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taylorafergus · 4 years

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Fashion: The Fast and the Furiously Unsustainable - Week 7

Haute couture has always been a relatively respected and "staid affair" of which consisted of leading fashion houses crafting garments that cost upwards of hundreds and thousands of dollars (Sull and Turconi 2008, pg. 5). These astronomical prices provide buyers and wearers with feelings of exclusivity and contribute to a greater sense of social and cultural acceptance.

Up until the late 1980s, fashion apparel retailers had utilised their knowledge of the industry and its market in a bid to forecast consumer demand and fashion trends in order to remain competitive (cited in Bhardwaj and Fairhurst 2010, pg. 165). Fast-forward 20 years and the fashion industry requires a new lens to view, understand and predict its market. The dynamics of this evolving industry have "forced retailers to desire low cost and flexibility in design, quality, and speed to market [all of which act as] key strategies to maintain a profitable position in the increasingly demanding market" (Bhardwaj and Fairhurst 2010, pg. 165). Retailers have revolutionised the fashion apparel industry by following a strategy known as 'fast fashion' - the democratisation of couture in "bringing trendy, affordable items to the masses" - which consequently bears its own set of harmful and unethical practices (Sull and Turconi 2008, pg. 5). As an antipode to such a strategy, the 'slow fashion' movement was established and continues to gain mainstream attention and traction.

Figure 1. Shopping GIF. Source; Giphy c. 2020.

Firms and fashion houses in the fast fashion apparel industry - such as Zara, Fashion Nova, UNIQLO and H&M - have increasingly embraced the philosophy of 'fast fashion' retailing. The term 'fast fashion' describes a new and accelerated fashion apparel business model. The strategy involves the "increased numbers of new fashion collections every year [ - typically crafted to emulate current, high-cost luxury fashion trends - ], quick turnarounds and often lower prices" (House of Commons Environmental Audit Committee 2019, pg. 6). The aim is to react rapidly, theoretically overnight, in order to develop new products to meet consumer demands and fashion trends before they become yesterday's news. Fast fashion companies thrive off of fast cycles: "rapid prototyping, small batches combined with a large variety, more efficient transportation and delivery, and merchandise that is presented ‘floor-ready’ on hangers with price tags already attached" (cited in Joy et al. 2012, pg. 275). This combined with increasing consumerism has brought forth a dangerous ethos for both consumers and the planet; that is, the adopted mindset of a 'throw-away' culture that encourages over-consumption (Xue 2018, pg.9).

The fast fashion industry is fundamentally unsustainable and unethical. Textile production plays a larger contributing factor to climate change than international aviation and shipping combined. Additionally, the process requires large volumes of fresh drinking water and is a major chemical and plastic pollutant (House of Commons Environmental Audit Committee 2019, pg. 3). To put that into context - It costs 2,700 litres of fresh drinking water to make one cotton T-shirt, which is enough water for one person for a 900 day period (Gbor c. 2020). Australians alone "dispose of 6,000 kilograms of fashion and textile waste every 10 minutes" (Gbor c. 2020). Further, the working conditions of such an industry are no better. "Most garment production is done in developing countries, which do not have strict rules for worker safety, wage regulations or child protection" which is commonly exploited (Gaitho c. 2020).

One medium that plays a contributing factor in the proliferation of the fast fashion industry is Instagram. The trends gaining traction within the fashion industry are highly influenced by, and dependent on, media and celebrities. The rapid adoption of technologies and their increasing accessibility to the internet and social media ultimately contribute to a higher ‘trend’ awareness among consumers (cited in Léa et al. 2018, pg. 8). Fashion inspiration is no longer monopolised by seasonal fashion shows, glossy magazines and photoshoots. Further, the Fashion Retail Academy argues that Instagram has grown into one of the "top sources of fashion inspiration, with nearly a fifth (17%) of people using it to find the latest trends" (cited in Skeldon 2019). Additionally, fast fashion houses have jumped at the opportunity to partner with some of the most influential users of the platform by adopting a strategy called 'influencer marketing' which is commonly employed with individuals of ‘microcelebrity’ status. The term 'influencer marketing' refers to the phenomenon of utilising influential individuals, who are active users online and are willing to share brand messages with their following (cited in Léa et al. 2018, pg. 7).

Figure 2. Big Brother Frankie GIF. Source; Giphy c. 2020.

Consumers are becoming increasingly disenchanted with their mindless consumption and disposal of fashion goods and its impact on society (Joy et al. 2012, pg. 277). Slow fashion, interchangeably referred to as sustainable fashion and ethical fashion was introduced as an antipode to the fast fashion industry (Lai et al. 2017, pg. 82). Sustainable fashion refers to ‘goods and services that respond to basic needs and bring a better quality of life, while minimizing the use of natural resources, toxic materials and emissions of waste and pollutants over the life-cycle, so as not to jeopardize the needs of future generations’ (cited in Lai et al. 2017, pg. 83). Consumers are increasingly seeking ethical and sustainable alternatives to the goods and services they encounter daily such as food, makeup, fashion etc.

Fast fashion is a blatantly unsustainable and unethical industry that depends on the ignorance of consumers in identifying the true costs of staying ‘on-trend’ - the planet and the quality of life of others.

Figure 3. Fashion Upcycling Sticker GIF. Source; Giphy c. 2020.

References.

‘Big Brother Frankie’ [GIF], in Giphy c. 2020, influencer, Giphy, viewed the 4th of May 2020, <https://giphy.com/gifs/globaltv-big-brother-social-media-4T3QViZYrTGfcHEnnC>

Bhardwaj, V, Fairhurst A 2010, 'Fast fashion: response to changes in the fashion industry', The International Review of Retail, Distribution and Consumer Research, 01st of February 2010, vol. 20, no. 1, pp. 165-173

'Fashion Upcycling Sticker' [GIF], in Giphy c. 2020, fast fashion, Giphy, viewed the 4th of May 2020, <https://giphy.com/stickers/sustainable-ethical-zerrin-YlT2C6hzYI1xXxanjj>

Gaitho, M c. 2020, 'Unethical Fashion: Exploitation of Women and Children', Fabric of the World, viewed the 3rd of May 2020, <http://www.fabricoftheworld.com/unethical-fashion-learn-how-the-textile-industrys-practices-are-hazardous-to-workers/>

Gbor, N c. 2020, 'War on Waste: It’s time to step off the fashion trend-mill', ABC, viewed the 3rd of May 2020, <http://about.abc.net.au/war-on-waste-its-time-to-step-off-the-fashion-trend-mill/>

House of Commons Environmental Audit Committee 2019, 'Fixing fashion: clothing consumption and sustainability', House of Commons Environmental Audit Committee, Sixteenth Report of Session 2017–19, 5th of February, viewed the 2nd of May 2020, <https://publications.parliament.uk/pa/cm201719/cmselect/cmenvaud/1952/1952.pdf>

Joy, A, Sherry, JF, Venkatesh, A, Wang, J, Chan, R 2012, 'Fast Fashion, Sustainability, and the Ethical Appeal of Luxury Brands', Fashion Theory, 1st of September 2012, vol.16, no. 3, pp. 273-295

Lai, Z, Henninger, C, Alevizou, P 2017, ‘An Exploration of Consumers’ Perceptions Towards Sustainable Fashion – A Qualitative Study in the UK’, (eds) Henninger, C, Alevizou, P, Goworek, H, Ryding, D (eds), in Sustainability in Fashion A Cradle to Upcycle Approach, Palgrave Macmillan, pp. 81-101

Léa, C, Malek, P, Runnvall, L 2018, 'Influencers impact on decision- making among generation Y and Z Swedish females when purchasing fast fashion.', Jönköping University: Bachelor’s Degree Project in Business Administration, 21st of May, viewed the 3rd of May 2020, <https://pdfs.semanticscholar.org/f5fa/d75c4891a71b6c9f3781f75a13f4666ff846.pdf.>

‘Shopping GIF’ [GIF], in Giphy c. 2020, shopping, Giphy, viewed the 4th of May 2020, <https://giphy.com/gifs/pretty-girls-hair-13SrduL7iVarT2>

Skeldon, P 2019, 'Social influencers have led to the rise in fast fashion, with 30% of shoppers using Instagram for inspiration', Internet Retailing, viewed the 3rd of May 2020, <https://internetretailing.net/mobile-theme/mobile-theme/social-influencers-have-led-to-the-rise-in-fast-fashion-with-30-of-shoppers-using-instagram-for-inspiration-20388>

Sull, D, Turconi, S 2008, 'Fast fashion lessons', Business Strategy Review, June 2008, vol.19, no. 2, pp. 4-11

Xue, S 2018, 'Ethical Fashion in the Age of Fast Fashion', Digital Commons @ Connecticut College, viewed the 2nd of May 2020, <https://digitalcommons.conncoll.edu/cgi/viewcontent.cgi?article=1023&context=arthp>

#mda20009 #digitalcommunities #fashion #fastfashion #unsustainable #unethical #slowfashion #influencer #instagram #ethical #ethicalfashion #slowfashionmovement #microcelebrity

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insteadhere · 5 years

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Robert Jensen: Patriarchal Sex

I’ve seen an excerpt from Jensen’s Patriarchal Sex (one quoted by bell hooks in “The Will to Change: Men, Masculinity, and Love”) circulated around so I thought I’d add in a few more abstracts as it is a good piece.

Jensen, R. (1997). Patriarchal sex. International Journal of Sociology and Social Policy. Vol. 17, Iss. 1/2: 91-115.

