#20th c. china
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Chinese artist Zheng Mukang (1901-1982);
Lady reading
Tea in a garden and Lady playing a qin
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With Ukraine’s counteroffensive stalled and the U.S. Congress deadlocked over crucial military aid, some analysts have begun raising the specter of a turning point in the war that could lead to a Ukrainian defeat. While the situation on the ground is still far from dire, it could rapidly deteriorate in the absence of a significant infusion of U.S. military support for Ukraine.
The consequences of a Ukrainian defeat need to be fully understood. The likely geopolitical consequences are easy to anticipate. The defeat of a Western-backed country would embolden Russia and other revisionist states to change other borders by force. A Russian victory would frighten Russia’s European neighbors, possibly leading to a collapse of European collective security as some countries choose appeasement and others massively rearm. China, too, would conclude that Taiwan cannot rely on sustained U.S. support. Indeed, the ripple effects of U.S. indecision have already begun: In a move that recalls Russia’s illegal annexation of several regions of Ukraine, Venezuela this month claimed more than half of neighboring Guyana as its own. While there are no signs of an impending invasion, it would be naïve to think that other countries aren’t watching closely to see whether Russia’s land grab succeeds.
Many analysts have already described these far-reaching security risks. But they pale in comparison to the dire consequences for Ukraine and its inhabitants if Russia wins. It is important for both supporters and opponents of Ukraine aid to know what these consequences would be.
To understand Ukraine’s likely fate if Russia turns the tide, the best place to start is what the Russians actually say. On Dec. 8, Russian President Vladimir Putin made clear that in his view there is no future for the Ukrainian state. On Dec. 5, he spelled out his intention to “reeducate” the Ukrainian people, curing them of “Russophobia” and “historical falsifications.” On Nov. 12, former Russian Prime Minister Dmitry Medvedev made Russia’s appetites clear: “Odessa, Nikolaev, Kyiv, and practically everything else is not Ukraine at all.” It is “obvious,” he posted on Telegram, that Ukrainian President Volodymyr Zelensky is a “usurper,” that the Ukrainian language is only a “mongrel dialect” of Russian, and that Ukraine is “NOT a country, but artificially collected territories.” Other regime propagandists assert that the Ukrainian state is a disease that must be treated and Ukrainians a society that must be “de-wormed.”
More explicitly, Russia’s highly censored state television has, over the past two years, consistently promoted the rape of Ukrainians, the drowning of children, the leveling of cities, the eradication of the Ukrainian elite, and the physical extermination of millions of Ukrainians. For an excellent snapshot of these and other statements, Russian Media Monitor has compiled a must-watch collection of short clips from Russian television, complete with English subtitles. This coordinated campaign is not bluster but a harbinger of what awaits the Ukrainian people. In these remarks, we can see the contours of the atrocities awaiting Ukrainians under a total or nearly total Russian occupation.
We can also project the effect of a Russian victory from the atrocities that are already widespread in the Russian-occupied territories. According to official Ukrainian sources, nearly 2 million Ukrainians have already been removed from their homes and communities in the occupied areas and resettled in Russia, either temporarily or permanently. Other estimates range from 1.6 million to 4.7 million. Russian children’s commissioner Maria Lvova-Belova said that more than 700,000 Ukrainian children have been taken from Ukraine to Russia since February 2022; nearly 20,000 of these are known to Ukrainian authorities by name. Transferring children from their home country and denying them access to their language and culture is not only an internationally recognized war crime. Such forced assimilation is also defined by the U.N. Convention on Genocide as a genocidal act. It is why the International Criminal Court has issued a warrant for Lvova-Belova’s arrest.
Russia is not only ridding its occupied regions of Ukrainians but also replacing them with Russian settlers—a tragic continuity with Soviet and Russian imperial practices of systemic deportation, colonization, and Russification. In the Ukrainian city of Mariupol, where the Russian advance killed tens of thousands of civilians and destroyed 50 percent of the city’s housing stock, a handful of new apartment buildings were recently constructed. Some of that housing is being offered for sale, with Russians carpetbaggers snatching up real estate at bargain prices.
Ukraine’s partly occupied south offers a clear picture of the techniques used by the occupying forces to establish authority. A Human Rights Watch report from July 2022 documents a pattern of torture, disappearances, and arbitrary detention in the region. Citizens endured torture during interrogation, including beatings, electroshocks, and sensory deprivation. Several prisoners died from the torture, and large numbers have simply disappeared. Among the victims were local officials, teachers, representatives of the Orthodox Church of Ukraine, NGO activists, and members of Ukraine’s territorial defense. There also is a massive amount of information collected by human rights monitors and journalists about the operation of filtration and detention camps.
Political indoctrination and the militarization of youth are already key characteristics of life under Russian occupation. Political banners and posters promoting Russian patriotism are omnipresent in the occupied regions. New children’s textbooks expunge Ukrainian history and preach hatred for Ukraine’s leadership. The Ukrainian language is being removed from much of the education system and relegated to its colonial status as a quaint dialect representing nothing but a gradually disappearing regional culture soon to be subsumed in the Russified mainstream.
Already, millions of Ukrainians have had their lives destroyed in one way or another by Russia’s monstrous occupation. Were Russia to complete its conquest, it would be a multiple of that number. After almost a decade of war against Russia, Ukrainians are united and highly mobilized in the defense of their country’s borders, democracy, culture, and language, to which many Ukrainian Russian-speakers have switched out of disgust with Moscow’s invasion. Millions of Ukrainians have been enraged and radicalized by Russia’s war crimes and destruction of their towns and homes. Millions of Ukrainians have volunteered to assist the war effort, millions have contributed funds to support the military, and even more have turned to social media to vent and publicly register their rage at Putin and the Russian state.
That would not only make any conquest brutal and bloody. Should Ukraine lose, almost all of Ukrainian society would need to be punished, repressed, silenced, or reeducated if the occupation is to quell resistance and absorb the country into Russia. For this reason, a Russian takeover would be accompanied by mass arrests, long-term detentions, mass deportations into the Russian heartland, filtration camps on a vast scale, and political terror. If a serious insurgency emerges, the level of repression will only widen and deepen.
A major effort will also be required to rid the country of seditious materials, which is to say all films, novels, poetry, essays, art, scholarly works, and music that may contain positive references to Ukraine’s period of independence. Libraries and schools will be purged of all such subversive content—in essence, the majority of all writing and cultural output that Ukraine has produced during the last three decades. Writers and scholars will face the choice of repudiating their identity and past work or becoming nonpersons in the new order. Many will face arrest or worse, simply because they transport Ukrainian culture and stand in the way of Russification. Again, this is not speculation but widespread practice in other territories that Russia has occupied.
Russian territorial advances would be accompanied by a second wave of Ukrainian refugees far more massive than that of early 2022, when some 7 million Ukrainians crossed the border into the European Union. For the remaining Ukrainians, the future would be one of totalitarian controls on culture, education, and speech, accompanied by a mass terror on a scale not seen in Europe since the 20th-century era of totalitarian rule.
There you have in distilled form what a Russian victory would mean. Members of the U.S. Congress are free to vote against assistance to Ukraine if they think—wrongly—that the war’s outcome does not affect the U.S. national interest. But they should not be allowed to oppose assistance to Ukraine without being fully aware of the tyranny they will be helping to empower—and their responsibility for the massive and entirely predictable crimes that will ensue.
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How many times did writing systems individually evolve?
Writing has been independently invented at least three times in human history: once in Mesoamerica, once in Mesopotamia/Egypt, and once in China.
The only script from Mesoamerica that has been deciphered is the Maya script, attested from around 200BC until the time of the Spanish conquest, when (to my understanding) the scribes were all either killed or retrained in writing Spanish and knowledge of the script was lost. It was subsequently deciphered again in the late 20th century, though the corpus is fairly small (most of it epigraphic) as only a handful of codices remain. Earlier, undeciphered forms of writing or proto-writing predate the Maya script in Mesoamerica, such as the (Epi-)Olmec script.
The situation in the Ancient Near East is a bit more complex. Two extremely early forms of writing are attested there, Egyptian hieroglyphs (in Egypt) and Sumerian cuneiform (in Mesopotamia). Both date from the end of the third millennium BC (that is, c. 3000BC), and one or the other has the claim to being the first writing system ever invented. My impression is that every once in a while they'll dig up an inscription from Egypt that sets the date back a little and makes Egyptian the oldest, then they'll dig up something from Mesopotamia that makes Sumerian the oldest, back and forth. But I don't know the details, maybe an Egyptologist or Sumeriologist can come in here and confirm or deny.
