#LEON Magazine January 2019 Issue
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LEON Magazine January 2019 issue - Interview with Suho
You spent time with us at LEON 2019’s Young LEON. You are running on the highway of the peak of youth (young) now, what is ‘youth (young)’ to you?
“I think you can link it to the word ‘youth’. I think anyone can be a youth if they have dreams, if they have the will to fulfil their goals after setting them. Those kinds of people show a passionate and active image to continuously develop themselves, regardless of whether they are thirty or forty. They also have an enthusiastic attitude towards life. I always have dreams, too. They’re not very grand just because they’re called dreams. To fulfil my goals after setting specific ones, I try to move forward by making plans step by step and fulfilling each one by one.”
What dreams do you have lately?
“A few. Firstly, a big goal I have is to be active with the EXO members for a long time. I want to periodically release albums and meet fans often through concerts even after we’ve aged. I hope to be very active in the musical sector too. If I have the chance, I dream of doing a musical on Broadway or advancing into Hollywood.”
With what attitude are you facing youth?
“While I am the type to make plans and calmly prepare for my future, I also do my best at certain times. One of my mottos is, ‘let’s exist in this moment’. I repeat it to myself whenever there is something important. I think the attitude of focusing in that moment is the best method to take a step forward closer towards the future image I hope to have.”
You always show an energetic image of EXO’s leader, where is the root of that energy?
“Setting my dreams and goals in detail and trying to fulfil each one of them becomes my inner driving force. Now that I am 8 years into my debut, I feel some responsibility for my current position, and that becomes my external driving force. I should meet the expectations of myself, the fans, and many others. Sometimes i becomes burdensome because I am a human too, but pressure that makes me feel good prevents me from stopping.”
You took good care of the staff on set. It feels like your delicate consideration is embedded in your body.
“I am the type to pay close attention to everyone’s feelings, whether it’s my members, friends, or staff. I think it’s because I am the leader. I meet a lot of people no matter where I go, and there are a lot of times I need to represent EXO, so I think it naturally became that way.”
When can we see Suho’s most natural image?
“I’m now most comfortable with my members, family, and school friends. When I meet the friends I made in school, I feel like I’m university student Kim Junmyeon instead of EXO’s Suho. We either play together in a pension we rent on the outskirts of Seoul or go to the sauna. Those friends accept me as I am.”
In 2018, you promoted busily as of course EXO’s Suho, but also as musical actor and actor Kim Junmyeon. What was the one activity in particular that left the deepest impression?
“All of them were good experiences. In particular, I remember the time we prepared for the musical <The Man Who Laughs>. I did not know that I would get closer to musicals as a genre, even up to when I played Rudolph in my first musical <The Last Kiss>. Even when I started this project [The Man Who Laughs], I started with the attitude that I’m learning from it. It was a big challenge in my life, but it was really enjoyable. I was comfortable going up on stage after I gradually got used to it. It was a special experience to exist as another person on stage for a long time.”
I feel like the time you spent working with other seniors as a rookie actor would have been very meaningful.
“As I was casted for <The Man Who Laughs> while I was filming my drama <Rich Man>, I was only able to join them just a month before the first show. I felt like I was very short on time, so I did not stop practising for the whole month. With the thought that I must not cause harm or inconvenience to the other seniors on stage with me, I practised all day except for when I was asleep. I memorized my lyrics even when I was eating. Reciting the lyrics for all four of my solo songs before I slept every night was the homework I gave myself. Doing that, I ended up performing even in my dreams (laughs). I feel like trust between actors is important for a musical performance, so I was proud and thankful that [the others] seemed to believe in me after seeing me [practice] before the first show started.”
Are there any genres or roles that you want to challenge in future musicals?
“There are a lot. I want to try <Jekyll and Hyde> when I become a bit older, and I want to try acting as a character that is the opposite of my role as Lee Yoochan in <Rich Man>. It’s a role where I am taciturn but throw out gemlike famous lines every time I speak, a role that leads the piece heavily. I hope to act in a scene that is able to stay in the viewers’ memory for a long time.”
We cannot leave out talking about EXO’s fifth album that was recently released. It feels like your music has deepened. Was there a part you paid special attention to?
“The choreography for ‘Tempo’ is really complex. It’s a completely different feeling from all our precious group dances, and if you look at it, you could say it’s a freestyle dance too. It’s like all eight members have their individual feels, but it’s unified as a whole. I paid a lot of attention to it, more than when we practice precise choreographies that matches all the angles. It’s our first album in a long time, and all our members have their own individual feels now that we are eight years into our debut. I was in charge of compromising the opinions that are actively exchanged among members, and it was very interesting.”
While you probably receive fresh motivation while promoting actively recently, I think you would have been stressed too. What is your own way of relieving stress or organising your thoughts?
“I make time to go for a vacation far away. I get to see and feel new things, but more than anything, I feel free. It’s the time when I get the feeling of escaping life. I’m existing as just Kim Junmyeon, not EXO’s Suho. Recently, I went to Fukuoka with Heechan, whom I got closer to during <Glory Days>. I went into a picturesque open-air bath and felt my exhaustion go away entirely, even though the weather was cold.”
You’re spending the start of 2019 with LEON. Do you put significant meaning into starting? If you had a new resolution for the new year?
“I think starting is already half of it. As it is important to take a good first step, I do make resolutions every January. ‘Let’s make 2019 a happy year with no regrets’. It’s my profile message on my messenger. I started on 1 January 2017 and only change the numbers every year. I try to make every day meaningful so that I can smile and say that all the past moments were valuable and precious when I look back on the past year.”
What plans do you have for promotions in 2019?
“Now that our repackaged album <Love Shot> has been released in December after our fifth album, I want to meet fans through a concert. For my personal wish, I’ve written lyrics that contain what I want to say, so I hope I can release them next time. As an actor, I want to definitely do one project that is either a movie, drama, or musical. For me too, now is the start of 2019.”
(trans. cr: acquatastic)
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[HD][LEON Magazine - January 2019] HUANG JINGYU
#huang jingyu#johnny huang#hd#magazine#leon#january 2019#january issue#heroin web series#addicted web series
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Hello love ♥️♥️ can you help me please ? Can you make a list of sehun's all photoshoot of this past year ? Thanks love ♥️♥️♥️♥️♥️♥️♥️(and sorry for my English)
Hello Dear Anon ♥️♥️♥️ Oh please don’t worry, your English is just fine :) I made a list of Sehun’s photoshoots & magazine appearances throughout the years for you. I’m sorry I couldn’t add the photoshoots he did with other EXO members to my post but I could manage to add the ones he did with these 2 beautiful and elegant ladies, Irene and Sara Grace Wallerstedt. Hope this helps & you like it :)
Stay safe and happy Baby ♥️♥️♥️♥️♥️♥️
The Celebrity February 2014
Ceci February 2016
ViVi November 2016
Vogue January 2017
L'Optimum Style Thailand March 2017
Marie Claire July 2017
TOM Magazine Global Issue July 2017
Super ELLE August 2017
1st Look December 2017
Leon January 2018
Vogue August 2018
Arena Homme October 2018
Rouge Fashion Book Issue 4
Madame Figaro March 2019
Cosmopolitan April 2019
W Korea March 2020
L'Officiel Hommes Spring Summer 2020
#ahhh it took so much time haha#but it's worth it#I hope it'll make you happy when you see it#thank you anon 💕💕💕#let's love#sehun#oh sehun#irene#sara grace wallerstedt#exo#red velvet#fashion#photoshoot#long post#photo credits to the owners#ask
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Lionel Hampton
Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, and bandleader. Hampton worked with jazz musicians from Teddy Wilson, Benny Goodman, and Buddy Rich to Charlie Parker, Charles Mingus, and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame, and was awarded the National Medal of Arts in 1996.
