what happens when you let groups write their own music - they make incredible things”

“They really are legends of k-pop! I love that they are not afraid to show their inner strength”

“Stay strong! You rock!”

I believe that the answer is quite simple: when it’s real, sincere. It’s all about the message you choose to send to your audience, because only superficial things cause obsession. When you say that the sparkly façade is all that matters, then that’s the only thing people will ever care about. Your audience will never give a damn about the meaning behind dancing, music or lyrics, if you tell them that performance is more important. No one would praise WHAT k-pop idols sing, instead they would prefer wasting breath to criticize HOW they sing or look or move.

I dare the k-pop industry to prove people that it’s not just about looks or perfection, or laser shows, or being a branding machine. Prove to your fans that k-pop artists are also passionate people with big dreams and talent, who love every moment of their job, who live and inspire, who are human just like us and whose humanity is real!

Do it, you cowards!

And now, I’m finished. I can hear the raging crowd of k-pop fandom in the distance, which means it’s time to hide. See you some other time!

#k-pop #korean music #k-rock #k-pop idol #k-pop meta #k-pop discussion #k-pop fandom criticism

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