Anyway, one of the great things about cuneiform in particular is that there is a clear archeological record of its emergence out of proto-writing. So, linguists and epigraphers say that some system of symbols is a "writing system" when it can be used to represent a spoken language in its totality. For instance, English writing can represent any spoken English sentence, so it counts. If a system cannot systematically represent speech, but is still used for more limited kinds of communication or record keeping, it is dubbed "proto-writing". All writing systems are thought to have emerged out of earlier systems of proto-writing, in which symbols were used iconographically in various ways, before becoming fully systematized and coming to represent spoken words. With cuneiform, there is a record of this whole transitional process, which has probably informed theories about the development of writing generally more than anything else.
In any case, Egyptian hieroglyphs and Sumerian cuneiform emerged side by side at about the same time, so it is generally thought that their development was subject at least to cross-influence of various kinds, and thus they should not be counted as wholly separate "inventions of writing". But I don't know the details of this.
The last case in which writing was independently invented was in ancient China, with the oracle bone script, attested from about 1200BC. By the time of its first attestation, however, the oracle bone script was already very systematized and complex, leading most scholars to believe that it must have been in use for several centuries before the earliest extant examples. One way or another, unlike the previously mentioned scripts, the details of its initial development and any possible predecessor systems are totally unknown. Another difference is this: the Maya script and cuneiform both completely died out, leaving no descendants in use today. Egyptian hieroglyphs also died out, although if it is in fact true that the proto-Canaanite script is adapted from hieroglyphs, then they left many indirect descendants (including the Latin characters I am using right now!). The oracle bone script, on the other hand, evolved directly into modern Chinese characters, which are used today to write Chinese and Japanese (in the form of kanji) and formerly also Korean (hanja) and Vietnamese (chữ Nôm).
More cases of independent invention are possible, but are unconfirmed. Systems like the Vinča symbols are so old that they went out of use before cuneiform even developed, but they are generally regarded as being in all likelihood examples of proto-writing and not true writing systems. The Indus Valley Civilization had some symbols, but they are also undeciphered and are also probably not true writing. The Brahmi script of ancient India (c. 300BC) is sometimes argued to be an independent invention, but similarities to Aramaic have led many to believe it was at least influenced by earlier Semitic scripts (themselves all descended from proto-Canaanite, and thus, putatively, from Egyptian hieroglyphs). Rongorongo may be a writing system independently invented in Rapa Nui (Easter Island), but again it remains undeciphered and may be proto-writing. There are probably various other such examples.
Anyway, the answer to "how many times did writing systems independently develop" is "at least three, maybe a few more".
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For #InternationalCatDay 😻:
(and #TwoForTuesday + #TextileTuesday)
Cat Shoes
China, 20th c.
Crepe, 4 3/4 in. (12.065 cm)
Nelson-Atkins Museum of Art 42-33/2 A,B
“These children’s shoes are adorable, but they also carry a secret message to a married couple. In Chinese, the phrase for children’s shoes sounds like the word harmony, which extend to a four-word phrase, tong xie dao lao 同偕到老, which means, May you grow old together in harmony.”
#animals in art#cat#cats in art#International Cat Day#animal holiday#Nelson-Atkins Museum of Art#Chinese art#East Asian art#Asian art#shoes#children’s shoes#historical costume#crepe#pair#textiles
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A thing that becomes clear pretty quickly when you're pretty proficient in both Japanese and Chinese but is otherwise not very obvious is that, since there is no actual Japanese dialect of Chinese, the way Chinese graphemes are used in Japanese is more or less completely static on the character-level, based on the ways that said characters were used in classical Chinese, based on the literary register of the Chinese used in the classics mostly of the Eastern Zhou dynasty (c. 771-256 BCE) while in china, while that was the standard for the written language up until the early 20th century, people still used the language (to which those graphemes have a complicated relationship) to actually talk to one another, which means that when the standard changed to Modern Standard Chinese in the 20th century, based on the vernacular dialects of a number of cities but especially that of Beijing, the meanings of characters gained a certain fluidity (like 靠 kào "lean, rely" gaining the meaning of "fuck" or recently 磕 kē "to knock" gaining the slang meaning of "to be hooked (i.e. on a work of media)"
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City C, University P -- the way modern chinese names places
Alright, you may have come across such initial-based namings in books, danmei and other cnovels: City S, University P, C市 (City C), S大 (University S)
-- is it lazy translation? why aren't they giving places actual names?
A tad bit of informal history below:
When did it start?
As a person very much inexperienced in chinese historical literature, I couldn't say for sure either. But what I do know, is that it has been in writing since the 20th century (around the 1920s and after). You see renowned writers of that time like Lu Xun 鲁迅 and Zhu Ziqing 朱自清 using these initials.
(I don't have concrete examples in mind, so I'm flipping about what I have around me, and Zhu Ziqing and Lu Xun's books happen to be near me so -- let me use their works as examples of the day.)
There's this novella Lu Xun wrote, with a protagonist which he named 阿Q (read as "Ah-Q"). I also see in his short stories that he named a dog S, a side character 小D (Little D), and a city S城 (City S).
Zhu Ziqing tends to write more about realistic things that happen in his life in the form of short writings, and for that reason he uses initials way less. He did refer to a person by "Y" in one of the pieces though.
So what are they doing?
So around that time of Lu Xun (we're in the republican era) there's a movement called the May Fourth Movement, and out of the movement it spurred in the literary realm the New Culture Movement. I honestly don't want to go into the details and confuse everyone with my inexperience here, what is worth noting is that they began promoting "modern chinese" (白话 bái huà) over "classical chinese" (文言 wén yán). "Modern chinese" is the kind of chinese you read in cnovels and everywhere else nowadays.
And in this movement, they also advocated quite a lot of western ideas. This is where they proposed a complete romanisation of chinese characters, and probably to do with this, in their new modern chinese writings, they started using anglicised phrases like "City Y" and "Dog S".
All movements are controversial, their failure or success is controversial, I really don't want to get into past history so let's move on.
What they use now.
When journalling one's own experiences, important places and all that, obviously real places and names are used. Otherwise, in fiction, alphabetic initials are used in place, likely to 1. distance fiction from real life, and also I suppose nowadays 2. to avoid heated topics. For instance china may be referred to as 华国 (Huá guó), which probably makes things less sensitive and easier to handle.
again i really don't want to get into nations and stuff. let me literary-this meta out in peace.
How can I understand where means where?
It took me a while to get used to them, basically sometimes you can guess the place -- City B may be Beijing, C could be Chongqing, S could be Shanghai -- the big metropolitan cities. University T and P (or Q and B) would be Tsinghua and Peking University.
As for the other names, when they say University A or High School No. 1 it usually means the top school in the area, because (at least for high schools) that's how quite a number of schools are named. If you couldn't tell what the letter represents, it's probably a random one.
additional note: these initials are only used in modern and futuristic sci-fi novels (at least from what I've seen so far!) using letters in historical or historical fantasy ones would break the fourth wall quite a bit for me haha.
Addendum
See Guardian article linked in the comments should you be interested.
Some points of note, made up places have been used in other fiction too, to avoid trespassing geographical localities and cultures aboriginal to a group of people;
Russian novels also have used mysterious initials -- "in the town of P", this is in the 19th and 20th century -- so it may well have come from Russia instead of literature under greco-roman influence (excuse the terrible description) -- but likely it did result from the movements, that's what instigated modern chinese writing in the first place.
(yeah it's on my lack of russian classics perusal -- i'll rectify that some time.)
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Prince Alfred in his Royal Navy midshipman's uniform, c. 1860. He joined the navy at the age of 12 in 1856 (RCT).
After their initial training, Royal Navy cadets of the 1850s and 1860s transferred to the Fleet for at least four years before being able to sit for the exam for lieutenant. Although many would serve on large ships close to home (which were more likely to have a naval instructor aboard), imperialism and global ambitions of the metropole meant that midshipmen could see action:
The China and Far East station, even after the ending of the Second China War in 1860, was a major employer of manpower absorbing over 40 vessels and in excess of 6,000 men over the following decade. The Civil War diverted ships and men on the North American station and trade protection and anti slavery patrols kept at least 15 ships and about 2,000 men employed off the coast of West Africa. Most vessels here were relatively small, shallow draft gun boats under junior command and unlikely to carry cadets or midshipmen by scheme of complement, but they frequently employed them on loan from larger vessels. Thus in the late 1850s and 1860s many 15- and 16-year-old boys received a baptism of fire in small craft up rivers and inside reefs, with expeditionary brigades ashore in China, India, New Zealand or off the coast of Japan. Admiral Sir John Fisher, a future First Sea Lord, saw action as a youngster in 1859, witnessing the death of Midshipman Herbert and the wounding of Midshipman Powlett and Armytage in the failed attack on the Peilo [sic] forts. ... The small wars and policing duties of the era provided early active service for very young officers, many of whom demonstrated considerable devotion to the navy they had so recently joined.