Biography
Early life
Lionel Hampton was born in 1908 in Louisville, Kentucky, and was raised by his mother. Shortly after he was born, he and his mother moved to her hometown of Birmingham, Alabama. He spent his early childhood in Kenosha, Wisconsin, before he and his family moved to Chicago, Illinois, in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, which was off-limits because of racial segregation. During the 1920s, while still a teenager, Hampton took xylophone lessons from Jimmy Bertrand and began to play drums. Hampton was raised Roman Catholic, and started out playing fife and drum at the Holy Rosary Academy near Chicago.
Early career
Lionel Hampton began his career playing drums for the Chicago Defender Newsboys' Band (led by Major N. Clark Smith) while still a teenager in Chicago. He moved to California in 1927 or 1928, playing drums for the Dixieland Blues-Blowers. He made his recording debut with The Quality Serenaders led by Paul Howard, then left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club. One of his trademarks as a drummer was his ability to do stunts with multiple pairs of sticks such as twirling and juggling without missing a beat. During this period he began practicing on the vibraphone. In 1930 Louis Armstrong came to California and hired the Les Hite band, asking Hampton if he would play vibes on two songs. So began his career as a vibraphonist, popularizing the use of the instrument in the process. Invented ten years earlier, the vibraphone is essentially a xylophone with metal bars, a sustain pedal, and resonators equipped with electric-powered fans that add tremolo.
While working with the Les Hite band, Hampton also occasionally did some performing with Nat Shilkret and his orchestra. During the early 1930s, he studied music at the University of Southern California. In 1934 he led his own orchestra, and then appeared in the Bing Crosby film Pennies From Heaven (1936) alongside Louis Armstrong (wearing a mask in a scene while playing drums).
With Benny Goodman
Also in November 1936, the Benny Goodman Orchestra came to Los Angeles to play the Palomar Ballroom. When John Hammond brought Goodman to see Hampton perform, Goodman invited him to join his trio, which soon became the Benny Goodman Quartet with Teddy Wilson and Gene Krupa completing the lineup. The Trio and Quartet were among the first racially integrated jazz groups to perform before audiences, and were a leading small-group of the day.
Lionel Hampton Orchestra
While Hampton worked for Goodman in New York, he recorded with several different small groups known as the Lionel Hampton Orchestra, as well as assorted small groups within the Goodman band. In 1940 Hampton left the Goodman organization under amicable circumstances to form his own big band.
Hampton's orchestra developed a high-profile during the 1940s and early 1950s. His third recording with them in 1942 produced the version of "Flying Home", featuring a solo by Illinois Jacquet that anticipated rhythm & blues. Although Hampton first recorded "Flying Home" under his own name with a small group in 1940 for Victor, the best known version is the big band version recorded for Decca on May 26, 1942, in a new arrangement by Hampton's pianist Milt Buckner. The 78pm disc became successful enough for Hampton to record "Flyin' Home #2" in 1944, this time a feature for Arnett Cobb. The song went on to become the theme song for all three men. Guitarist Billy Mackel first joined Hampton in 1944, and would perform and record with him almost continuously through to the late 1970s. In 1947, Hamp performed "Stardust" at a "Just Jazz" concert for producer Gene Norman, also featuring Charlie Shavers and Slam Stewart; the recording was issued by Decca. Later, Norman's GNP Crescendo label issued the remaining tracks from the concert.
Hampton was a featured artist at numerous Cavalcade of Jazz concerts held at Wrigley Field in Los Angeles and produced by Leon Hefflin Sr. His first performance was at the second Cavalcade of Jazz concert held on October 12, 1946 and also featured Jack McVea, Slim Gaillard, T-Bone Walker, the Honeydrippers and Louis Armstrong. The fifth Cavalcade of Jazz concert was held in two locations, Wrigley Field in Los Angeles and Lane Field in San Diego, July 10, 1949 and September 3, 1949 respectively. Betty Carter, Jimmy Witherspoon, Buddy Banks, Smiley Turner and Big Jay McNeely also played with Hampton. It was at the sixth Cavalcade of Jazz, June 25, 1950 that precipitated the closest thing to a riot in the show’s eventful history. Lionel and his band paraded around the ball park’s infield playing ‘Flying High’. The huge crowd, around 14,000 went berserk, tossed cushions, coats, hats, programs, and just about anything else they could lay hands on and swarmed on the field. Dinah Washington, Roy Milton, PeeWee Crayton, Lillie Greenwood, Tiny Davis an Her Hell Divers were also featured. His final Cavalcade of Jazz concert held on July 24, 1955 (Eleventh) also featured Big Jay McNeely, The Medallions, The Penguins and James Moody and his Orchestra.
From the mid-1940s until the early 1950s, Hampton led a lively rhythm & blues band whose Decca Records recordings included numerous young performers who later had significant careers. They included bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, and vocalist Dinah Washington. Other noteworthy band members were trumpeters Dizzy Gillespie, Cat Anderson, Kenny Dorham, and Snooky Young; trombonist Jimmy Cleveland, and saxophonists Jerome Richardson and Curtis Lowe.
The Hampton orchestra that toured Europe in 1953 included Clifford Brown, Gigi Gryce, Anthony Ortega, Monk Montgomery, George Wallington, Art Farmer, Quincy Jones, and singer Annie Ross. Hampton continued to record with small groups and jam sessions during the 1940s and 1950s, with Oscar Peterson, Buddy DeFranco, and others. In 1955, while in California working on The Benny Goodman Story he recorded with Stan Getz and made two albums with Art Tatum for Norman Granz as well as with his own big band.
Hampton performed with Louis Armstrong and Italian singer Lara Saint Paul at the 1968 Sanremo Music Festival in Italy. The performance created a sensation with Italian audiences, as it broke into a real jazz session. That same year, Hampton received a Papal Medal from Pope Paul VI.
Later career
During the 1960s, Hampton's groups were in decline; he was still performing what had succeeded for him earlier in his career. He did not fare much better in the 1970s, though he recorded actively for his Who's Who in Jazz record label, which he founded in 1977/1978.
Beginning in February 1984, Hampton and his band played at the University of Idaho's annual jazz festival, which was renamed the Lionel Hampton Jazz Festival the following year. In 1987 the UI's school of music was renamed for Hampton, the first university music school named for a jazz musician.
Hampton remained active until a stroke in Paris in 1991 led to a collapse on stage. That incident, combined with years of chronic arthritis, forced him to cut back drastically on performances. However, he did play at the Smithsonian National Museum of American History in 2001 shortly before his death.
