View allAll Photos Tagged decency
News.com.au ran a story about Banksy today. News.com.au didn't even have the decency to check all the artwork was actually by Banksy, let alone credit the photos to their respective photographers.
If this is your photo, you should write to News.com.au and complain.
A solo piece I photographed for a college project at age 16.
Inspired by the coral reef and mermaid fairy-tales. To create this image I used blue dye in a bath of water, with multi-colour silk clothes for decency. My light source was one flash light directly above and facing the subject.
Model | Alice
A shot I took during the cold snap in January at St Stephen's Green
Constance Georgine Markiewicz, Countess Markiewicz (4 February 1868 – 15 July 1927), was an Irish Sinn Féin and Fianna Fáil politician, revolutionary nationalist, suffragette and socialist. She was the first woman elected to the British House of Commons, though she did not take her seat and along with the other Sinn Féin TDs formed the first Dáil Éireann. She was also the first woman in Europe to hold a cabinet position (Minister of Labour of the Irish Republic, 1919–1922).
During the Easter Rising of 1916, a group of insurgents made up mainly of members of the Irish Citizen Army, under the command of Commandant Michael Mallin and his second-in-command Constance Markiewicz, established a position in St Stephen's Green. After the failure of the rising, they were taken to Kilmainham Gaol. At her court-martial she told the court, "I did what was right and I stand by it." She was sentenced to death, but General Maxwell commuted this to life in prison on; "account of the prisoner's sex." She told the court, "I do wish your lot had the decency to shoot me".
The Countess was released from prison in 1917 after a general amnesty.
A picture tells a thousand stories.
Film editor Sid Levin wrote in to Morning Stories to express his appreciation for our podcast, and enclosed his mug shot. The Producer and Director of Morning Stories, Tony Kahn, was surprised and delighted.
Dear Tony and Gary,
Because of podcasting, I've been allowed to share some of your experiences and I've grown fond of you both. What a strange and wonderful world we live in.
May I tell you why I sent in my donation to MORNING STORIES?
When I was about five years old, in the late thirties, my older sister and I listened to our favorite radio shows together. We gave ourselves completely to the experience . Eyes wide, we searched each other's faces during the scary parts. It was so much fun to hear these stories on my bedside radio,
Well, MORNING STORIES has brought back that particular pleasure for me. Earlier this week, when I saw George Bush the elder, being moved to tears as he talked about his son, Jeb's, decency I was reminded of a 60 MINUTES interview I saw with the great cartoonist, Charles Shulz shortly before he died. In it, he too was moved to tears by a tender remembrance. And I recognized that I, now in my autumn years, am more easily moved by the decency and reclaimed innocence of those around me. Perhaps it, like puberty, is a requisite stage of life. Which may explain, in part, my passion for MORNING STORIES.
The MORNING STORIES and their construction display the decency and compassion I now find so compelling. The money that I've sent you, a yearly tithe Lord willing, is a token of my appreciation of MORNING STORIES.
Sid Levin
With a week or two of Putin's invasion of Ukraine this message, "No War; Speak Up," appeared on the back of this car window. Now 6 weeks later the letters are fading a bit, but the message about #PutinWarCriminal is just as vivid.
Without talking to the person who wrote the message, it is hard to know if there is a personal connection to Ukraine or Russia, or if a universal feeling of human decency triggered this response advocating "speaking up": to family, neighbors, friends, workmates, elected officials, members of the press, and by using one's own presence in social media, too.
Press L for lightbox (large) view; click the image or press Z for full image display.
News.com.au ran a story about Banksy today. News.com.au didn't even have the decency to check all the artwork was actually by Banksy, let alone credit the photos to their respective photographers.
If this is your photo, you should write to News.com.au and complain.
This is a detail from a group photo which British Intelligence used to identify Seán Treacy. Treacy (pronounced Tracy, like Dick Tracy) was a member of the Irish Volunteers, a militia that was set up in 1914. He and his friend Dan Breen were radicals who worked directly for Michael Collins as salaried gunmen in the intelligence war of 1919 to 1921. They were also leaders in their own rights. Some of their exploits were recounted in western movies by Sergio Leone: the explosives expert, Seán, played by James Coburn in A Fistful of Dynamite was based on him; and the scene in The Good, the Bad and the Ugly where the bandit Tuco is being mistreated by a thuggish Sergeant Wallace, escorting him to prison on a train, reflects a real incident when one of Treacy's men was being escorted to prison by a Sergeant Wallace...with the exception that Treacy and some men stormed the train and rescued their friend.
Dan Breen described Treacy as both a cool killer and in one particularly funny incident (from before they worked for Collins) as an incredibly softhearted individual:
'During our stay in the new premises [rebel munitions factory], our living conditions were far from happy. Of bodily comforts we had none. We had neither bed nor coverings; worse still, we had no money wherewith to buy them. We got the loan of a couple of blankets from neighbours, spread straw on the ground, and covered it with a blanket. Over this we placed a layer of newspapers, and used a second blanket as a coverlet. The sheets of paper kept us warm, provided we did not shift our position. In this way we were able to get about three hours' sleep. If we moved during the night, the paper got torn and the cold penetrated to our bones.
'Still greater discomfort was caused by the plague of mice! On many a night we were wakened by their nibbling at our hair. Whenever I protested, Seán would plead: "Ah, the poor little creatures! They might as well be happy when we can't. Don't be vexed with them, Dan, even if they take a lock of your black hair." I argued that it was enough to have the Peelers after us, and if the mice had any decency they ought to leave us alone.'
The Postcard
A postally unused postcard with a divided back.
The Korean Gat
The man in the photograph is wearing the traditional Korean gat (Korean: Hunminjeongeum 갓)
A gat is a traditional hat worn by men along with hanbok (Korean traditional clothing) during the Joseon period. It is made from bamboo or horsehair with a bamboo frame, and is partly transparent.
Most gats are cylindrical in shape with a wide brim on a bamboo frame. Before the late 19th. century, only noble class men could wear gat, which represented their social status and protected their topknots.
Robert Neff of the Korean Times has written the following about Korean male headware:
'One of the most important articles of clothing for Koreans in the late 19th. century was the hat. The elderly man with his majestic black horse hair hat, often seen in pictures, is the iconic image of Korean male society during the Joseon Dynasty (1392 - 1910).
According to Percival Lowell, an American who stayed in Seoul in the winter of 1883-84:
"No Korean can in decency appear
without it [hat], except only to make
room for some other hat."
It was a sign of manhood, "the most essential of attributes," and a badge of one's position in Korean society.