(Note: Jensen is a gay man, but has very clear and critical takes on pornography, patriarchy, and power in general and I find him to be a worthwhile read.)

I begin with a working definition of patriarchal sex: Sex is fucking. In patriarchy, there is an imperative to fuck-in rape and in "normal" sex, with strangers and girlfriends and wives and estranged wives and children. What matters in patriarchal sex is the male need to fuck. When that need presents itself, sex occurs.

From that, a working definition of what it means to be a man in this culture: A man is a male human who fucks.

I am not a prude, but I have come to realize that I am very much afraid of sex. I am afraid of sex as sex is defined by the do i culture, practiced all around me, and projected onto magazine pages, billboards, and movie screens. I am afraid of sex because I am afraid of domination, cruelty, violence, and death. I am afraid of sex because sex has hurt me and hurt lots of people I know, and because I have hurt others with sex in the past. I know that there are people out there who have been hurt by sex in ways that are beyond my words, who have experienced a depth of pain that I will never fully understand. And I know there are people who are dead because of sex.

Yes, I am afraid of sex. How could I not be?

A common response from people when I say things like that is, "You're nuts." Sometimes, when I'm feeling shaky, a voice in the back of my head asks, "Am I nuts?"

I have been doing research and writing on pornography and sexuality for about eight years (Jensen 1996, 1995b, 1994a, 1994b). In the past few years, I have been trying to figure out how to talk to people who think I am crazy and how to deal with my own fear that they may be right. I have been trying to understand why the attack on the feminist critique of patriarchal sex has been so strong and so successful, and how it connects to the backlash against feminist work on sexual violence.

Here's one tentative explanation: It is too scary to be afraid of sex. To go too far down the road with the radical critique of sexuality means, inevitably, acknowledging a fear of patriarchal sex. And if all the sex around us is patriarchal, then we are going to live daily with that fear. And if patriarchal sex seems to be so overwhelmingly dominant that it sometimes is difficult to believe that any other sex is possible, then maybe we are always going to be afraid. Maybe it's easier to not be afraid, or at least to repress the fear. Maybe that's the only way to survive.

But maybe not. Maybe being afraid of sex is the first step toward something new. Maybe things that seem impossible now will be possible someday. Or maybe we will find that we won't need what we thought we needed. Maybe being afraid is the first step out of the fear and into something else that we cannot yet name.

Here is the curriculum for sex education for a normal American boy: Fuck women.

Here is the sexual grammar lesson I received: "Man fucks women; subject verb object" (MacKinnon 1989, p. 124).

The specifics varied depending on the instructor.

Some people said, "Fuck as many women as often as you can for as long as you can get away with it." Others said, "Fuck a lot of women until you get tired of it, and then find one to marry and just fuck her." And some said, "Don't fuck any women until you find one to marry, and then fuck her for the rest of your life and never fuck anyone else."

Some said, "Women are special; put them on a pedestal before and after you fuck them." Others said, "Women are shit; do what you have to do to fuck them, and then get away from them."

Most said, "Only fuck women." A few said, "Fuck other men if you want to."

The basic concepts were clear: Sex is fucking. Fucking is penetration. The things you do before you penetrate are just warm-up exercises. If you don't penetrate, you haven't fucked, and if you haven't fucked, you haven't had sex. Frye (1992, p. 113) defines this kind of heterosexual, and heterosexist, intercourse as, "male-dominant-female-subordinate-copulation-whose-completion-- and-purpose-is-the-male's-ejaculation." That is sex in patriarchy.

Men in contemporary American culture (I make no claim to cross-cultural or historical critique; I am writing about the world in which I live) are trained through a variety of cultural institutions to view sex as the acquisition of pleasure by the taking of women. Sex is a sphere in which men (by this I don't mean that every man believes this, but that many men believe this is true for all men) believe themselves to be naturally dominant and women naturally passive. Women are objectified and women's sexuality is commodified. Sex is sexy because men are dominant and women are subordinate; power is eroticized. In certain limited situations, those roles can be reversed (men can play at being sexually subordinate and women dominant), so long as power remains sexualized and power relations outside the bedroom are unchanged.

Summed up by Andrea Dworkin (1987, p. 63):

“The normal fuck by a normal man is taken to be an act of invasion and ownership undertaken in a mode of predation; colonializing, forceful (manly) or nearly violent; the sexual act that by its nature makes her his.”

One of the key sites in which these sexual values are reflected, reinforced, and normalized is pornography. Domination and subordination are sexualized, sometimes in explicit representations of rape and violence against women, but always in the objectification and commodification of women and their sexuality Dworkin 1981, 1988; MacKinnon 1987, 1993). This results in several kinds of harms to women and children: (1) the harm caused in the production of pornography; (2) the harm in having pornography forced on them; (3) the harm in being sexually assaulted by men who use pornography; and (4) the harm in living in a culture in which pornography reinforces and sexualizes women's subordinate status.

In a world in which men hold most of the social, economic, and political power, the result of the patriarchal sexual system is widespread violence, sexualized violence, and violence-by-sex against women and children. This includes physical assault, emotional abuse, and rape by family members and acquaintances as well as strangers. Along with the experience of violence, women and children live with the knowledge that they are always targets.

So, the conventional view is that rape can't be about sex and has to be about violence, because if it's about sex then each one of us has to ask how deeply into our bodies the norms of patriarchal sex have settled. Men have to ask about how sexy dominance is to them, and women have to ask how sexy submission is to them. And if we think too long about that, we face the question of why we're still having patriarchal sex. And if we face that question, we may have to consider the possibility of stopping. And if we aren't having sex, then we have to face the dominant culture's assumption that we aren't really alive because we aren't having sex.

Women aren't victims, some say, and radical feminism has tried to rum women into victims by focusing on the harms of patriarchal sex.8 This is a deceptively appealing rhetorical move. When members of one class (women) identify a way that members of another class (men) routinely hurt them, those who are hurt are told they are responsible for the injury because they identified it. If women would stop talking about these injuries, the logic seems to be, then the injuries would stop. This strategy seems popular with some women and lots of men lately. I understand why men take this stance; it relieves them of any obligation to evaluate their own behavior and be responsible. And I understand why women don't want to see themselves as always at risk of men's violence and sexual aggression. But saying you aren't at risk because you don't want to be at risk doesn't take the risk away.

What does the word "victim" mean? Dworkin (1990, pp. 38-39) writes:

“It's a true word. If you were raped, you were victimized. You damned well were. You were a victim. It doesn't mean that you are a victim in the metaphysical sense, in your state of being, as an intrinsic part of your essence and existence. It means somebody hurt you. They injured you. ... And if it happens to you systematically because you are born a woman, it means that you live in a political system that uses pain and humiliation to control and to hurt you.”

We live in a world in which some people exercise their power in a way that hurts others. It has become popular to pretend the injuries are the product of the overactive imaginations of whiners. White people routinely tell non-white people that racism is not a big problem and that if the non-whites would stop complaining, all would be fine. Rich people tell poor and working people that there is no such thing as class in the United States and that if we all would just work hard together everything would be fine. Straight people tell lesbian and gay people that if they would just stop making such a public nuisance of themselves everyone would leave them alone and things would be fine. But things aren't fine. We live in racism. Poor and working people are being crushed by a cruel economic system. Heterosexism oppresses lesbians and gays. And men keep fucking women.

I no longer trust myself to chart the course for change, to refashion sex into something I can trust. So, I seek not-sex, something different than what "sex" means in the dominant culture. I want intimacy, trust, and respect from other people, and I hope that it is possible for those things to be expressed physically. But I don't want sex.13

To say that I don't want sex is not to deny my sexuality nor cut myself off from my erotic power, as Audre Lorde uses that term (see also, Heyward 1989). Lorde talks about the way in which women's erotic power is falsely cordoned off in the bedroom, made into "plasticized sensation," and confused with the pornographic (1984, p. 54). For Lorde, the erotic is a life-force, a creative energy:

“those physical, emotional, and psychic expressions of what is deepest and strongest and richest within each of us, being shared: the passions of love, in its deepest meanings (1984, p. 56).”

Lorde writes about expressing her erotic power in some ways that the culture does not define as sexual and others that the culture might call sexual; she writes of the erotic power flowing both in the act of writing a good poem and in "moving into sunlight against the body of a woman I love." My expression of the erotic at this point in my life need not include such movement against the body of another. What is crucial is not channeling my erotic energy into sex, but finding other ways to feel that power. Lorde writes:

“Recognizing the power of the erotic within our lives can give us the energy to pursue genuine change within our world, rather than merely settling for a shift of characters in the same weary drama (1984, p. 59).”

#RobertJensen #PatriarchalSex #radfem #patriarchy #anti-porn

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deer-tokki · 5 years

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Seek magazine vol.008 (2016) SHINee’s Everyday Q&A

Minho’s Everyday

1. What's the first thing you do when you get up in the morning? Minho: First I look at my phone. I check for messages and the time... Things like that.

2. What's the color of your toothbrush? Minho: I don't remember because there is no particular color but... I guess blue?

3. What do you usually eat for breakfast? Minho: I don't eat breakfast!

4. What do you always have in your refrigerator? Minho: Sports drink. Sometimes I drink sports drinks in the morning.

5. What is your favorite fashion item? Minho: Jeans, cap, soccer uniform. I wear uniforms for fashion, not soccer practice.

6. Your favorite wallet? Minho: A folding blue wallet.

7. What drinks do you often order at cafes? Minho: Iced Americano.

8. What is your favorite smartphone case? Minho: This is the case of a soccer player called Fernando Torres, it's a custom-made case, the only one in the world.