Hampton died from congestive heart failure at Mount Sinai Hospital, New York City, on August 31, 2002. He was interred at the Woodlawn Cemetery, Bronx, New York. His funeral was held on September 7, 2002, and featured a performance by Wynton Marsalis and David Ostwald's Gully Low Jazz Band at Riverside Church in Manhattan; the procession began at The Cotton Club in Harlem.
Personal life
On November 11, 1936, in Yuma, Arizona, Lionel Hampton married Gladys Riddle (1913–1971). Gladys was Lionel's business manager throughout much of his career. Many musicians recall that Lionel ran the music and Gladys ran the business.
During the 1950s he had a strong interest in Judaism and raised money for Israel. In 1953 he composed a King David suite and performed it in Israel with the Boston Pops Orchestra. Later in life Hampton became a Christian Scientist. Hampton was also a Thirty-third degree Prince Hall freemason. In January 1997, his apartment caught fire and destroyed his awards and belongings; Hampton escaped uninjured.
On June 25, 2019, The New York Times Magazine listed Lionel Hampton among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.
Charity
Hampton was deeply involved in the construction of various public housing projects, and founded the Lionel Hampton Development Corporation. Construction began with the Lionel Hampton Houses in Harlem, New York in the 1960s, with the help of then Republican governor Nelson Rockefeller. Hampton's wife, Gladys Hampton, also was involved in construction of a housing project in her name, the Gladys Hampton Houses. Gladys died in 1971. In the 1980s, Hampton built another housing project called Hampton Hills in Newark, New Jersey.
Hampton was a staunch Republican and served as a delegate to several Republican National Conventions. He served as Vice-Chairman of the New York Republican County Committee for some years and also was a member of the New York City Human Rights Commission. Hampton donated almost $300,000 to Republican campaigns and committees throughout his lifetime.
Awards
2001 – Harlem Jazz and Music Festival's Legend Award
1996 – International Jazz Hall of Fame Induction and Award (performed "Flying Home" with Illinois Jacquet and the Count Basie Orchestra)
1996 – National Medal of Arts presented by President Bill Clinton
1995 – Honorary Commissioner of Civil Rights by George Pataki
1995 – Honorary Doctorate from the New England Conservatory of Music
1993 – Honorary Doctorate from the University of Maryland Eastern Shore
1992 – Inducted into the Alabama Jazz Hall of Fame
1992 - "Contributions To The Cultural Life of the Nation" award from John F. Kennedy Center for the Performing Arts
1988 – The National Endowment for the Arts Jazz Masters Fellowship
1988 – The National Association of Jazz Educators Hall of Fame Award
1987 – Honorary Doctorate of Humanities from the University of Idaho – UI's School of Music renamed "Lionel Hampton School of Music."
1987 – The Roy Wilkins Memorial Award from the NAACP
1986 – The "One of a Kind" Award from Broadcast Music, Inc.
1984 – Jazz Hall of Fame Award from the Institute of Jazz Studies
1984 – Honorary Doctorate of Music from USC
1983 – The International Film and Television Festival of New York City Award
1983 – Honorary Doctorate of Humane Letters from the State University of New York
1982 – Hollywood Walk of Fame Star
1981 – Honorary Doctorate of Humanities from Glassboro State College
1979 – Honorary Doctorate of Music from Howard University
1978 – Bronze Medallion from New York City
1976 – Honorary Doctorate of Humanities from Daniel Hale Williams University
1975 – Honorary Doctorate of Music from Xavier University of Louisiana
1974 – Honorary Doctorate of Fine Arts from Pepperdine University
1968 – Papal Medal from Pope Paul VI
1966 – Handel Medallion
1957 – American Goodwill Ambassador by President Dwight D. Eisenhower
1954 – Israel's Statehood Award
Discography
Compilations of noteThe Chronological ... Classics series
note: every recording by Lionel Hampton & His Orchestra is included in this 12 volume series from the CLASSICS reissue label ...
The Chronological Lionel Hampton & His Orchestra 1937–1938 (#524) - RCA Victor recordings
The Chronological Lionel Hampton & His Orchestra 1938–1939 (#534) - RCA Victor recordings
The Chronological Lionel Hampton & His Orchestra 1939–1940 (#562) - RCA Victor recordings
The Chronological Lionel Hampton & His Orchestra 1940–1941 (#624) - RCA Victor recordings; first Decca session
The Chronological Lionel Hampton & His Orchestra 1942–1944 (#803) - Decca recordings
The Chronological Lionel Hampton & His Orchestra 1945–1946 (#922) - Decca recordings
The Chronological Lionel Hampton & His Orchestra 1946 (#946) - Decca recordings
The Chronological Lionel Hampton & His Orchestra 1947 (#994) - Decca recordings
The Chronological Lionel Hampton & His Orchestra 1949–1950 (#1161) - Decca recordings
The Chronological Lionel Hampton & His Orchestra 1950 (#1193) - Decca recordings
The Chronological Lionel Hampton & His Orchestra 1950–1951 (#1262) - last two Decca sessions; MGM recordings
The Chronological Lionel Hampton & His Orchestra 1951–1953 (#1429) - includes Hamp's first Norman Granz-produced quartet session (September 2, 1953) with Oscar Peterson, Ray Brown, and Buddy Rich.
Glad-Hamp Records
GHLP-1001 (1961) The Many Sides Of Hamp
GHLP-3050 (1962) All That Twist'n Jazz
GHLP-1003 (1962) The Exciting Hamp In Europe
GHLP-1004 (1963) Bossa Nova Jazz
GHLP-1005 (1963) Recorded Live On Tour
GHLP-1006 (1964) Hamp In Japan/Live
GHLP-1007 (1965) East Meets West (Introducing Miyoko Hoshino)
GHLP-1009 (1965) A Taste Of Hamp
GHS-1011 (1967) Hamp Stamps [includes "Greasy Greens"]
GHS-1012 (1966) Hamp's Portrait Of A Woman
GHS-1020 (1979) Hamp's Big Band Live!
GHS-1021 (1980) Chameleon
GHS-1022 (1982) Outrageous
GHS-1023 (1983) Live In Japan
GHS-1024 (1984) Ambassador At Large
GHS-1025 (1985) Sentimental Journey (Featuring Sylvia Bennett)
GHS-1026 (1988) One Of A Kind
GHS-1027 (1987) Midnight Blues - with Dexter Gordon
GHCD-1028 (1990) Cookin' In The Kitchen
As sidemanWith Frank Sinatra
L.A. Is My Lady (Qwest/Warner Bros., 1984)
Filmography
Hampton appeared as himself in the films listed below.
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TVXQ! smtown NYC Madison Square Garden 2011 / Explained: K-pop ep.4
TOHOSHINKI x Shibuya109 XMAS 2018 / Terrace House: Opening New Doors ep.47
TVXQ 7th Anniversary December 26 2010:
“Between both pictures, you can feel confidence but doubt. You can see happiness but sadness. Between both there are tears and smiles. Between both there's 8 years of hardwork, of returning from no point, of standing from the lowest.”
“8 years ago they looked haggard, physically & emotionally exhausted. Even Yunho’s barely making an effort to smile. But now they look so alive, radiant, & above all happy, content & at peace with everything in their lives. Which is the most important & precious thing we could wish for them.”