Lowell seemed amused with the difference between Korean and American culture. In the United States it was considered poor manners to wear a hat indoors, and one would rarely remove one's shoes, but the opposite was true in Korea:
"A man would part with any or all of
his clothing sooner than take off his
hat. On entering a house, he leaves
his shoes outside to await his return,
but he and his hat go in together.
As he sits down to eat, he divests
himself of his outer garments that he
may eat with greater freedom, but his
hat stays on; and so it sticks to him
through life ― a permanent black halo."
There were many types of hats. The iconic hat, the gat, was made from horse hair and bamboo and was black and somewhat transparent.
It had a fairly wide brim that in the past, according to popular legend, was much wider as a means of preventing unrest. Because of its wide brim, conspirators were kept apart, and were unable to whisper their plans to one another.
There was also a large mourning hat made from bamboo. It was designed to hide the face of mourners from others they might encounter on the streets. It was considered a grievous breach of etiquette to look into the face of the mourner.
Early French missionaries used the mourning hat to disguise themselves as they traveled the Korean peninsula before the 1880's. They were able to move about in relative secrecy for no one would attempt to communicate with a mourner.
Court officials' hats had slightly bent-forward ear-shaped horizontal wings. It was said they symbolized the wearer's attentiveness and willingness to "catch every word of command that the King may utter."
As Korea entered the 20th. century, there were many reforms forced on the population. Some were readily accepted and appreciated, but others, especially those that dealt with hair styles and hats, were vehemently opposed.
"A man is much more firmly bound to
his hat than he is attached to his wife.
He may put away the latter; without
the hat, life becomes a hollow mockery,
for the hat makes the man. Without it
he remains forever a boy."
Hats remained a part of male culture throughout the first half of the 20th. century, but have since disappeared. The only exceptions are those worn by elderly males in the Jongno area, or the bright colorful caps that young teens and adults wear while out with their friends. The "permanent black halo" is no more.'
How Japan Took Control of Korea
Erin Blakemore has written the following for history.com in 2018, and updated it in 2023:
In 1910, Korea was annexed by the Empire of Japan after years of war, intimidation and political machinations; the country would be considered a part of Japan until 1945. In order to establish control over its new protectorate, the Empire of Japan waged an all-out war on Korean culture.
Schools and universities forbade speaking Korean, and emphasized manual labor and loyalty to the Emperor. Public places adopted Japanese, too, and an edict to make films in Japanese soon followed.
Topographical and other postcards of Korea were published with descriptions in Japanese text.
It also became a crime to teach history from non-approved texts, and authorities burned over 200,000 Korean historical documents, essentially wiping out the historical memory of Korea.
During the occupation, Japan took over Korea’s labor and land. Nearly 100,000 Japanese families settled in Korea with the land they had been given; they chopped down trees by the million and planted non-native species, transforming a familiar landscape into something many Koreans didn’t recognize.
Nearly 725,000 Korean workers were made to work in Japan and its other colonies, and as World War II loomed, Japan forced hundreds of thousands of Korean women into life as “comfort women”—sexual slaves who served in military brothels.
Korea’s people weren’t the only thing that was plundered during Japan’s colonization—its cultural symbols were considered fair game, too. One of the most powerful symbols of Korean sovereignty and independence was its royal palace, Gyeongbokgung, which was built in Seoul in 1395 by the mighty Joseon dynasty.
Soon after assuming power, the Japanese colonial government tore down over a third of the complex’s historic buildings, and the remaining structures were turned into tourist attractions for Japanese visitors.
As historian Heejung Kang notes, the imperial government also attempted to preserve treasures of Korean art history and culture—but then used them to uphold imperial Japan’s image of itself as a civilizing and modern force.
This view of Korea as backward and primitive compared to Japan made it into textbooks, museums and even Koreans’ own perceptions of themselves.
The occupation government also worked to assimilate Koreans with the help of language, religion and education. Shinto shrines originally intended for Japanese families became places of forced worship.
Historian Donald N. Clark explains:
"The colonial government made Koreans
worship the gods of imperial Japan,
including dead emperors and the spirits
of war heroes who had helped them
conquer Korea earlier in the century.”
This forced worship was viewed as an act of cultural genocide by many Koreans, but for the colonists, it was seen as evidence that Koreans and Japanese were a single, unified people.
Though some families got around the Shinto edict by simply visiting the shrines and not praying there, others grudgingly adopted the new religious practices out of fear.
By the end of its occupation of Korea, Japan had even waged war on people’s family names. At first, the colonial government made it illegal for people to adopt Japanese-style names, ostensibly to prevent confusion in family registries.
But in 1939, the government made changing names an official policy. Under the law, Korean families were “graciously allowed” to choose Japanese surnames.
At least 84 percent of all Koreans took on the names since people who lacked Japanese names were not recognized by the colonial bureaucracy, and were shut out of everything from mail delivery to ration cards. Historian Hildi Kang writes:
“The whole point was for the government
to be able to say that the people had
changed their names ‘voluntarily.’”
The Plundering of Korea by Japan
(a) Historic Korean Artifacts
Koreans accuse the Japanese of plundering hundreds of thousands of ancient Korean artifacts, mostly during their 36-year occupation of the peninsula. Most Japanese consider the issue a dead one, resolved by the 1965 Japan-Korea Treaty, which led to the return of some 1,400 items.
However the treaty was not definitive, as it neglected artifacts in Japanese private collections, as well as those originating in North Korea.
The size of the haul is astounding. Eighty percent of all Korean Buddhist paintings are believed to be in Japan. And, says Seoul art historian Kwon Cheeyun:
"35,000 Korean art objects and
30,000 rare books have been
confirmed to be there, too."
However that is only the tip of the iceberg: vastly more is believed to be hidden away in private collections.
Determining legal ownership is far more difficult than with the art looted by the Nazis. Toshiyuki Kono, a law professor at Kyushu University. states:
"It's almost impossible to trace the
provenance of centuries-old artifacts."
Besides, the Japanese annexation was internationally recognized in 1910, meaning that relocating Korean artifacts within "Japanese territory" was lawful at the time.
To Korea's annoyance, Japan holds many items of particular value. More than 1,000 bronze, gold and celadon pieces owned by the late businessman Takenosuke Ogura now make up the core of the Tokyo National Museum's Korean section.
A lot of precious Korean artifacts are now owned by private Japanese citizens or organizations, which means that the Japanese government can’t just acquire them and hand them back to Korea. So, unless the Korean government offers to actually spend millions of dollars to buy back the artifacts, it is unlikely they will ever be returned.
As well as removing cultural artifacts to Japan, the Japanese also burned countless Korean government buildings and palaces.
