True Left

This pic is the Toky Metro where they show a white guy cutting in line.Meanwhile they also show a **** being respectfull and in line. Jfl at japs.

The funny part is look at the jaw they are portraying there.

Sailor Moon's original North American release was the subject of heavy editing which resulted in large amounts of removed content and alterations that greatly changed the original work.[33] These changes altered almost every aspect of the show including character names, clothing, scenes and dialogue. Some scenes with brief nudity and bathing were also censored,[34] and any type of violence including violence against children was also removed.[15][35]

The series also faced censorship in various countries that ranged from changing a character's gender to removing gender fluidness in characters, or editing romantic pairings into close relationships between family members.[36][37][38][20] Sociology professor Rhea Hoskin specifies that the removal of homosexual and gender-fluid characters in the 1990s Sailor Moon highlights the exclusivity of what was otherwise representation of LGBTQ in a female-lead superhero show.[39]

The tradition of bifurcated thought is heavily influenced by Renee Descartes, who divided all of reality
into „conscious subjects” and „mere bodies” – otherwise known as mind/body dualism (Bordo).
Operating within Western systems of thought, cultural intelligibility relies on dichotomous pairings.
These dichotomies prop up much of Western thought and are largely the framework through which
Western society derives meaning. One of many social expressions of discursive dualities is that, while
some groups have been awarded subject-status and protections, others have regularly and systematically been denied those protections, stripped of their „dignifying, and humanizing subjecttivity” and
erased from the public view (Bordo). The current paper will examine the function of discursive binaries in maintaining Western heteronormativity through the translation and transmogrification of
Sailor Moon. This paper will demonstrate how discursive practices are carried out through exclusions
and erasure within cultural imagination and representation of what constitutes proper subjectivity.
...
the 5th and final season of Sailor Moon, which involved
the Sailor Stars, was never dubbed or adapted for presentation in English to a North American
audience. The cancellation of the show led fans of the show to launch the S.O.S. (Save Our Sailors)
campaign, asking the networks to continue airing the show. The networks stood by their decision to
stop translating the show into English, a somewhat mysterious decision given its extreme popularity.
...
it becomes
clear that the show contains many queer characters, relationships and a consistent blurring of the
dichotomous boundaries concerning sex, sexuality and gender.
Unfortunately, the queer characters, relationships and depictions of gender fluidity were censored
from the North American version of Sailor Moon as a result of decisions made by Optimum
Productions, the Canadian company who produced the English version of Sailor Moon.

in the French dub, Haruka, here called Frédérique, appeared to be a man and was given a male voice actor
...
The Hungarian dub, which was based on the French version, followed suit.
...
in Russian, Haruka was changed to have a male voice actor in her civilian form, similar to the French dub.

Nearly two decades since Sailor Moon began airing in the West, Canadian psychologists continue to
grapple with gender independent children. With ongoing debates percolating over the ethics of how
to best treat gender diverse children, the ease with which Sailor Moon characters engage with sexual
and gender fluidity might provide a good prescription for the Western world.

In the original Japanese version, Zoisite is in a relationship with Malachite, both of whom are readable
as cisgender men. Zoisite is characterized femininely and appears to romantically orient toward men.
In the English dubbed version Zoisite is turned into a woman, rendering the formerly queer relationship between the characters heterosexual. According to Optimum Productions, Zoisite was changed
from male to female due to broadcaster's fears that viewers would intuit a „gay” relationship between
the characters (Wockner).
...
Sailors Uranus/Amara and Neptune/Michelle are lovers. In the Japanese version the relationship
between Amara and Michelle is evident. When dubbed over, Amara and Michelle are depicted as
„cousins” who are simply said to be „very close” (Wockner). The relationship between Amara and
Michelle exemplify how the Westernization of Sailor Moon works to maintain heteronormativity and
normative-bodies by erasing queer desire and identities.
...
Though Fisheye could be classified within Western cultural imaginaries as trans*, this category does
not account for the complexities of their identity. In the series, Fisheye's non-binary gender-variance
is made apparent, however these differences are masked once translated into English; the contrast
between direct translation subtitles and the dubbed-voices demonstrate the deliberate erasure of
queer-identities. For example, in season 4 Sailor Moon SuperS, episode „Mini ga daishiki!Oshare na
Senshitachi / Clothes Call / Love Those Minis! The Fashionable Soldiers” (Satou), Fisheye is chosen to
be an up-and-coming fashion designer's newest muse and model. In the direct translation, the
designer states that Fisheye is a „miraculous person that surpasses genders.” This scene is altered so
that, instead, the fashion designer says to Fisheye, „you're beautiful and have a unique look” (Satou).
Later in the original episode during a fitting with the Fashion designer, Fisheye rips off the garment
to reveal a masculine/male-contoured chest. In the dubbed version, the view of Fisheye's chest is cut
so that the audience can only see from the shoulders up. Fisheye is changed into a stably gendered
woman in the English dub of the anime. Scenes demonstrating their bodily signs of masculinity are
cut and cropped.