TVXQ! 15th Anniversary December 26 2018:
Changmin & Yunho Ginger Magazine Interview December 21, 2010 [1/2/3]
How did it feel with just the two of you standing on stage?
Yunho: On the first day at Seoul, when we stood onstage, a tremendous amount of applause and cheering welcomed us, which made me deeply understand that 'there are people who are waiting for us. I can only continue living when I stand onstage.' These thoughts started spurting out at that moment, and I knew that I could stand up again.
Changmin: I was really really happy. But, when the time for us to perform came nearer, I started getting more and more nervous to the point where people around me could easily tell. Subconsciously, I started drinking coffee (laughs). This was the first time in my life that I felt so nervous. When the staff asked ‘Will you be okay with just the two of you?’ The staff must’ve been thinking, ‘Are these two going to be okay?’ I couldn’t understand what came over me, but I suddenly felt the internal conflict within me in full force. Compared to the external surroundings, I was mainly having an internal battle of pressure. Even as we were rehearsing, we kept saying to ourselves that it would be okay, even if some people had already lost faith in us, but as soon as I got on stage, I told myself ‘It's okay, just let yourself go’. When Yunho and I silently looked each other in the eyes, we nodded simultaneously to express ‘Let’s go!’ To this day, it is still deeply engraved in my mind. I still remember very clearly the moment when Yunho and I exchanged glances and the two of us shouted ‘Go!’ together.
Yunho: We were encouraging each other backstage, saying things like 'we need to show everyone why TVXQ is so strong!' and 'this is TVXQ. We want people to see our unique charm we have in contrast to the other artists.
Changmin: During rehearsals, we kept on telling ourselves 'it's fine, we can do it!' But honestly, I didn't know if I really believed that myself. However, when I stood on that stage, I started truly believing that 'it's fine, go do it!' Of course, there is still more work to be done in order to achieve our higher goals.
You have been constantly improving over these years, so can we expect to see a new type of charisma from you two?
Yunho: Yes! Whether it's singing or dancing, Changmin will learn from the fortes that I possess, and I will also learn from his. Just like twins, we absorb things from each other that make us continually improve.
Changmin: Up until now, although we do spend time to go to classes and record songs, I'm not 100% satisfied with it. After deciding that the two of us would start afresh together, that feeling has become even more intense. But it isn't necessarily a bad thing, because being able to sing is a joy in itself, and facing the feelings of starting music anew may allow me to change my personal opinions and views on certain things.
Yunho: I think SMT's stage can prove that. Difficulties can be overcome by not giving up. Of course, messages like 'you can do it, we're waiting for you' has been encouraging us. To repay back that love from fans, we need to return to our original beginning and start anew as rookies.
Changmin: We hope to improve through projecting the joy of singing, undergoing a change in our style and doing our very best. I've always thought that my voice went pretty well with Yunho's (laughs), we'll maintain the style TVXQ has always had whilst also bringing our fans something that belongs solely to the two of us! I can genuinely feel a sense of security. Thank you for waiting for us.
Yunho on what he felt as he came down the stage of SM Town Seoul 2010
Yunho: It was very emotional. The feeling of having to just stand and watch others perform on stage, it was very painful. ‘I have to be standing there and singing too… but when will that day come?’ I thought of this a lot. And during the hiatus, TVXQ was gradually being forgotten. I once had the chance to ask a bunch of young kids, ‘Who do you like~?’ And they answered ‘Oh, I like SNSD~’ ‘Ah~ Who else?’ ‘I like Super Junior~’ ‘What about TVXQ?’ ‘Who is TVXQ?’ When they said that… ‘Ah. If we continue like this, it will be dangerous.’
With that feeling in our hearts we stood on stage at SM Town. And other singers, as well as other singers’ fans, cheered out for us.
Changmin: Tens of thousands—
Yunho: Tens of thousands, and that sound suddenly pounded strongly at my heart, along with the music. ‘Ahhh, this is it. This is the reason that I sing.’ Yes.
Keep Your Head Down / Comeback Press Conference January 12 2011
“After a two-year and 3 months hiatus from the Korean music industry, TVXQ made a triumphant return as a duo on January 12th 2011.″
TVXQ: At the time of our comeback, Lee Soo Man sent us a text saying that we were “Jackpot.” He gave us his support, asking us to do our best from now on.
Grazia Magazine November 2011
Yunho: I was really worried if there were still generous fans who were kindly waiting for us, because we couldn’t stand on stages for so long. I felt pressure, too. I wasn’t able to see anything from the stage because of the nervousness. But then I heard a loud cheer. I would have really appreciated just a fan being there for us. But I heard a cheer of ten thousands of people. I’m not a type who easily cries, but I almost cried and thought we should just pave a new path from here.
KBS Story Show Do Dream October 6 2012
Yunho: There was an 2010 SMTOWN stage that the two of us performed on. That was actually an experimental stage.
Changmin: That's why we were even more nervous and shaky. After that, Lee Soo Man, who likes to try new things, told us, “I think it will be alright if you continue as a duo.
Yunho: That day, other people also told us it was going to be alright with just the two of us.
People were talking as “What can just the 2 of you do? You cannot do anything, can you?” I was very hurt…the reason was because I thought Tohoshinki should not vanish. I thought that I should preserve the name of Tohoshinki! So, we are still keeping the name, and we will continue to keep Tohoshinki’s name in the future, too! - Yunho during Nissan Day 2 August 18 2013
”Tohoshinki Live Tour 2013 ～TIME～ also known as the Time Tour, visited all five of Japan's major concert Domes and the Nissan Stadium, the largest seated stadium in Japan. The duo were also the first international artists to headline a concert at the Nissan Stadium in Yokohama. Tohoshinki have said on their first five-Dome tour, "It's a dream come true.”
Q. TVXQ came to Japan in 2005. Did you set your goals while on the way?
Back then, our staff and people at the agency said we’d have new experiences and difficulties in Japan. We were told we’d need to start anew in Japan. So we talked, the two of us, while watching crows and one of us suggested we take baby steps from the bottom. It was just a suggestion at first, but that became a reality. I’m happy we’re men who kept our promises. -Yunho [SPECIAL INTERVIEW] TVXQ ‘We Breathed and Sympathized With Our Fans’ 2013
The most memorable stage is the first ever performance as a duet with Changmin during SMTOWN. -Yunho for The Celebrity December Issue 2013
The day in 2011 when we went up on stage for the first time after becoming a duo, amidst the nervousness which was even more heightened than that when we debuted, the Yunho hyung who grasped hold of my hand, when I was just staring at the ground. And the Yunho hyung who had told me, "We can do it well". Because hyung is here, I was able to hold out till now, because hyung is here, it seems like I will be able to attempt more challenges in the future. Because we are connected by the string called "TVXQ", which will never be able to be severed. -Changmin’s Epilogue for Ti Amo Photobook 2014
TVXQ! Special Comeback Live - YouR PresenT Septemeber 30 2017
Since I am human, have times when I am exhausted, but I didn’t feel alone – it was because of you that I got more strength. In 2010 at SMTOWN, coming back to the stage after being on hiatus for so long, I had not been that scared and nervous before but you took my hand once again and I felt that it wasn’t that it was two people, but rather that we could go on a new path as it was the two of us. - Yunho’s letter to Changmin
Vogue Japan April Issue 2018
“I felt that I wanted to show the love/affection that we have for each other just as it is. It’s a long time we have worked together, that’s half of my life since we’ve walked together. The person who remembers half of my life.”— Changmin on his relationship with Yunho
LEON Magazine April Issue 2018
“Yunho told Changmin that even after 15 years, he still wants to be TVXQ.“
Q: To me, 15th Anniversary of TVXQ! is...