(b) Natural Resources
The Japanese also removed vast amounts of Korea's natural resources, including lumber, rice, coal, iron ore and many other minerals.
The land itself was also appropriated by the Japanese; by 1910 an estimated 8% of all arable land in Korea had come under Japanese control. This ratio increased steadily, and by 1932, the ratio of Japanese land ownership had grown to 53%.
Japanese landlords included both individuals and corporations. Many former Korean landowners became tenant farmers, having lost their entitlements almost overnight because they could not pay for the land reclamation and irrigation improvements forced upon them. As often occurred in Japan itself, tenants had to pay over half their crop in rent.
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
This package of Sunflower seeds was given to me at the LGBT Pride festival last year by the mother of Sean Kennedy. He was murdered in a hate crime against him because his sexual orientation. I spoke at length with this courageous woman, Elke Kennedy who spends most of her time now spreading her sons tragic story and educating people about hate crimes. www.seanslastwish.org/ She gives out the sunflower seed packets as a tangible symbol of hope for a future free of hate. It is my wish that she doesnt have to crusade for what I would consider "common decency" anymore.
The fact that I had to take these pictures pisses me off beyond belief. We were walking to the car to run some errands and do some wedding registry stuff (Yay!)
However when we were walking by the swimming pool area we saw these two chairs situated as a step-stool for people to get over the fence and either into or out of the pool area. In the past we have also seen the gate jimmied in such a way that it won’t latch. There are children that live/play in our complex. The last thing that needs to happen is one of these children to get into the pool area and have some sort of accident. It bothers me that people just don’t have common sense or enough respect to follow the posted rules or the law of common sense to latch the gate and not place items close to the fence line.
What is our world coming to?
When did people lose self respect and common decency?
We have mentioned it to the office. We were glad to know that we we’re the only ones to say something. Only time will what will happen with these people.
I was sat with Val eating our pre-booked breakfast after a very early start to go and see the Datchet Morris Men at the historic site of Runnymede.
I’d parked my camera safely on the edge of the table we were sitting at. Eventually I noticed that the early morning light in the Runnymede café was rather good. This gentleman was sat about three or four metres away with some of his friends (minding his own business, unlike me!) Instinctively I picked up my camera and took his picture.
I only wish I’d had the decency to approach him and mention that I’d taken these two photos of him. They were taken quickly and I put my camera down again. (Sometimes Val gets a bit anxious when I do this, and I can understand why, but if she’s uncomfortable with it I have to live with that!).
I have slightly cropped the two photos to try and get the balance right… and also to get rid of a small bit of the photo on the left that was a distraction.
Again, as is my wont, I’ve also done monochrome versions too.
I can’t add this either of these pictures to my 100 Strangers Project, which is a pity really. I could cheat and not play by the rules of the group, but I’d prefer to stick to them as it would always be on my conscience that I’d broken them!
.
a recent instance of CPI(M)'s willingness to use rape as a weapon against a people's struggle. Later, CPI(M).
systematically spread the theories that she had in fact been killed by her lover, her father or her brother. At.
the time, the West Bengal CM fromCPI(M) ordered a CBI enquiry, promising that it would punish the guilty.
if indeed anyone was found guilty. But now the CBI enquiry has accused CPI(M)'s own local leaders of.
having masterminded the rape. Yet CPI(M) continues to defend the rapists and deny the rape itself..
In Nandigram also, CPI(M) cadres and police indulged in brutal sexual violence on women..
.
CPI(M)'s top most leadership - such as its CC member Benoy Konar, resorted to obscene threats against.
women activists who were speaking out against the land grab at Singur and Nandigram. Konar threatened.
"When Medha Patkar visits here next time, we'll ask our women cadres to show her their backsides.".
When Medha Patkar went to Nandigram, not women, but CPI(M) men did in fact pull down their pants and.
show their behinds..
.
In 1993, Shubhankar Chakravarty, Principal of Ashutosh College, Kolkata, punished a girl student for wearing.
a salwar-kameez, which he said went against `Bengali culture'. Inspite of such anti-woman attitudes, he.
was rewarded with a Vice-Chancellorship of Rabindra Bharati University as well as a high-profile Lok Sabha.
ticket against Mamata Banerjee from the CPI(M)..
.
SFI assaulted girl students in Rabindra Bharati University in 2002 while attempting to enforce a dress.
code of `sarees only' on the girl students of the Visual Arts Department. (Times of India, 22 and 24 July,.
2002)..
.
After the infamous Birati rape case in 1991, Shyamali Gupta, the General Secretary of the CPI(M)'s West.
Bengal women's wing, said about the 3 Bangladeshi refugee victims: "Many women of that area, including.
Shanti Das (a victim), the mistress of a notorious anti-social, were involved in foul professions and such.
honeymoons of these women with the anti-socials were an open secret, that day's events appeared to.
be a sequel to the rivalry between these anti-socials", and this statement was published in full by the.
CPI(M)'s party organ, People's Democracy! (cited in Tanika Sarkar, `Reflections on Birati Rape Case', Gender Ideology.
in Bengal, EPW, Feb 21, 1991.).
.
CPI(M)'s former Kerala CM from CPI(M), the late EK Nayanar, asked about the rash of rape cases in the.
state, had replied: `In the US, rape is as common as drinking tea or coffee; rape is as old as time and.
will continue as long as there are women.' (The Hindu, April 30, 2004).
.
After the Kozhikode sex scandal in Kerala, Nayanar again said, "wherever there are women, there will.
be a sex racket. Sex rackets occur naturally." (Outlook, 22 Dec, 1997).
.
The Left-oriented women's movement has a well-deserved reputation for commitment to women's struggles. In.
order to retain and consolidate this legitimacy and combat the fascist and patriarchal forces, the Left groups need to.
prove that they are willing to acknowledge and consciously combat patriarchal `common sense' within their own ranks..
When a CPI(M) Government refuses to dismiss a police officer who openly denies women's rights and expresses.
communal views, when Left leaders defend `dress codes' in the name feminine `decency', or imply that a woman's.
sexual behaviour can justify rape, do they not do grievous harm to women's struggles against such patriarchal.
ideology? Do they not end up giving a boost to the fascist Right-wing, that quotes the CPI(M)'s anti-woman.
statements to defend itself?.
.
When SFI and CPI(M) display double standards by refusing to condemn the anti-woman words and deeds of their.
own comrades on the issue of gender, when they refuse to question the patriarchal stances and distorted gender.
ideology of their own party, they only end up strengthening the patriarchal and anti-woman agenda of the right-wing.
forces..
.
