#Kim Woo Chong

[things-about-cars-in-posts]

favorite band/artist?

Sheesh. Complicated one.

You see, my music tastes are, to put it mildly, rather varied. I think it showed in my music recommendation post and the post that further explored one of those artists, but to further illustrate, my library includes:

Earth, Wind & Fire

New Kids On The Block's Jordan Knight's first solo single

Dubstep band Hadouken!’s Lana Del Rey cover

A mashup of Wham! and a fishing anime

A Japanese bilingual melodic punk rock band's two songs about bowling

80s remixes of Justin Bieber songs

A Japanese "punk ska and melodic hardcore band"'s cover of Scatman’s World

A 140+ song Beatles remix collection, featuring such gems as "Octopus's 3D Garden", "I Saw Her Yankin' There" and "Help!" (suspicious)

A eurobeat female duo of rotating Italian and British members’ Abracadabra-sampling track about falling in love with a banana

A remix of Azumanga Daioh’s Sata Andagi scene I retrieved from a porn site reupload

Moldovan folk punk band and folk musician duo’s collab about celebrating the reopening of a railroad

The soundtrack of Pictionary for the NES

A mashup of AVICII, Rick Astley and Chumbawumba

An 80s pop Linkin Park remix

Black Sabbath covers by The Cardigans (of Lovefool fame)

JT's solo debut

A Flock Of Seagulls (of I Ran (So Far Away) fame)

One (1) DJ Khaled song

A 2011 My Little Pony-themed song by then commentary youtuber

(And I beg each and every one of the people who read this list and thought "Okay that one cannot possibly be good" to hop in my askbox and allow me to prove them wrong.)

But let's go through bands and artists I've not posted about before.

Two Door Cinema Club Just out of statistics. I can prove I played I Can Talk over a hundred times and I can tell you any number under two hundred is underselling it. There is genuinely some problem with my brain that that intro slots into perfectly.

Oh also all the rest of their first album this comes from is this great too, and if you ask me what a perfect album sounds like I will tell you it's not that far off their second album.

OK Go Now, I like the music. Actually, I'd left my two guitars alone for years until an easy OK Go song made me think "Oh, maybe I can play this" and realize that rather than -as I had prior- just play the music I'd been taught I could actually teach myself to play the music I was listening to, which snowballed into playing more OK Go songs and then it expanded and now I have a ukulele, a bass, a third guitar I need to merge with that bass (it's complicated), a fourth "guitar" (it's complicated) on the way, a Casio calculator/synth (it's complicated), a melodica, a launchpad and a kazoo. Whoops. But really, all you need to be sold on OK Go is see two of their videos. One to find out what they're like (and you're already good on that front because you have visited the internet ever and have thus seen Here It Goes Again aka "The Treadmill Video" aka what when posted to YouTube upon its CEO begging them became the biggest video of all time) and another to find out that no the first one was not a one-off fluke. I am serious, go click that link, it takes you to a playlist of their videos and each one is crazier than the last. I mean they played a song with a car. A song. That has a guitar solo. With a car. Have you seen the name of this channel.

Ah, right, the name of this channel. I guess I have to say a thing about that car now. Uhhh this video was sponsored by Chevrolet to promote the Aveo which, despite being badged as a Chevrolet, like many of the more Europe-oriented Chevrolets was made by the automotive branch of Daewoo, brand General Motors picked up after the Daewoo conglomerate (then the second largest in South-Korea which may as well be called Samsungland) went bankrupt in '99 over almost $90B modern dollars in debt. Its founder Kim Woo-chong (because Lord knows the "woo" in Daewoo did not stand for "woo what a great car") earned a ten year sentence, but I feel they focused too much on the wrong guy. The REAL criminal is whoever penned Daewoo cars.

A good person doesn't do this on purpose.

Owl City I have too few of his songs, but I absolutely love how comically upbeat he is. He is so precious. If c: walked this Earth. I mean "Golf and alcohol don't mix and that's why I don't drink and drive / Because, good grief, I'd knock out my teeth and have to kiss my smile goodbye". Protect this man at all costs. Also one time I saw the Fireflies video after what must have been a good decade and you know when you feel near crying? I adored that song when I was a kid and I was right.

Liquido European one-hit wonders - and not even "people know them just for one song", not even "people don't know them and just know the song"; I found you can tell people the name of their hit and they won't know what you're talking about. But hum the riff and infallibly, invariably any single person in my country (and, in my limited experience, the rest of Europe) will go "Ooooooh, that one". And to be fair, those guys did stumble on one of the most memorable riffs in modern history.

Not saying this is a hidden gem of a band, I am sure some bigger music nerd would stamp a big fat "SEEN BEFORE" on all their stuff, beyond some enjoyable splashes of "I wonder how much of this is them leaning into it" cheese (yes, even more than that video) - but I've still got their whole discography including all the B-sides, because to me, so what? It's good music and I'll treat it like it. What's the point of praising "groundbreaking", "genre defining" works and then glossing over those inhabiting the ground they broke and making the genres they defined? When I eat bread I don't complain that it doesn't innovate or set itself apart from the rest of the genre, so as long as my music doesn't bore me why should those be problems there? I feel like people have a problem in general separating their enjoyment of a work from its artistic merit. I'm digressing.

The Beatles If you ask me "What's your favorite number of pant legs?" I'm not going to answer five because two would be cliché.

And now we get to the final answer, the real answer, in such a league of its own it deserves to be separated from the rest via a Read More.

I lied, this is under a Read More because it's an entire fucking dissertation. Your fault for asking.

Caparezza I've spent well over a decade of my life mulling over his lyrics to the point me and my ex-flatmate played this game where she told me a random word and I'd try to find it in his lyrics (e.g. the first word of your ask, "favorite", was used in the second verse of the sixteenth track of his sixth album, yes I am neurodivergent why do you ask), and still it happens that as I am going through my everyday life I happen to accrue some information and slam my forehead going "Oh my God THAT'S what he meant there". His songs are more layered, more deep, more thoughtful, more cutting, more witty, more clever than most prose you see around and still he manages to play with his words and rhymes with incredible dexterity.

Take his last record, Exuvia - actually, take the previous record Exuvia picks up from, Prisoner 709:

Its name not only introduces the theme of imprisonment, but also of dilemmas and juxtapositions, since the prisoner's number, 709, stands for the dilemma about the number of the record: it's the 7th in his discography as Caparezza, but the 9th if one also counts the two shit records he made under his previous name Mikimix (we don't talk about those). Its tracklist, indeed, while being as typical for him incredibly varied in topics (from religions to his affinity with Ludwig II of Bavaria to "I'm not [x], BUT-" types) is arranged as chapters of a journey through an imprisonment (The Crime, The Punishment, The Weight, The Psychologist, The Letter, The Visit, The Yard Time, The Torture, The Revolt, The Guard, The Infirmary, The Window, The Evasion, The Hiding) and associated to dilemmas - for instance, as the record is about his feeling imprisoned in his body and in his role, the first song -and first chapter, The Crime- is indeed Prosopagnosia (i.e. face blindness), a track about him no longer recognizing himself in the artistic reputation he built himself, with the dilemma being between "Michele", his name, and "Caparezza", his rap name. Oh, and if you also want a taste of the impressive wordplay, well, count the letters of those two names. Yep. Every single one of the 16 tracks is a dilemma is between a 7 letter word and a 9 letter word. Because of course it is.

So now, let's get to the last record, Exuvia.

Nah, the pop-up edition's cover fucks way harder.

That's more like it.

Exuvia is the exoskeletal remains left behind by ecdysozoans after ecdysis, i.e. when creatures like insects and crustaceans develop a new exoskeleton and crawl out of their old one, as this record starts from his escaping from the anguish compounded through all his previous records and through a deep analysis of his past, his self, his surroundings, his fate, condensing it all and moving on to a new self, a new birth, a new shell. (Understand how I feel when people say the greatest rapper of all time is one whose greatest record is called "Damn" because the songs made him go "Damn" and whose biggest song is "Biggie Smalls' Juicy but this time about me".)

Well, in the second track of it, about running away from the dire situation of hatred, decay and persecution described in the first track, he says, and I paraphrase,

I give it all up, I'm dying, I retreat - Caporetto plus Waterloo Dripping and smelling like my head was in a station's toilet- oh.

introducing the desperation and hopelessness of military defeats and immediately following it up with an image whose comedic nature makes a contrast so stark as to surprise even him while still, being a reference to the military's hazing and bullying, latching back to the line before. While the prose I represent it with is deliberately poor, the concept behind the words is brilliant enough that it would be a good line if it didn't rhyme at all. And yet the original lines rhyme for twenty syllables. TWENTY.