Changmin: To me, the 15th Anniversary of TVXQ! is like a decalcomania. As you know, a decalcomania is a result of the combination of two art pieces. I answered like this because TVXQ! is half of my life.
Yunho: To me, the 15th Anniversary of TVXQ! is like half of my life.
New Chapter #2: The Truth of Love - 15th Anniversary Special Album 2019
Yunho’s message to Changmin: Changmin ah!! You’ve worked so hard…Let’s grow old nicely together ㅋㅋㅋ -We’re starting again now-
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Suho - 181221 Leon magazine, January 2019 issue
Credit: luvfor_m.
#EXO#EXO K#Suho#181221#exo im#exo k im#suho im#magazine#magazine:leon#fs:luvfor m#comeback:Tempo#followup:Shot
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One More Turn Of The Screw At Medium
Announced with fanfare a few days ago: Medium Seeks Partners to Launch New Publications. This is jaw-dropping considering how many pivots the company has undertaken, and how many 'partners' it has screwed over in the process.
Medium's current strategy seems to be growing into a media giant, like a redo of the old Huffington Post or Forbes, before those pubs chased away all the flakes. But in the meantime, they are attracting all the 'thought leaders' writing listcicles and self-help manifestos, and on top are trying to create their own 'publications' with paid writers.
The site is maddening, oversaturated, and terrible to navigate.
Sadly, many writers I know and admire write there.
I am involved in a new publishing venture (about which more later) and I had considered publishing it there, but I think I will go a different route. I don't believe Williams.
My friend Rafat Ali tweeted about this:
Since this is Medium, unfortunately this will close down in a year too. Sad to see writers being fooled & falling for this again & again & again. This NYT story is surprisingly context-free. https://t.co/9GyraZ5a3d
— Rafat Ali, Media Operator (@rafat) March 19, 2019
The NYTimes article was a Bittman puff piece with no discussion of the many pivots at Medium. And no mention of the departure of Hackernoon from Medium and Medium's efforts to screw them as they were moving.
I've written about Medium numerous times:
June 2015 What’s Going On At Medium?
January 2017 Medium shifts direction, away from ads and towards … what, exactly?
January 2018 Medium Continues Dismantling Publications
February 2018 Ev Williams Hires Siobhan O’Conner from Time, to continue Transition into Megamagazine
For those who want to review the various zigs and zags in Medium's history, I recommend Medium's Mess: The rise and fall of the site that was supposed to save journalism by Katie Fustich. Here's one long excerpt:
In 2014 the company acquired and relaunched the digital magazine Matter as a general-interest publication with the goal of creating a home for “timely, original journalism that combines the reporting and scope of serious publications with the fun and intimacy of the social web.” Originally a subscription-funded, Kickstarter-launched science publication, Matter got a new editor-in-chief, the veteran GQ editor Mark Lotto, and became the mouthpiece of Medium itself, commissioning glossy, high-budget content that served as a tentpole for the platform. It published elaborate features like an account of lawyer Shannon Liss-Riordan’s 2015 lawsuit against Uber, as well as Awl-ish musings on neon signs, and an epically long essay on selfies. (Disclosure: Study Hall publisher Kyle Chayka was a contributor.) The aggressive editorial strategy nabbed Matter a National Magazine Award for Joshua Hammer’s long-form reporting on the Ebola crisis, making it the first digital publication to win the award.
In addition to re-launching Matter, Medium expanded its staff. The site raised $25 million and $57 million in 2014 and 2015, respectively, giving the company a $400 million valuation. Medium also continued to roll out new publications funded by its own capital as well as scattered ad deals, like Re:form, a design blog sponsored early on by BMW.
With a sleek publishing interface and shiny, award-winning content, Medium became an attractive publishing option for media newcomers and websites struggling to make it on their own in the digital platform era. In 2013, comics publisher The Nib launched with Medium under cartoonist Matt Bors, and in 2015, by-and-for women’s news site The Establishment set up shop. Smaller media companies like Pacific Standard, The Awl, and The Ringer also began using Medium’s platform as a content management system, in deals sweetened with guaranteed revenue from Medium’s inchoate ad operations. In 2016, Pacific Standard magazine editor-in-chief Nicholas Jackson gushed, “Moving to Medium was an obvious solution for what we wanted to do.”
But there were persistent tremors of uncertainty. In summer 2014, Medium announced it would be rolling out native ads and sponsored posts, finally answering the question of how the site planned to make money (Williams had previously stated that traditional banner ads would tarnish Medium’s aesthetic). In 2015 Matter began to slow down its publishing, and by 2016 it was crumbling, publishing its final post in November. The title relaunched as an independent media incubator-slash-studio that March, with funding from Williams himself and leadership by Lotto and his wife Hillary Frey, the former executive editor of Fusion (now executive editor at Huffington Post). Then the studio closed abruptly in January 2017 due to management issues, leaving writers with potential collaborative projects—book deals and film aspirations—in the lurch. The studio did, however, produce a trailer and swag for its rebrand logo.
Matter’s sudden shift coincided with the departure of Pacific Standard, The Ringer, and The Awl from the Medium platform. In May 2017, less than a year after joining Medium, Jackson was already explaining that Pacific Standard’s departure from Medium would allow it to increase subscriber growth and develop new features. The Awl departed several months later without much fanfare. Editor Silvia Killingsworth described the publication’s return to WordPress in a post that referred to Medium as “a cool experiment, in my opinion.” She continued, “Personally I missed the ads.” (The Medium detour seemed to help derail The Awl permanently; it shut down in January of this year.)
Medium’s meandering business model meant that in early 2017 it was forced to lay off approximately 50 staffers (one-third of the company at the time) and close offices in New York City and Washington, D.C. Under duress, the company pivoted away from serving as a platform for other media brands and doubled down on its own fraught editorial strategy.
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KE AUPUNI UPDATE - JULY 2019
H.E. Leon K. Siu giving a Press Briefing at Palais des Nations, Geneva — Photo by ACANU
8y Leon Siu - Hawaiian National
Keeping in touch and updated on activities regarding the restoration of Ke Aupuni o Hawai`i, the Hawaiian Kingdom.
Ua Mau Ke Ea O Ka `Aina I Ka Pono.
• Press At The UN
I just returned again from another trip to the United Nations headquarters in New York and Geneva.
The main benefit in attending meetings at the UN is to be able to tell our story and drum up interest among diplomats, UN officials and agencies, NGOs and all the other onlookers. The UN Human Rights Council in Geneva, is an ideal platform to tell our story by presenting interventions on the items being discussed in the plenary sessions, speaking on various panels, and mingling with people in the margins of the meeting.
