Ya’ll be like “Shang was having a bi freak out, realizing he was into Ping”. NO HE WASN’T. He already knew he was into men. His bisexual freak out was when he realized Ping was Mulan and hey maybe he’s into girls too whatdoya know?
Legit you think a bi man who has always been in such a male-dominated space like the army hadn’t already figured out that he liked men? Come oooonnnn… It’s women he has rarely had contact with and has no idea how to talk to or flirt with (you fight good) I WILL DIE ON THIS HILL.
In “A Girl Worth Fighting For” Shang has zero lines I REST MY FUCKING CASE.
ppl don’t like to imagine bi ppl coming to terms with being bi after identifying as gay bc they think that’s a downgrade lol. That’s why there’s like 100000 stories about cishets realizing they were bi and like 2 of gay ppl realizing they were bi.
DO NOT DISTURB — HALESTORM OLDIE — ODD FUTURE LA DIFÍCIL — BAD BUNNY IF U SEEK AMY — BRITNEY SPEARS GIRLS — RITA ORA GIRLS & BOYS — JESSE A.C.D.C. — THE SWEET MONOPOLY — VICTORIA MONÉT & ARIANA GRANDE ALANIS’ INTERLUDE — HALSEY THE KIND OF LOVER I AM — DEMI LOVATO UNISEX FREESTYLE — DOJA CAT CAPTAIN HOOK — MEGAN THEE STALLION TAKE ME ON THE FLOOR — THE VERONICAS BISEXUAL ANTHEM — DOMO WILSON CHANEL — FRANK OCEAN
Snowball fight 124 years ago. Lyon, France, 1896. Colorized and speed adjusted. Original in black and white by Louis Lumiere.
Oh wow! Another portal back in time!
Reblogging to add excerpts from Sam Anderson’s wonderful commentary about this newly colorized/upscaled* short film in The New York Times:
“This is my favorite film of 2020 — a tiny masterpiece that perfectly distills not only our current mayhem but also, more profoundly, our baffling displacement in time.
“The footage was captured in Lyon, in 1897, by the Lumière brothers…. It was originally black and white, of course, and herky-jerky because of the low frame rate. But this snowball fight has recently been colorized and smoothed, and the result is shockingly modern. [….]
“Down in the bottom-left corner [of the gif** below], a thick man with a strong black mustache fires a cheap shot: a wild fastball, from point-blank range, that barely misses its intended target, a slim man who is busy looking the other way. The slim man turns, cocks his left arm and wallops the big man on his thigh. [….]
“My favorite character, and the closest the film has to a protagonist, is a man in a bowler hat and a coat so long it flaps around his legs like the cloak of a levitating wizard. He looks as if he has just stepped out of a bank meeting, and yet he abandons himself to this childish street warfare with eager glee.
[….]
“And then there is the bicycle. This is the peak moment of brutality, when the whole group loses its collective goddamn mind. Right from the start, you can see the cyclist coming: a small figure, growing larger every second, gliding smoothly on an angle toward the fray. Before he even reaches the crowd, he starts to take distant fire. And yet he is determined to ride on. When he arrives, all the warring factions turn to unite against him, unleashing a wickedly targeted cyclone. The cyclist takes hard shots to the arm, the face, the back, the neck. Still he pedals forward, hunching his back, spinning his long legs — a stoic hero, intent on gliding through the violence, determined to reach the safety of the other side.
“But he can’t. The cyclist absorbs one blow too many. He collapses like a broken toy. [….]
“On an intellectual level, we all understand that historical people were basically just like us. All those stiff figures frozen in blurred photos and smoke-stained oil paintings — the endless parade of side-whiskers, small dogs, billowing dresses, baggy trousers….They lived, as we do, in the throbbing nerve-pocket of the now. They were anxious and unsure, bored and silly. Nothing that would happen in their lifetimes had happened yet. The ocean of time was crashing fresh waves, nonstop, against the rocks of their days. And like us they stood there, gasping in the cold spray, wondering what people of the past were like.