Thing is, you can be as clever as you want, but the underlying music, you know, it can't be clever, it can just be good or bad. One would think. And yet the music is not just good but full of clever, witty samples and ideas that don't just reinforce the track's mood but tie the instrumental inextricably into the lyrics' themes, like Larsen (the track about his tinnitus, which he calls by audio feedback's technical name of Larsen effect) using high-pitched synths and emphasizing cymbals, Prisoner 709's title track being 79bpm (I wager 709bpm was a bit non-doable), House Credibility's instrumental featuring intercom buzz and cowbells reminiscent of cookware, or, well, everything in Exuvia's second single. See, that song is about the choice he faces between the story of Beethoven, who despite all his challenges kept devoting himself to music until the day he died, or that of Mark Hollis, lead of Talk Talk, who despite all the fame peaced out to focus on his private life - and the entire instrumental is devoted to that concept: the verses' reference Für Elise, the chorus Such A Shame, and the bridge I Believe In You; and when you tun into the background choirs you find they are rhythmically repeating "I don't know".

You start to get a clue why there's three years between his records.

So if his songs are so fucking good, why is he not famous? Well, he is! Except for his first album which no one really noticed (fairly so in my opinion - while I like a few songs I feel he really got going in his second one), the following records did really well for someone with such dense content: his third record has been certified gold! And all the others platinum. Some twice. Never since the first one did a record of his peak under 5 in the charts, and he's got 8 gold singles, 3 platinums and a double platinum. And don't get me started on the shows.

(That's me in the background!) Hell, he's even been on the cover of Billboard! So why've you never heard of him? Well, see the word next to Billboard.

Yep. The man, Michele Salvemini, is an Italian born and raised and, like any proper Italian, doesn't speak a whole lot of English, so pretty much all the English you'll hear in his music are the handful of English features, like Michael Franti, DMC (!) and Spandau Ballet's Tony Hadley, with which he made a song about Italy's emigration crisis.

Emigration that is also internal, from the underdeveloped, falling aparty and criminality-run south of Italy to where all the industries are, the richer and we-pretend-it's-not-criminality-run north. And since he's from Apulia, Italy's heel (his rap name in fact means "curly head" in Apulian dialect), he's made a song about its woes too, featuring the music of the tarantella, Apulia's traditional dance. (I don't know why y'all add an A in front. It's fucking "Puglia", y'all.) Here's an imperfect translation with a couple of helpful explainers to the asterisked terms over in the video's description.

It depresses me every time I think about it that all the English speakers I know will never be able to fully appreciate his lyrical brilliance. But oh well. At least y'all can appreciate the music... so fuck it, have that song whose music I yapped about so much. You'll hear the choirs in the background say "non so" (I don't know)... and a bunch more Italian words (translated here for those on desktop who want to follow along).

Links in blue are posts of mine about the topic in question - if you liked this post, you might like those!

[wqp88888]

百家姓在全球各个华语地区的拼音

中文 中國大陸 台灣 香港 澳門 新加坡 馬來西亞 越南 韩国

1 赵 Zhao Chao Chiu Chio Chow Teoh/ Chew/ Tiew Trieu Jo/Cho

2 钱 Qian Chien Chin Chin Zee Chien/Chen Tien Joen/Chun

3 孙 Sun Sun Suen Sun Soon Soon/Sun/Shun/Song Ton Son

4 李 Li Li / Lee Li / Lee Lei Lee Lee/Li Ly Lee / Rhee/ Yi

5 周 Zhou Chou Chow / Chau Chao Chew Chew / Cheu / Chou / Chow / Chiew Chu Ju/Chu

6 吴 Wu Wu Ng Ng Goh Ng / Goh / Ngo/ Ngu Ngo Oh

7 郑 Zheng Cheng Cheng Cheang Tay Ching / Tang / Tey / Tay / Tee / Teh / Cheng / Chin / Chang / Chung / Chiang Trinh

8 王 Wang Wang Wong Vong / Wong Ong / Wong Ong / Ng / Wong / Wang / Bong / Heng Vuong Wang

9 冯 Feng Feng Fung Fong Foong/Fung/Fong Phung Pung

10 陈 Chen Chen Chan Chan Tan / Chan / Ting Chan / Chin / Chen / Tan / Tang / Ting / Sin Tran Jin/Chin

11 褚 Chu Chu Chu Chu Too/Toh

12 卫 Wei Wei Wai Wai Wee/Wei Vi Ui/Oui

13 蒋 Jiang Chiang Cheung Cheong Chiang/Cheong/Chiong Tuong Jang/Chang

14 沈 Shen Shen Shum / Sum Sam Sim Sim/Shim/Shun/Shum Sim

15 韩 Han Han Hon Hon Hon/Hong Han Han

16 杨 Yang Yang Yeung Ieong Yeo / Yong Yong / Yeo / Yeoh / Eow / Yeong / Yew Duong Yang

17 朱 Zhu Chu Chu Chu Choo Chu/Choo/Jee/Jeh Chau Chu/ Joo

18 秦 Qin Chin Chun Chin/Ch'ng Tan Jin/Chin

19 尤 You Yu Yau Iao Yew/You Vuu

20 许 Xu Hsu Hui Hoi Hee / Koh Khu / Khoo / Khor / Khow / Hoo / Hooi / Khaw / Hii Hu Heo/Huh

21 何 He Ho Ho Ho Hoh Ho/Hoh/Hor Ha Ha

22 吕 Lu Lu Lui Loi Loh/Lei/Lui/Lee La/Lu Yeo/Ryeo

23 施 Shi Shih Sze Si See/Sii/Sih

24 张 Zhang Chang Cheung Cheong Cheong Cheong / Chong / Teo / Chang / Teoh / Tiong Truong Jang/Chang

25 孔 Kong Kung Hung Hong Kong/Khong/Kung Khong Gong/Kong

26 曹 Cao Tsao Cho / Tso Chou Cheng/Choo/Cho/Chu/Chao Tao Cho/Jo

27 严 Yan Yen Yim Im Yam/Ngim Nghiem Im

28 华 Hua Hua Wa / Wah Wa Hoa Wha/Wah/Wa

29 金 Jin Chin Kam Kam Kim/King Kim Kim

30 魏 Wei Wei Ngai Ngai Ngui/Gui/Woi Nguy Ui/Oui

31 陶 Tao Tao To Tou Tho/To/Too/Toh Dao Do/To

32 姜 Jiang Chiang Keung Keong Khiang/Kiang Giang Kang/Gang

33 戚 Qi Chi Chik Chek Cheok

34 谢 Xie Hsieh Tse Che Cheah / Tay / Chia Cheah / Chiah / Chia / Seah / Sia / See Ta Sa