One of the most important components in the talk-story mix is the international press.
Over the years, we have established solid credibility through dozens of articles published by various news agencies from around the world. A recent article that got much attention at the UN was in the January 2019 issue of Diva International Diplomat, a quarterly glossy magazine published at the UN in Geneva.
ACANU (the Association of Accredited Correspondents at the United Nations) oversees the press corps at the UN. On June 28, ACANU hosted a press briefing featuring Rob Kajiwara, Catherine Fisher and me, about human rights violations occurring in Hawaii and Okinawa. Interest was so keen, the briefing lasted over 90 minutes (far exceeding the allotted 1 hour) during which we were able to answer a lot of questions and cover a lot of ground… our history, living under foreign rule, current conditions, the struggle to restore self-governance and self-reliance; the TMT and Mauna Kea, illegal detentions, discrimination and persecution of Hawaiian subjects, falsification and transferal of land titles to foreign interests, economic tyranny, pillaging of Hawaii’s resources, etc.
As I said before, the world is waking up and beginning to listen. Briefings like this is to prepare the international press so they won’t be surprised when we start to move… Imua!
Ua mau ke ea o ka ʻāina i ka pono. The sovereignty (life) of the land is perpetuated in righteousness. ———
The Campaign to Free Hawai`i is funded by people like YOU…
We cannot do this crucial work without your help… your kokua.
It takes funding to make these important accomplishments happen and we deeply appreciate all financial contributions, large or small.
Any amount you contribute will make a huge impact on our ability to continue this work (and can be tax-deductible if needed).
We have much to accomplish in 2019 and your contributions toward that are very important and needed.
Your KŌKUA is greatly appreciated!
To contribute, go to - GoFundMe.com/FreeHawaii
---------
Malama pono, Leon Siu
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[190107] SUHO: Leon Korea magazine, January 2019 issue website update
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190104 JingYu for LEON Magazine, January 2019 issue @jingyuhuangjingyu #johnny黄景瑜 #johnnyhuang #jingyu #huangjingyu #huangjingyu黄景瑜 https://www.instagram.com/p/BsOFJZIHLJ-/?utm_source=ig_tumblr_share&igshid=1g9w4fhxj3eq9
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By Eric London
25 February 2019
On February 22, the World Socialist Web Site published an article, “The Jussie Smollett controversy: Must all accusations be believed?” The commentary argued that the collapse of Smollett’s claim to have been attacked by racist thugs in Chicago exposed the right-wing character of the #MeToo campaign, which asserts that the accuser must always be believed, lack of corroborating evidence notwithstanding.
One reader, commenting on the article, wrote that the WSWS was hypocritical for calling Smollett a liar while defending his presumption of innocence in the criminal case against him.
“So Smollett is a liar but also has the right to the presumption of innocence?”, the commenter, Urfubar, wrote. “This can’t both be true. You can’t presume someone innocent of a felony you just declared guilty of a felony. Either Smollett is a liar who falsified a police report, or he’s innocent until proven guilty. Pick one.”
This comment provides the opportunity to further probe the anti-democratic rationale and reactionary implications of the #MeToo campaign.
As a preliminary matter, the WSWS opposes Smollett’s former supporters who are now rushing to condemn him just as blindly as they rushed to believe him three weeks ago. We oppose the criminal prosecution and the premature decision by Fox to write Smollett’s character out of the show “Empire” before his guilt has been proven. The efforts by the media to make an example of Smollett before he has been found guilty are hypocritical and serve to confuse, not clarify.
However, the facts that have emerged make clear that Smollett lied about the January 29 attack. He claimed that two white men he did not know hit him, poured bleach on him and put a noose around his neck.
Dozens of security cameras at or near the scene of the alleged crime failed to show any attack, and the two men seen leaving turned out to be brothers, who are friends of Smollett and of Nigerian descent. The brothers had bleach (which Smollett alleged was thrown on him) and magazines with missing pages (Smollett alleged he received a death threat with letters cut out of magazines) at their home.
Financial records also show that the brothers purchased the same piece of rope that was later found on Smollett’s neck, which the pair is shown on closed-circuit video buying at a store. Phone records show that days before the alleged attack, Smollett texted one of the brothers: “Might need your help on the low [i.e., in secret]. You around to meet up and talk face to face?”
The WSWS correctly characterized and condemned Smollett’s selfish, careerist behavior, which only feeds the growth of the extreme-right and casts doubt on future allegations of right-wing vigilante attacks.
But does this mean he forfeits the right to be presumed innocent? Does it mean he is necessarily guilty of a crime?
The answer to both questions is “no.” Smollett has the right to challenge the charges against him in court and the evidence presented. Moreover, even if the defense accepts the specific allegation—that Smollett filed a false report—a trial such as this, in the course of a vigorous defense, invariably raises issues as to the significance and context of these facts, which could lead to a verdict of not guilty.
For example, §5/26-1(5) of the Illinois criminal code penalizes anyone who “knowingly… transmits or causes to be transmitted a false report to any public safety agency without the reasonable grounds necessary to believe that transmitting the report is necessary for the safety and welfare of the public.”
Central to Smollett’s legal defense could be his state of mind. To be guilty of a crime, a defendant must have the requisite level of intent. In this case, he must “ know ” there is no “reasonable ground” to believe the report is “necessary for the safety and welfare of the public.”
This presents a complex question. Did Smollett perhaps convince himself in the present political climate that his race and sexual orientation justify his actions and make them “reasonable?” Did he think bringing attention to bigotry and right-wing attacks was “necessary” for the public welfare, even if this particular “attack” was invented?
Or, was Smollett blinded by ambition and acting under a passion and pressure that so clouded his judgment that he could not “intend,” with clear mind, to carry out a crime?
Could he argue in court that he was operating in conformity with the conventions of a sick and corrupt society that encourages professionals to use their racial and sexual identities in opportunistic ways? Could he say he was an avid reader of the New York Times, which tells him it is “reasonable” to assume accusations must be believed no matter what? Could he say that the #MeToo hysteria has made the reasonable unreasonable and the unreasonable reasonable, and that he can’t tell which way is up?
The prosecution will claim, as the proponents of #MeToo always argue, that the accused is a monster and that monsters always have evil intent.
But Smollett has the right to exercise all the rights that flow from the presumption of innocence. He is protected from the state by the Sixth Amendment, which grants him the right to present his case to a jury and cross-examine the Nigerian brothers to examine their motives. If the case goes to trial, Smollett’s attorneys will have the benefit of voir dire to keep prosecutors from loading the panel with prejudiced panelists.
The Fifth and Fourteenth Amendments mean the judge may bar jurors from reading the New York Times so their ability to objectively hear testimony does not become clouded by the media hate campaign. The judge will tell jurors to ignore evidence, even if it is relevant, if its probative value is substantially outweighed by a danger that it is unfair, prejudicial, confusing or misleading.
How critical these protections are and yet how dangerous it is that none of them are available to the targets of the #MeToo campaign, whose lives and careers are ruined in the court of public opinion! The #MeToo proponents explicitly call for believing all accusers, having adopted the slogan “I believe.” Asking for corroborating evidence is “victim blaming.” Asking accusers about their intentions is “victim shaming.” If the accused claims innocence, it is presented as further proof of guilt.