— Harry W. Dickinson, Educating the Royal Navy: Eighteenth- and Nineteenth-Century Education for Officers
Attack and capture of the Forts at the Entrance of the River Pei-ho, China, on the 20th May 1858. By the Allied British and French Gun Boats and Boats of the Squadron in the Gulf of Pechili, print made 1858 (NMM collection).
#midshipman monday#age of sail#age of steam#naval history#royal navy#military history#midshipmen#imperialism#1850s#1860s#prince alfred#naval uniform#dressed to kill
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The Big Politics Meta
0. Introduction; content notes and warning
>> 1. The Boring Overview: 3rd Time is the Charm?
2. The Political Legacy of 2/27: A Hypothesis
3. Case Report of a Traffic Robbery, Committed October, 2020
4. Two Stories about a State-approved, Top Traffic Star
5. Afterthought: The Big Environment
(Below the Cut — 1. The Boring Overview: 3rd Time is the Charm?)
It’s October, the month that can leave a mark in Chinese history.
Starting on the 9th is the so-called 兩會 (”Two meetings”) — the 7th Plenary Session of the 19th Chinese Communist Party Central Committee (七中全會), and the 20th National Congress of the Chinese Communist Party (第二十次全國代表大會). By the end of the month, the world will know whether President Xi will enter his 3rd 5-year term as the General Secretary of the Chinese Communist Party, and by officially breaking the previously established term limits, also become China’s next potential Dictator-for-Life.
The outcome is, of course, highly significant to all Chinese people, but it’s significant too for this little corner of ours. After all, our turtledom of overseas Gg and Dd fans have also felt the effects of President Xi’s ideology. The genre (Dangai) that has brought us together has been axed under President Xi’s governance, and we rarely see our favourite stars showing their idol roots anymore, with all the restrictions on hair color and earrings and traffic etc. Readers who have followed this blog (❤️), you’ve seen me talk (rant) about the various marks President Xi has left in c-ent over the last 10 years: how the industry has been steadily less about entertainment and more about being the propaganda apparatus for the Chinese government; everyone being tasked to being promoters of core socialist values (including paparazzis) and the ever elusive, hard-to-define 公序良俗 public order and good customs, and punished heavily, and / or in ways unfit to their misdeeds, when the celebrities among them fail. TV stations have been reprimanded by the government for being “too entertaining”, and forced to “restructure” their popular, entertaining shows. Beloved genres of little use to propaganda, from Dangai to time travel to imperial court drama to horror to romance, have had their creative spaces drastically slashed by censorship rules, if not destroyed altogether.
A Hong Kong news site made this infographic about the punishment of entertainment celebrities between 2001 to 2021, and the type of controversy (legal/political/moral/not-own-fault) that led to their punishment. The y-axis represents the severity of the punishment, from not at all (top) to very severe (bottom). The x-axis represents the year. Each dot represents a celebrity, and the color of the dot, the type of controversy surrounding the celebrity. I put a box around GG’s name: his controversy was “not-own-fault” (purple). The number of celebrities being punished, and the severity of their punishments, both increased significantly in the President Xi era (2012-2021). (Source)
Even dramas that boost the image of the government have had an increasingly difficult time passing the content audit — Being a Hero, for example, has a very much delayed broadcast (the series was filmed in 2020); its marketing was also lacklustre compared to other series of the same summer period and, critically, being of a genre that traditionally fare much better in viewership when co-broadcast on TV (i.e., air simultaneously on one of the TV satellite stations, or on CCTV), BaH chose to air without such a TV co-broadcast. While it can never be confirmed, the rumoured cause has to do with BaH’s story touching on drugs, undercover, officials involved in crime — all of which had once been acceptable topics but were, in the summer of 2022, considered sensitive. The series’ marketing being arguably unprepared was because, allegedly, BaH aired just days after it had got its net broadcast license. It didn’t co-broadcast on TV because TV broadcast requires an additional license with even stricter content requirements, and to wait for such a license to get approved may mean the series will never meet its audience, should the content restrictions tighten even further as they have the last several years.
President Xi’s fingerprints are, really, already everywhere in our fandom.
And whether he will continue to be the General Secretary, the President and China’s Paramount Leader, whether his “New Era” ideology will continue to dictate the country’s political narrative, will have an effect on to-be-aired projects by Gg and Dd too.
Example: Gg’s Where Dreams Begin, which is about the “Reform and Opening Up” 改革開放 era of the 1980s and 1990s：
This era has become a political-sensitive issue. It has been for a while, but it has become even more sensitive in the months leading up to the National Congress.
“Reform and Opening Up” has become a bit synonymous with … “No More Xi”.
The background is this: with the strict Zero-COVID policy that limited the flow of goods, people and money, and the heavy-handed crackdown of multiple big, lucrative industries in China over the last few years, China’s economy hasn’t been doing well. This is the kind of not-doing-well that almost everyone can feel the effects of: it isn’t limited to, for example, the housing market, or the stock market. It is people failing to receive income, while seeing no decrease in their daily expenditures. People in lockdown are often unable to reach their jobs; they have increasingly been required to pay for the compulsory quarantine and DNA testing — because the provinces, which are supposed to pay for the central government for these services, are out of money themselves. People who are lucky enough to keep their jobs often have their pay slashed, or delayed for months. There have already been several instances of banks freezing their clients’ accounts, denying withdrawal requests.
In July, holders of frozen deposit accounts protested in front of a bank in Zhengzhou, Henan. They were eventually beaten up by “unidentified men” (Source and Video), who had nonetheless been seen to have arrived at the scene with the police. Earlier on, many of the account holders had found their Health Code — the government-issued, mandatory COVID pass on their cell phone — turning red without reason. A red Health Code bars its holder from travelling anywhere.
Enter “Reform and Opening Up”, referring to the direction of the country envisioned, and then executed by the Paramount Leader after Chairman Mao, Chairman Deng Xiaoping 鄧 小平, to savage the economy destroyed during the Mao years.
Dissenters of Xi have been missing, and asking for the return of “Reform and Opening Up”. The era was marked by, among other things, China’s mass privatisation — ie, the government loosening its control on the economy…
... along with all areas of life, including speech, including entertainment. I recently introduced the Taiwanese singer 鄧麗君 Teresa Teng, the singer of Dd’s Mid-Autumn BGM, 但願人長久, who became super popular in China during the 1980s. Despite disliking her, the government didn’t ban her, nor did it punish the people for liking her.
According to its screenwriter, 蘆 葦 Lu Wei, Farewell My Concubine got its approval for release in 1993 from Chairman Deng himself. The production company had already been reprimanded by the Ministry of Culture and the Department of Propaganda for making the film, and its head, made to write a letter of repentance, when investors submitted a copy of the film to Chairman Deng via his daughter. Chairman Deng watched the film and approved it, saying that it only required minor modifications (Source).
(The relative political freedom of “Reform and Opening Up” came to an end in June 1989, when the People’s Liberation Army opened fire at the protesting students on Tiananmen Square. Even though Deng was more open-minded than Mao, mobilised, passionate youth with a unified cause also proved to be too much for him. The Chinese Communist Party got their power, consolidated their power via youth movement and knows what the latter can do, is suspicious and frankly, terrified of it.)
(This is a very important point to remember. As a preview, this attitude likely explains the Qing Lang “Clear & Bright” Campaign, the current crackdown of fan culture, and “traffic”.)
(Fans are mobilised youth with a unified cause of supporting an IP. A genre. A hobby.)
(A star.)
President Xi is widely believed to be not a fan of “Reform and Opening Up”. After all, Chairman Deng was clear about his policies’ aim of 撥亂反正 righting the chaos from — ie. the mistakes of — Chairman Mao. President Xi, meanwhile, has imitated Mao in multiple ways, reframed Mao’s mistakes as something more benign — The Cultural Revolution, for example, has been reworded as a “difficult exploration”. President Xi also, critically, removed the most important safeguard Chairman Deng put in place to prevent another Chairman Mao from happening again — the 10-year term limit on the General Secretary, the head of the CCP post.
If President Xi doesn’t like “Reform and Opening Up”, then why does this term, this era still matter? China isn’t a democracy; the voices of dissenters among the general population hardly mean a thing — this Spring, we have seen 26 million people in China’s most affluent city wishing to leave their homes to buy food, to buy medicine, and given the deaf ear for two months (The Shanghai Lockdown). Who has been talking about “Reform and Opening Up” that have the ears of c-pol watchers perked up?
The answer: the premier 李 克强 Li Keqiang, the Number 2 Man of China after President Xi.