In this JNUSU elections, AISA appeals to you to stand by those who consistently defend gender justice.
and women's rights, and reject the political proponents of patriarchy and their representatives on campus!.
.
Central Panel.
President : Sandeep Singh.
Vice- President : Shephalika Shekhar.
Gen. Secy. : Pallavi Deka.
Jt. Secy. : Md Mobeen Alam.
.
SIS SAA S. Karmegam SSS.
.
Arvind Kumar Ashok Kumar K.C..
.
Khalid Abdalla Abdelwahab Javed Iqbal Wani.
.
Madri Kakoti Meera Visvanathan.
Monalisa Adhikari SLL&CS.
Abhineet Raj Sucheta De.
.
Vismay Basu P. Kumar Mangalam Urvashi Tilak.
.
Syed Mohammad Raghib.
.
Uday Kr. Shankar Sd/- Awadhesh,.
Convenor,Campaign Committee, AISA, JNU.
Vishal Kumar.
..
Opened a can of Chef Boyardee ravioli, and had the decency and good manners to not eat them right out of the can. Dumped them into a bowl, and ate them cold.
News.com.au ran a story about Banksy today. News.com.au didn't even have the decency to check all the artwork was actually by Banksy, let alone credit the photos to their respective photographers.
If this is your photo, you should write to News.com.au and complain.
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
Imagine a future so technologically advanced, culturally advanced in respect and peaceful harmony. This is a future possible where not one civilization has not tried to take over the other and that cultural influences have not been surpressed. This is a future where everybody is free spirited just not to live free but to think free beyond the limitless bounds of their infinite imaginations. Where not any society will try to surpress who you are when you step out of your own society. A future where you will be free to dress, eat, listen to music with no intimidation from any society that will abound on it's own incredible moral respect, decency and modesty in the most caring ways you could ever dream of. A future where everything is created in the most beautiful means imaginable from music, fashion, science, art and love for what the Universe has abounded in so many diverse possibilities. I see this has the next level of evolution since humanity is no longer a baby anymore but a child that has out grown it's crib and preparing to step it's way into the vast unknown through exploration. You are looking 50 years into the future where ancient meets advance and technology meets nature all in harmony.
The Postcard
A postally unused postcard. The card has a divided back.
The Korean Gat
The man in the photograph is wearing a mourning hat.
Robert Neff of the Korean Times has written the following about Korean male headware:
'One of the most important articles of clothing for Koreans in the late 19th. century was the hat. The elderly man with his majestic black horse hair hat, often seen in pictures, is the iconic image of Korean male society during the Joseon Dynasty (1392 - 1910).
According to Percival Lowell, an American who stayed in Seoul in the winter of 1883-84:
"No Korean can in decency appear
without it [hat], except only to make
room for some other hat."
It was a sign of manhood, "the most essential of attributes," and a badge of one's position in Korean society.
Lowell seemed amused with the difference between Korean and American culture. In the United States it was considered poor manners to wear a hat indoors, and one would rarely remove one's shoes, but the opposite was true in Korea:
"A man would part with any or all of
his clothing sooner than take off his
hat. On entering a house, he leaves
his shoes outside to await his return,
but he and his hat go in together.
As he sits down to eat, he divests
himself of his outer garments that he
may eat with greater freedom, but his
hat stays on; and so it sticks to him
through life ― a permanent black halo."
There were many types of hats. The iconic hat, the gat, was made from horse hair and bamboo and was black and somewhat transparent.
It had a fairly wide brim that in the past, according to popular legend, was much wider as a means of preventing unrest. Because of its wide brim, conspirators were kept apart, and were unable to whisper their plans to one another.
There was also a large mourning hat made from bamboo. It was designed to hide the face of mourners from others they might encounter on the streets. It was considered a grievous breach of etiquette to look into the face of the mourner.
Early French missionaries used the mourning hat to disguise themselves as they traveled the Korean peninsula before the 1880's. They were able to move about in relative secrecy for no one would attempt to communicate with a mourner.
Court officials' hats had slightly bent-forward ear-shaped horizontal wings. It was said they symbolized the wearer's attentiveness and willingness to "catch every word of command that the King may utter."
As Korea entered the 20th. century, there were many reforms forced on the population. Some were readily accepted and appreciated, but others, especially those that dealt with hair styles and hats, were vehemently opposed.
"A man is much more firmly bound to
his hat than he is attached to his wife.
He may put away the latter; without
the hat, life becomes a hollow mockery,
for the hat makes the man. Without it
he remains forever a boy."
Hats remained a part of male culture throughout the first half of the 20th. century, but have since disappeared. The only exceptions are those worn by elderly males in the Jongno area, or the bright colorful caps that young teens and adults wear while out with their friends. The "permanent black halo" is no more.'
How Japan Took Control of Korea
Erin Blakemore has written the following for history.com in 2018, and updated it in 2023:
In 1910, Korea was annexed by the Empire of Japan after years of war, intimidation and political machinations; the country would be considered a part of Japan until 1945. In order to establish control over its new protectorate, the Empire of Japan waged an all-out war on Korean culture.
Schools and universities forbade speaking Korean, and emphasized manual labor and loyalty to the Emperor. Public places adopted Japanese, too, and an edict to make films in Japanese soon followed.
Topographical and other postcards of Korea were published with descriptions in Japanese text.
It also became a crime to teach history from non-approved texts, and authorities burned over 200,000 Korean historical documents, essentially wiping out the historical memory of Korea.
During the occupation, Japan took over Korea’s labor and land. Nearly 100,000 Japanese families settled in Korea with the land they had been given; they chopped down trees by the million and planted non-native species, transforming a familiar landscape into something many Koreans didn’t recognize.
Nearly 725,000 Korean workers were made to work in Japan and its other colonies, and as World War II loomed, Japan forced hundreds of thousands of Korean women into life as “comfort women”—sexual slaves who served in military brothels.
Korea’s people weren’t the only thing that was plundered during Japan’s colonization—its cultural symbols were considered fair game, too. One of the most powerful symbols of Korean sovereignty and independence was its royal palace, Gyeongbokgung, which was built in Seoul in 1395 by the mighty Joseon dynasty.
Soon after assuming power, the Japanese colonial government tore down over a third of the complex’s historic buildings, and the remaining structures were turned into tourist attractions for Japanese visitors.
As historian Heejung Kang notes, the imperial government also attempted to preserve treasures of Korean art history and culture—but then used them to uphold imperial Japan’s image of itself as a civilizing and modern force.
This view of Korea as backward and primitive compared to Japan made it into textbooks, museums and even Koreans’ own perceptions of themselves.