It is precisely in such cases, however, that presumption of innocence and due process are so critical. Even in cases where everything appears clear on the surface—or, especially in such cases—it is in the course of a trial that the underlying complexities emerge.
The campaign to reject these basic democratic conceptions has been deliberately whipped up by the most powerful and profitable media corporations, working in conjunction with Democratic Party strategists and the editors of newspapers like the filthy New York Times. To advance their own money-grubbing, right-wing agendas, these powerful forces are creating a hysterical mood by playing on the prejudices, emotions, insecurities and ambitions of the affluent upper-middle class like keys on a piano.
Passionate public moods demanding vengeance have long been the vehicle for the most dangerous assaults on democratic rights. Hundreds of African Americans were lynched based on allegations by lying white women. One such woman, 85-year-old Carolyn Bryant Donham, is alive and free today. The lie she told in August 1955 was “believed” and, as a result, 14-year-old Emmett Till was tortured and killed, his mangled body dumped in the river.
Progressive politics has always fought such right-wing popular sentiments, even where the accused is clearly guilty. In the famous 1924 death penalty case of Leopold and Loeb, defense attorney Clarence Darrow argued against hanging two young men who admitted to murdering a 14-year-old boy. The newspapers were demanding the boys be hanged and attacking due process as an obstacle to justice.
In a democratic society, Darrow said, the court must ignore the clamor in the press and the reactionary hidden agendas of those braying for blood. It meant, instead, “that you must appraise every influence that moves [the defendants], the civilization where they live, their living, their society, all society which enters into the making of a child.”
The same principle was captured by Theodore Dreiser in his masterpiece An American Tragedy. Clyde Griffiths’ defense attorney, Belknap, made an appeal to jurors inundated with hysterical calls to sentence young Clyde to death:
“And I venture to say that if by some magic of the spoken word I could at this moment strip from your eye the substance of all the cruel thoughts and emotions which have been attributed to him [Clyde] by a clamorous and mistaken and I might say (if I had not been warned not to do so) politically biased prosecution, you could no more see him in the light that you do than you could rise out of that box and fly through those windows.”
Irreconcilable opposition to such witch hunts in the face of popular pressure is the trademark of principled socialist politics. Leon Trotsky insisted that socialists are socialists only insofar as they maintain “complete and absolute independence of bourgeois public opinion.”
Writing in 1922, the co-leader of the Russian Revolution described bourgeois public opinion as “composed of two parts: first, of inherited views, actions, and prejudices which represent the fossilized experience of the past, a thick layer of irrational banality and useful stupidity; and second, of the intricate machinery and clever management necessary for the mobilization of patriotic feeling and moral indignation, of national enthusiasm, altruist sentiment, and other kinds of lies and deceptions.”
These words may as well have been written about the #MeToo movement, which genuine socialists rightfully oppose.
#jussie smollet#metoo#social justice#democracy#theodore dreiser#an american tragedy#progressive politics
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10 HTML Elements You Didn't Know You Needed
#384 — March 27, 2019
Read on the Web
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All You Need to Know About Hyphenation In CSS — We linked to a piece exploring hyphenation support back in January. Here’s another good look at how to use it practice, along with use case examples.
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What Should Developers Consider When Planning a React Application? — Start your next React project with confidence. Learn strategies for tooling, frontend and UX, testing and performance to boost your (and your team’s) productivity. Get your free copy.
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Crafting Reusable HTML Templates — We linked to the first post in this five-part Web Components series in last week’s issue, and now all posts are available. It’s a good look at why Web Components are a great approach to building front-end components and UI elements in a standardized way.
Caleb Williams
10 HTML Elements You Didn't Know You Needed — This is reasonably elementary, but reminded me of the sort of things that did well back when we were called HTML5 Weekly so.. here's a quick look at some HTML elements, a few of which you might not have known existed.
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Using closest() to Return the Correct DOM Element — closest travels up the DOM tree from the current element and returns the closest ancestor that matches the given parameter.
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Create Robust Angular Apps Using Pre-Built Components with Full Support — Download our free 30-day trial of ExtAngular to gain access to 115+ components, all built to use with Angular applications.
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A Guide to Debugging Common JavaScript Errors
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CSSeffectsSnipets — A nice little collection of CSS animations, with one-click copy and paste, created with Vue.
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Suho - 181214 Leon magazine, January 2019 issue
Credit: Sports Chosun.
#EXO#EXO K#Suho#181214#exo im#exo k im#suho im#magazine#magazine:leon#p:news#fs:sports chosun#comeback:Tempo#followup:Shot
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THE OSWALD HANCILES COLUMN
Climate Change War & the African’s Inferiority Complex
All sane national leaders, religious leaders, business leaders…. now agree that Climate Change is an existential threat to the human race. Is US President Donald Trump not sane then? Trump has pulled the United States out of the 2016 “Paris Agreement” (The Paris Agreement is within the United Nations Framework Convention on Climate Change (UNFCCC), dealing with greenhouse-gas-emissions mitigation, adaptation, and finance. It was signed by 196 countries in 2016. The Paris Agreement's long-term goal is to keep the increase in global average temperature to well below 2 °C above pre-industrial levels: this could substantially reduce the risks and effects of Climate Change). Trump trumpets the need for “America First” (Read: to sustain the American lifestyle of GLUTTONY), while justifying the United States’ continual use environmentally-unfriendly fossil fuels. In the Climate Change War Trump is the enemy. To me, Climate Change’s ramifications for Africa is another intensification of the physical war, psychological war, economic war… that Europeans/Americans have waged on Africans for about 600 years now – starting with four centuries of the Atlantic Slave Trade, almost a century of European colonialization of Africa; and the skewed global economic systems rigged against Africa that African countries have been coerced to be part of. Yoked by chronic inferiority complex, the response of Africa’s leadership to the nightmarish scenarios being predicted for Africa is one of begging the West, hoping that through spasmodic speeches in international fora, the conscience of the West would be touched, and the West would dramatically change centuries-old mindsets and economic systems.
Africa’s “Begging” War Strategy
“Most crises usually have a variety of festering causes and effects. It is the failure to address them early and effectively that lead to out-of-control conflicts....”: those were the words of the President of the Federal Republic of Nigeria, Retired General Muhammadu Buhari, at the 73rd General Assembly of the United Nations at New York.
Buhari at the UN in 2018 said: “... Climate change remains one of the greatest challenges of our time. Very close to us at home, it is our lot in Nigeria, together with our neighbours around the Chad Basin, to live with the climate change consequences of a drastically shrunk Lake Chad and the parching up of otherwise fertile arable lands…. (Lake Chad’s) shrinking meant loss of livelihoods and they are now rendered poor and vulnerable to the activities of extremists and terrorist groups. The instability thus caused in the sub-region intensified internal displacements leading, among other consequences, to intense economic competition especially between farmers and herdsmen…”
Many credible Nigerian analysts are likely to be derisive of Buhari’s citing of Climate Change as a “root cause” of the festering violence in the Northeast of Nigeria. They could cite as “root cause” the 50 years of Northern Hausa-Fulani domination of Nigeria’s politics; the near-institutionalized predatory lifestyle of the Nigerian political elite which Buhari has futilely tried to tame; and the governing elite’s crude insensitivity to the plight of the majority, that which has resulted in about 60% of Nigeria’s 200 million people living in poverty today, making petroleum-rich Nigeria “the poverty capital of the world”. For Africa to have the moral authority to demand the urgently-needed massive Climate Change funding from the West and China - my ideological demand is “$2 trillion annually for Climate Change Adaptation and Mitigation measures in Africa from the richest nations of the world” - the Big Lies being spouted by too many of Africa’s leadership must be burst: bad governance; Political Tribalism; corruption, etc. must be part of the enemies within Africa to be fought in the Climate Change War.