35 邹 Zou Tsou Chau / Chow Chao Chew/Chou/Chu

36 喻 Yu Yu Yu U Yu/Yho/Yuh You/Yu

37 柏 Bai Pai Pak Pak

38 水 Shui Shui Sui Soi Shu/Tshui

39 窦 Dou Tou Tau Tao

40 章 Zhang Chang Cheung Cheong Cheong/Chong/Teo/Tiong/Tong

[编辑] 百家姓41-80

中文 中國大陸 台灣 香港 澳門 新加坡 馬來西亞 越南 韩国

41 云 Yun Yun Wan Wan Woon/Wun/Yun/Yung

42 苏 Su Su So Sou Soh Soh / Saw / Soo To

43 潘 Pan Pan Poon / Pun Pun Phua Phua / Pan / Pang / Phang Phan Ban

44 葛 Ge Ko Kot Gal

45 奚 Xi Hsi Hai Kai Hae

46 范 Fan Fan Fan Fan Fung / Fam / Fang / Hwang Pham Bum

47 彭 Peng Peng Pang Pang Pang Peng/Pang/Phang Paeng

48 郎 Lang Lang Long Long Lang

49 鲁 Lu Lu Lo Lou Loo Loo/Loh/Lu Noh

50 韦 Wei Wei Wai Wai Wai/Wei/Vei Vi

51 昌 Chang Chang Cheung Cheong Cheong/Chang/Cang Xuong

52 马 Ma Ma Ma Ma Beh / Mah / Mha / Ma Ma Ma

53 苗 Miao Miao Miu Mio

54 凤 Feng Feng Fung Fong Fong

55 花 Hua Hua Fa Fa Faa/Fah/Fha Hoa

56 方 Fang Fang Fong Fong Pung / Fang / Fong / Phun / Huong Phuong Bang

57 俞 Yu Yu Yu U Je / Yii You/Yu

58 任 Ren Jen Yam Iam Yam/Ngam/Yim/Ngieng/Ngiam Nham Rim/Yim

59 袁 Yuan Yuan Yuen Un / Iun Yuan / Yuen / Ngen Vien Won

60 柳 Liu Liu Lau Lao Liew/Liu/Lew Lieu You/Yu/Ryu

61 酆 Feng Feng Fung Fong

62 鮑 Bao Pao Pau Pao

63 史 Shi Shih Sze Si Sa

64 唐 Tang Tang Tong Tong Thang / Thong / Tang / Tong / Thong Duong

65 費讀「秘」 Pei Pei Pei Pai

66 廉 Lian Lien Lim Lim

67 岑 Cen Tsen Sum / Shum Sam Sim

68 薛 Xue Hsueh Sit Sit Sik / Sit / Silk Seol/Sul

69 雷 Lei Lei Lui Loi Lui / Looi / Lewe / Lei

70 賀 He Ho Ho Ho Hor/Hoo

71 倪 Ni Ni Ngai Ngai Geh / Nga / Ngam

72 湯 Tang Tang Tong Tong Thong / Tang / Thang

73 滕 Teng Teng Tang Tang Thang

74 殷 Yin Yin Yan Ian Yam / Ngam

75 罗 Luo Lo Law / Lo Lo Lo / Lau / Low / Loh La Rah/Na

76 毕 Bi Pi But Pat Tat

77 郝 Hao Hao Kok

78 邬 Wu Wu Wu Vu / Wu Woo / Voo / Woh / Wu / Vu O

79 安 An An On On An An / Ahn

80 常 Chang Chang Sheung Seong

[编辑] 百家姓81-120

中文 中國大陸 台灣 香港 澳門 新加坡 馬來西亞 越南 韩国

81 乐 讀「洛」或「惡」 Yue Yueh Lok/ Ok Lok/ Ok

82 于 Yu Yu Yu U

83 时 Shi Shih See / Sze Si

84 傅 Fu Fu Foo Fu Fu/Foo/Foh

85 皮 Pi Pi Pei Pei

86 卞 Bian Pien Pin Pin Byun

87 齐 Qi Chi Chai Chai

88 康 Kang Kang Hong Hong Gang/Kang

89 伍 Wu Wu Ng Ng Ng Ng/Ngo/Ngoh/Wu/Wuh/Woo

90 余 Yu Yu Yu U Yee/Tsia/Tse

91 元 Yuan Yuan Yuen Un / Iun

92 卜 Bu Pu Puk Pok/Puu

93 顾 Gu Ku Koo Ku Koe

94 孟 Meng Meng Mang Mang Mang/Meng Maeng

95 平 Ping Ping Ping Peng

96 黄 Huang Huang Wong Vong / Wong Bong / Boong / Ng / Ong / Ooi / Wong / Wee Hwang

97 和 He Ho Wo Vo Hoo/Woh/Woo/Wo Hwa

98 穆 Mu Mu Muk

99 萧 Xiao Hsiao Shiu / Siu Sio Seow/Siew/Siau/Siaw/Sew/Siu/Seu

100 尹 Yin Yin Wan Wan Yoon

101 姚 Yao Yao Yiu Io Yeo Yeo / Yeoh / Yew / Yow

102 邵 Shao Shao Siu / Shiu Sio Shaw Shao/Shaw/Sao/Shau

103 湛 Zhan Chan Cham

104 汪 Wang Wang Wong Vong / Wong Wang/Wong/Vang

105 祁 Qi Chi Kei

106 毛 Mao Mao Mo Mou Bo / Boo / Moh / Moo Mo

107 禹 Yu Yu Yu U

108 狄 Di Ti Tik / Dick Tek

109 米 Mi Mi Mai Mai

110 贝 Bei Pei Pui Pui

111 明 Ming Ming Ming Meng Myeong /Myung

112 臧 Zang Tsang Chong

113 计 Ji Chi Kai Kai

114 伏 Fu Fu Fuk Fok

115 成 Cheng Cheng Shing / Sing Seng Sang/Shang//Tshan/Tshang Sung/ Seong

116 戴 Dai Tai Tai Tai Tai/Thai/Dai/Dhai

117 谈 Tan Tan Tam Tam

118 宋 Song Sung Sung Song Song Shong/Song/Sung Song

119 茅 Mao Mao Mau Mao

120 庞 Pang Pang Pong Pong Phong/Pong/Pang

[movienized-com]

Longing for You

Longing for You (Serie 2023) #NaInwoo #ChongokBae #BumhoChoi #WooSungHyun #JiEunKim #KyuhanLee Mehr auf:

Serie / 오랫동안 당신을 기다렸습니다 Jahr: 2023- Genre: Krimi / Drama / Mystery Hauptrollen: Na In-woo, Chong-ok Bae, Bum-ho Choi, Woo-Sung Hyun, Ji-Eun Kim, Kyu-han Lee, Song Seung-Ha, Kim Young-jo, Kwon Yul … Serienbeschreibung: Ein Mordfall ereignet sich in Woojin, einer Stadt, in der normalerweise keine Verbrechen vorkommen. Detektiv Oh Jin Seong, bekannt für seine fröhliche Art, schließt sich dem…

[solplparty]

우떠뷰: 우떠의 진 ‘The Astronaut’ 앨범 제작기 관찰일지 https://youtu.be/TN3S8_-CcpY #진 #Jin #TheAstronaut #BTS #방탄소년단 Credits: Artist: Jin Interviewer: Wootteo Production Artist Contents Studio (HYBE) Project Manager: Jeong Ji Won Camera: Jeong Ji Won, Nam Hee ju, Lee Hee Yeon, Ji Sun Young Lighting Crew: Kim Chong, Kim Jae Won (Loveing u) Art Styling: Cha Yae Bon, Jung Ji Woo Video Edit: Choe Hye Rin Fan Contents Coordination: Bang Woo Jung, Jang Jeong In, Shin Hye Ri, Woo Myung Jin Artist Management: Kim Su Bin, Lee Hyeon Ki, Jeong Tae Jin (BIGHIT MUSIC) Special Thanks to my universe ARMY and Wootteo Connect with BTS: https://ibighit.com/bts http://twitter.com/BTS_bighit http://twitter.com/BTS_twt http://www.facebook.com/bangtan.official https://www.youtube.com/user/BANGTANTV http://instagram.com/BTS.bighitofficial https://www.tiktok.com/@bts_official_bighit https://weverse.onelink.me/qt3S/94808190 https://www.weibo.com/BTSbighit https://www.weibo.com/BTSmembers http://i.youku.com/btsofficial http://btsblog.ibighit.com BANGTANTV

[datutudau]

Nhìn lại những thăm trầm của nhà sáng lập Daewoo

Bài viết mới nhất: Nhìn lại những thăm trầm của nhà sáng lập Daewoo

Cựu Chủ toạ tập đoàn Daewoo Kim Woo-choong đã qua đời ở tuổi 83, ông được xác nhận là doanh nhân thế hệ thứ nhất, với công khai phá thị trường toàn cầu. Cựu Chủ toạ Daewoo Kim Woo Chong Người khai phá “Kỳ tích sông Hàn” Ông Kim Woo Choong sinh ngày 19/12/1936, tại …

#Blog #CựuChủTịch, #Daewoo, #DoanhNhân, #HànQuốc, #KimWooChong, #QuaĐời, #ThịTrường DauTuTuDau: https://daututudau.vn/nhin-lai-nhung-tham-tram-cua-nha-sang-lap-daewoo/

[whatisonthemoon]

A word of caution regarding denunciation of Hyun Jin nim (2010)

A word of caution regarding denunciation of Hyun Jin nim Damian J. Anderson June 5, 2010

Perhaps many of you are aware, but one of Father's time tested tactics to test the mettle of a man is to send him to the woodshed, figuratively speaking.