The next queer characters appear in the fifth season, Sailor Moon Stars, the point at which Sailor
Moon was cancelled in the West. Arguably, it is also at this point in the series that the concealment
of queerness became too complicated and the erasure of queer-identities through translation and
editing, impossible.
...
The characters in Sailor Moon play out the complexities of sexuality, sex and gender identities in a
way that does not subscribe to Western binaries
...
the queer characters of
Sailor Moon threaten and expose the insecurity and vulnerability of conventions of normativity.
Normativity's hold on „order, control, and self-determination is fragile and uncertain” and is maintained by strategies that uphold boundary structures (231).
...
Largely falling outside
of even normative hetero/homo identities, the queer characters of Sailor Moon are abjected from the
Western world and expelled from the cultural imaginary. Characters such as the Sailor Starlights, who
weave between Western notions of the proper self, are abject bodies who threaten to breakdown
meaning by disturbing order and systems of identity. They do not „respect borders, positions or
rules” of cultural intelligibility (Kristeva 4). Queer characters of Sailor Moon not only offer sexual and
genders that break away from discursive binaries, they also have the ability to bring marginalized
voices into mainstream popular culture – to bring the margins to the centre.
...
How can a society claim to be concerned over queer suicides, while
simultaneously erasing the existence of queer role models from youth television? From characters
who might be understood as lesbian, bi, gay or trans, and even depictions of queer-parenthood:
Sailor Moon offers what could potentially be a positive depiction of diversity so badly needed for
Western youth of the 1990s as well as the gender-independent children and youth of today.
...
Sailor Moon functions as resistance to dichotomous conceptualizations of sexuality, sex and gender
...
Queer characters in Sailor Moon are not translatable into dichotomous Western thought -
categories fail us and, through their enforcement, the depth of meaning and complexities of queer
identities and desires are lost in translation. It is this fluidity, the blurring of Western boundaries, that
provokes cultural anxiety. The characters in Sailor Moon offer a re-envisioning of identities that are
not limited by Western binaric thought, as they cannot be easily pegged within the heterosexual
matrix (Butler). The re-writing of cultural categories of normalcy poses a symbolic threat to the
assumed naturalized order: systems of power require docile-bodies. As demonstrated by the original
series of Sailor Moon, these characters do not contribute to docility but, instead, celebrate „unruly”
and „abjected” notions of self. Resultantly, and despite the potential benefit to youth, the series was
censored, edited and finally taken off the air.

A study from the Ministry of Home Affairs published in 2015 entitled, ‘Strategies to develop livelihoods in Papua’ argued that livelihoods are hampered by a supposedly ‘weak entrepreneurial spirit’. Despite also acknowledging problems such as lack of capital, lack of equipment, low quality and quantity of products, and difficult market access, this government study still blamed Papuans alleged capabilities for their poverty.

These racist statements from government officials are part of a long history of stigmatising Papuans as lazy, drunk, ignorant or dirty and denigrating their abilities. While nowadays there is more awareness of the racism that Papuans experience, in part due to movements like BLM and Papuanlivesmatter, racial stereotypes are not always obvious. The idea of ‘technocratic racism’ describes claims about people’s skills, aptitude, education or attitudes for technical, professional, and entrepreneurial work. For example, that they are not good with technology, cannot manage money or are ashamed to do business. Or, that they are good with money, technology, and business based on their cultural or ethnic background. These are both forms of racism and racialisation.

...