The occupation government also worked to assimilate Koreans with the help of language, religion and education. Shinto shrines originally intended for Japanese families became places of forced worship.
Historian Donald N. Clark explains:
"The colonial government made Koreans
worship the gods of imperial Japan,
including dead emperors and the spirits
of war heroes who had helped them
conquer Korea earlier in the century.”
This forced worship was viewed as an act of cultural genocide by many Koreans, but for the colonists, it was seen as evidence that Koreans and Japanese were a single, unified people.
Though some families got around the Shinto edict by simply visiting the shrines and not praying there, others grudgingly adopted the new religious practices out of fear.
By the end of its occupation of Korea, Japan had even waged war on people’s family names. At first, the colonial government made it illegal for people to adopt Japanese-style names, ostensibly to prevent confusion in family registries.
But in 1939, the government made changing names an official policy. Under the law, Korean families were “graciously allowed” to choose Japanese surnames.
At least 84 percent of all Koreans took on the names since people who lacked Japanese names were not recognized by the colonial bureaucracy, and were shut out of everything from mail delivery to ration cards. Historian Hildi Kang writes:
“The whole point was for the government
to be able to say that the people had
changed their names ‘voluntarily.’”
The Plundering of Korea by Japan
(a) Historic Korean Artifacts
Koreans accuse the Japanese of plundering hundreds of thousands of ancient Korean artifacts, mostly during their 36-year occupation of the peninsula. Most Japanese consider the issue a dead one, resolved by the 1965 Japan-Korea Treaty, which led to the return of some 1,400 items.
However the treaty was not definitive, as it neglected artifacts in Japanese private collections, as well as those originating in North Korea.
The size of the haul is astounding. Eighty percent of all Korean Buddhist paintings are believed to be in Japan. And, says Seoul art historian Kwon Cheeyun:
"35,000 Korean art objects and
30,000 rare books have been
confirmed to be there, too."
However that is only the tip of the iceberg: vastly more is believed to be hidden away in private collections.
Determining legal ownership is far more difficult than with the art looted by the Nazis. Toshiyuki Kono, a law professor at Kyushu University. states:
"It's almost impossible to trace the
provenance of centuries-old artifacts."
Besides, the Japanese annexation was internationally recognized in 1910, meaning that relocating Korean artifacts within "Japanese territory" was lawful at the time.
To Korea's annoyance, Japan holds many items of particular value. More than 1,000 bronze, gold and celadon pieces owned by the late businessman Takenosuke Ogura now make up the core of the Tokyo National Museum's Korean section.
A lot of precious Korean artifacts are now owned by private Japanese citizens or organizations, which means that the Japanese government can’t just acquire them and hand them back to Korea. So, unless the Korean government offers to actually spend millions of dollars to buy back the artifacts, it is unlikely they will ever be returned.
As well as removing cultural artifacts to Japan, the Japanese also burned countless Korean government buildings and palaces.
(b) Natural Resources
The Japanese also removed vast amounts of Korea's natural resources, including lumber, rice, coal, iron ore and many other minerals.
The land itself was also appropriated by the Japanese; by 1910 an estimated 8% of all arable land in Korea had come under Japanese control. This ratio increased steadily, and by 1932, the ratio of Japanese land ownership had grown to 53%.
Japanese landlords included both individuals and corporations. Many former Korean landowners became tenant farmers, having lost their entitlements almost overnight because they could not pay for the land reclamation and irrigation improvements forced upon them. As often occurred in Japan itself, tenants had to pay over half their crop in rent.
Union Square East, Manhattan
The Everett Building is a sixteen-story commercial structure located on the northwest corner of East 17th Street and Park Avenue South. Named for Union Square's nineteenth-century Everett Hotel, and builtin 1908 for the Everett Investing Company, it was designed by Goldwin Starrett & Van Vleck, a firm known for its commercial architecture. It is a quintessential example of a building type defined by A. C. David (writing in Architectural Record in 1910): functional, fireproof, speedy to construct, while also demonstrating a concern for "architectural decency;" as such, this building is a uniquely American architectural expression. In its design, the Everett Building synthesizes classical elements with key aspects of both the New York and the Chicago styles; Goldwin Starrett was familiar with the Chicago style as a result of his years in Daniel Burnham's Chicago office. The building reflects its structure in its cladding, while employing a design vocabulary that includes classical motifs. The Everett Building is prominently located on a site on the north side of Union Square and, together with the monumental Germania (now Guardian) Life Insurance Company Building directly across the avenue, forms an imposing terminus to Park Avenue South.
The Everett Building is a quintessential example of the new commercial style of architecture built around 1910 in New York and concentrated on Fourth Avenue from Union Square to 30th Street. Its design was considered innovative when it was illustrated in the Architectural Record (Dec. 1910), as part of a tribute to the new corridor of commercial buildings in what is now Park Avenue South. 32 These buildings termed "thoroughly contemporary" and "strictly commercial" were erected with exceptional rapidity; the Everett Building "was ready for occupants within four months from the time the first column shoe was set.,,33 In "The New Architecture," A. C. David specified a tall order for architects of these loft and commercial buildings, one which Starrett & Van Vleck fulfilled. Tenants required a maximum amount of clear, preferably square or rectangular, floor space so that large numbers of employees could be supervised by a floor manager. In order to secure the greatest amount of natural light, a corner site, large windows, and high ceilings were imperative.
In addition, the planning of building services affected the 4 amount of "clear and available" floor space. These new structures had to meet the specifications of the insurance companies and of the building laws for fireproofing, in order to obtain the lowest insurance rates (as the Everett Building did). 34 Combining the stairway and fire escape provisions of the building law and omission of power plants in the building were additional ways to cut costs. At the same time, the building must be economical to operate. Speedy construction, a goal facilitated by granolithic or concrete floors, the use of metal trim, the omission of ornamental plastering, and the standardization of detail, was also essential.
In his article, David also suggested that attention to the building's design was necessary because "a structure which presents a good appearance sells better. ,,35 The Everett Building fulfilled these specifications as well. Like the Everett Building, the ideal loft and commercial structure was to consist of "a frame work, usually about sixteen stories high of piers and floors, the lines of both of which are separated by fixed distances, and both of which cannot be disguised by much ornamentation.,,36 An ornamental cornice was not merely permitted but encouraged, even if the natural light on the top floor was impaired. The employment of glazed orange and green terra-cotta panels and medallions brings this desired attention to the Everett Building's crown.