Do you remember how Dr. Bo Hi Pak was publicly sent away to Japan? What did Dr. Pak do in Japan? Rather than bemoan his fate, he became very involved in the Japanese church and wrote two books.

What happened to Rev. Chong Jik Woo who was the regional director in Washington DC? He, along with many elder Koreans, was sent to a third world country as a national messiah, after 40 days in Chung Pyung, in his case, Bolivia. What did he do? He absconded with a large amount of public money and a Japanese sister.

What happened to General Kim who was sent back to Korea? She dropped off the map.

What happened to Mrs. Joo Yeon Amrine who was very publicly denounced in the church? She is still carrying out her ministry in Korea, with a substantial following in the church and in the public arena in Korea.

What happened to Hyun Jin nim when he was denounced? He is fulfilling his responsibility as he sees fit, according to his conscience, despite a global firestorm of condemnation.

BE VERY CAREFUL when you judge someone who has apparently been denounced by Father. This is when he sees the true heart of those who claim loyalty to him. He sees the servile obsequious attitudes of so many church members and leaders, They are so flatteringly serving to someone in favor, but they will happily denounce someone once they are out of favor and not in the right meetings, the right breakfast conferences, the right ceremonies. What a bunch of !@#$ %^and* hypocrites!

How would your tune change if tomorrow Father were to turn around and say that Hyun Jin nim were after all following his instructions? It would not be the first time.

BE VERY CAREFUL ... for sin is crouching at your door.

[arlothia]

MEN IN BLUE

Time to celebrate a beautiful color on beautiful men!

Hu Ge: Mei Chang Su - Nirvana in Fire

'Leo' Wu Lie: Fei Liu - Nirvana in Fire

Jin Dong: Lin Chen - Nirvana in Fire

Chen Long: Meng Zhi - Nirvana in Fire

Sun Chun: Xiao Ting Sheng - Nirvana in Fire 2

'Turbo' Liu Yuan: Xiao Ping Jing - Nirvana in Fire 2

'Jaco' Zhang Bo: Xun Fei Zhan - Nirvana in Fire 2

Huang Xiao Ming: Xiao Ping Zhang - Nirvana in Fire 2

Kanazawa Hao Kim/Kim Jin/Jin Xin: Yue Yin Chuan - Nirvana in Fire 2

Zhou Yi Wei: Xiao Qi - The Rebel Princess

Fu Meng Bo: Sui Zhou - The Sleuth of Ming Dynasty

'Thomas' Tong Meng Shi: Yang Guo - The New Version of the Condor Heroes

'Wallace' Huo Jian Hua: Ling Hu Chong/Yang Lian Ting - Swordsman

Liu Yao Yuan: Wang Zhi - The Sleuth of Ming Dynasty

Wang Kai: Zhao Zhen/Emperor Song Ren Zong - Serenade of Peaceful Joy

'Darren' Chen Kuan Hong: Zhan Yan - No Boundary

Zhang Zhe Han: Zhou Zi Shu/Zhou Xu - Word of Honor

'Andrew' Yin Zheng: Xhang Xi Rui - Winter Begonia

Jang Hyuk: Lee Bang Won - My Country: The New Age

Yoo Ah In: King Suk Jong - Jang Ok Jung

Jo Seong Woo: Baek Gwang Hyun - Horse Doctor

Ji Chang Wook: Lee Choon Bae (young) - The Bros

Woo Do Hwan: Nam Seon Ho - My Country; The New Age

Lee Jun Ho: Heo Saek - Homme Fatale

Yoo Yeon Seok: Gu Dong Mae/Ishida Sho - Mr. Sunshine

So Ji Sub: King Jung Jo - The Throne

Lee Min Ho: Ghoi Yeong - Faith

Liu Hai Kuan: Lan Xichen - The Untamed

Liu Duan Duan: Li Cheng Ze - Joy of Life

Wang Yi Bo: Lan Zhan - The Untamed

'Vardy' Wang Hao Xuan: Yu Ming Ye - Dance of the Phoenix

'James' Huang Zi Teng: Lan Qi Ren - The Untamed

'Marius' Wang Zhuo Cheng: Jiang Shao - Legend of Two Sisters In the Chaos

Zhang Ruo Yun: Fan Xian - Joy of Life

'Sean' Xiao Zhan: Bei Tang Mo Ran - Oh My Emperor

Guo Qi Lin: Fan Xizhe - Joy of Life

---------------------------------------------------------------------------------------------

This is part of an unofficial series @terribleteej and @smylealong have been having fun with. Check their stuff out here:

Teej's Men in Modern Red

Teej's Men in Traditional Red

Lea's Men in Modern Black

Lea's Men in Traditional Black

[exodusmusing]

below the cut you will find 140 korean surnames!! all of these names are taken from kdramas and a list of surnames i have found on internet!! please like or reblog if you find this helpful!!

Ahn

An

Bae

Bak

Baek

Bang

Byun

Cha

Chai

Chang

Chay

Cheon

Cheong

Chwe

Chi

Chin

Cho

Choi

Chong

Chu

Chun

Dae

Dan

Dang

Do

Don

Dong

Gae

Gang

Gim

Go

Goe

Ha

Hahm

Han

Ham

Heo

Ho

Hong

Hwang

Hyun

Im

In

Jang

Jee

Jeong

Ji

Jin

Jo

Joh

Ju

Jue

Jun

Jung

Kal

Kang

Keng

Ki

Kil

Kim

Ko

Kong

Ku

Kuk

Kwack

Kwak

Kwan

Kwock

Kwon

Lee

Lin

Ma

Min

Mok

Mong

Moo

Moon

Mun

Myung

Na

Nahm

Nam

No

Noh

Oh

Ok

Ong

Pae

Paek

Pai

Pak

Pan

Park

Pyo

Pyun

Pu

Quon

Ra

Reeh

Ri

Rim

Roh

Ryu

Sa

Sang

Seo

Seol

Shin

Shim

Sim

Sin

So

Son

Song

Suh

Suk

Sun

Sung

Tae

Tak

Tan

Tang

To

Toh

Uhm

Wang

Whang

Won

Woo

Yang

Ye

Yee

Yeo

Yeon

Yoo

Yook

Yoon

You

Yu

Yun

[sexy-lee-min-woo]

Korean Music Copyright Association

Minwoo (W0512900) (LEE MIN WOO; M) 74 Copyrighted Songs Eric (W0329200) (ERIC; MUN CHONG HYOK) 62 Copyrighted Songs Hyesung (W0538100) (SIN HYE SUNG; HYE SUNG) 13 Copyrighted Songs Dongwan (W0538000) (KIM DONG WAN) 6 Copyrighted Songs JunJin (10010842) (JUNJIN) 3 Copyrighted Songs

[howwelldoyouknowyourmoon]

Almost all these Comfort Station managers / owners were Korean

They had taken Japanese names, but from their place of birth their nationality is easy to determine. The Unification Church does not reveal these facts. The UC use the Comfort Women controversy to blackmail Japanese members.

These Korean managers periodically returned to Korea to recruit more women, or to purchase them from Korean human traffickers. It was easier for the Korean men and women who ran the Comfort Stations to manage the Korean women.

________________________________________________

The Asahi Shimbun published a series of fabricated articles on comfort women in the 1980s. Based on these articles, the anti-Japan lobby Chong Dae Hyup was formed in South Korea in 1990. Then out of nowhere a woman named Kim Hak-sun came forward in 1991 and claimed she was abducted by Japanese military. There is clear evidence (recorded tapes) that suggests she was coached by Chong Dae Hyup to give false testimony. If Korean women were indeed abducted by Japanese military, it is rather odd that not a single woman claimed anything for over 45 years after the end of World War II.

Former South Korean President Roh Tae-woo said in an 1993 interview with Bungei-shunju, “The Asahi Shimbun created the comfort women issue out of nothing, provoked Korean nationalism and infuriated Korean people.”

It is ironic that 99% of Westerners fell for Chong Dae Hyup’s (North Korean) propaganda and believe 200,000 young girls including Koreans were coerced by Japanese military while the majority of South Korean scholars (Professor Park Yuha of Sejong University, Professor Lee Yong-hoon of Seoul University, Professor Ahn Byong-jik of Seoul University, Professor Jun Bong-gwan of Korea Advanced Institute of Science and Technology, Professor Han Sung-jo of Korea University, Professor Lee Dae-gun of Sungkyunkwan University, Professor Choi Ki-ho of Kaya University, Professor Oh Seon-hwa of Takushoku University, Professor Chunghee Sarah Soh of San Francisco State University, etc.) and a good number of South Korean public agree that Japanese military did not coerce Korean women and that the number of women (Dutch and Filipino) coerced by Japanese military was less than a hundred.