In Papua, racism influences who gets a job opportunity. Data on indigenous employment could be extracted from the 2010 national census yet so far this type of analysis has not been undertaken. Both authors have lived and/or spent considerable time in Tanah Papua over the past decade and it has been our observation that in urban areas almost all the workers at the major private employers and resource companies, for example hotels, malls, supermarkets, mechanics, banks and construction, are non-Papuan. In Jayapura, we estimate that in the past decade there have never been more than a few Indigenous Papuans employed at the large malls (Mal Jayapura, Saga, Borobudur) or hotels (Swissbel, Aston, Grand Abe, Horizon).

While more research is needed to understand ethnic patterns of employment, we suggest that the racialization of Papuan skills and capabilities, coupled with strong ethnic networks among newer migrants and lack of policies that regulate or guide employment, contribute to discrimination against Papuans. Javanese are now the largest ethnic group in West Papua province and the third largest group in Papua province. In Papua province, the number of migrants from South Sulawesi is also considerable. These cultural groups are known throughout Indonesia for their trading and entrepreneurial skills, which may make them more attractive jobseekers and seem to provide a convenient, if racist, explanation for discrimination against Papuans.

...

Papuans are well aware of this racism. According to one local Papuan informant, ‘If you use the excuse that Papuans don’t want to work in malls or hotels, can’t stay long or focus, lower income or other reasons, those are just reasons from investors or others that don’t want to see us grow, compete with outsiders. They don’t want to accept us to work in their industrial services.’

Papuan men and women experience different forms and expressions of racism, so gender intersects with racial ideas to influence what opportunities they can access. For instance, Indonesian beauty ideals preference light skin, petite bodies and long straight hair. This affects which women are likely to be hired for service roles like front desk attendant or store assistant. Men are stigmatised as aggressive and non-compliant, so they are less likely to get a chance at professional, technical or service roles.

...

It is not only policy that allows economic dominance to accumulate. We question how the dominance of migrants, especially as street-side commercial merchants, affects Papuan desires to participate in this increasingly prevalent form of street economy. Given the racialisation of Papuans as supposedly lacking in entrepreneurial abilities, and the ongoing experience of ethnic tensions and violence, do Papuans feel like they belong in and have a right to, these urban economic spaces?

This is especially important to consider as the military and police (migrant-dominated institutions) are also increasingly economically active in the urban street economy, selling food, produce, merchandise and services. This activity is not illegal, but it reinforces the idea that the urban street economy, like working at the mall or a hotel, is not for Papuans.

My people – why do you not see what has been done to our home?

Stop allowing others to define how we should interpret the world around us!

Why do you ignore the call of the tribes when the horns sound for you to join them?

We are a naturally inventive, free-spirited and tenacious people, but the power of suggestion has manipulated us into turning against our own kin.

They understand that women are different from men and they do not try to dress like them but rather take pleasure in appearing feminine.

our own people created waltzes, reels, ballet, and country dances.

Even if you are inclined to be a rebellious soul, still certainly you must sense that metal and rock align well with the heathen barbarian inside yourself, for it authentically expresses the intentionality of your biological character.

Canadian advertisers – why do you pretend that Canada is a nation of Africans, Arabs, and Sikhs when they are but a minority and they do not see themselves as Canadianwhite?

There is no justifiable reason for why non-Europeans should be given prevalence over the native-born Canadians who have been here for centuries.

Architects of Canada – do your creations reflect the authentic values and history of our people?

Please, I beg of you, reject the international brutalist Bauhaus postmodern style.

Do not feel that you have some moral duty to perpetuate aboriginal crafts for the Precolonial Inhabitants will never see themselves as Canadian no matter how much you may try to appease them with inukshuks, totem polls, and the so-called “woodland style”.

Canadian filmmakers, playwrights, and theatre producers – why do allow for anti-Canadian themes to prevail in your works?

There is nothing charitable about casting people who are not visibly European into roles where they do not belong.

My people – know that I love you even though you may betray me, for we are still a part of each other. Please consider these sincere words and share your own sentiments so that together we can reject the harmful memes that have infected the minds of the masses and rejuvenate our culture away from its current course toward destruction.

A Kuwaiti media outlet has unveiled a virtual news presenter generated using artificial intelligence, with plans for it to read online bulletins.

“Fedha” appeared on the Twitter account of the Kuwait News website on Saturday as an image of a woman, hair uncovered, wearing a black jacket and white T-shirt.
...
The presenter’s blond hair and light-coloured eyes reflected the oil-rich country’s diverse population of Kuwaitis and expatriates, Boftain said. “Fedha represents everyone.”