According to David, windows should be grouped in order to emphasize the corners and to convey an impression of solidity; a building could thus be made to resemble a tower rather than a cage. 37 Face brick, laid in patterns, and architectural terra cotta were recommended for the cladding of the shaft. In other instances, exemplified by the Everett Building, "white glazed terra cotta decorated with superficial ornamental patterns has been effectively employed. ,,38 David continues that these buildings were a specific and original American type, "the only genuine commercial architecture in the world.,,39 These characteristics constitute what may be called a New York style.
Classical Aspects of the Building's Design The Everett Building incorporates many classical elements in its design. As in other nearby skyscrapers including Bruce Price's Bank of the Metropolis, a designated New York City Landmark, the tripartite skyscraper elevation inspired by the parts of a classical column is employed in the Everett Building.
A rusticated base is surmounted by a decorative transitional story; an eleven-story shaft leads to yet another transitional story, which is capped by a two-story attic crowned by an elaborate bracketed cornice. The two-story base is articulated by rusticated piers which carry a classically-derived entablature that is embellished with stylized triglyphs and metopes. The building's two-story crown evokes a giant order; the elements of cotta elements. The doorway as built was pedimented with acroteria at center and sides. 40 William H. Jordy has observed that such commercial buildings retain "something of the blocky quality of the Renaissance palace format" which permitted the anonymity and interchangeability of functions. 41 Real Estate Record & Guide concluded that the building "an investor might expect for $900,000," would be a structure "not ... gaudy ••• the whole with its straight, Renaissance architecture giving the impression of commercial utility.
- From the 1988 NYCLPC Landmark Designation Report
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()0\ ·r. Cy CPJ(M) goons is 11 rcn:ut in~tnncc of CPI(M)'s willingness to usc rape a~ a wcnpon a~nin'il u p~.:oplc's struggle. Later, CPl(M) systcmaticJily o;prcuc.J tho theories that she hod in fnct b~:cn killed by her lovcr,.llcr father or l1cr .
~ broihcr. At the lnnc, thu West Bengal CM from CPI(M) ordered a CBl enq uiry, promising that it would punish the gui lty iC indeed anyone was found guilty. But now tho CU I enquiry has uccuscd Cl,.l(M)'s own locnJ lc:.H.Jcr.s of having mastct'-mindcd the rope. Yet CPI(M) continues to de-fend the rapists ~lnd deny the rape itself. A Nn;1digram also, CPI(M) cadres and police indulged in brultll Sl xual vioknc mosr lelltlership -such ns its CC mem-ber Benoy Konar, resorted to obscene thrcuts agninst women activists wl,o wcac speaking out against the land grab at Singur and Nandigrnm. I<onar threat-ened "\Vhen Mcdlw Patl<a· visits here next tin1c, we'll n:-.1< o ur wumcu c:tdran[S ond show their behinds. .
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l· t 199J, Sllubhankar Chakravarty, Principal or Ashulo:,lt College. Kolkata, punished a girl szudcnt fo· wearing a 'iulw~r-1\amcc:.c, which he said went a~aiu:-1 'Bengali culture'. Inspire or Sll<'h <.ll\li· wu111;11J :l llitlld~.:s, he w;a:-. n:wan..h:d with n Vi<:c-Chan-ccllorship or Rub111dra lllaur,ati L.'nivcrsity lh well as" liigla-:Holilc f.o~ '-.;,hl!:: !id:d :tb:ain:-.: ~,1:.n1.:!'\ l3~101arcl'' oul)' 1111 tht· girl \fullcut., ol lite Vi.,,wl Arh l>cpurfltteul. ( IIIII<.'\ of /nd1tl, ~ .1 unJ .:·1 uly, ~00.2). .
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J\ lkr 1!11.: infantou' Birall rap<.: <:.a<.e 111 1991, Shyamali Gupl:J, tltt.· (JI:ncr;;l ~c<:ret:.sry of the CPI(f\.1)\ \Vc~l B..:ngal vomcn·!:. wing, 'iaitl about the 3 Banglade!:.hi rd'ugct.: \ ictims: ·M;;ny womt.:n of that area. includ-.
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i11p ions and suh of rape cases in the ~late, had replied: ' In the U~, r<1pc i~ u~ common as driul. racl<cl. St.:x r:ackcts oc<.:ur natumlly.''.
-(Outlook, 22 Dec, 199~') . .
C..J'IlfVJ) Ideologue, the J~ tc EMS Nnmhoodirip~1d, .
·t A r·c&ndhutl Hoy's God t~/ Small.
1:1~Iteel <Ill I nt{JJ Iu.s 1'/tlup,.\, uccoi'IIIIJL IH.'f of "'clcht·ntlug lu~r ~w·~ dl-vuJ'.:td mv(Jicr'r~ 'dovhwt !fCiUJUJ reliJtiOJJii wtlli n .
l)nlit 111;uJ 11!1 ·revolutionary', .
0 Tl1c Snbnrimalo Tomplo in l{:rala sornc rlmo ?a_ck sougl1tpunisltmcnt for lHt actress who allegedly ~lo-lutcd' the shaine'~ anti-womnn custom cf banmng worn en from cnl(!ring the shrine. Tim CPJ(M) Go;.ot. 's Temple Development (Devaswom) Minister, G Sudhuk~n~n, snid that it is up to the Temple Bonrd to decide and upho!d its "customs", and to punish (he l<antutulua uctrcss If she b l'~;ulfty" of "de-filing" tho shriu('l (BBC N~w~. 3 July 06.} Further, the President of the CPI{M) women's wing AIDWA's Kcrnln Unit, K K Shaylaja, said tunt no action sl1ould IJc tukcn against the temple, as .
"believer!!·!iltOL!Id not he tmnoyed11 (NDTV. June 30)..
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The Lcft-oril.!ntcd WOillCil '5 movl:nH'nl has a wellrdescrvccJ reputation for cvmmitment lo women's struggles. In order to retain anJ consolidate this legitimacy and combat the fascist and patri1rchnl l()rccs, the Left groups need to prove that thl'Y nre willing to ocknowlcdgc und consciously combat pn-triarcltal 'co·Hmon sense' within their own ranks. When a Man:isl ideologue of the highest stature dccb:-cs th~t it is \k-viant' for u ciivorccd mother to love a Dalit man; when Left le;;dcrs defend 'dn.:ss codes' in the name feminine 'decency', or implyJhat a woman's scxuul behavioui can j ustifY rape, do they not Jo grit!VOt:S harm to women's struggles aguinsr such ratri:m.:hal ideology? Do they not end up giving a boost to the fusdst l~lghf-wlng, that (JUOlc!. the CPI{M)'s uuti-W"IIlllll statcmrnrs ro dtfl' Jid itselr. .