9. What's the most recent photo taken with your phone? Minho: A selca.

10. What games are you into right now? Minho: Certainly "Winning Eleven".

11. What about your most recent staple food? Minho: This (question) in particular! There is no such thing, I like to eat a lot of things.

12. What is the most memorable TV show you watched recently? Minho: "Soccer Euro 2016" is being broadcasted recently, so I have been watching it all (laughs). Also, I laughed while watching the Korean variety show named "Knowing Brothers".

13. What music do you listen to these days? Minho: I listen to a song by an artist called Lukas Graham.

14. What books you've been reading these days? Minho: Poetry. It's a collection of famous poets' works and I read it because there are expressions and new discoveries that I never thought of and I can expand my range of thinking.

15. What have you bought recently? Minho: What was it...? (He thinks for a while) I don't remember. (laughs)

16. What foods do you cook when you are hungry? Minho: Ramen.

17. When did you laugh the most recently? Minho: Hm... I don't think I can remember...

18. What was your biggest shock recently? Minho: It's a secret.

19. What has surprised you the most recently? Minho: This is also a secret! (laughs)

20. when do you feel relaxed when you're home? Minho: When I can sleep on my bed.

21. What did you dream about recently? Minho: Sometimes I have dreams but I forget what I dreamed about.

22. How do you sleep at night? Minho: Wearing a T-shirt and shorts.

23. What to do before going to bed at night?! Minho: I watch my face.

24. What will you eat for dinner tonight? Minho: Samgyetang.* (*Samgyetang: Ginseng chicken soup)

translation: DiamondTaem

#minho #seek magazine #2016 #translation

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howwelldoyouknowyourmoon · 5 years

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Divine Principle – “any character would have sufficed to fill the role of ‘messiah’”

Many ‘messiahs’ have taught variations of the Divine Principle in Korea.

Kim Baek-moon 金百文 taught it from the early 1940s, and was the source of many of Moon’s ideas. Kim developed the ‘parallels of history’ which culminated in the year of his birth, 1917.

Kim Baek-moon talked about “sexual union with God”

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Chong Deuk-eun 丁得恩 taught 17 ideas in the mid 1940s that were integrated into Moon’s Divine Principle. She called herself Holy Mother, and had developed a theology to demonstrate that she was a new female messiah. She was over 20 years older than Moon, and had developed her ideas well before meeting him. She taught the four position foundation, the failure of Abraham, etc., many years before Moon. She practised pikareum and described it as “Transmission of the holy blood”. At the end of her book, The Principles of Life, she emphasized the restoration of Eden. LINK

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Here are examples of four men and one woman who were Unification Church members, or studied the Divine Principle, and have then promoted themselves as messiahs or gurus:

Jung Myong-suk (or Jeong Myeong-seok) 鄭明析 – the South Korean cult known as Setsuri, JMS, Jesus Morning Star, or Providence. LINK

Jeong Myeong-seok, above. Following accusations against him by South Korean police of rape, fraud and embezzlement, Jeong fled the country in 1999 and lived as a fugitive in Hong Kong, Taiwan, and China before being arrested by Chinese police in May 2007. In April 2009, the Supreme court of South Korea sentenced Jeong Myeong-seok to 10 years in jail. LINK

Sex and the bizarre world of former Moonie, Providence cult leader Jeong Myeong-seok

VIDEO

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Lee Il-chi 李一指 (born Lee Seung-heun 李承憲 ) – Dahn Yoga LINK

Dahn is the Korean for “energy”

“During the day time, Lee attended college, and … studied with Unification Church’s Divine Principle study group looking for answers in the bible.” (“Dahn Hak” written by Lee Il-chi, page 199)

From www.freedomofmind.com: “While I was seeking Tao at Moak mountain, I attended Unification Church. … I opened up a Unification Church Il-Wha spring water franchise, but it failed so I had to sell my house.

…Lee first opened his eyes to the enlightenment in 1980. According to Dahn World, President Lee achieved his “Great Connection with the Heaven” on July 15th 1980 at Moak Mountain behind his wife Sim JourngSook’s birth home.”

[similar to Moon’s 1936 ‘revelation from Jesus’ myth]

“Lee reportedly had help from Hwa-young Moon, a Korean woman who joined Dahn in the late 1980s and whipped [the theology] into shape; she knew a good deal about the enlightenment trade, having grown up in the “Moonies,” the Unification Church.” (Rolling Stone magazine, 2010 LINK)

In 1980 Lee changed his name from 李承憲, Lee Seung-heun to Lee Ilchi 李一指. Ilchi means “finger pointing to the truth.” [Moon changed his name from Moon Yong Myung to Moon Sun Myung. Yong means dragon.]

Lee left two sons and his wife. [Moon left his first wife, Choi Seon-gil, and infant son in 1946. (ref. Michael Breen, Sun Myung Moon, the early years) Hee-jin Moon was born on August 17, 1955 in Tokyo. He was the son of Kim Myung-hee and Moon Sun Myung who married on June 30, 1955. Moon has acknowledged he is Hee-jin’s father. However, Moon never gave any financial support for his wife or for his son during their four year exile in Japan.]

In 2008, Dahn settled a lawsuit for an undisclosed sum when a college professor named Julia Siverls died of dehydration while hiking a Sedona mountain, allegedly lugging 25 pounds of rocks in her backpack. LINK

The Scary Yoga Obsession – A Glamour exclusive LINK

Thousands of young women have turned to the popular Dahn Yoga practice, and many say they love it. But now some former members are making shocking charges of greed, psychological manipulation and sexual assault. Who’s right?

… A few months later Jade attended a Shimsung workshop led by a high-level Dahn trainer and staffed by Dahn masters. These workshops, according to Jade and some of the other plaintiffs in the suit, take on the air of group therapy, with participants sharing their deepest, darkest insecurities with a roomful of strangers. Masters are quick to offer a box of tissues or a supportive embrace during emotional moments. At the end of the workshop, the lights dim, loud drumming music is turned on and the participants chant, weep and shout, “Who am I? What do I want?” Lucie remembers that some people walked out midworkshop, unnerved, but she and others felt as if their hearts had opened.

Recalls Lucie, “It felt like you were falling in love, only much bigger, because you weren’t just falling in love with a person, but with a community, a practice and a lifestyle, all in one. It was everything. I felt like the luckiest person in the world.”Cult experts call that lavish attention “love bombing,” a common recruitment technique. “As social beings, we respond well to people who make us feel welcome and secure,” notes Janja Lalich, Ph.D., a professor of sociology at California State University, Chico, and a cult expert. “Love bombing also tends to make the person feel more obligated to comply with requests from the group—requests to come back again, to give more, to bring friends and so forth.” The technique doesn’t work on everyone, which may explain why many people can practice Dahn Yoga without being consumed by it. “Dahn is especially appealing to anyone who is anxious, vulnerable or struggling with personal issues like a breakup or questions about career direction,” says cult expert Szimhart.

Six months into her Dahn experience, Lucie dropped out of college to dedicate herself completely to Ilchi Lee’s “vision” of spreading the word about Dahn Yoga. When her MIT tuition refund check came, she cashed it to pay for a course at Dahn’s National Retreat Center in Sedona, Arizona. “You feel good when you write the check or swipe your card,” says Lucie. “Like you just bought a present for your soul.”…

… Lucie now directs a ski school in New Hampshire and has paid off the debt she accrued while at Dahn. One good thing she says has come from her ordeal is a “beautiful friendship” with Jade, Liza and Nina. “We’re healing together,” says Lucie. While they say they may never see a penny—or an apology—from Dahn, they hope their complaint will save others. “The women who become sabumnims are incredible people; they are so smart and passionate and have so much to contribute to the world,” Lucie says. “Ilchi Lee’s bank account is not a cause worthy of all they have to offer.”

Catherine Elton is a journalist in Boston.

It is worth reading some of the comments under this Glamour article.

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Woo Myung-shik – Woo Group LINK (Not to be confused with Woo Myung and Maum Meditation)

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David Jang – LINK Christianity Today September 2012, Vol. 56, No. 8, Pg 36, “The Second Coming Christ Controversy”

… The details of Jang’s early life are in question, and multiple efforts to contact him for this story’s publication were unsuccessful. Critics in Korea, Japan, and China say he was involved in Sun Myung Moon’s Unification Church. They point to his appearance in a 1989 student handbook for Moon’s Sung Hwa Theological Seminary as an assistant professor of theology, teaching systematic theology and Unification theology. They also cite a 2002 history of Sun Moon University praising him for helping to fund the school.

… But according to several sources with experience in Jang-associated organizations and communities, many members of the movement believed that the key event in Jang’s early missionary endeavors is not in his résumé—nor, indeed, in any written source. It was believed, these sources said, that in or around 1992, early follower Borah Lin told Jang that she believed he was the “Second Coming Christ”—not Jesus Christ himself, but rather a new messianic figure that would complete Jesus’ earthly mission. According to several former members, Lin became an important spiritual figure in Jang’s closest circles. Documents from teaching sessions indicate that Jang and his followers look to October 30, 1992—Jang’s 43rd birthday—as the precise date of the start of their own movement. Beyond that, affiliated groups including Apostolos Campus Ministries and Olivet University look to 1992 as the year of their founding.