Only a small number of fanatics with loud voice (South Korean leftists with close ties to North Korea and radical left wing Japanese scholars such as Yoshiaki Yoshimi, Yuki Tanaka and Hirofumi Hayashi also with close ties to North Korea and China) falsely claim 200,000 young girls including Koreans were coerced by Japanese military. Westerners must realize that North Korean and Chinese operatives are using the comfort women issue to drive a wedge into U.S.-Japan-South Korea security partnership.

Chart of Korean Comfort Women Activists and the North Korea Connection

________________________________________________

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

Psychological Terrorism by The Unification Church at Cheongpyeong

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

Koreans who experienced the Japanese annexation of Korea explain some facts

Thousands of Korean men and women tricked, kidnapped or forcibly abducted Korean girls to be ‘comfort women’.

“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

Human trafficking by the Unification Church is despicable

The Comfort Women controversy

[grouchomarxiste-blog1]

Bong Joon-Ho’s Parasite: Marx and Violence

Warning: A majority of this was written pre-pandemic, so please excuse my overly optimistic tone. It was a different time.

Yes, another Bong Joon-Ho film. Can you blame me? The guy’s a genius. Parasite was another one of those great films that will never leave you. You can watch the movie simply without doing a major analysis in your head and you will still agree that it’s a great movie. Which personally, is why I believe it's made its way into the major American awards season. Parasite winning Best Foreign Film at the Golden Globes was one of the few decisions I’ve agreed with. I didn’t see any of the winners in the film categories besides Parasite, and I’m very much ok with that. It’s making its way into Hollywood and the favorite lists of celebrities. Elon Musk said he loved Parasite (he also turned Grimes, the former “anti-imperialist,” to the mother of his future child). Chrissy Teigen loved Parasite (a lot can be said about her, so let’s not). Obama loved Parasite (but I have some serious doubts about the authenticity of his yearly favorites list. Mainly because I can’t imagine him listening to Summer Walker). I was completely boggled at all of those tweets. How? How is one so blind? How did one watch Parasite and not feel a thing? After I watched Parasite, I rushed back to school to attend the discussion section of my Political Theory class so I could read and discuss primitive accumulation through dispossession with revolutionary fervor. I recommended it to everyone near me. I even wrote a note to my professor who tucked it into his book. But is that the problem- that all these beloved figures (not mine) end up loving the sheer adrenaline of the story and tweet to their followers about how great the movie is. Those followers, with their favorite celebrities’ seal of approval, watch the movie, not putting it together either. Bong Joon-Ho is critiquing those very figures! In every post-Parasite interview, Bong Joon-Ho has said that Parasite is about America and capitalism, but we have just reduced those statements to memes on Twitter. As funny as they are, Parasite is rich for its class analysis. The Hollywood reaction is just as important. Marx is all over this movie, there's no question about it. I also want us to understand these controversial moments from a Fanonian perspective, again all with relation to Marx. I hope for us to understand that everything about this movie is intentional and every bit of it is worth pages and pages of discussion. I nearing 11 pages as I write this. I also hope that this film can be a way for us to understand economic exploitation in the 21st century. While many celebrities have misunderstood it, it is important that you, us, the people, the working class, grasp every bit of this radical film.

I’m not going to bother with another one of my “brief summary” because I’m assuming, we’ve all seen it. It's on Hulu now and I believe Apple TV. If you don’t want to pay for either platforms, watch a pirated version online, I genuinely don’t think Bong will mind.

I want to talk about the home. I know we all had the same reaction to that beautiful home: awe, admiration, and envy. The Park’s home itself is significant, but also in contrast to the Kims’ home. The Kim’s live in a small semi-basement home, where they have to reach up in order to look out their window and see the street level. Their home is dirty, cramped, just not a place where anyone wants to be. But immediately, I thought of Fanon and the native sector. I know that Parasite isn’t about colonialism, but space is important to Marx (I’ll return to Fanon). In The Communist Manifesto, Marx and Engels attribute many things to the process of proletarianization. To name a few: literacy campaigns and public education, the politicization of the proletariat towards the end of feudalism, expansion of media, etc. One that stands out, is the mass migration and urbanization of the proletariat. Through that, the proletariat was concentrated into the poorest parts of the city where they shared their most intimate quarters with workers like themselves (Marx and Engels, 15) One might dismiss this as a historical example specific to Europe, but if we go back to my thoughts on Memories of Murder, we’d note how Korea’s transition to a modern capitalist society, was a fairly recent one (from 1987 onwards). As the agricultural sector suffered, Koreans living in the rural provinces were forced to move into the major cities. Park (Song Kang-Ho’s character in Memories) was lucky enough to become a successful businessman, unlike the Kims who earn their livelihood by holding pizza boxes- the most insignificant work. Along with urbanization, the proletariat also occupied the small space of the factory, where they are reminded of the everyday brutality of their work. The Park’s home is not cramped, but the one scene where everyone is rushing to hide from them, results in Ki-taek, Ki-jeong, and Ki-woo hiding underneath a coffee table overnight. After that lengthy battle with Geun-sae and Moon-gwang, the Kims are exhausted. They do not want to be laying side by side hearing the Parks have sex. My friend Sef also reminded me that the Parks had weird sex as Mr. Park recalled how their old chauffeur possibly had sex with a drugged-up prostitute, a scenario that previously made Mrs. Park scream out of disgust. Revisiting this, I believe this definitely deserves a psychoanalytic analysis.

This isn’t their breaking point, but also hearing Mr. Park say that Ki-taek smells like the subway is a factor. Once making their break they run outside where it's raining heavily. They come to their home which is flooded and destroyed. Here is where I’ll start talking about Fanon. [READ NOTE]. Again, I know the colonial system is not the case in Parasite. Fanon was a Marxist and expanded on Marxist theory in the colonial context. I just want to warn you that I am using Fanon as carefully as possible, not using concepts that are distinctly racial. I know there’s probably also much more relevant work out there on spatiality and violence, but I think Fanon’s prose style in The Wretched of the Earthis quite appropriate for the film. Let’s consider the colonial bourgeoisie as the Parks and the natives as the Kims. Fanon calls the colonial world, a “compartmentalized world.” The colonists’ sector is clean and protected whereas the native sector is overcrowded, envious, and starving. Sounds about right so far.

The colonist’s sector is a sector built to last, all stone and steel. It’s a sector of lights and paved roads, where the trash cans constantly overflow with strange and wonderful garbage, undreamed-of leftovers. The colonizer’s feet can never be glimpsed, except perhaps in the sea, but then again you can never get close enough. They are protected by solid shoes in a sector where the streets are clean and smooth., without a pothole, without a stone… The colonized’s sector or at least the “native” quarters, the shanty town, the Medina, the reservation, is a disreputable place, inhabited by disreputable people. You are born anywhere, anyhow. You die anywhere, from anything. It’s a world with no space, people are piled one on top of each other. (Fanon, 4)

This becomes extremely relevant when the Kims run out of the Parks’ home in the pouring rain. I kept noticing that they were all barefoot, only focused on getting out of there. My toes curled in the movie theater watching that. Running away from that traumatic house to find your own home destroyed, relocating to a displacement camp, THEN going to work the next day for your unaffected employer who has the audacity to audibly take a sniff of you. I don't know about you, but to me, this sounds like the conditions for a proletarian revolution. Besides the literal allegory, the tone sharply shifts. One could argue that it began to change when they found Geun-sae in the bunker or when Moon-gwang hit her head but that was just some good old dark comedy for me. After the flooding, things are different. Ki-taek has this unmoving face. Things turned grim and we knew something climactic was about to happen. Fanon’s most famous chapter, “Concerning Violence,” maintains that decolonization will always be a violent event because colonialism is a violent system itself. Something that I absolutely love about this chapter is that it isn’t some dense, theoretical work. It’s a revolutionary call to arms for all colonized people. It has a strategic pace which parallels Parasite so well. He sets the scene- the compartmentalized, Manichaen world. He slowly intensifies the antagonistic relationship between the colonizer and the colonized, until this culminating point:

The colonized subject thus discovers that his life, his breathing and his heartbeat are the same as the colonist’s. He discovers that the skin of the colonist is not worth more than the “natives.” In other words, his world receives a fundamental jolt. The colonized’s revolutionary new assurance stems from this. If no longer strike fear into me or nail me to the spot and his voice can no longer petrify me. I am no longer uneasy in his presence. In reality, to hell with him. Not only does his presence no longer bother me, but i am already preparing to waylay him in such a way that he will no longer have any solution but to flee (Fanon, 10)

As corny as it sounds, when I first read that, it brought me to tears. I’m not sure if it was just because I was up for three days straight writing my midterm and I was finally breaking, or because it just meant that much to me. But that section in which the colonized discoversthat his life is worth as much as the colonizer is such a crucial moment. This parallels the infamous birthday scene. Geun-sae gets out of the bunker, stabs Ki-jung, the Park’s kid (I’ll look his name up later) has a seizure, and Chong-sook is wrestling with Geun-sae. Shit is going down. If we recall, Mrs. Park mentioned that it takes a few minutes for her son to die after a seizure and needs to go to the hospital immediately. So much is going on and Mr. Park starts screaming at Ki-taek to give him the keys. Ki-taek is immobilized at this point. His daughter has been stabbed, son attacked, wife almost killed, the Parks’ got him dressed up in some cultural appropriation, Hollywood Indian regalia. In fact, I find it very fitting that he’s dressed up as a Native American at this moment. I see this as Bong’s satirical nod to old ultra-capitalist Hollywood. But if enough wasn't going on, Mr. Park sniffed. He got close to Geun-sae, a man who’s been living underground for 3 years and audibly sniffed him in disgust. The same way that he sniffed Ki-taek. Of course, there’s probably a difference between a “subway” smell vs. “I haven't showered in 3 years” smell but at the moment it feels as if it's almost the same thing. In my initial viewing, I thought what happened next was because of that, but no. Ki-taek realized that his life was worth the same as the Parks, and their presence no longer bothers him, but he is now plotting against him, and the time of action is now. Ki-taek stabs Mr. Park and flees. Annoyingly, the YouTube section for this clip is filled with people feeling bad for the Parks and discussing how what Ki-taek did was wrong. Of course, the average viewer will view the Parks as some sympathetic rich suckers who only treated the Kims kindly. The casual reader who picks up Fanon for the first time would also dismiss his theory of violence as immoral in comparison to non-violent methods like Gandhi’s. A lot can be said about Gandhi, but Fanon says that non-violence is a strategy created by the colonizer to deter decolonization and paint the colonizer as a gentle ruler who wants peace. This is not the case. Colonialism is a violent system. Capitalism is a violent system. Colonialism can only be undone violently. Capitalism can only be undone violently. Now I don't mean to make this all about colonialism, as my friends say I often do. But the similarities are clear. The question isn’t whether the murder of Mr. Park was a justified act, but what were the conditions that forced Ki-taek to murder. Geun-sae killed Ki-jung, but no one in the comment section is having a debate on whether his murder was ethical. Because in our heads we feel bad for him, and the life that he’s lived- why don’t we feel the same towards Ki-taek? Geun-sae and Ki-taek are two sides of the same coin. Geun-sae’s exploitation is naked. He’s confined to the basement, controlling the lights of the home. A feature of the house that Mr. Park doesn't even pay attention to, never mind considering that there is someone manually operating it. A clear example of how our labor is alienated. All while blindly worshipping Mr. Park- a man who knows nothing of his existence. Honestly, I hope some of you see yourselves in Geun-sae the next time you defend billionaires online. But Ki-taek is just another exploited worker. I understand this can be hard to understand in our current understanding of the world. How is Ki-taek exploited? Him and his family conned their way into their jobs and leech off of the Parks. Again, we must return to the system as a whole to understand. None of this wouldn’t have happened if the Kims weren’t desperately poor in a capitalist society, which enables families like the Parks, to live a life of excess at the expense of the Kims. Capitalism is a system of exploitation; we cannot forget that. Quite simply, no one is rich without thousands that are poor.

          The levels of the home are also this unforgettable feature. I just want to make this quick note about the issue of the ghost. Did you forget about the ghost? Da-Song didn’t (yes, I finally looked his name up!). I find the story of the ghost such an interesting touch. Not just as a way for Bong to warn the audience about Da-Song’s history of seizures. When Mrs. Park tells Chung-sook of the story, she says “they say a ghost in the house brings wealth.” This, of course, is true since the exploitation of those like Geun-sae are responsible for the wealth of the Parks, in the larger picture. I’d like to look further into this. There's a twofold meaning to this. I do believe that this ghost is symbolic to the exploitation of the Kims, and the proletariat in general, but that’s Mrs. Park’s understanding of this ghost. The way she understands this ghost, is as a source of wealth. Maybe Mrs. Park isn’t as ditzy as we imagine- she to some degree, understands her class position. But like most, she doesn’t question the ghost, or her class position. She knows that if she looks into either, it would result in the ugly truth. Da-Song, however, is just a child. He’s too young to really understand the economic and social relations which are responsible for his wealth. He’s also too young to consciously suppress any desire to investigate the matter like his mother. He is a child after all and is naturally curious. But his first encounter with the ghost was the one that resulted in a near fatal seizure. This can be his body’s reaction to the life-threatening figure of a ghost. The ghost isn’t just a threat to his mortal life, but his wealth, some may argue that these are the same. Mrs. Park pays for therapy for his “trauma” so he could forget the event, but he still knows. He saw this ghost and is the only one to seriously consider its threat. Mrs. Park knows it's real but chooses to not think about it. I want to return to the Manifesto. Let's hear these famous words: “A specter is haunting Europe- the specter of communism… Two things result from this fact: Communism is already acknowledged by all European powers itself to be a power...” (Marx and Engels, 8). Don’t think I’m just including this because he’s talking about a specter, in fact, I think this story of the ghost is an intentional allusion to the specter of communism. Da-Song represents this figure of the bourgeoisie who is in constant anxiety over the threat of his wealth. When he reappears at his birthday party, he has another seizure. Also, at this time, the family, and all of their guests are witness to the horrors of their wealth and what it's created. This naked, hideous display, this moment of confrontation is a pivotal point in the dialectic. Of course, this murderous moment is not seen as a success to the viewer with Mr. Park, Ki-jung, and Geun-sae dead, Ki-woo presumed to be dead, and Ki-taek missing. This just shows us that the bourgeoisie are their own gravediggers- to again invoke the Manifesto. On a larger scale, this would be the moment of a revolution- but we don’t. Ki-woo survives with Chung-sook and is put on probation. Ki-taek is missing to the police, but Ki-taek realizes that he’s living in the bunker in hiding. Ki-woo declares that he will make enough money to buy the home and free his father. At first, I wondered “why couldn't he just sneak him out of the house when the new owners were asleep?” “Why did he have to buy the home?” As much as I wanted to portray the Kims to be revolutionary figures, Ki-woo has the common fate of most. Instead of usurping power from the bourgeoisie, he believes he can free his dad from the home, by owning the house. Everyone who lives in the basement is stuck there for a reason, because someone is forcing them to stay there. A perfect allegory for the relations of production as I have repeatedly mentioned throughout this text. Ki-woo desires a bourgeois life (as most working-class folk do!) in order to lift his father out of the despair of poverty. He believes the only way he can save his father is to own the home, which could easily be seen as the means of production. A nice touch which I had to look up, was as Ki-woo tells us of his desire to buy the home, a song plays called “546 years”- the amount of time it will take for him to earn enough money. I wish this song title was more obvious for the American viewer. I am not trying to take away from this film by saying that, but for a viewer who knows Korean or the song title, they’ll understand the tragic nature of his dreams. Whereas the American viewers will sympathize with his dreams- as we’ve done with immigrants and “the American Dream” or the bootstrapping mentality of some people. In some way I do think Bong didn’t want an overtly revolutionary ending. I don’t think the average viewer, especially in this day, could handle an ending like that. Not to say that we don't understand class inequality and such. We are not living in, say the 60s/70s where there were Marxist movements all throughout the world. I don’t think we have the conditions for a revolution at this moment, although I do think the mass unemployment and the other severe economic consequences of this virus will radicalize the working class in large numbers, to a degree that we haven't seen in a long time. But to make my point, I feel that we are living in historic political times and we are coming to understand ourselves in a liberating way.  It is my hope that films like Parasite will awaken the revolutionary potential in us all.