Rl!spomii 1ag 10 1ht: CPI( tv!) Women's Wing leader Shyamaii Cluptct's stnrcml!nt on the Birati rapt: cru;t; in J 90, noted his-loa i:an Tuu il4:1 ~arltur had c.;omnH:tttt!d in the EPW: .
'IV/wt t'\jlli/11/\ hcJ n'fnntn: to thc· mnr,d und sucwl ,\land-/Ill: uf ''"''< wunu·n tht1/ thc1· l't'llded 111 "rmautlwr i.H'cl htlf lll<'lll.\ ·, o11d tlrut tl·· y ll't'l'c' c·nguget! in "foul profe.nimu'', ll'l'rl' ''mi\lrc:\H'\ '' oj and hud "lumeymoo11s with" fl/1.!11 they II L"r e 1101 11/cll'rt('(/ to' Thc: only rdevance fnr such dt!\trlp-lion re!!ltlt.!.'i in the llll:ilutc:tl tH:illmllon tlwt... wonum require certain .\'t?.wa/ fllld properly qualifications robe classified as .
jiilly legitimate victim.\." l'anika Sarkar argues that "The aftl.!rmuth of tlte Btrali gang rapes .. u1tder/ines, even more .Hm;tgi;\ 11 aiticu/failure,....in geud::r ideology. And rn caw: the tllo.\1 hc.\olh'd lu.:lt.:t'<.'r in !he Lt:{l Front\· ~cneral pmgn.:,,·. .\il'l! {mtuntit!l could ht~ve .\<.'1.!11 ill 11 a pa111ju!!y distort~d yel indi~iJuol op111ion uftusf one tJt.:r.lon in rite: p(Jr/y, the party moutltpicc.:e ils<'/f, the P D ufJu(1 29. JIJ!/0, proudl,v cr:rrtt'S tlte en/ire st(Jiement in a separate box. The CPJ(M) /SIOI'es H'ii/J brutal C:(ltU/OUr, J'fttgg/ng up (l/15pC!CCS for Optimism.../, .
for onc:, wo uld have ultr!butell (Gupta's words) to tli!Jinformatiult in tlte 'bourge,Ji... press' hut/ I no/ reud them iu tltt! People \" Dcuwcrnl)'..." .
When SFI :ul\' CPI(M) c..lisplny double stnndnrcJs by refusiug, to conc..lc:mn 11 e anti-womJn worc..l·; lU!d dt:ctls of their own contra<.l~:s on rite i.;suc of gcndt:r, when the)-1\!fuse to quest ion the 1 a! ri.lt ch.d shtnc.:s ond distorted £t:ndt:t itkolo~~Y of rh;.;1r uw11 pnny. tl:;:y only end up strengthening tile pall H1rrha 1 unJ <utli·\\'Oillllll ugcudu of the right-wing .
f'o t <.:~.: s. .
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After being crushed against a wire fence by Italian Police (women, children and all) before gaining entry to the ground and literally having to carry people over our heads who were injured. After being pelted with coins and bottles by Italian fans whilst the Italian police looked on. After being kept in the ground for two hours after the game ended - the tables turned.
Let me get this straight - in no way do I condone the behaviour of those people who threw objects at the Italian Police. It was wrong, plain and simple. However, it gave me an insight in to why this can happen. Previously I'd wondered - why do people behave like this when they surely know that it's wrong? This experience gave me a better appreciation of why they do. Further, it underlined my belief that if you treat people with respect and decency, they will return in kind. And vice versa.
Queens Of The Stone Age Palm Desert Benefit show
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
Dean and Troy, Philadelphia Electric Factory
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them and link them back to here, or i'll probably stop posting them without big watermarks on them.
Eurasian Green-winged Teal
Anas Crecca crecca/nimia
Eurasian Green-winged Teal, with a horizontal light stripe, and without a vertical stripe on its side. I found it on the Columbia River down from Priest Rapids Dam. For county listers, it ventured between Yakima, Grant, and Benton Counties.
Here's my post to Tweeters, a birding listserv for Washington:
[edit notes: I think that Wanapum Village should have been written Wanapum village; and Simon Martinez Cattle should be Simon Martinez Livestock.]
Eurasian Green-winged Teal
Friday I found what looks to me like a Eurasian Green-winged Teal, the first I've ever seen. It was pretty exciting, but I couldn't share the find immediately, because I found it near a place where two prominent local bird listers have told me they trespass. I tried Friday, and over the holiday weekend, but this morning was finally able to reach the Grant County PUD head of security to alert him that birders with scopes and binoculars and such might be around, and that some might try to stop and bird on the dam. He was very polite and helpful. He made it clear that doing so continues to be prohibited. It is National Critical Infrastructure. Across the dam on the Yakima County side is the Wanapum village, Simon Martinez Livestock Company private land, and Yakima Training Center military site. Visiting without express prior permission continues to be prohibited. Security at Priest Rapids Dam, and the security camera monitor crew have been alerted.
There are plenty of good reasons to not trespass including simple decency, avoiding scaring or angering residents and property owners, avoiding hindering heavy construction and endangering the workers, respecting Yakama Nation sovereignty, and being able to "count" the birds you "get" if you're a lister. From ABA Listing Central -- Code of Birding Ethics listing.aba.org/ethics/ : "Do not enter private property without the owner’s explicit permission. Follow all laws, rules, and regulations governing use of roads and public areas, both at home and abroad."
Another good reason is bird watcher access -- for the rest of us. I was working on getting birders access permission to viewing from the dam embankment a couple of years ago. I stupidly told a local prominent lister that birders are not allowed to stop on the dam and are not allowed to go into the Wanapum village without consent of local residents, and that similarly the Simon Martinez Livestock Company land is private and requires permission from the landowner. Despite reiterating that to him and getting him to acknowledge it, he proceeded to bird on the dam and got kicked off -- politely. The person at Grant PUD with whom I was working on birder access ended the discussion. I'm not a birding expert, but I don't think that listing a Common Tern flitting back and forth across the Yakima / Grant County line, or any other sighting, was worth that. Birding ethics are not defined by what you can get away with.
I once again am working on getting birders access to a viewing location on the dam. It's a dream of mine that I'd value greater than any rare bird find. Please, please, do not muck that up.
If you witness any trespassing or security concerns near Priest Rapids Dam or Wanapum Dam, they ask you call (509) 766-2538 any day at any hour. In the ABA Code of Birding Ethics: "If you witness unethical birding behavior, assess the situation and intervene if you think it prudent. When interceding, inform the person(s) of the inappropriate action and attempt, within reason, to have it stopped. If the behavior continues, document it and notify appropriate individuals or organizations."