… The basic content of these messages, both as contained in the notes and as described by former members, bears similarities to the teachings of Sun Myung Moon—that Jesus’ work was left unfinished and in need of another "Christ” to complete it. Daniel 12 records a notoriously ambiguous prophecy that refers to 1,260 days (“a time, times and half a time”), “1,290 days,” and then finally to “1,335 days.” The 1,260 days, the notes say, finished when Jesus was born, and the 1,290 days were completed when Jesus began to preach and teach publicly at 30 years of age (1,260 + 30 = 1,290). His three-year public ministry, they say, advanced the prophecy of 1,290 days to 1,293 days, but because the Cross cut his mission short, Jesus did not fulfill the prophecy of the 1,335 days. There is thus a remaining gap of some 42 “days,” which were said to symbolize 42 years. Multiple sources said that this 42-year gap was believed to have been fulfilled by Jang.

The lessons also taught a doctrine of “three Israels.” The first was a national Israel, the second was composed of Christians, and the third was constituted by the movement Jang had founded. The 144,000 of Revelation 7 was said to refer to this “third Israel,” and the Lamb who redeemed them was said to be “not Jesus, but the Christ of the Second Coming.”

Closely associated with this idea of Jang’s followers as the “third Israel” is a distinction between the “gospel of parables” that Jesus taught and the “eternal gospel” delivered to Jang. One of the lessons said, “Jesus speaks in parables to preach to us, but to the new era, the gospel will be explained more clearly, that is, the everlasting Gospel.” This “everlasting Gospel” will be proclaimed by the Second Coming Christ.

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And a new True Mother, ‪Senyu Ryuka Sama‬ LINK

‪A service with Senyu Ryuka Sama‬ LINK

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Disciples of the messiah, Lee Man-hee

Rival Korean messiah, Lee Man-hee, builds workshop next to UC / FFWPU Cheongpyeong Center

How “God’s Day” was established by Sun Myung Moon on Jan 1, 1968

Newsweek on the many Korean messiahs of the 1970s

Hwang Gook-joo and his orgies

Chong Deuk-eun – Great Holy Mother

Park Tae-seon – another Korean Pikareum Messiah

Kim Baek-moon talked about “sexual union with God”

Kim Seong-do and the roots of the Divine Principle

The six ‘wives’ of Sun Myung Moon

Sun Myung Moon: “church and the state must become one”

#Korean messiahs #Kim Baek-moon #JMS #Providence #Divine Principle #Sun Myung Moon #FFWPU #Hak Ja Han

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dlstmxkakwldrlarchive · 8 months

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(throwback) SHINee Seek Magazine Vol. 17

#210622 #shinee #ot5 #onew #lee jinki #jinki #kibum #kim kibum #key #taemin #lee taemin #minho #choi minho #seek magazine #seek magazine vol 17 #scans #supernoonatm #brown hair

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ghostcultmagazine · 1 year

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Check out our preview of new Rock and Metal album releases coming out this week! Abolish – From The Depths (FDA ) Adrian Benegas – Arcanum (Reaper Records) Ancient Settlers – Transition EP (Crusader Records) Blood Ceremony – The Old Ways Remain (Rise Above Records) Burning Witches – The Dark Tower (Napalm Records) Cemetery Moon – Cemetery Moon (Self-Released) Concilium – Sky Bvrial (Sentient Ruin) Cosmic Jaguar – The Legacy Of The Aztecs (Metal Warrior Records) Countless Skies – Resonance (Willowtip Records) Creme Flesh – Casablumpkin (Comatose Records) Cryptic Shift – Return To Realms (Blood Harvest) Crushing Sun – Tao (Black Lava) Currents – The Death We Seek (SharpTone Records) Dave Lombardo – Rites Of Percussion (Ipecac Records) Dawn Of Existence – Ancient Arts (Self-Released) Dead Chasm – Sublimis Ignotum Omni (FDA) Death Goals – A Garden Of Dead Flowers (Prosthetic Records) Deathstars – Everything Destroys You (Nuclear Blast Records) The Devil Wears Prada – Color Decay Deluxe Edition (Solid State Records) Drain – Living Proof (Epitaph Records) Enforcer – Nostalgia (Nuclear Blast Records) Erei Cross – The Widow And The Others (Klonosphere Records) Fauns – Surcease EP (Self-Released) Godslut – Procreation Of God (Selfmadegod Records) Grandiosa Muerte – Egregor (Wormholedeath Records) Haunt – Golden Arm (Iron Grip Records) Heimland – Forfedrenes Taarer (Edged Circle Records) Herod – The Iconoclast (Pelagic Records) The Hip Priests – Roden House Blues (The Sign Records) Kanaan – Downpour (Jansen Records) Lumsk – Fremmede Toner (Dark Essence Records) Nightmarer – Deformity Adrift (Total Dissonance Worship Records) Oreyeon & Lord Elephant – Doom Sessions Vol. 8 (Heavy Psych Sounds) Savage Grace – Sign Of The Cross (Massacre Records) Severed Angel – Severed Angel (Sliptrick Records) Smokey Mirror – Smokey Mirror (Rise Above Records) Spinebreaker – Cavern Of Inoculated Cognition EP (Creator-Destructor) StartTheMonkey – Urban Psyche (Electric Talon Records) Tantivy – Eyes In The Night EP (Metal Warrior Records) Teeth – A Biblical Worship Of Violence EP (Nuclear Blast) Trevor’s Head – A View From Below (APF Records) Tygers Of Pan Tang – Bloodlines (Mighty Music) Undead – Putrefactio (Redefining Darkness Records) Unearth – The Wretched; The Ruinous (Century Media Records) Vintersea – Woven Into Ashes (M-Theory Recordingd) Weathers – Are We Having Fun? (Sumerian Records) Winger – Seven (Frontiers srl) Yosh – Metaphors and Visions Of The Past, Re-Releases (Metal Warrior Records) 💻 Omar Cordy (https://www.instagram.com/ojcpics) 🎤 Micaela Superstar (https://ift.tt/tdN2ahF) 🎵 Fahad Syed (https://www.instagram.com/fahanzi). ▵ PODCAST ▵ (Listen on Spotify, Apple Podcast, Anchor) 👉 Ghost Cult Magazine Podcast https://ift.tt/J0SnIEB ▵ GEAR WE USE ▵ (These are affiliate links) Set up A: Sony A7 III - https://amzn.to/3tQm422 Tamron 17-28 - https://amzn.to/3ePrlTd Tamron 28-75 - https://amzn.to/3fqCjgY Desview Mavo-P5 Monitor- https://amzn.to/33LlTub Manfrotto Befree Travel Tripod - https://amzn.to/3hxbL0e Lighting: YONGNUO YN600L - https://amzn.to/2QkNrn5 YONGNUO YN300 Air - https://amzn.to/2QjN5gu Dfuse Softbox - https://amzn.to/3uQq4AN Aputure MC - https://amzn.to/3oirFgx NanLite PavoTube II 6C - http://bit.ly/NanLitePavoTubeII Lightstands - https://amzn.to/3uSBl3x 5 in 1 Reflector - https://amzn.to/33KHdjo And our iconic Rope Light https://amzn.to/3ycdmyz For the full list of Ghost Cult gear: http://bit.ly/OJCPicsKit ▵ LET'S BE FRIENDS ▵ https://ift.tt/ASRn4PY https://twitter.com/GhostCultMag https://ift.tt/DBSRePI https://ift.tt/VqyhQPi #newmusicfriday #rock #metal #punk #hardcore #indie #deathmetal #stonerdoom #thrashmetal #blackmetal #symphonicmetal #folkmetal #metalcore #nmf #newmusic #ghostcultmag

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missstormcaller · 6 years

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BLEACH JET Artbook Talk Vol 2 - Translation (Q16-30)

ABOUT CREATION

Its distinct characters, selection of poetic dialogue and countless array of illustrations are all a grand attraction of "BLEACH". We reveal how they came to be born and close in on the secrets behind the creation process.

Q.16: How do you come up with the Kidō and Zanpakutō incantations?

Kubo: I just do somehow.