President Bio on “Renewable Energy”
“…(Sierra Leone)… needs public and private investment for commercial and industrial use, powering hotels, agriculture, and small-scale manufacturing. My country is endowed with significant renewable energy resources in solar irradiation, coastal and offshore wind, minihydro, and bioenergy... My government is seeking collaboration between local companies and US engineering companies that have proven experience in working on PowerAfrica funded LNG-Power projects in Africa…”: the words of Sierra Leone’s President, Retired Brigadier Maada Bio, at the same United Nations meeting addressed by Retired General Buhari.
Just after the UN Assembly in New York in 2018, an American journalist interviewed President Bio in the US. She asked about commercial logging which is resulting in the rapid loss of Sierra Leone’s tropical rainforests. President Bio responded that the loss of tropical rainforests because of commercial logging would be mitigated by significant reforestation programme. I was shocked by the President’s ignorance on issues that touch on the tropical rainforests. Some 60% of world’s genetic materials are found in tropical rainforests. One tree in, say, Koinadugu District, can be host for twenty to fifty species. When you chop down that one tree, you destroy the home for all the other species that would be dependent on it. You cannot just say in a cavalier manner - like the Chief Minister in the Bio Administration, Prof. David Francis, has been saying - “Cut one tree and plant three trees”: for the genetic materials lost in one tree in the tropical rainforests could take hundreds of years to return, likely, they could be irreversibly lost. Guess what? It is the genetic materials in our rainforests that can be used as ‘bargaining chips’ for the other needs of Sierra Leone that Sierra Leone is asking for assistance for: that has been my thirty-years-long ideological thrust.
The Chronic Inferiority Complex of the African
Africans burdened by centuries of inferiority complex are less likely to believe what I write, or, take action on my writings. Since the early 1980s when I waded into environmentalism while in Liberia; since 1987 when I was the brain/CEO of the Save My Future Conservation Society in Liberia; then in green projects in Nigeria and Sierra Leone in the 1990s, my ideological emphasis has been to use the reality of global warming to seek redress for the four centuries of the Atlantic Slave Trade; to stimulate justice in the global economic systems that have been rigged against Africa.
“... Climate change represents a nightmare scenario for the future of the people of the world's poorest continent (Africa!), according to the official preparing a top-level report… (The Stern Review) states ….Small rises in temperature and reductions in rainfall could 'tip the balance' and lead to severe water shortages and reductions in crop yields… These could fall by as much as 30 per cent by the 2050s…..Sir Nick's remarks comes on top of one by…Christian Aid, which suggested that up to 182 million people in sub-Saharan Africa could die of diseases directly attributable to climate change by the end of the century…”(SOURCE: Climate change will be catastrophe for Africa http://www.independent.co.uk/environment/climate-change-will-be-catastrophe-for-africa-478375.html; written by Paul Vallely ; Monday 15 May 2006).
A 2017 Thompson Foundation report warns that “Africa is at highest risk of major economic blow from future climate threats”: “Countries most dependent on agriculture are at risk of experiencing changes over the next 30 years and face the biggest costs with the effects of the extreme weather, according to a global climate index…. Sub-Saharan Africa is home to 17 of the 20 countries most economically reliant on agriculture in the world”. The National Medium-Term Development Plan (NMTDP) of the Bio Administration launched in January, 2019, states that about 60% of the workforce of Sierra Leone is in agriculture; and agriculture constitutes 65% of Sierra Leone’s GDP. These African countries also “lack the resources” to cope with Climate Change caprices. Another thing, while agriculture yields are predicted to nosedive, the figures on those who must be fed would spike. The aforementioned Report states: “Countries which are most exposed to climate change are also those projected to experience the greatest growth in population between 2015 and 2050, Verisk Maplecroft said. (SOURCE: http://www.reuters.com/article/us-agriculture-climatechange-idUSKBN14802K). According to the NMTDP, Sierra Leone’s 3.2% growth rate is one of the highest in the world.
Climate Change Apartheid
“ The world is on course for ‘climate apartheid’, where the rich buy their way out of the worst effects of global warming while the poor bear the brunt, a UN human rights report said on Tuesday (June 25, 2019)…. President (Donald) Trump has …presided over an aggressive rollback of environmental regulations, and is actively silencing and obfuscating climate science," Alston wrote. (SOURCE: https://www.channelnewsasia.com/news/world/in--climate-apartheid---rich-will-save-themselves-while-poor-suffer--un-report-11660530).
In the August 18, 2019 edition of the “GPS” show on CNN by Fareed Zakaria, former Irish President, Mary Robinson, said this: “The rich pollute; the poor pay”. Robinson called for global justice. In GREENLOVE magazine published by SAMFU in 1987, the cover story I wrote as Editor called for a “Marshall Plan” for Africa. ‘Nar thirty year ar done take way are dae tuk en rite di thing way waiteman dae tuk tidae. Una yeri now O!!’
African demands courageous leadership and bold vision. Even if Africa adopts the best of environmentally-friendly ways – like planting trees; by using environmentally-friend energy, etc. – the urgency and magnitude and COMPLEXITY of the Climate Change problems would mean hardly any country in Africa have the financial and intellectual resources to put in place Climate Change Adaptation and Mitigation measures in proportion to the complex challenges. Africa must unite. What the Bio Administration has embarked on – revoking some foreign mining licenses to bring Justice and equity in the mining industry – can ONLY be sustainably successful when the issue is addressed by a UNITED POSITION OF AFRICA.
In a war, there are enemies and friends. In the Climate Change War, the enemy is not as obvious as it was during the Second World War when the Allied nations of Britain, Russia, France, United States… had visible enemies of Germany, Italy, and Japan. The enemies in the Climate Change War are amorphous – they could be US President Donald Trump, or, the presidents of Nigeria and Sierra Leone; or, a predatory elite who think they could escape the worst effects of Climate Change by being lukewarm in providing leadership for environmentally-friendly action. Or, the enemy could be the IDEAS that have gotten humanity to the Climate Change precipice – ideas of racial superiority; ideas of racial inferiority among the black race; ideas of zero-sum-war-game of capitalism.
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[190107] SUHO: Leon Korea magazine, January 2019 issue website update
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190104 JingYu for LEON Magazine, January 2019 issue @jingyuhuangjingyu #johnny黄景瑜 #johnnyhuang #jingyu #huangjingyu #huangjingyu黄景瑜 https://www.instagram.com/p/BsOFAJKnz-N/?utm_source=ig_tumblr_share&igshid=7ff9zft2i0od
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