My wife Mary Giovanini, Nori dog, and I returned Saturday and relocated the Eurasian Green-winged Teal. This time there were pintails and Mallards, but no American GWTE with it as there'd been on Friday. It was tucked close to shore on the Yakima/Benton side of the Columbia River below Priest Rapids Dam dam. I saw it from the Jackson Creek Fish Camp, at the junction of Grant, Yakima, and Benton Counties, clearly venturing well into each. For listers, if you look across from the day use area, at mid-river you're looking into Benton County. Looking across and upstream a bit to the rocks jutting into the river, Yakima County is to the right, and Benton County is to the left. The Yakima/Benton county line goes from shore there, north upstream at an angle to mid river, where it meets Grant county. The Yakima/Grant line continues mid-river up to the dam. The Priest Rapids Dam spillways are in Yakima. The generators are in Grant. Google Earth shows county lines quite well.
I apologize for not being able to share the find sooner. I hope you can understand and respect my concerns.
I wish I could share this post on BirdYak, a Yakima County bird-related list-serve, but am blocked by Denny Granstrand. Just the same, I'll keep up my efforts to discourage unethical birding. Please don't share a censored or edited version of this on BirdYak.
Red-breasted Mergansers, both Goldeneyes, Buffleheads, and plenty of others were there to see too." [end Tweeters post]
Good birding -- Enjoying observing birds, and trying to give eBird and Washington Birder accurate data.
Please always consider the sensitivity of birds, nearby humans, and the environment.
Don't pish or use playback on rare or sensitive birds or in heavily birded areas.
Please Follow this Code and Distribute and Teach it to Others ABA Code of Birding Ethics.
Site has expanded since I last passed by, offering 24-hour food, clothing & support for homeless people.
Of course it's an eyesore and public nuisance. Homeless people should have the decency to stay out of sight, so as to not offend the sensibilities of affluent middle class people and politicians.
On September 11, 1902, a letter headlined “Wants Reform at the Public Library” appeared in The Denver Republican newspaper. The customer wrote, “I was very much surprised; not to say shocked; on visiting your public library to see men readers in the newspaper room sitting with their hats on. It seems to me this very flagrant breech of good manners should be rectified at once. During many journeyings I have visited scores of libraries, but never before have I witnessed such a lack of deference not only to the house of books itself, but also to the women readers who were present. In making plans for the new library, would it not be well for the trustees in behalf of common decency, to adopt some stringent rule prohibiting the continuance of such vulgar exhibitions? I wonder what Mr. Carnegie’s opinion of the matter would be!” signed, A Visiting New Yorker. The picture shows the Library newspaper room in 1937 with men in…ahem…hats! #120years003
See more information about the Denver Public Library's Western History and Genealogy Department's Digital Image Collection at: history.denverlibrary.org/images/index.html
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
Wikipedia. Informative. Pointly. And by the people who really know it!
Think about it.. You are with the job of spreading information, making the knowledge cheaper, searchable, taggable, fast, easily available. Just a site on the world network does the trick. But really if you have to do it alone, how fast can you do it really? So much of topics, so much information, so little time, so little experience with each topic. The internet is now turning to better ways. If you think you got what it takes to be the best, or the topic you are on the research best describes you, then go ahead, explain it to the computer in HTML tags. You hardly know how many people are frantically searching for what you know, you are explaining the world, your knowledge! Think about a age, a civilization from where men of knowledge emmerge.. People know everything they are looking at.. can explain anything happening round you, be it the mobile being called, or a rocket being launched, or perhaps why it is raining. We are the men of knowledge, we are the most intellectually advanced men, we should be the men of knowledge therefore.. Do some justice, don't write stupid stuffs on the net, or erase things there, and laugh.. you are certainly foolish then.. you don't even have the simplest knowledge of decency. Stop the spam, stop the harm, the internet is for greater good!
p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.
Agir
Entre tendresse et émotion.
Respiration sensitive,
Doux contact.
Se sentir vivre
Brûlante et charmante pudeur
Langage du corps
Entre plaisir et désir
S’apprivoiser, s’improviser
Dans un jeu de séduction
Entre sauvage et câline
S’enivrer
"Souvenir"
To act. Between tenderness and emotion. Sensitive breathing, Soft contact. To feel to live. Extreme and charming decency Language of the body. Between pleasure and desire. To tame down, improvise themselves, In a play of seduction. Between savage and câline, enivrer.
"Souvenir"
Voila! New arms! YAY! And the best part is Squirrel still has "her" body with tattoo, foot stains, history, etc. ♥
Factory owners in Banlgadesh are proposing a new minimum wage of just 14 cents an hour.
The workers are asking for 43 cents an hour, which would allow them to climb out of misery and at least into poverty--where they could hang on by the fingertips and live with a modicum of decency.
Click here to read more and sign the petition to help Bangladeshi garment workers.
I found this shot compelling for two distinct reasons. The first is that it highlights the linguistic complexity of Finland's situation. As a nation that was variously ruled by the Swedes and Russians for much of its history, it now finds itself (even nearly a century after its independence in 1917) with many speakers of both. In the case of the Swedes, this resulted in Swedish being made an official language of the country, and thus all public (and much private) signage --from street names to informational placards -- has both Finnish and Swedish. This is a boon to someone like me, who can generally muddle through the Danish-like Swedish toponyms, but finds the Finno-Ugric languages (Finnish, Estonian, and Hungarian) completely incomprehensible. Throwing in English for good measure as the global lingua franca (and oh, how the French must hate that English is that), we have the sort of signage pictured above. Vendace, incidentally, is a particularly widespread and delicious species of whitefish endemic to the North.
Secondarily, those three birds had the decency to plop down on the sign, standing in careful and motionless tandem, spaced across the signage almost perfectly. And as any longtime viewer of my photography knows, I'm a sucker for found syzygies.
Oh, as for where this is? The open-air market adjacent Helsinki's harbour, at the base of the Esplanadin Puisto, one of the more lovely esplanades I've had the privilege of strolling idly down.
News.com.au ran a story about Banksy today. News.com.au didn't even have the decency to check all the artwork was actually by Banksy, let alone credit the photos to their respective photographers.
If this is your photo, you should write to News.com.au and complain.
Der Fasan vergisst unsichtbare Menschen aus der Dose, wenn die laenger geparkt sind. Also maschierte dieser brav zu uns her und zeigte seinen eleganten Federanzug /
Pheasants are initially wary, but forget canned people if the car does not move for some minutes. This guy had the decency to walk up to my rolled down window and pose in his sunday suit.