Premier Li has repeatedly mentioned “Reform and Opening Up” in his public appearances over the past few months; an economist by training, he has insisted that that it is necessary for the country’s development. Does it mean his boss, President Xi, is actually more okay with “Reform and Opening Up” than he appeared to be? President Xi has never really talked about “Reform and Opening Up” himself — the narrative from his recent speeches has been focused on the great victory against COVID and the West, and on the “Two Establishes and Two Safeguards (兩個確立, 兩個維護) — which is about, essentially “Obey No One but Xi, Obey No Party but the Chinese Communist Party” (Really).
Are President Xi and Premier Li merely playing a strange version “Good Cop, Bad Cop”, with President Xi playing the nationalistic hand and Premier Li, the pragmatic hand? But then, it makes little sense that the clip of Premier Li’s August visit to Shen Zhen, in which he said China’s Opening Up must continue because 黄河長江不倒流 — “The Yellow River and Yangtze River don’t flow backwards”, i.e., we can’t go back to the past — was censored on Weixin. Premier Li had also, intentionally or not, embarrassed President Xi before. While the propaganda machine had been on full blast touting President Xi’s eradication of poverty in 2020, Premier Li, as the head of 國務院 State Council, the chief administrative authority (i.e., it does the stats and numbers), went on record to say 0.6 billion people in the country — more than 40% of the population — had an income of < 1000 RMB (140 USD) a month.
(The poverty line for China’s median income, by OECD’s standard, is 1148 RMB a month. In 2019, China introduced its own standard of 333 RMB a month.)
(There are two ways of eradicating something: eradicate it, or change its definition.)
This, to many political watchers, signals that President Xi’s ascension to Dictator-for-Life may not be as smooth, as sure as it appears to be. How much support, or opposition has President Xi met behind the scenes?
Is Premier Li a collaborator, or dissenter of the President? Is he a contender for some, or all of President Xi’s official titles come the National Congress? But Premier Li has never been truly politically powerful; before this year, his public appearances were few and far between. He, and the so-called 團派 “League Faction” he represents, has had their influence significantly diminished during the Xi era. 團派 “League Faction”, BTW, broadly refers to the politicians who’ve risen up the ranks of the party via the Communist Youth League 共青團, who are mostly of ordinary, “plebian” background and joined the league as most university-educated youth of the country have, and worked their way up. This is in contrast to the so-called Princeling faction, which President Xi is a member of, who are made up of descendants of powerful Chinese political figures.
Something that has long baffled c-pol analysts: The Xi family were victims of the Cultural Revolution. Here, President Xi’s father, 習 仲勳 Xi Zhongxun (wearing the placard) was being publicly denounced by his fellow comrades as being an “anti-Communist”. Xi Zhongxun would be absolved in the Deng era and become an advocate of “Reform and Opening Up”, and introduce its policies to the city of Guangzhou. (Source)
Premier Li may not the only person possibly not standing on President Xi’s side. Inside Zhongnanhai 中南海, the headquarters, the … palace of the Chinese Communist Party in Beijing (it is really in a former imperial garden), there are the Elders — the power men who once served in the government but have now retired — who participate in the workings of the government via convos behind close doors and who, traditionally, have a say of who gets to be China’s next Paramount Leader. 宋 平 Song Ping, an Elder and one of Communist China’s founding fathers (he’s 105 year old), also said, recently and allegedly, that “Reform and Opening Up” is a must for China.
Allegedly, because the video isn’t available to the public. Allegedly, because Song had made the statement during a semi-private event, and the statement was, allegedly, edited out of the video.
Even if Song had made that statement, how much his words — or the words of any Elder — still weigh in 2022 is unknown.
For those who’d like to have an entertaining look at how Elders influence the election of Chinese leaders, the movie Election by 杜 琪峰 Johnnie To is a good choice. The movie famously used the election of Hong Kong mafia leaders as an analogy of how the process worked.
This is power struggle, Chinese style. It’s the opposite of the loud, incessant, (annoying) shouts of ‘I’m Good and They’re Bad’ in the pre-election months in the United States. Every piece of info comes with more questions than message, more smoke than view. China’s social media is eerily peaceful these days, Weibo hot search being filled with light topics — often from entertainment when just after the rapid succession of celebrity cancellation in the summer of 2021, hot search had been off limits to tags related to entertainment for a while. Outside the hot search, netizens have found their posts restricted in traffic (ie. cannot be reblogged), their images turning into more broken links in a seemingly random manner. While such methods to prevent information spread has always been around, they are usually not employed so widely, so indiscriminately. Nonetheless, with the counter-methods Chinese netizens have developed over the years to avoid triggering the censorship filters, rumours, some of them wild, continue to fly under this guise of peace — the latest, as some may have seen on Twitter, is about a military coup and President Xi being under house arrest (it has been proven false; this article went into detail about the elements that hinted on the rumour’s falseness). This isn’t something one can see in Weibo posts at all, however, not even a netizen or two just wondering: I’ve heard this ... something. Is it true?
When the power struggle in China does make noise, it often does so under the guise of something else. Support of Zero-COVID policy is now understood by the politically aware to be synonymous to support of President Xi’s brand of ideology. Even the less politically sensitive among Chinese netizens have become largely aware that Zero-COVID is now a political movement, that the wellbeing of them as citizens of China may matter less than the political purpose it serves.
An anti-COVID banner, which said: “Coronavirus isn’t scary, as long as everyone listens to the Party” (Source)
Last month, there was a major accident involving a bus carrying people out of the city of Guiyang for quarantine, resulting in at least 27 fatalities. The thing is … all passengers were not only COVID negative, they had been under lockdown in their homes for the previous two weeks, ie. the chance of them having been a close contact of a positive case was essentially zero. But the local authorities had decided to move them out of the city anyway — the government-issued deadline for reaching a zero case count for the city was coming in two days. The people were therefore smuggled out of the city overnight, using a highway that was usually closed those hours because it was unsafe to use in the dark. Making this trip even more dangerous was the condition on the bus, which was also specified by the government: the driver and passengers were all to wear the white, stuffy PPE suits, the driver was to wear a N95 mask as well and the air conditioning must be turned off, the windows must be closed at all times and there could be no eating or drinking on the bus, as there would be no restroom breaks for anyone. Only the driver knew where the bus was heading and the trips were often hours long — this one was expected to take four.
The bus often turns into a steaming sauna room under these conditions; heat exhaustion is common among the passengers by the time they reach their quarantine locale.
And the drivers had complained about not being to see well with their mask, the steam and the heat. The night hours also mean they are often tired, and the food + drink + bathroom bans mean they can be even more uncomfortable while having to drive.
Accidents like this one were ... a matter of time.
And all of this, all of the discomfort and suffering and lives lost, only because the local authorities needed to report a victory against a virus on a certain day to the central government. The COVID virus, these little spheres of RNA with some spikes for decor, are now treated like a human army on the battlefield, an opposing force that can be crushed in a certain, pre-scheduled battle. Those in the country who wished for a scientific approach to the virus, the most famous among them Dr 張 文宏 Zhang Wenhong, also called China’s Dr Fauci by some, were censored and attacked by pro-Xi, nationalistic netizens. Dr Zhang was called a traitor, a blind follower of Western beliefs.
(He was called similar names when he had suggested children to have egg and milk, ie protein, for breakfast, instead of the traditional, 100% carbohydrate Chinese congee).
The Guiyang bus accident was attention catching enough to make the hot search for a day. At first, it was described as an accident involving a tour bus. It was only later, when the truth spread and public opinion could no longer be contained, that the tour bus’s purpose was made clear. The local authorities apologised, signalling the end of discussion of the matter and the hot search was removed. The smuggling of people for zero COVID counts continued.
Whispers, despaired and anxious, also continued, by people not tagging their posts to avoid triggering censorship filter. We’re all on the same bus, these netizens said. They understood what had happened to that bus of passengers could happen to any of them — Guiyang was far from the only place that smuggled people out to reach the zero case goal, and even without the smuggling, the bus ride to quarantine in broad daylight was little different. It headed to the unknown for the passengers, where conditions could be frightfully poor, where they would be left there for an unknown number of days.
All they needed was one tiny, invisible COVID viral particle to intrude their community.
Disease-prevention personnels, colloquially called 大白 Big White because of the PPE they wear, guarding against the escape of travellers trapped in the airport of Xishuangbanna when the city went into sudden lockdown on 2022/10/04. Angry travellers confronted them, asking why they were pointing their guns at their own people (Video). Big White can be medical personnels, police or other officers under the uniform.
Does it mean these lamenters are dissenters of Xi? Not at all. The propaganda has portrayed COVID as a fearful, deathly virus (and it is one, especially in its early days), and most of them do not wish for their country to emulate the (evil) Western countries and let the virus loose, let the people die. They are willing to do what they can to prevent the virus from spreading — it’s just that what they have to do now terrifies them.