—— J: That you're able to just do it somehow, is nothing short of amazing. When it comes to the visual impact and sound, which angle do you prefer to tackle it from? Kubo: I guess both the sound and visual impact at the same time? Speaking of which, I haven't composed a Kidō incantation in a long time. —— J: They exist in a variety of categories, such as the explosive types, the binding types and so on. Where does your vision of their respective techniques come from? Kubo: I'm not at all sure. I wonder where the conception of my ideas originate from. There were certain things which took inspiration from song lyrics for example. —— J: They rhyme pretty good don't they? Kubo: I think I'm seeking to make people start wanting to repeat the words themselves. Or rather, I want people to feel a somewhat good vibe when they say it, like the seven-and-five syllable metre. That, I would say, is the case for given names or the names of techniques, pretty much everything. Furthermore, I have a feeling there were also things that took inspiration from the likes of mythology, "The Devil's Dictionary" and phraseology that appeared in books of that kind, but I honestly don't remember at all (laughs). —— J: Isn't Hirako supposed to release his Bankai in Narita's novel too? Kubo: Narita put forward a request, asking "may I get Hirako and Hisagi to release their Bankai?" and he followed up with "if it's okay with you, please tell me their names" to which I replied "I will think about it", I finally finished thinking about it just the other day. Though, as a matter of fact, I haven't relayed that information to him yet. —— J: I'm looking forward to it (laughs). Do you associate ideas from the impression of the character? Kubo: I draw out a great number of words by way of considering the abilities of the technique, the original Zanpakutō name and the character's image. After consulting with Narita about the establishment of Hisagi's Bankai, I said "perhaps this will do" and the direction I took became something like "bodies that are tethered together", consequently I began writing a list of all the words relating to "binding", "rope", "chains" and "prisoner". By establishing a successful link among all of that, it becomes a matter of combining the words and such…. —— J: So then, your process begins with the task of expanding a list of vocabulary first and foremost. Kubo: That's right. —— J: Which character's Bankai name caused you the most struggle to devise? Kubo: This time, Hirako and Hisagi are probably up there in first place (laughs). Hisagi might have taken the most time. —— J: Apart from that, did you contrive ideas from the image of characters like Ichigo and Byakuya? Kubo: I had no troubles at all when it came to that case. Ichigo's Tensa Zangetsu is taken from part of a name of a monster I was thinking about drawing in another manga. —— J: Oh! When did that one-shot happen? Kubo: It's "Rune Master Urara" my debut one-shot for Jump magazine. For a period of time, I was having fun coming up with monsters that could appear in that work, it was a time where I had devised a many number of them, the name of this super strong monster-like enemy with the whole length of its body pitch black was "Tensa Jūzen", that's where I took the "Tensa" part from. —— J: The roots of Tensa originate from there huh. However, Tensa did not appear in "Rune Master Urara" right? Kubo: Yes. Well, it was the configuration of a character that I would draw in the event that the work got serialised beyond this point. The visuals for Dondochakka is also something I had devised around that time. In order to get serialised in jump, I went to around three meetings and, well, failed on all attempts, but in those course of events I produced up to three chapters worth of work and showed it to Asada san who was my editor in those days. I presented Dondochakka's character visuals in several patterns of the second or third chapter which I had submitted, but Asada told me "don't make such a scary-looking guy the ally"…. I thought "you're kidding me, isn't he adorable?" but it was hopeless. Though, since I liked him so much I thought I'd try to use him for "BLEACH" (laughs). —— J: Are there other characters with this kind of case as well? Kubo: I only recalled that through our chat just now. Since I was not able to use the character in the other work, I'd say that's probably just about the only case. Also, with regard to Orihime, she puts her Shun Shun Rikka into operation by way of her hairpins doesn't she? Although this is also a matter from before "BLEACH" was serialised, Orihime's powers were at one point completely different to what they are now, there was one version in which she would sprout horns and a tail. Personally I thought this was cute as well, but I was told by Asada "the heroine can't look like this monster!" (Laughs) I'm relieved it was Shun Shun Rikka in the end though (laughs). —— J: Were any of the monster-like individuals of Hueco Mundo, like the Arrancar and Fracción, also based on rough drafts from around that time? Kubo: In that instance, I believe I just drew them more on the spur of the moment. —— J: Were there any complicated characters that made you feel something like "this character was not all that strong in the past, but since they're getting stronger, I have to start thinking about their Shikai or Bankai!" Kubo: I guess that would probably be Hisagi. I didn't think he would get that strong (laughs). —— J: Characters such as Byakuya give the impression that they were super strong from the very onset after all. Moreover, when you achieve Bankai, the fact is it remains imprinted in the history of Soul Society. Kubo: correct. It goes down in the records. —— J: I'd never have guessed that Hisagi would possess that much strength! Kubo: Hisagi doesn't really seem to be the calibre of some hotshot does he (laughs)? Although, that ill-suited impression about him is Hisagi's likeable side anyway. —— J: That pitiful aspect is the good thing about Hisagi isn't it? I mean, it's like you you just end up poking fun at him. Kubo: That's what I said even when Tōsen left, normally it would be just fine to promote the lieutenant to captain with the change in circumstances, but I thought "Hisagi and Izuru can't possibly be captains could they?", the pair really give the impression that they don't have what it takes. These two shine more as vice captains. That's why I created the forced post of "acting captain" and settled the matter there. Depending on one's viewpoint, Hisagi is kind of a hero-like character who has come to gradually develop as a result of all the various hardships that have befallen him. —— J: He is a hard worker isn't he? Though, even Hisagi would have been outstanding befitting of his talent when he first enlisted. Kubo: It's also neat how that is like the peak of his life. But on account of acquiring Bankai, I can say he has talent!

Q.17: I would love to know Sensei's process when he's thinking up characters! Although it might differ depending on the character, I wonder if 'the face suddenly springs to mind', or 'the outfit floats into your head', or if the 'name appears before you' etc….

Kubo: Since I just manage to draw my characters somehow or the other, it's not so much procedural…. —— J: Does "somehow or the other" mean that maybe you think to yourself "let's draw some guy who appears to give a certain air of strength", or "let's draw some guy who seems the type to deceive others?" Kubo: The idea is already in my head. Rather than thinking about it through the flow of the story, when I envision it, it's as if a substance like milk or mud begins to accumulate, something resembling a humanoid form floats around aimlessly within it, after I pluck it out, its image is gradually made clear, I think that's how it feels? —— J: That's pretty abstract! Kubo: By that point I would have more or less settled on things appearance-wise, with that frame of mind I then either compose it on paper as a rough draft or leave it floating in my head…. Aside from that, if any names come to mind I make a note of it, from among these rough drafts and notes I combine a set of ideas that makes me say "ah, this person will be the one to enter the stage this time", and finally I specify the role. —— J: So then, you compose the names and designs separately? Kubo: Yes, I think I quite often do things separately. —— J: So it's practically like how Ichigo was was searching around for his Zanpakutō through Ōetsu Nimaiya's training? Kubo: If I had to make a comparison using "BLEACH", then I think that analogy is the closest you can get. Generally, when I think to reveal a new character, I already have just the right person in mind. The story as well the characters is something that comes from me, so there is an outline from the very beginning. —— J: A number of unpublished materials have appeared for the first time in this artbook, but basically a large quantity are rough sketches. You would very often draw it and then put it aside for the time being. Does this mean there are hundreds of blueprints for characters dimly occupying a space in the back of your head?

Kubo: That's true, they have been there for some time now. When I put forward new characters, it's almost like taking that vision out of my head and making a clean copy. However, sometimes I don't have time and can't make the appropriate adjustments, so their faces start changing gradually in the manga (laughs). In that sort of sense, I have never been troubled by things such as the storytelling, or scenes that establish new characters. —— J: Are there any characters who, for instance, you had actually planned to put out on the Shinigami side, but ended up being revealed on the Arrancar side instead? Kubo: There is no character whose blueprint has changed to that degree. —— J: On the same subject, which character would you say came to be revealed in the most underdeveloped state and changed at a later stage? Kubo: I think the character who underwent the most change in terms of appearance, is Ulquiorra. When Ulquiorra made his first appearance, he had quite a different face. The personal image of him which existed in my head didn't change during the the creative process, but later when I looked back on my work I thought "his face looks a lot different huh?" —— J: I see. Kubo: In some cases, when an idea for a character appears in my head, their looks, personalities and sometimes even as far their colouring are all decided then and there, as for other characters those things are gradually decided upon. —— J: Do you feel the volume of these characters increased day after day? Kubo: It's not that they were created on a continuous basis, but rather in waves. Sometimes I produce five or six characters in the space of an hour or so, and sometimes it seems I produce none at all for days or even months. Therefore, the characters multiply either when I'm in the zone or when it's absolutely necessary to create them. —— J: From the considerable number of characters that appear in "BLEACH", I'd say the state of 'being in the zone' can't last forever, even if you can yield five characters in an hour. Kubo: And this is after a great number of cuts have been made too. These were unreleased characters that I felt, did not suit the universe of "BLEACH". Then there's the unreleased characters that have the right aura which I am able to present in "BLEACH", but I am not sure which part of the story I should apply them to. —— J: Are they characters which were not even suitable as Shinigami, Arrancar or Quincy? Kubo: I make a rough decision on the location and scene before I start designing them as either Shinigami, Arrancar or Quincy, but then there are some individuals that make me think something like "There's no panels to spare to introduce this guy to story. What role would he have played?" So, perhaps by some chance they will make an appearance if the timing is right when I draw something? —— J: That is certainly a treasure-trove you've been sitting on. Kubo: There's also the characters that make think something like "I wonder why this dude came to mind?" (Laughs) Q.18: The unique names which belong to the characters of "BLEACH" are impressive, but how do you come up with these names? Kubo: Even when I think about character names, I consider the sense of sound. The example I often cite is Hitsugaya Tōshirō, because it needed to give a cool impression, I thought a name that begins with letters either in the "sa column" or "ha column" would be perfect. I feel those sounds come across most smoothly. That reminds me, I believe Hitsugaya had a completely different name belonging to the "sa column" right up until the last minute. —— J: I'm curious about the name which got rejected. Kubo: The fact that I had forgotten about it, likely means it wasn't a good name to begin with. In addition, I consciously try to avoid names from the "ma column" because it doesn't sound cool. —— J: I get the impression that you take a great deal of care in the way you use consonants. Bambietta Basterbine for instance is all B-B-B. Kubo: That's right (laughs). —— J: The types that rhyme are nice as well, like Grimmjow Jaegerjaquez. Kubo: I'm often told that with regard to Grimmjow. —— J: It sounds cool, so it's a name that makes you start wanting to say it out loud.

Q.19: Regarding the characters' theme songs, I wonder how you visualise your characters to determine their songs through a piece of musical composition?

Kubo: When I'm planning and designing a character, a song that's familiar to me could start playing in my head and I think "that works a treat", in some instances when I'm drawing the scene in which the character first appears, a song that's playing in my head could naturally become their theme song.

Q.20: Are there any characters that received new theme songs around the time of the last chapter?

Kubo: Well, I've got nothing off the top my head. —— J: So the vision you decided on at the beginning, remains as unchanged as before? Kubo: Yes, that's true. Even if I had tried to listen around for a theme song once more, the one I chose in the beginning will always be the best suited.