Note: I wanted to use Fanon’s theory of violence and diagnosis of colonialism as a violent structure, in relation to capitalist society. I don’t want us to interpret his writings as something that can be isolated from the racial structure of colonialism, but i do think it is a beneficial guide to understanding this film.

Work Cited:

Philcox, Richard, translator. “On Violence.” The Wretched of the Earth, by Frantz Fanon, Grove Press, 2004.

Joon-Ho, Bong, director. Parasite. Barunson E&A, 2019.

Marx, Karl, and Frederick Engels. The Communist Manifesto. International Publishers, 1948.

[loveahq]

mw??

algunas caritas que nos gustaría ver por aquí son ( por ahora todos coreanos y/o asiáticos porque son los primeros que se me ocurren ):

femeninos: jung eun woo, lalisa manoban, jeon somin, krystal jung, moon byulyi, kang seulgi, ahn hyejin, kim younsun, jung wheein, im nayeon, chou tzuyu, fernanda wu, mina myoui, hirai momo, kim jisoo, kim taeyeon, im yoonah, kim chungha, lee sungkyung, son seungwan, park sooyoung, bae joo hyun, moon gayoung, kim jennie, im jinah, cheng xiao, yoo yeongjung, kim doyeon, kim hyunjung (seola), kim jiyeon (bona), jang seungyeon, jang yeeun, oh seunghee, choi yujin, kwon eunbin, chong tingyan, jeon soyeon, cho miyeon, yeh shuhua, song yuqi, minnie, seo soojin, jeon heejin, son hyejoo, jo haseul, jeong jinsol,  jung eun bi,  hwang eun bi, choi yu na, jung yerin. 

masculinos: seo kangjoon, kim seokjin, kim minjae, woo dohwan, jung jaewon, kris wu, kang daniel, song mino, lee taemin, choi minho, yang honseok, jung wooseok, kim taehyung, yeon one, jo jinho, adachi juto, kim hyo jong, jeon jungkook, wen junhui, kim mingyu, xú míng hào, kim namjoon, hansol vernon chwe, lee min hyuk, son hyunwoo, oh sehun, park chanyeol, kim junmyeon, min yoongi, jung hoseok, luhan, byun baekhyun, hwang minhyun, choi minki, kang dongho, koo junhoe, kim jin hwan, ong seongwu, kim jaehwan, park jinhoon, jackson wang, mark tuan, im jaebum, choi youngjae, cha eunwoo, lee taeyong, moon taejil, ten, yuta nakamoto, jung yoon oh.

si quieres sugerencias de fcs que no sean de asia, hmu !!!

[dear-indies]

do you know of any asian males in any western period films? i wish to make an asian pirate oc or something, xoxo

Winston Chong (Black Sails) 

Worth a mention:

Kubuta Yuki (Sengoku Basara) Japanese.

Nam-gil Kim (Hae-jeok: Ba-da-ro gan san-jeok / Pirates) Korean.

Hae-jin Yoo(Hae-jeok: Ba-da-ro gan san-jeok / Pirates) Korean.

Kyeong-yeong Lee(Hae-jeok: Ba-da-ro gan san-jeok / Pirates) Korean.

Tae-woo Kim(Hae-jeok: Ba-da-ro gan san-jeok / Pirates) Korean.

-C

[imriya]

K Drama List

Okay yeah I told myself I wouldn’t do this but I lied. This is a list of all the K Drama’s I’ve watched. Ratings and all

1. Weightlifting Fairy Kim Bok-Joo

Rating: 8/10

This was it. This drama got me hooked onto drama’s! It was so cute and carefree and the iconic ‘Do you like Messi?’ line still gets me every damn time! I loved the chemistry between the leads and although I thought I would get second lead syndrome, it was impossible not to fall in love with  Joon-Hyung. The only reason it didn’t get a 10/10 was because of the other dramas I’ve watched

2. Thumping Spike 2

Rating: 2/10

I don’t even know why I finished this drama but this was the worst drama I have ever watched! I stopped watching for a while because of this. The storyline, the acting, the girl was incredibly annoying and so was the second lead. Honestly would recommend this to anyone who wants to quit dramas cold turkey

3. Uncontrollably Fond

Rating: 9/10

TEARS! THERE WERE LOADS AND LOADS OF TEARS! I am not an emotional person at all so the fact that this drama got me to cry was just...honestly I cant! I was hooked from the second episode and finished this within 3 days even though I had finals that week. Bae Suzy took some getting used to but GOD DAMN KIM WOO BIN AND HIS AMAZING ACTING SKILLS! just get your tissues ready is all im saying especially for the last episode

4. Goblin

Rating: 9.5/10

I watched this two days after recovering from uncontrollably fond only because i saw it all over twitter. I was super skeptical coming into this but I just couldn’t help myself and it was probably the best decision I have ever made! The acting from the whole cast and the cinematography was just brilliant! At no point of this drama would you be bored I can assure you that much. I fell in love with the Grim Reaper and the whole twist it was just brilliant! I still tear up when I think about this drama. I went through more tissues for this more than any other drama I have ever watched

5. Heartless City/ Cruel City

Rating: 9/10

THE TWISTS OF THIS DRAMA OH MY LORD! At the end of every episode you are guaranteed a twist you would have never guessed! This drama kept me on my toes and kept me up at night. The acting was amazing but at times the female lead can get on your nerves so just be patient but the female interactions are amazing and I wish more drama’s gave us that. The male leads were all hot af which makes it so so easy to watch but really the friendships and relationships is what keeps this drama so amazing. it’s more of a psychological thriller than it is a romantic one but if you do want to get into psychological thrillers then i would highly recommend this one

6. W: Two worlds

Rating: 5.5/10

I didn’t finish this one because it got wayyy too repetitive. It was good for like the first 12 episodes then I had to force myself to keep watching. I liked the concept of a comic book character coming to life and switching between worlds but I thought it dragged on for way too long and just couldn’t bear to keep watching. The chemistry seemed a little forced but the acting by Lee-Jong Suk was the only reason I kept watching - amazing!

7. The Heirs

Rating: 6.5/10

THE SECOND LEAD SYNDROME IS SO BAD SO PREPARE YOURSELVES! I was recommended this by a lot of people to watch with Boys Over Flowers but after watching this and suffering my second lead syndrome I just couldn’t keep watching. It got too draggy and too repetitive at times like yes I get it - You’re rich and she is not. The female character was incredibly annoying but other than that and the second lead syndrome this was alright. My favourite character will forever be Chan Young that little cutie

8. City Hunter

Rating: 7/10

This was...wow! The stunts and the cinematography was amazing! Hats off to Kim- Sang Joong for his amazing portrayal of Lee Jin Pyo! This drama will really keep you on your toes especially with all the fights and the couple of twists

9. She Was Pretty

Rating: N/A

I couldn’t get past the 3rd episode. It bored me from the start and was incredibly cringy at times. Maybe I will try to watch it again but I just couldn’t watch the whole ‘oh i used to be pretty but now im super ugly.’ trope.

10. Scarlet Heart Ryeo

Rating: 3/10

Reminder: that this is a personal opinion list

Every time I tell someone I didn’t like this drama I get very bad looks but I just couldn’t with this drama man! I forced myself to finish it. It was really interesting at the start and I loved it but after the 13th episode (and I know cause I looked) I was so bored and it just annoyed me to no end. This drama really put me off period dramas and till now I can’t watch any. The first lead and her fizzled off and the fact that almost every guy was in love with her just made me roll my eyes. The drama dragged on for way too long and the ending sucked. This is probably the worst one I watched after Thumping Spike. I stopped watching drama’s for a while because of it. The only saving grace was Nam Joo Hyuk

11. Legend of the Blue Sea

Rating: 9.5/10

THIS WAS THE CUTEST DRAMA! I put off watching this for a while because of the whole mermaid thing but I regret it so much! It was so cute and the acting was on point! I cried so much during the last episode oh lord! The love story was funny, moving, so well developed and it was adorable from start to finish! This drama will make you laugh, cry, pissed off at times but it was just...I wish I could erase my memories and watch it again! Warning: you will fall in love with Tae-O

12. Bride of Habaek

Rating: 4/10

I was so disappointed with this drama, i had such high expectations and it just...Okay so I finished it because of Krystal and Gong Myung and how adorable their relationship is. This drama was adapted from the manga and i have to say that the manga was way better. The lead actress was so annoying and other than ‘I am a God you can’t treat/say/do this to me’ Nam Joo Hyuk really doesn’t have any other lines. Watch at your own risk.