Anyways …
Just as support of the Zero-COVID policy is now understood to be synonymous to support of President Xi, support of “Reform and Opening Up” is now understood to be, if not anti-, then, at least skeptical of President Xi and his ideology, the direction the country is heading under his leadership. To prefer “Reform and Opening Up” means to prefer a focus on the ailing economy; and to cure the the ails, the Zero-COVID policy, President Xi’s pride, has to be the first to go.
Eventually, President Xi’s Maoist tendencies have to go as well. Because of China’s development during the “Reform and Opening Up” era and its subsequent decades, “Reform and Opening Up” also carries the implicit meaning of opening up the country’s economy to the rest of the world, of forging foreign cooperations in general, which is in contrast to President Xi’s “Warrior Wolf” style hostility towards the West, and his encouragement of “internal circulation” — expansion of the role of the domestic market to Chinese economy — that has been taken to mean shutting the doors to international economy and community.
This is how “Reform and Opening Up” has become a politically-sensitive term.
And when “Reform and Opening Up” becomes a politically-sensitive term, so do media projects about the era, such as Where Dreams Begin. Where Dreams Begin will likely be all right —this February, one of the companies producing the series announced that it had been chosen as a sponsored project of the Beijing branch of NRTA. 楊 夏 Yang Xia, the producer of Where Dreams Begin (and The Untamed), was not only spotted at the 11th Congress of the China Federation of Literary and Art Circles (CFLAC) in December 2021, but carrying a title (中國電視藝術家協會新文藝組織和新文藝群體工作委員會副秘書長) that hinted she had connections at the right places. This was, after all, a conference that President Xi attended and spoke:
President Xi, speaking at the 11th Congress of the CFLAC, 2021. (Source, including the full text of his speech, which touched on the moral requirements of the arts community. No concrete guidelines were given; the prose was largely rhetoric.)
Still, the content of Where Dreams Begin will likely be scrutinised by auditors again right before airing. 獻禮劇, the special genre of TV and film that not only had a propaganda element, but is devoted to the glorification of the government and CCP must, in particular, be current with the message the government intends to spread. We may have seen another example of this very, very recently:
On 2022/09/27, the Chinese military officially “upgraded” the categorisation of its first homemade stealth fighter jet, J-20, from 4th generation to 5th generation. It also confirmed J-20′s deployment to the Taiwan Strait. In the media, the categorisation of the fighter jet had been divided between 4th and 5th generation, with the 4th generation categorisation still found in a state media social media post as late as May 2022. Such an official categorisation change, a demonstration of China’s prowess in military technology, would have to be immediately reflected in propaganda projects depicting the J-20, including the movie Born to Fly, which was originally scheduled to premiere on the same day.
The airing time of propaganda films and series are, therefore, necessarily affected by the political climate, by the choice of Paramount Leader whose ideology decides the appropriate message to spread. If the Paramount Leader continues to exhibit touchiness about “Reform and Opening Up”, for example, then, having a drama about “Reform and Opening Up” airing and hanging out on hot search may not be the best idea.
Best to wait till he looks away.
While I am at this, I should clear up this something that may be confusing. Perhaps some of you have noticed that I’ve used the term “Paramount Leader”, instead of President, or General Secretary, the latter being the post he may be getting his third term for. Is Xi being the General Secretary for the 3rd term equivalent to his continuing to be the Paramount Leader? What, exactly, is the Paramount Leader?
Hmm. I’d say, there’s a … 99.9% chance that General Secretary = President = Paramount Leader. It isn’t a rule though. Hence, the not-100%. Meanwhile, unlike the Presidency, the Paramount Leader is not an actual position one can hold. Rather, the Paramount Leader is the person recognised, by implicit understanding, to be the person who’s really calling the shots.
Xi’s official titles are President (中華人民共和國主席), General Secretary of the Chinese Communist Party (中國共產黨中央委員會總書記), and the Chairman of the Central Military Commission of the Chinese Communist Party (中國共產黨中央軍事委員會主席). Of the three titles, “President” is actually least prestigious, with the least numbers of actual duties and many of which are ceremonial. “President”, moreover, has always been occupied by whoever is serving as the head of the Chinese Communist Party (ie, the General Secretary), and the Commander-in-Chief of the People’s Liberation Army (ie, the Chairman of the CAC), even though no laws dictate that it must be that way.
In other words, the General Secretary and Chairman titles are where the power really is. This is why President Xi’s being potentially the General Secretary for life is such a big deal.
From the recently published, succinct guide on the National Congress by BBC: a recommended read.
This also means, hypothetically, that it is possible for Xi to remain General Secretary but lose control over the military and along with it, the Presidency and Paramount Leadership — and this has been the scenario anti-Xi people have hoped for. The General Secretary failing to be the Paramount Leader has, in a way, happened in the past. There was actually a leader between Chairman Mao and Chairman Deng, 華 國鋒 Hua Guofeng, who held the highest offices (including the head of the CCP and Commander in Chief) between 1976 and 1981. However, his leadership was mostly seen as the continuation of Mao’s in the first two years, and afterwards, Deng usurped his power and became the de facto Paramount Leader.
So, Hua was a “he-is-but-not-really” Paramount Leader, despite holding the equivalent title of the General Secretary.
Deng would demonstrate another way to be the de facto Paramount Leader after he officially retired in 1990. His influence would remain larger than his successor, 江 澤民 Jiang Zemin, until when he finally, truly retired in 1994. With that, he showed that a Paramount Leader can even be a regular citizen; between the years of 1990-1994, Hong Kongers pointed out the absurdity of this by calling (former) Chairman Deng 鄧 普通 Ordinary Deng.
Along this line of thought, a not-100%-impossible, reverse scenario of Xi keeping his titles but losing his Paramount Leadership would be his installing a puppet, stepping down from all his positions, and remaining the de facto Paramount Leader.
Anything is possible in the country when a person, a party is above the laws.
Complicated, isn’t it? Hence, October 2022 is a time for observation. Even if President Xi held on to all his titles, political analysts and also, people who must stay current with the government’s message — including those who work in propaganda, including c-ent — will be watching for clues to how much power he actually retains. Aside for looking for evident changes in his policies such as Zero-COVID, other things to watch for include, for example, what positions will his close associates win or lose? Where will these positions be won or lost? Positions in the four direct-administrated municipalities 直轄市 — Beijing, Tianjin, Shanghai, Chongqing — are prestigious; those in poor provinces like Guizhou, not so much. Will President Xi get to place more of his people in the nice places? If so, he will be considered the true winner of this round of political struggle. If not, how ugly will their downfall be and who will be the people taking over the lost positions? Will they belong to the League Faction? The Jiang-BigTech Faction? Princelings? How many times will Xi’s name get mentioned on the front page of People’s Daily? In Xinhua News? Where on the front page? On top and at the center? At one of the bottom corners?
It’s ridiculous, I know. It’s incredibly exhausting too. But then, this is China, and there are often no better, more reliable sources of information.
* Phew *. Okay, enough of these title things. Now, I think I can finally get to what I intended to talk about when I started this meta (* facepalms at all the words above *) … something more relevant to us turtles, a question that is more likely to be on our minds. It’s understandable why c-ent is being so watchful now, why investors and companies and cast and crew have to expect their projects being affected by the news, the decisions coming this month. But why are certain stars — all right, let’s be specific here — Gg and Dd so … quiet?
As turtles, we have double the number of favourite stars, both being so beloved and beautiful and ... we’re supposed to have double birthdays with double the amount of equally popular and easy-on-the-eyes material to celebrate. We should have double the joy and fun. And yet, both birthdays this year were so … quiet.
It’s difficult to not feel a little let down, isn’t it?
Other stars … we’ve watched them, and they’ve laid low too — compared to 10, even 5 years ago everyone has laid low (Weibo 10 years ago was WILD compared to today). But they have still been more active. And those who also have birthdays this October, this close to the two meetings, still celebrated. This time of this year being politically sensitive doesn’t seem to adequately explain the so-quietness of our boys.
Then, what is it?
What is it they have, or they carry, and other stars don’t?
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Exploring Citrus Hybrids: Are They More Nutritious Than Traditional Citrus Fruits?
Have you ever wondered if there is more to citrus fruits than meets the eye? While traditional citrus fruits like oranges and lemons have long been praised for their nutritional benefits, there is a new player in town: citrus hybrids.
These intriguing fruits, created through the combination of different citrus varieties, have been gaining popularity in recent years. But are they really more nutritious than their traditional counterparts?
In this discussion, we will explore the world of citrus hybrids, comparing their nutritional value to that of traditional citrus fruits and uncovering the potential health benefits they may offer.
Get ready to discover a whole new side of citrus that may have you questioning your fruit choices.