Q.21: Each character has their own theme song, but do they also have their own fragrances to suit their image? I imagine it would be interesting if sensei did a collaboration with a perfume brand….

Kubo: I'm not all that familiar with perfumes, so please feel free to ask a perfume manufacturer instead (laughs).

Q.22: I'm curious to know if there are any characters who who radically transitioned away from your initial conception and setup, both during and before the series.

Kubo: Grimmjow is the one who underwent the biggest transformation. I get the feeling I've mentioned this elsewhere, but Grimmjow was initially set up to die before long, it was my plan to make him exit the stage as the story progressed, however when it came to the crunch I began drawing, and by the time I had finished drawing that week, I had already felt it was a waste to kill him off. I thought "this guy is too good", so when I informed my editor at the time that "I changed my mind, I'm going to abandon the idea to kill him off", he told me "to be honest, I also thought it would be a waste to let him die", this is a conversation I remember quite well. —— J: It certainly seems as if the side to him which is wilfully arrogant and confrontational would mark him out as an easily defeated character, however out of that, components like revenge and fate were affiliated with him and thus he became a great character.

Q.23: I would like for sensei to tell us if he is particular about anything when he's drawing female characters!

Kubo: I, don't think I'm good at drawing females. —— J: There's no way that's true…(laughs)! Kubo: For that reason, I'm not very particular about it. If I had to hazard a guess, I'd say "I hope they look soft" and that's about it. When the series first commenced my lines were rigid, and I should say I was fairly annoyed by that….That's why I want to draw my lines softer for females. —— J: Noel's thighs in "BURN THE WITCH" when she was riding her broom, as well as the straps of her holster biting into her skin, that appeared to be most supreme level of soft (laughs). Kubo: Well, I'm glad to hear that (laughs). As a matter of fact, I even came to like big boobs because I was attempting to draw bodies with a softer look. —— J: So you came to like them while challenging yourself to draw a soft look. Kubo: Originally, around the time I was still a student, I liked small boobs better since they were easier to draw. —— J: That would apply to Rukia too. Kubo: But then I thought to myself "man I really suck at drawing a big bust", so when I was drawing "ZOMBIEPOWDER" I firmly decided that "I want to get good at drawing a big bust", once I had observed a sufficient number of big boobs in the hopes of drawing lots of them, I gradually came to like it. —— J: (laughs) Kubo: I won't be able to draw them better unless I like them after all. Since I grew to like them, I think it became possible to draw voluptuous figures with a more racy look. —— J: That is glorious (laughs). I remember quite clearly, some time ago, it was said that Kawashita Mizuki sensei is an artist Kubo sensei considers skilled at drawing. Kubo: That's true, it goes without saying that she is skilled, I am fascinated by those who can draw things which in my opinion I wouldn't be able to draw for myself. I can't do line art like Kawashita sensei.

Q.24: When Kubo sensei paints in his colours, does he use Copic markers? Or a graphics tablet?

Kubo: Copic markers. —— J: What about digital painting? Kubo: I can't do digital at all. In the past, there was a period between "ZOMBIEPOWDER" and the serialisation of "BLEACH", I used to challenge myself when I had the time, however I found that I couldn't draw at all like that. I thought "this is hopeless." —— J: You had tentatively challenged yourself right? But these days there are drawing programs like "Jump PAINT". Kubo: It's an app isn't it? These tools are becoming a lot more user-friendly huh. After all, back in those days there was nothing but the likes of "Photoshop" and "Painter". —— J: Nowadays, fellow manga artists will meet up and draw illustrations with their iPads on the spot. Kubo: They meet up and exchange drawings? —— J: They all jointly contribute by setting themes for each other, then start drawing something with their Apple Pencils, apparently these gatherings are really exciting. Kubo: I recently purchased an Apple Pencil. I tried using it, only to find that I was totally incapable of drawing on it . When Jigoku No Misawa and his wife (Matsubara Makoto) last came to visit, Makoto san tinkered around with the Apple Pencil for a little while even though she couldn't draw, she was telling me "if you play around with this thing here then this will happen, you follow?"…. Then it got to the point where I was able to draw on it (laughs). It appears that I'm just useless with devices. I think it would probably be a lot fun if it reached a point where it's more accessible for me though. —— J: When you're drawing on an iPad, you're drawing on glass, so the sensation of drawing on paper isn't the sensation being transmitted to your hand. Although, it appears that recently they started selling screen protectors which make you feel like you're drawing on paper. Kubo: I would be able to draw with something that feels like an actual pencil, that's insane don't you think!? Well, I'm slowly running out of reasons not to work digitally (laughs). But, the biggest reason is that my eyes tire. That's why I wear glasses that cut off blue light when I play video games. I would have to wear those glasses the whole time when it comes to drawing digitally right? Given that it would end up altering my perception of colours, on second thought, I feel it would be too difficult to work with digital as my main art medium.

Q.25: Please tell us the approximate duration of time it takes to go from rough draft to one page of a manuscript. I also draw manga and illustrations so I'm very interesting to know. I'm looking forward to your response!

Kubo: In my case, my storyboards become my rough drafts as it stands, so it's a question of how I should go about calculating time. If we're speaking with regard to the time it takes for the drawing process, it depends on what's on the page itself after all. And considering the fact that I was getting through fifteen pages a day during the series…. —— J: Is the duration of that time used for inking your sketches? Kubo: Yes. At my slowest I spent 8 hours for fifteen pages. Therefore, it would be roughly 30 minutes for one page. —— J: That's insanely fast (laughs). Kubo: However, midway through the series, I felt it was a detriment to my health, so I asked if I could have the number of my pages decreased. That made things much easier. From there I worked through thirteen pages a day. I would spend a day and a half inking my sketches, but I would always reserve just four pages for the other 'half'. Somehow I manage, or to be more precise it may be down to the fact that I am forced to finish with great momentum if there are four pages remaining. —— J: Do you prefer to compose your pages in a sequential order? Kubo: Yes, I feel more excited about it that way. I too want to get charged up along with the climax of the story in my manga (laughs). If I first start drawing a scene that takes place after the end of the climax, I don't get excited for some reason. As a result, when the distribution of my pages is poor, I'll end up continuing with the scene thinking "this is wearing me out", but then my thoughts become something like "if I can overcome this, I'll be able to draw some great faces!" I did my page distribution chronologically in order enjoy the drawing process. —— J: It's an intuitive method but makes sense nonetheless.

Q.26: What do you do when you're at an impasse with regard to material for the story? In addition, please tell us what you place the greatest importance on when drawing manga.

Kubo: Whilst drawing I'm already thinking about the next chapter, so I don't really find myself at an impasse much when it comes to material. During the series, I would construct my storyboards in accordance with the course of events, then I would start inking and at the same time would have devised the following chapter. —— J: Some illustrations are for coloured title pages, some are almost a kind of continuation of the story, and others are poster illustrations that have no relation to the story at all. How do you decide which one of these to do when you're drawing your storyboards? Kubo: On the occasions I get to create coloured title pages, I bear it in mind when I think "this is the sort of painting style I want to do next", and by the time I get around to making a coloured illustration I feel like I can compose any one of those things. Whenever I didn't have the luxury of time, I would search for painting techniques in a short span of time (laughs). —— J: This Gremmy illustration (JET volume 1, p.277) exudes quite a malevolent atmosphere, but is this the painting style you were attempting to go for? Kubo: I think I wanted to go for a creepy feel, I painted it using a brush and my fingers. —— J: So you start by having some idea of a painting style. Kubo: Well, I think that applies to pretty much everyone (laughs). —— J: By the way, roughly how long does it take for you to think about the composition of each arc in "BLEACH"? Kubo: It's more or less determined at the introduction of the arc. Around halfway through the Arrancar arc, I participated in a stage event at Jump Festa, there I was asked "how much longer will 'BLEACH' continue?" I said "I will draw two more arcs and then it's complete." So, setting aside the length of the story, at that point in time, I would have been deciding the endings five chapters into the arcs. —— J: I see…. So then, I wonder what you place great importance on in terms of drawing manga? Kubo: What comes to mind when asked about an area I place great importance on, or rather, an area I'm 'particular' about, is how to lay down the foreshadowing. I compose the foreshadowing element by dividing it into stages, but since this element in itself is explained in the novelisations through text, I won't talk about the 'stages' here. Nevertheless, I believe the things you discover on the first reading are not foreshadowing to begin with but rather an ice breaker, or to be more precise something like a freebie I give away to readers that says "please anticipate things to come from these depictions in the near future!" After the big reveal you go back to read it again at which point you're able to say "so this was foreshadowed!?" Now that in my opinion, is foreshadowing. There are two reasons for this, one, I like thriller movies, though do you sometimes have predictions that you've made midway through those thrillers, I mean ones that completely hit the mark by the conclusion? —— J: It happens every once in a while. Kubo: I hate that, I think to myself "if it's supposed to be foreshadowing, then keep the reveal hidden properly!" and "surprise me with the reveal why don't you!" (laughs), second, I think a great amusement of the manga or rather the storytelling, is that after enjoying the main story you get to debate with friends that it's "neither this way, nor that." —— J: Indeed it is exciting to exchange differences in interpretation with friends. Kubo: If those debates are the most exciting part, then I hope when people discover new bits of foreshadowing after looking back on works they've grown to love, that they get to experience an indescribable feeling in the moment they made that discovery. I think "BLEACH" could also be one of these much loved works, so I wanted to set it up in a way where each time one would reread the story there would be a new discovery, and then a sense of joy which can only be savoured by those who have reread the story many times over.