“And yet it’s hard, across such wide gulfs of time, to really feel this connection. So to watch this snowball fight, to see these people so alive, is a precious gift of perspective. We are them. They are us. We, too, will disappear. We will become abstractions to be puzzled over by future people. That certainty, in the flux of 2020, feels anchoring. We are not unique. We move in the historical flow. [….]
“In Lyon, this street from the snowball fight is still there. It still looks basically identical: the trees, the buildings. I am staring at it now on my computer screen, and in my mind I am already planning a trip, imagining a pilgrimage, in some unrecorded future.”
French: Équipe
Olympique des Réfugiés // English: Refugee Olympic Team // Japanese: 難民オリンピックチーム (Nanmin orinpikkuchīmu)
Since the modern revival
of the Olympic Games, there have been cases of individual athletes being
unable, or unwilling, to compete in events for their national teams. The
creation of an official team for such athletes began at the 1992 Summer and 1992
Winter Olympic games under the various names of “Independent Olympic
Participants,” “The Unified Team,” “Individual Olympic Athletes,” and “Olympic
Athletes from Russia.” However, the “Refugee Olympic Team” was created for the
2016 Summer Olympics specifically to “show solidarity with the world’s refugees”
during the European migrant crisis that began in 2014. The Tokyo 2020 Summer
Olympics will be the team’s second appearance.
Kimono Designer: Komatsu Miwa/ 小松 美羽
Kimono Maker: Okano/ 岡野
Technique: Hakata-Ori/博多織
“The organization asked
Komatsu Miwa, an up-and-coming modern & contemporary artist active on the
world stage, to create the design based on the theme of her art installation, ‘Prayer.’
Creating the design on the inner lining, rather than the exterior, reflects a
hidden wish for peace inside the heart of the artist. The lining also includes Komatsu-san’s
autograph. The white outer silk of the kimono features a custom-made pattern made
to resemble a coat of feathers called ‘Torres pattern,’ (トーレス文様).” [1]
Obi Designer: Komatsu Miwa/ 小松 美羽
Obi Maker: Okano/ 岡野
Technique: Hakata-Ori/博多織
“The world view of ‘yin
and yang’ is woven with gold and silver color scheme in the eyes of the beast
as a motif. The back is woven with a colorful striped pattern to reflect
diversity.” [1]
Bibliography
Source 1 – Kimono Project for IOC Refugee Olympic Team
Occasionally forget people genuinely think capitalism is thousands of years old
One time I was talking about Robin Hood with some coworkers and one guy was like “he was bad because the people he helped learned to expect handouts” and I wanted to be like… okay can you explain how that flawed capitalist propaganda applies to feudalism
reminder that capitalism was literally invented in the 16th century
That’s an exaggeration. What was invented in the 16th century was mercantilism. Capitalism really dates for the beginning of the nineteenth century, with the rise of industry and cash crops over artisans and merchants. Vulture capitalism, with the notion that companies have no duties other than generating profit, is even younger.
Capitalism is only 200 years old and I have to say, they have not been an impressive 200 years
I think a lot of this comes from the fact that most people don’t know the formal definition of capitalism. We all know the word, we’ve all seen the jokes, but very few people bother to actually define it unless they’re talking about political theory and philosophy, so it’s easy to end up with the impression that Capitalism = Money Can Be Exchanged For Goods And Services.
Capitalism is the economic system where most of the means of production (i.e. everything people need to have to make the stuff that everyone wants) are owned by private individuals or corporations, who then hire people to provide the labor necessary to produce things, with the intent of selling the output at a profit. It’s the difference between “you’re a carpenter and you make a chair and you sell it” and “you’re Richard Q. Richington who owns a chair factory, and you pay people to sell the chairs you paid other people to make and then all the excess money goes back to you.” There have been Richard Q. Richingtons on and off throughout history, but that being the norm for every single industry is a pretty recent development.