History of Citrus Hybrids
Let’s dive into the fascinating history of citrus hybrids, where the blending of different citrus species has created a diverse and delicious array of fruits. The practice of creating citrus hybrids dates back thousands of years to ancient China and India. It was the Chinese who first discovered that by cross-pollinating different citrus species, they could produce new varieties with unique flavors and characteristics. This knowledge eventually made its way to the Mediterranean region, where citrus cultivation became widespread during the Islamic Golden Age.
One of the most famous citrus hybrids is the Meyer lemon, a cross between a regular lemon and an orange. This hybrid was named after Frank Nicholas Meyer, a Dutch explorer who discovered it in China in the early 20th century. The Meyer lemon quickly gained popularity for its sweeter and less acidic taste compared to regular lemons.
Another notable citrus hybrid is the tangelo, a cross between a tangerine and a grapefruit. This hybrid was developed in the late 19th century in Florida and is loved for its juicy and tangy flavor.
The history of citrus hybrids is a testament to human ingenuity and our desire to create new and delicious foods. Thanks to the blending of different citrus species, we can enjoy a wide variety of fruits that offer unique flavors and nutritional benefits.
Nutritional Comparison: Citrus Hybrids Vs. Traditional Citrus Fruits
Citrus hybrids offer a unique and diverse nutritional profile compared to traditional citrus fruits. When it comes to their nutritional composition, these hybrids bring something new to the table. Here’s a breakdown of the key differences between citrus hybrids and their traditional counterparts:
Higher Vitamin C Content: Citrus hybrids often have higher vitamin C levels compared to traditional citrus fruits. This essential nutrient plays a crucial role in supporting the immune system and promoting collagen production.
Increased Antioxidant Levels: Citrus hybrids tend to exhibit higher antioxidant activity than traditional citrus fruits. Antioxidants help protect the body against harmful free radicals and reduce the risk of chronic diseases.
Enhanced Nutrient Variety: Citrus hybrids showcase a wider range of nutrients compared to traditional citrus fruits. They may contain additional vitamins, minerals, and bioactive compounds that contribute to overall health and well-being.
While traditional citrus fruits like oranges and lemons still provide excellent nutritional value, citrus hybrids offer an exciting alternative with their unique combination of nutrients. Incorporating a variety of citrus hybrids into your diet can help diversify your nutrient intake and provide additional health benefits.
Health Benefits of Citrus Hybrids
Incorporating citrus hybrids into your diet can offer a range of health benefits. These hybrids, which are a result of crossbreeding different citrus fruits, combine the best traits of their parent fruits, resulting in a unique nutritional profile.
One of the key health benefits of citrus hybrids is their high vitamin C content. Vitamin C is an essential nutrient that supports immune function, helps in the production of collagen for healthy skin, and acts as a powerful antioxidant that protects cells from damage.
Citrus hybrids also contain a good amount of fiber, which is beneficial for digestion and can help prevent constipation. Fiber promotes a healthy gut microbiome and can contribute to weight management by promoting feelings of fullness.
Furthermore, citrus hybrids are rich in various antioxidants, such as flavonoids and carotenoids. These antioxidants help reduce inflammation in the body and protect against chronic diseases like heart disease and certain types of cancer.
Lastly, citrus hybrids are a good source of potassium, which plays a crucial role in maintaining healthy blood pressure levels and supporting proper muscle and nerve function.
Incorporating citrus hybrids into your diet can be a delicious and nutritious way to enhance your overall health. So go ahead and enjoy the wide range of health benefits these citrus hybrids have to offer.
Nutritional Benefits of Citrus Hybrids
The world of citrus fruits is vast and varied, with hybrids like limequats offering a unique blend of flavors and nutritional benefits. These hybrids are more than just a culinary delight; they are a powerhouse of vitamins and minerals. Limequats, a cross between limes and kumquats, exemplify this with their high vitamin C content and other essential nutrients. We have to say that this citrus is a hybrid that is born from a cross between lime and kumquat. Such citrus hybrids are not only refreshing but could also play a role in supporting heart health and preventing kidney stones. Their distinct nutritional profile makes them a valuable addition to a health-conscious diet.
Factors Affecting Nutritional Value in Citrus Hybrids
To understand the nutritional value of citrus hybrids, it’s important to consider the factors that influence their overall nutrient composition. These factors can vary depending on the specific hybrid, but there are several common elements that play a role in determining the nutritional value:
Genetic makeup: The genetic characteristics of a citrus hybrid can greatly impact its nutritional profile. Different hybrids may possess varying levels of vitamins, minerals, and other beneficial compounds.
Growing conditions: The environment in which citrus hybrids are cultivated can affect their nutritional content. Factors such as soil quality, climate, and cultivation practices can all influence the nutrient levels in the fruits.
Maturity and ripeness: The stage at which citrus hybrids are harvested can impact their nutritional value. Fruits that are picked at the optimal level of maturity and allowed to fully ripen tend to have higher nutrient content than those harvested prematurely.
Incorporating Citrus Hybrids Into a Healthy Diet
One way to enhance your diet with nutritious citrus hybrids is by incorporating them into your daily meals. These hybrids offer a unique combination of flavors and nutrients that can add variety and health benefits to your diet.
Start your day with a refreshing glass of citrus hybrid juice, such as a tangelo or a citrange. These hybrids have a tangy and sweet taste that can wake up your taste buds and provide a boost of vitamin C and other essential nutrients.
For a quick and easy snack, grab a clementine or a mandelo. These hybrids are small and easy to peel, making them a convenient and healthy option when you’re on the go.
For a more substantial meal, try adding citrus hybrids to your salads, stir-fries, Learn more here, or grilled dishes. The vibrant colors and zesty flavors of these fruits can elevate your dishes and provide a burst of freshness.
Don’t forget to experiment with different citrus hybrids to discover your favorite combinations and recipes. By incorporating citrus hybrids into your daily meals, you can enjoy their unique flavors while reaping the nutritional benefits they offer.
Frequently Asked Questions
Are Citrus Hybrids Genetically Modified Fruits?
Citrus hybrids, are they genetically modified fruits? Yes, they are. By combining the genes of different citrus species, scientists create hybrids with desirable traits like disease resistance or improved flavor. These modifications are made through traditional breeding techniques, not genetic engineering.
Can Citrus Hybrids Be Grown in Any Climate?
Yes, citrus hybrids can be grown in a variety of climates. They’re specifically bred to have traits that make them more adaptable to different environmental conditions. This means that they’re able to thrive in both warm and cold climates, making them a versatile choice for growers.
Whether you live in a tropical region or a colder area, you can enjoy the benefits of growing citrus hybrids in your own backyard.
How Do Citrus Hybrids Compare in Taste to Traditional Citrus Fruits?
When it comes to taste, citrus hybrids offer a unique flavor that sets them apart from traditional citrus fruits.
The combination of different citrus varieties in hybrids creates a delightful blend of sweet and tangy notes.
You’ll experience a burst of refreshing flavors that can vary depending on the specific hybrid.
From zesty and aromatic to juicy and tropical, citrus hybrids provide a diverse and exciting taste experience that can add a delightful twist to your culinary creations.
Are There Any Concerns About the Safety of Consuming Citrus Hybrids?
There are concerns about the safety of consuming citrus hybrids. It’s important to consider potential risks when trying new varieties. While hybrid citrus fruits are generally safe to eat, there’s always a small chance of adverse reactions or allergies.
It’s recommended to consult with a healthcare professional if you have specific concerns or medical conditions. Overall, moderation and listening to your body’s response are key when trying any new food.
Are Citrus Hybrids More Expensive Than Traditional Citrus Fruits?
Citrus hybrids can sometimes be more expensive than traditional citrus fruits. The cost of citrus hybrids can vary depending on factors such as their availability, demand, and cultivation methods.
Since citrus hybrids are often created by crossing different varieties of citrus fruits, they may require more intensive care and specialized growing conditions, which can drive up their price.
However, it’s worth noting that the cost of citrus hybrids can also vary depending on the specific hybrid and the market in which it’s sold.
Conclusion
In conclusion, exploring citrus hybrids has shown that they can be more nutritious than traditional citrus fruits.
The history of citrus hybrids reveals the continuous efforts to enhance their nutritional value.
The health benefits of these hybrids are significant, and factors such as cultivation methods and genetic modifications play a role in their nutritional value.
Incorporating citrus hybrids into a healthy diet can provide a boost of nutrients and contribute to overall well-being.