Q.27: On the inside cover of volume 27, sensei talked about packaging [of an iPod] and book jackets, but in truth the paperback volumes of "BLEACH" already had a reputation for its exceedingly cool look. Is there an aspect you are particular about in your design and style choices even now? I would like for sensei to comment on attaining strong aesthetic preferences.

Kubo: I like design in itself, so although It's not the case that I'm particularly conscious of it, I'm always picky about it nonetheless. After creating the original format for "BLEACH" paperbacks, I was thinking to use the same one until the very end, therefore you will only find minor changes throughout. So when it came time to publish volume 1, I thought "I want to give it an aesthetic that's different from other comics." This means things like all the front page poems, and drawing the huge volume titles on the front cover. Even though I would buy Jump Comics all the time, I never realised there was volume titles, when I was asked "what would you like to do for the volume title?" by Jump Comics editorial staff, I thought "why doesn't anyone use volume titles in their design?", as a result I decided to use volume titles in my own. —— J: you have a point, it usually only appears in small lettering above the title of the work. Kubo: Exactly. I always think "what a terrible waste." If you don't make use of it design-wise, then contrary to expectations, the presence of the volume title will end up interfering with the cover art won't it? —— J: Even the designers among these questions have reputed "BLEACH" to have an aesthetic that's different from other comics.

Q.28: Within the story of "BLEACH", I believe there was a many number of instances where you depicted members of the cast in a heroic last stand or momentarily on the verge of death, but what are you conscious of within yourself when expressing a character's 'death'? Is there anything you pay extra attention to?

Kubo: It's the timing. It's either something like "this is still not the right place to kill him off" or "it's ideal for this character to be killed off here." It's not a question of luck as far as the characters are concerned, but rather a question of whether or not it goes along with their characteristics. The side that survives is certain to have good fortune after all. I reckon the scene where Ulquiorra fades away also matches his nature. —— J: Is there any character who ended up dead even though you hadn't originally planned to do so? Kubo: Not off the top of my head, I think not. It's the same for the reverse too. Grimmjow is pretty much the only exception. Grimmjow originally lived as long as he did because I didn't come up with his death scene, but I think he would be dead if I had decided as far ahead as that death scene. I would probably be thinking "this way of dying is the coolest!" and because of that, I think I would have killed him off since I want there to be a cool aspect in my depictions. Although my depictions can give the impression that 'this person looks to be on the point of death here', my thinking is "I still want to make this character do so-and-so after this" and I don't let them die. —— J: Izuru was still alive with pipes attached to the hole in his chest after all. Kubo: About that, after thinking "there are gaps in the hole on Izuru's chest, if the moon could be seen through there, that would be super cool!" I really wanted to draw that. When he was revived in a zombie-like state, the staging of the scene where the moon was visible, is to make it appear as if the moon was actually in Izuru's possession. For that alone I put him on the verge of death for a time and then let him survive. —— J: So from a choreography viewpoint, there are times you like to think outside the box for characters that are made to survive. Kubo: Given that I'm fairly passionate about choreography, there's something about it that makes me go like "I want to draw this scene, let's do it!" —— J: By the way on the topic of Izuru, 10 years later is he still alive? Kubo: I suppose he's ‘alive’. Which reminds me, I didn't draw Izuru 10 years later…. He would be too pitiful if he was dead, so I consider him alive (laughs).

Q.29: Compared to when the series first began 15 years ago, what is the thing that underwent the biggest change?

Kubo: The biggest change in terms of the work, is my art style!

Q.30: I was surprised by the fact that two characters appeared on the final volume cover only. On LINELive, voice actor Morita san said "it is a truly fitting illustration for the last volume", I also thought indeed that is true. That the two individuals from the beginning of the story would bring it to a close, is very typical of "BLEACH" I think. What sort of thoughts did Kubo sensei have after drawing Ichigo and Rukia for the final volume cover?

Kubo: The story originally began with these two, so I thought I should try to end it with these two as well. Since I already knew how many volumes the final stages of the series would end with, I began assigning "this character to appear on the cover with this volume…", I could draw characters who were not able to appear on the front cover for a while, such as Uryū and Renji, but I wondered if I could put Ichigo and Rukia together on the final one. Given that it's been a single person per cover the whole time, I then grew to wonder if it would also exude a special feeling if I put the two individuals on the last cover alone. Those two are the faces that represent "BLEACH" after all. "BLEACH" didn't start with just Ichigo, neither did it start with just Rukia.

Translator’s notes:

“The Devil’s Dictionary” by Ambrose Bierce

The "ha" and “sa” columns refer to part of the Japanese syllabary table

Quote from BLEACH volume 27 “I bought an iPod the other day. [...] The best part was the packaging, I couldn’t bring myself to throw away the acrylic case my iPod came in even though i have no use for it. I hope someday I could create a bokk jacket so good that no one can throw it away.” Tite Kubo.

#BLEACH JET #BLEACH #JET ARTBOOK #mytranslationtag #ichigo kurosaki #Rukia Kuchiki #Tite Kubo #interview #Hirako Shinji #Hisagi Shuuhei #Orihime Inoue #tensa zangetsu #Ulquiorra Cifer #Grimmjow Jaegerjaquez #Gremmy #kira izuru #Toshiro Hitsugaya #renji abarai #ishida uryuu

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cwwdcim2019 · 5 years

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#NotAllMen: A Divided Community

The Internet has given a voice and a platform to many ideas and beliefs, and in doing so has given people a sense of community amongst those who share those beliefs. For marginalized people like women and people of color, having a safe space to discuss issues with people who understand their point of view helps them feel more accepted and heard. But, because the Internet is a public entity that anyone can access, there are also people that co-opt these safe spaces to challenge usually liberal ideals.

One example is the topic of feminism, where women have the space to discuss problems faced by women in the largely patriarchal society and bring up possible changes that could resolve these issues; however, wherever there are women talking about the bad things men do to them on a daily basis solely because of their sex, there are men defending these actions and pushing back against feminist ideals as 'misandry'. This can be seen in action with #NotAllMen, a hashtag where one can observe men using it seriously and women use it satirically to highlight men's antagonistic attitude. The hashtag #NotAllMen is an example of how societal norms are informed by virtual activism, how virtual activism is informed by real-life societal norms, and how one online space can separate into two distinct communities.

The phrase 'not all men' has created two types of communities on the Internet, both of which can in some way be considered minorities: feminists and 'meninists'. While the popularity and practice of feminism continues to rise, on the Internet in particular, feminists are targeted with ridicule, trolling, and vitriol. Likewise, while men are in no way a minority in real life, men who hold misogynistic views generally don't spread them in real life, but on the Internet, they have found a common community where they can share their otherwise unpopular and unsavory views. As Larry Gross writes in "Somewhere There's a Place for Us", digital media representation can present "the opportunity to reach out and communicate with like-minded individuals", creating "virtual public spaces that can be life - or at least, sanity-saving refuges for many who have reason to feel they are living in enemy territory" (258).

For both sides of the hashtag, people utilizing it feel as though the opposing side is the enemy, attacking their beliefs and their very right to live unmolested by others. Tumblr user Kristoffman, representing the men's rights side of #notallmen, shares his thoughts on feminists' venting below:

His post shows that, despite holding most of the social and economic powers, men feel persecuted and singled out by women sharing their complaints about dangerous or just plain annoying men. This feeling is what has led to a rise in the rebuttal "Not all men" in response to women saying things like, "Men get paid more than women," or "Men catcall us on the street." The community surrounding #notallmen is a defensive one, banding together to assert their innocence in male-perpetrated crimes and faux-pas, despite the fact that “83 percent of girls 12 to 16 have experienced some form of sexual harassment in public schools” (Blow, 2014) -- a statistic that shows a lot of men must be perpetrating sexual harassment.

As Jess Zimmerman of Time Magazine points out, the fact that men try to distance themselves from other sexist men is an indicator that the phrase "Not all men" indicates "a developmental path that echoes an individual man growing a social conscience", moving from the mentality "'but what about men's problems' to 'not all men like that'". In other words, Zimmerman says, it shows the shift from the idea that "Sexism is a fake idea invented by feminists" to "Sexism happens, but the important part is that I personally am not sexist". While this is progress to a degree, the defensive community mentality of 'us versus them', male versus female, that #notallmen provides gets in the way of an actual conversation between the two groups.

The other side of the hashtag is the women's perspective, where feminists have co-opted the phrase so often used to derail their conversations. Women began using the phrase 'not all men' to show how ridiculous men sound when they use it as a serious argument. They will make claims about the sexism they have experienced in the past, then show a man rudely interrupting in an obvious and defensive way to show that men aren't even listening to what they are saying. As Kirsty Strickland points out, men who use the phrase “not all men” “are letting women know that discussing misogyny makes them uncomfortable, and they’d like to be absolved of any blame before they will let women continue”.

Women and feminist men across the Internet have created a community dedicated to making sure women's voices are heard when they discuss the discomforts and dangers they face from men every day while showing defensive men that of course, rationally, not all men kill or rape or even catcall, but enough men do it that there is the need for a conversation about how to change things. By turning "not all men" into a satirical meme, feminists across the Internet have brought the conversation back to their community and, by beating men to the punchline, opened up space for a different kind of dialogue and reaction (McKinney, 2014).

The fact that men using #notallmen un-ironically tend not to share their posts on more professional or family-minded platforms like Facebook speaks to Bryce J. Renninger's observation of youths feeling uncomfortable using Facebook: because it is a social media platform where most people have family members, real-life friends, and even professional connections following them, they don't feel comfortable divulging certain pieces of information where they are "at risk of being disrupted, ridiculed, dismissed, or ignored” (2). This leads me to conclude that the un-ironic use of #notallmen constitutes a counterpublic.