13. School 2017

Rating: 9/10

THIS WAS SUCH A GOOD DRAMA! It was adorable while also teaching a lot about society nowdays. I loved the fact that it was supportive rather than pitting leads against leads like drama’s usually do. It was so cute and funny and just made my insides go ASJSFJSFJSHFSF because of the chemistry and how relevant the stories were.

14. Strong Woman Do Bong Soon

Rating: 9.5/10

THIS IS THE CUTEST DRAMA IF YOU WANT A BREAK FROM CRYING OR LIFE! Min min and Bong Bong OH I CANNOT! It was funny and cute and a little supernatural but trust me you will love it! This one will make you roll on the ground and pause just to squeal bc CUTENESS! Get me a guy like him pls

15. My Secret Romance

Rating: 8/10

This is kind of like Strong Woman but without the supernatural powers. A lot of resemblance with the whole CEO and girl who is working in the company except this one involves a one night stand and a female lead that can get on your nerves a little but other than that it was adorable and cute and definitely gives you a break from the crying dramas

16. Oh My Venus

Rating: 8.5/10

So this is a story about a fat girl who wants to lose weight and gets (read as: manipulates) a world famous trainer to help her boom they fall in love. It was really cute and the relationship between all of the cast just does things to my heart! It’s really worth the watch and the ending just had me on the floor! Also abs abs abs abs ERRYWHERE

17. While You Were Sleeping

Rating: 9.5/10

I just finished this drama like 3 days back and OH MY GOD! BEST DRAMA I HAVE EVER WATCHED! The chemistry between the two leads killed me! The twists and the character development and the directing and the cinematrograhy and the ACTING OH MY GOD! I have never watched a drama like this before! The supernatural and the real life scenarios were just...WOW!

18. Descendants of the Sun

Rating: 9.5/10

THIS FRICKIN DRAMA! I finished this in 2 days! It was that addicting and amazing! Both the lead and the side couple were brilliant! The acting was amazing the chemistry was even better! The fact that they also focus on the rest of the cast and the growth development of every single damn character is what got me! THE OST FOR THIS IS STILL ON MY PLAYLIST! I love this drama so much it’s in my top 5

19. Healer

Rating: 8.5/10

The reason it took me so long to watch this was because I read somewhere that it wasn’t worth the watch and that person is wrong! The concept of this drama is different but all episodes work towards one goal which i wanna say but will be a spoiler. The ending will have you shook

20. My Love From Another Star

Rating: 8.5/10

THIS FRICKIN DRAMA! It was really good and I loved the chemistry (which I know I say a lot) but really man! Chong Seong Hee is like an onion -  she has layers and there is also an alien but really man this drama killed it! I had very low expectations from it and it seriously proved me wrong. There is this one scene with the lead’s camera...just...get tissues. I teared but did not cry bc im a strong woman with no emotions

21. Pinocchio

Rating: N/A

I couldn’t get past the 7th episode. It bored me and I just found myself rolling my eyes at it a lot. I will try and rewatch this one day but just not any time in the near future.

22. Fight For My Way

Rating: 9.5/10

I COULD NOT STOP WATCHING! This drama was amazing! 4 best friends who just live life and the character development and the romance and friendship is literally goals! It was lighthearted but also got serious when it needed to be! It’s amazing and I would totally watch it again and again! I love Ae Ra’s aegyo she’s adorable <3

23. Suspicious Partner

Rating: 8/10

The start was a little rocky but after that it really grew on me. I would watch it in between classes and what not the cliffhangers just had me biting on my nails and the romance didn’t seemed forced or anything it was overall pretty alright and as a law student i loved the law part of it hehe

24. Hospital Ship

Rating: N/A

I will definitely be coming back to this but I had to stop midway for a bit. I loved the slow burn romance and also how that wasn’t the main plot of the story. I also loved the character interactions and how you can literally see the growth of each character after every episode.

25. Cheese in The Trap 

Rating: 1.5/10 

This drama is just super creepy with the stalker and his ‘dark tendencies’. It had me cringing and hating the fact that I had to keep watching. The only saving grace was Baek In Ho with his witty banter and constant support. The SLS is really strong in this drama. Baek In Ha was just cringy and annoying overall 

[onetwothreekimchi]

Week 2: Contemporary Korean Art

I admit it - I’m an uncultured swine. Which is why this week’s pearls of Korean art history wisdom was probably wasted upon me. That said, I couldn’t help but find our lecture on Korean modern art utterly fascinating, especially with its intersection with politics, popular culture and social commentary.

Lee Soojin, art historian and Assistant Professor at Hongik University started her seminar by introducing abstract masters such as Lee Jung Seop, Park Su-geun and Kim Hwan-gi, all of whom in the 1950s, paved the way into ‘western’ painting via their use of oil paints, forgoing the traditional ‘eastern’ techniques of ink and brush. 

Above: Kim Hwan-gi in his New York studio in 1972. Photo © Whanki Foundation-Whanki Museum

The Dansaekhwa (’single colour painting’) movement came about in response to continuous tenures of Korean dictatorships masquerading as presidencies, leading artists such as Kwon Yong-Woo and Ha Chong-Hyun to highlight the stifling political atmosphere through muted and heavily restrained techniques such as repetitive mark making and fixation on creating textures. Professor Lee stressed that for avant-garde artists like Lee Ufan, the process of creating art was as important as the final product. They saw themselves not as ‘artists’ but as ‘mediators’ who created ‘incidences’ and not objects of art.

A theme that jumped out at me from artwork in this era was the liberal use of the colour white, which turns out to be no coincidence. Professor Lee introduced us to us to the self-conceptulisation of Koreans as baekui minjok (백의 민족) or ‘white-clothed people’, a term coined by Japanese art critic Yanagi Muneyoshi when he first visited Korea in 1916 and was enchanted by the white hanbok that many Koreans wore at the time. At the historic ‘Five Korean Artists, Five Kinds of White’ exhibition held in Tokyo in 1975, considered the first exhibition where Dansaekhwa was introduced internationally, negative space was celebrated as much as the brush strokes and textures placed upon blank canvas.

As such, I’ve decided to document my own ‘Five Kinds of White’ via photos of everyday objects of significance. More specifically, these photos are of items that were especially meaningful during the COVID-19 lockdown many of us have been, and are still experiencing. Like members of the Dansaekhwa movement, I focused on subtle details, such as the textures and play of light on surfaces.  Through this series, I’m hoping to capture the ‘incidence’ we’ve all found ourselves in during this global pandemic.

From left to right: toilet paper roll, uncooked rice, the inside of a surgical mask, bubbles in a sink and a blister pill packet.

Toilet paper roll: at the beginning of the pandemic in early 2020, people started to stockpile toilet tissues, among many other daily necessities. Shelves were eerily empty and people queued up for hours just to buy groceries.

Rice: a staple of many Asian countries, I grew up eating it every day. In fact, Koreans, like many other neighbouring countries, use variations of ‘have you eaten rice?’ as a greeting. A steaming, hot bowl of this stuff is the ultimate comfort food.

The inside of a surgical mask: while these are now mandated by law, at the beginning of the pandemic, I was extremely hesitant about wearing masks not because I doubted their efficacy, but having personally experienced the rise in abuse towards people of East Asian descent (I was shouted at in the street), I was worried about being harassed again in public.

Bubbles in a sink: hand washing every time before I eat and as soon as I return home will most definitely be one of the habits I will continue even after the pandemic.

A blister pill packet: working from home has definitely caused all sorts of painful postural issues for many people, myself included. Headaches from the increased amount of time spent in front of a screen has also lead to this empty packet of ibuprofen.  

* * * * *

(Professor Lee’s seminar also covered the socio-political movement of Minjung art that pushed back against the aforementioned western art influences - which many considered too high-brow and elitist - but that deserves a whole other post!)

[lekhanhanhdoan]

Bi Rain và Kim Tae Hee vượt Kwon Sang Woo, Jeon Ji Hyun, đứng đầu danh sách "10 đại gia bất động sản của showbiz Hàn". from Giải trí - VnExpress RSS via Funny Videos