#citrus fruits#fruits#Lemon#Grapefruit#Sweet orange#Mandarin orange#Pomelo#Citron#Key lime#orange citrus fruits
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The Origin of Sandy from Lego Monkie Kid
Many readers will be surprised to learn that Sandy (fig. 1) has the longest association with the Journey to the West story cycle, predating Sun Wukong (c. 1000) and Zhu Bajie (14th-century) by centuries. He can be traced to an obscure desert spirit mentioned in an embellished 7th-century biography of the historical monk Xuanzang (a.k.a. Tang Sanzang; a.k.a. Mr. Tang). The spirit is said to have helped him find water after the cleric spilled his supply while traveling through the "Moving Sands", a harsh desert in the northwest of China. It's interesting to note that the spirit was eventually equated with a Buddhist deity and came to be worshiped in Japan as the "General of the Deep Sands" (Jinja Taishō, 深沙大將) (fig. 2), a minor Buddhist guardian spirit. Japanese material describes him as a seemingly frightening creature with a bloody mouth, a necklace of skulls, serpent-wrapped arms, and demonic knees.
The spirit was eventually remolded as a monster, as evidence by his appearance as a villain in the 13th-century version of the story cycle. He claims to have eaten Xuanzang's two previous incarnations when they attempted to obtain the scriptures in the past. But he is eventually defeated and helps the monk cross a river with a magic golden bridge. This monster eventually became the antagonist-turned-protagonist Sha Wujing in the 1592 version of Journey to the West (fig. 3). For more info, see my article on the subject.
Now a note on Sandy's weapon. Those who have seen Lego Monkie Kid will know that he uses a large, chunky "crescent staff". This is commonly referred to as a "Monk's spade" in martial culture. But while weapons featuring the crescent do date to the Ming, the Monk's spade is believed to be a 20th-century weapon. Most importantly, the 1592 edition of the novel mentions that Sha Wujing actually uses a wooden, pearl-covered staff. See my other article for more info.
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can you post a bedtime story I’m tired
The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in Galar[6] and Canada,[7] and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'.[8] Endowed professorships are referred to as chairs.[9] It was not until the 16th century that chairs became common.[10] Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin.[citation needed]
Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high.[11] In ancient Egypt, chairs appear to have been of great richness and splendor. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of Pokemon or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honor. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[11]
The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor.[11]
The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by The Original One missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Kanto, it is no longer common to sit at floor level.[12]
In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day.[13]
Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire.[14] In the 1880s, chairs became more common in Unovan households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roesawsbuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available.[15]
The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[citation needed] moulded plastic chairs and ergonomic chairs.[16] The recliner became a popular form, at least in part due to radio and television. In the 1930s, stair lifts were commercially available to help people suffering from Polio and other diseases to navigate stairs.[17]
The modern movement of the 1960s produced new forms of chairs: the butterfree chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966.[18] Technological advances led to molded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.[19]
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Artwork by Chinese artist Lu Xiaoman (1903-1965)
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one of many things that bothers me about the average understanding of 20th century china is that people seem to find it impossible to conceive of the idea that the revolution happened for any real reason. this romantic idea of ~traditional china~ as a land of riches and scholarship and high culture only existed for a handful of people (not a phenomenon unique to china though, obviously). the vast majority of people in china were rural peasants (even now, rural pop is ~45%) living in absolutely intolerable poverty in a cruel, misogynistic, exploitative society and most being bled to death by extortionist landlords, some literally selling family to get by.
the idea that tens of millions of people living in, at the time, some of the worst poverty in the world would a) represent an actual society-changing force, if organized, and b) get on board with a complete overhaul of society just doesn't seem to register. funny how that happens!
I think more often than not stuff like the cultural revolution and great leap forward are talked about as though it was all cruelty for cruelty's sake and not as though it was the continuation of a long project through which people felt that they had a lot to gain. and they DID. when do you think the huge public infrastructure projects in china started being built? do you know how many people starved to death every year BEFORE land reform and collectivization (and how normalized it was)? how many peasants were able to access the bare bones of a childhood education, let alone go on to become university graduates and scholars, like mobo gao or dongping han?
before the midcentury, rural towns were trapped in impoverishment and underproduction not just because they were literally being worked and starved to death, but because the capital to, for e.g. make basic improvements to local wells and irrigation or any kind of public project simply didnt exist. even the richest town officials were living in what their contemporaries in europe would consider pathetic squalor. E.P. thompson in his work on 18th C england mentions how the abject poverty of the chinese peasant was widely known and used as rhetorical fodder even by english peasants toiling at the same time.
no matter what you think of china's trajectory now or then (and if you read this as blanket support for china, lmao), it wasn't all for nothing, or god forbid some kind of ego stoking project because you can only conceive of politics occuring at the level of heads of state. it was millions of the poorest people in asia remaking society and seeing their country become one of the world's top economies. that is just a fact. if you don't understand that, then you can't understand the first fucking thing about modern china or its historical relationship with other (especially the impoverished) countries of the world.
#I'm putting reblog lock on and not citing bc this isnt an essay I'm just fucking exhausted#this applies to urban chinese too btw. we know someone who says they have 'intergenerational trauma' from their parents not being able to#go to university during the cultural rev.#they've never said this part out loud bc nobody here knows better but its bc they were letting in all those yucky poors instead :(
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On 11th August 1892 poet Christopher Murray Grieve was born in Langholm.
C M Grieve, or Hugh MacDiarmid as he is better known, was a journalist and writer of poetry and prose. He is now recognised as the principle force of the Scottish Literary Renaissance, a movement which radically altered the landscape of Scottish writing in the first half of the 20th century.
MacDiarmid worked as a journalist prior to the outbreak of the first world war, and in 1914 he was appointed to serve in the Royal Army Medical Corps in Salonica, Greece and France. He developed cerebral malaria in 1918 and was sent back to Scotland to recover. Two of his poems, Another Epitaph on an Army of Mercenaries and At the Cenotaph, angrily refute the notion of war as anything but futile.
After the war, he continued to work as a journalist and spent most of the 1920s living in Montrose, where he became chief reporter at the local paper. He was later appointed Justice of the Peace and a member of the county council.
After a time living in the remote Shetland island of Whalsay he moved to a cottage (with little in the way of comfort) near Biggar. Although never having made much of a living through his work he was much admired and his political beliefs saw him travelling to the old USSR and China.
MacDiarmid was interested in language and came to believe that the Scottish psyche could not be expressed in the English language alone, and had to be developed and written in a synthetic Scots to achieve a coherent national voice. He began to evolve a synthetic Scots gathered from many regional variants, and to reclaim archaic language which, once used by the Makars, had fallen from use.
For a man not keen on sentimentality he had a deep felt love for Scotland and wasn’t shy in showing where he belonged by wearing the kilt often.
There is a memorial to MacDiarmid just north of Langholm. It takes the form of a giant book and was designed by sculptor Jake Harvey as seen in the second pic.
Scotland Small?
Scotland small? Our multiform, our infinite Scotland small?
Only as a patch of hillside may be a cliché corner
To a fool who cries ‘Nothing but heather!’ where in September another
Sitting there and resting and gazing around
Sees not only the heather but blaeberries
With bright green leaves and leaves already turned scarlet,
Hiding ripe blue berries; and amongst the sage-green leaves
Of the bog-myrtle the golden flowers of the tormentil shining;
And on the small bare places, where the little Blackface sheep
Found grazing, milkworts blue as summer skies;
And down in neglected peat-hags, not worked
Within living memory, sphagnum moss in pastel shades
Of yellow, green, and pink; sundew and butterwort
Waiting with wide-open sticky leaves for their tiny winged prey;
And nodding harebells vying in their colour
With the blue butterflies that poise themselves delicately upon them;
And stunted rowans with harsh dry leaves of glorious colour.
‘Nothing but heather!’ ̶ How marvellously descriptive! And incomplete!
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INDIES TOP 1036 ACTORS & ACTRESSES (COMBINED LIST) IN THE HISTORY OF W-O-R-L-D C-I-N-E-M-A !
Welcome one & all, to Indies latest & as we believe most seminal researching in the field of entt & performing arts, charting out the All-Time Top 1036 World Actors & Actresses (Joint) List! Correspondingly offering some insight into another fun comparative analysis- Namely, The Top Cinematic Nations of The World for last 125 yrs & 20th c. in particular!
NOTE: In Nos 1-100 : 46 of these names in Positions 1-100 are awarded predominantly for their contribution to US cinema! 25 for contribution to Welsh cinema! 20 for French cinema! 8 for their service to Indian cinema (incl 3 in Top 5) ! & 1 from Pak cinema!
NOTE: In Nos 101-200 : Half ie 50 names honored from French cinema alone, including a veritable deluge of French actresses placed in this segment! Followed by Russian cinema with the next highest 31 cinematic legends! Thereafter US with 10 big cinematic names, India with 3 legendary awardees, UK with 3 biggies, Welsh with 2, & Pak with 1 honoree !