Likewise, feminist appropriation of #notallmen can be considered another counterpublic because the feminist group is "seeking to change the status quo" and utilizes counterpublic communication "because it engages in the 'non-compliant practices of intervening, and the formation of new social and cultural structures, both in support of and resistance to changing social norms and values' (Lindtner et al., 2011: 5-6)" (Renninger, 2). These two communities share so many similarities in their classification and structure, but their interpretations of the other's message mean they are unwilling to listen to the other side and have a meaningful conversation.

The fact that one single hashtag has two distinct meanings depending on the kind of person using it shows the fluid nature of virtual spaces and how easily real life can come to be impacted by the influence of a virtual movement. #NotAllMen started off as a way for disgruntled men to push back against inflammatory feminist remarks, then morphed into a way for feminists to highlight the self-centered nature of this rebuttal and open the conversation up to different discourse. In doing so, #NotAllMen has informed the way that men and anti-feminists must go about their arguing both online and in real life, showcasing the transformative nature of online communities and activism.

Works Cited:

Blow, Charles M. “Yes, All Men.” The New York Times, The New York Times, 2 June 2014, www.nytimes.com/2014/06/02/opinion/blow-yes-all-men.html?ref=opinion&_r=0. Gross, Larry. “Somewhere There's a Place for Us.” Technological Visions: the Hopes and Fears That Shape New Technologies, edited by Marita Sturken et al., Temple University Press, 2004, pp. 255–269. McKinney, Kelsey. “Here's Why Women Have Turned the ‘Not All Men’ Objection into a Meme.” Vox, Vox, 15 May 2014, www.vox.com/2014/5/15/5720332/heres-why-women-have-turned-the-not-all-men-objection-into-a-meme. Renninger, Bryce J. “‘Where I Can Be Myself … Where I Can Speak My Mind’ : Networked Counterpublics in a Polymedia Environment.” New Media & Society, vol. 17, no. 9, 2014, pp. 1–17., doi:10.1177/1461444814530095. Strickland, Kirsty. “Why Men Should Stop Saying #NotAllMen. Immediately.” Medium, Medium, 25 Oct. 2017, medium.com/@KirstyStricklan/why-men-should-stop-saying-notallmen-immediately-f657e244f7a1. Zimmerman, Jess. “Not All Men: A Brief History of Every Dude's Favorite Argument.” Time, Time, 28 Apr. 2014, time.com/79357/not-all-men-a-brief-history-of-every-dudes-favorite-argument/.

#dcimselfsoc_sp2019

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emmagoldmanpapers · 6 years

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“Harvest Tidings“

Dear Emmassaries,

Though we are now in the dog days of summer, when the weather is — as Emma described it — “hot and sultry,” we look forward to cooler days ahead, when our wonderful student researchers return to campus from their travels. We’ve managed to find four talented work-study students who would be perfect for our final push to complete the volume. But we can only hire these students if we have the necessary funds for the next two semesters.

We need your help to ensure a plentiful harvest. Donate today so that we all may continue to enjoy the fruits of Emma’s labor. It’s easy!

Like the EGP Papers, Emma was always searching out the like-minded, seeking out supporters to build a people’s movement for social justice.

In 1906, she was struggling to fund the magazine Mother Earth. Though today this publication is an essential source of scholarship and inspiration, at the time, it was very much a labor of love — with an emphasis on labor. In an editorial written for the December 1906 issue, Emma reminisced: “Somebody has said that a Revolution would be impossible in July — ‘Mother Earth,’ too, suffered from the same cause, the revenue of the magazine largely depending on the sales at the various radical and liberal meetings, which are quite inactive during the Summer months. Thanks to the active interest of a few friends, however, I was enabled to fertilize the soil, hoping that with cooler weather would come the harvest. My expectations were amply justified. August, September and October brought a host of new subscribers and a great demand for single copies.” (For more, see vol. 2 of our series, Making Speech Free.)

The University expects us to raise $27,000 a month to cover all expenses — and avoid a termination — now set for August 31st. Every penny you contribute to the project helps to ensure our survival. There is still much work to be done. But it is our hope that August and beyond will bring us the support we need to complete this final volume of our documentary series — filled with insights that are not only pertinent to this historical moment, but also sorely needed.

Archivist Spotlight

We are still in hot pursuit of finally being able to officially hire our fabulous young archivist to help us prepare the archive for transfer. Alex earned her MLIS in 2014 from San Jose State University and has worked on archival and preservation projects with Paper Tiger Television, The Freedom Archives, Southern Exposure and the Bay Area Video Coalition. She is particularly interested in the documentation of radical histories, and also co-organizes an annual zine fest in the East Bay. With this great track record, Alex has been generously volunteering her time at the EGP for many years. We are lucky to have her and would like to reciprocate.

Raising Funds to Seize the Moment

Within the next three months we will be ready to submit the completed manuscript for typesetting. With our editors and work-study students, we will then have to proofread this 700+ page volume, and work with a professional indexer to ensure easy access to its broad range of historical detail.

With luck, the book launch will take place in the Spring or Fall of 2019.

Our fantasy has always been to celebrate the completion of the American Years series on Ellis Island. It was from there 100 years ago, that Emma’s deportation ship left shore — the story of which forms the dramatic ending of our volume. Your reading pleasure will begin as the work of the Emma Goldman Papers Project comes to an end, fulfilling our mission and 39-year labor love!

Closing Message from Emma Goldman

“And here I come back to this powerful thing — the greatest weapon in all the world, more powerful than dynamite and bombs,

and all other things together — that is the fear of public opinion — that the keepers and the jailers and the law-makers and the politicians have the fear of public opinion. It is necessary to create an intelligent, conscious, wide-awake revolutionary public opinion in the United States. That alone will open the prison doors, and nothing else.”

(Finally free, Emma Goldman honors political prisoners still in jail in her Address at the Kate Richards O’Hare Testimonial Dinner on Monday, November 17, 1919, 7:30 o’clock, at Gonfarone’s Restaurant, New York City.)

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kerrilewellen450-blog · 6 years

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Kevin Gates Net Worth Entire Career

This Post is specifically for Kevin Gates Net Worth, Kevin Gates is his Nick name for the stage. His borned name is Kevin Jerome Gilyard. He is from Louisiana and popular rapper of the Era, Kevin Gates is maybe best known for his hits, Really, Really, Time for That, and 2 Phones. He start his career from his teen age in music industry. His first album released in 2007 that was "Pick of Da Litter. Later there more two tapes before going to prison.

Kevin gates net worth can discuss after knowing his path to success. Gates have since figured out how to put himself progressing nicely, with 15 consecutive releases in the vicinity of 2012 and 2017. A couple of features incorporate, Stranger Than Fiction, By Any Means, Luca Brasi 2, and Murder for Hire, all of which topped on the US record outlines. His introduction collection titled, Islah was discharged last January, to positive audits.

An up-and-rising craftsman, his quality in the rap scene has been developing consistently finished the previous couple of years. Starting at 2017, as compared to kevin gates net worth, Gates has more than 15 million fans over his diverse web-based social networking accounts.

How effective has the most recent couple of years been for him? What amount has he figured out how to bank from his rap profession? As per different destinations, Kevin Gates net worth in 2018 is assessed to be around $1.5 million. What are his distinctive wellsprings of wage? We should discover.

Kevin Gates Net Worth 2018 – $1.5 Million

How did Kevin Gates net worth raised ?

Conceived on February 5, 1986 in Baton Rouge, Louisiana, Kevin Gates' (Real Name: Kevin Jerome Gilyard) childhood was for the most parts, turbulent. Experiencing childhood in a neediness stricken region, wrongdoing was wild; for a certain something, the area was loaded with street pharmacists. Strangely enough, he even had desires of being a medication master at a certain point. Getting himself into inconvenience, he was captured out of the blue at thirteen years old for "joyriding" with a couple of companions.

As an understudy, he went to two or three diverse secondary schools in the territory including Lee and McKinley. Regardless of the way that he exceeded expectations in class, his scanty participation record prompted a drop in his evaluations. Purportedly, eighth grade was the latest year that "[he] had finished." Coincidentally, it was around that time that he composed his first rap track. A major fanatic of music, he tuned in to a variety of classifications growing up including south shake, punk shake, shake and roll, and hip bounce.

By his late teenagers, Gates had chosen to seek after music as a vocation. Marking to Dead Game Records, he discharged his first mixtape named, Pick of Da Litter in 2007; he later turned out with his second venture, All or Nuthin' in 2008. Before he could continue his account be that as it may, a conflict with the law drove him to be imprisoned at Rivers Correctional. A sentenced criminal at the time, he had been gotten with a gun by officers who had pulled him over.

Regardless of the sentence in the slammer, Gates expressed that "being detained was the best thing that could have happened to [him]." During his chance at Rivers, he read at whatever point he could; a portion of his most loved titles included Art of Seduction and Celestine Prophecies. Through a jail program that was accessible for prisoners, he in the end even earned himself a graduate degree in brain science. Altogether, he served four years previously being discharged for good conduct in 2011.

Following his stretch in jail, he got ideal back to his music. Inside a couple of months, the rapper had discharged a mixtape titled, I Don't Know What 2 Call It (Vol. 1). From that point, he launched three extra undertakings (e.g. Make Them Believe, In the Meantime, The Luca Brasi Story) before picking up himself an impressive group of onlookers with his 2013 mixtape, Stranger Than Fiction. we were not able to configure kevin gates net worth for the said years.