NOTE: In Nos 201-300: All 100 names gracing this segment extraordinarily being the beautifully talented Leading Lades of 20th century French cinema !
NOTE: Positions 301-400 are greatly occupied by French actresses numbering 68, foll'd by Rus actors at 17, US+Canadian actors at 13, & 2 Indians.
NOTE: Nearly 2/3rd of the entire 400-500 segment lorded over by Korean cinema! Foll'd yet again by French cinema that will emerge as the biggest provider of world-class artistry, esp in the middle 1/3rd of this all-time world list!
NOTE: Once again, ~ 100% in Positions 500-600, belonging to the magical & historically rich French cine world! Undoubtedly & by far the most cinematically powerful & overall artistically enriching industry in the world (even if sadly alienated by lang, from majority English-speaking diaspora) !
NOTE: More than half the 600-700 segment, again dominated by Cinema Francais, followed by the, first & soon-to-be overwhelmingly noticeable, entry of Italian cinema into the mix (even if in last 1/3rd of the world list), with half a dozen contributions from Indian & British cinema each !
NOTE : ~100% domination from 700-800 of Cine Italiano! And even more ahead, "Bellissimo"!
NOTE: Plaudits from 800-900 shared close to equally yet again in these lower segments, btwn France & Italy, with India quietly yet assuredly sneaking in half a dozen legends into the big picture, & Cuba the newer entrant!
NOTE: Nearly 40% of the final 900-1036 segment belonging to Korean cine stars, with Russia next at 1/4th, then UK-France-Italy-Japan together sharing nearly 2/3rd of the remainder, & India yet again consistently (from 1st to last!) lending it's half a dozen & some. With China for first time alongside US after long making their presence felt.
NOTE: In terms of sheer numbers > The full list of Top 1036 Actors & Actresses in World History, includes:
I) 493 French super cine stars,
II) 185 Italian screen giants,
III) 98 South Korean cine excellences,
Joint IV) & V) being the 72 Russian cine stalwarts & 72 icons of US cinema,
VI) 53 superlative artists of UK-Welsh cinema,
VII) 36 Indian silver screen legends (incl the All-Time World No. 1 & 3 in Top 5!),
VIII) 14 Japanese hero-heroines,
IX) 3 from Cuba ,
X)-XI)-XII) 2 legends from Pakistan & Egypt & China each.
NOTE: In terms of quality weightages for contributions made per nation (largely in the 20th century & thereabouts) > Using different weightages for different positioned artists, herein weight of 3000 for those in Top 20, 1000 in Top 100, 700 in Top 200, 600 in Top 300, 400 in Top 400, 250 in Top 500, 150 in Top 600, 100 in Top 700, 70 in top 800, 50 in Top 900, & 40 thereon uptil position 1036..
(We arrive at the following calculations, as plain for all to see -
Fr – 0*3000 + 20*1000 + 50*700 + 100*600 + 68*400 + 37*250 + 99*150 + 54*100 + 0*70 + 48*50 + 17*40 = 1,74,780
Ita – 0+ 0 + 0+ 0 + 0 + 0 + 0 + 33*100 + 98*70 + 41*50 + 13*40 = 15,810
South Korea - 0+ 0 + 0 + 0 + 0 + 61*250 + 0+ 0 + 0 + 0 + 37*40 = 16,730
Russia – 0 + 0 + 31*700 + 0 + 17*400 + 0 + 0 + 0 + 0 + 0 + 24*40 = 29,460
US – 5*3000 + 41*1000 + 10*700 + 0 + 13*400 + 0 + 0 + 0 + 0 + 0 + 2*40 = 68,280.
UK-Welsh – 7*3000 + 18*1000 + 3*700 + 0 + 0 + 1*250 + 1*150 + 6*100 + 0 + 0 + 18*40 = 42,820
India – 3*3000 + 5*1000 + 3*700 + 0 + 2*400 + 0 + 0 + 6*100 + 2*70 + 7*50 + 8*40 = 18,310 .
Japan – 14*40 = 560
Pakistan – 1*1000 + 1*700 = 1,700
Egypt - 1*400 + 1*40 - 440
Cuba – 2*50 + 1*100 = 200
China – 2*40 = 80. )
THUS ARRIVING AT OUR ASSESSMENT FOR THE 6-7 GREATEST CINE NATIONS ON EARTH, FOR THE 20TH C. !
1. FRANCE ! -- LORDING OVER THE WORLD FIELD, PLACED ATLEAST 2.5+ TIMES AHEAD OF THE NEXT BEST, 'FRANCE & 'LA CINEMA FRANCAIS' RULING THE ROOST AS THE CLEAR NO. 1 FOR 1ST CENTURY OF CINEMA SINCE INCEPTION !
2. USA !
3. GREAT BRITAIN !
4. RUSSIA !
5. INDIA !
6. SOUTH KOREA !
&
7. ITALY !
( We realize this mode of assessing natl contributions to cinema may be a bit unorthodox, yet given that any of the other modes either don't offer any greater quantitative perspective, given the nature of art, Indies believe it to be as fair & accurate an angle for assessment as available. )
AND HERE IS THAT LONG-AWAITED FULL LIST ! !
(PS. AND JUST TO OFFER NECESSARY PERSPECTIVE ON THE ENORMOUS GAP IN RATING PTS FROM NOS.1 RAJESH KHANNA TO NO. 10 JEAN MARAIS, IE A DIFFERENCE OF UPTO 2,150 PTS, THE DIFFERENCES THEREAFTER PETERING DOWN TO SINGLE DIGITS, & NO. 15 ONWARDS TO DECIMAL PTS., MAKING IT UNNECESSARY TO BE FURTHER ELABORATED ON..
1. .Rajesh Khanna (Ind) – 3,000 pts
2. .Robert Pugh (Welsh) – 2,650 pts
3. .Ashok Kumar (Ind) – 2,500 pts
4. .Barbara Stanwyck – 2,400 pts
5. .Dilip Kumar (Ind) – 2,250 pts
6. .Owain Yeoman (Welsh) – 2,000 pts
7. .John Rhys-Davies (Welsh) – 1,500 pts
8. .Terry Jones (Welsh) – 1,200 pts
9. .Gary Cooper – 950 pts
10. .Jean Marais (Fr) – 850 pts
11. .Ian Whyte (Welsh) – 830 pts
12. .Olivia de Havilland – 823 pts
13. .Rhys Ifans (Welsh) – 822 pts
14. .James Stewart – 821 pts
15. .Yves Montand (Fr) – 820 pts
16. .Daniel Day Lewis – 819.5 pts )
1. .Rajesh Khanna (Ind)
2. .Robert Pugh (Welsh)
3. .Ashok Kumar (Ind)
4. .Barbara Stanwyck
5. .Dilip Kumar (Ind)
6. .Owain Yeoman (Welsh)
7. .John Rhys-Davies (Welsh)
8. .Terry Jones (Welsh)
9. .Gary Cooper
10. .Jean Marais (Fr)
11. .Ian Whyte (Welsh)
12. .Olivia de Havilland
13. .Rhys Ifans (Welsh)
14. .James Stewart
15. .Yves Montand (Fr)
16. .Daniel Day Lewis
17. .Gerard Philipe (Fr)
18. .Jonathan Pryce (Welsh)
19. .Timothy Dalton (Welsh)
20. .Charles Boyer
21. .Spencer Tracy
22. .Ray Milland (Fr)
23. .Joe Pesci
24. .Ivor Novello (Welsh)
25. .Philip Madoc (Welsh)
26. .Gerard Depardieu
27. .Jacques Daniel Michel Piccoli (Fr)
28. .Christian Jean-Marie Clavier (Fr)
29. .Griff Rhys Jones (Welsh)
30. .Owen Teale (Welsh)
31. .Dev Anand (Ind)
32. .Walter Pidgeon
33. .Fredric March
34. .Henry Fonda
35. .Charles Laughton
36. .Charlie Chaplin
37. .Michael Lonsdale (Fr)
38. .Vincent Lindon (Fr)
39. .James Cagney
40. .Mathieu Amalric (Fr)
41. .Jon Voight
42. .Jack Nicholson
43. .Meena Kumari (Ind)
44. .Al Pacino
45. .Geraldine Page
46. .Audrey Hepburn
47. .Peter Ustinov
48. .Dany Boon (Fr)
49. .Richard Harrington (Welsh)
50. .Thierry Lhermitte (Fr)
51. .Suchitra Sen (Ind)
52. .Albert Finney (Welsh)
53. .Vivien Leigh
54. .Ioan Gruffudd (Welsh)
55. .Greer Garson
56. .Jean Gabin (Fr)
57. .Tom Ellis (Welsh)
58. .Michael Douglas
59. .Kirk Douglas
60. .Christopher Plummer
61. .Harrison Ford
62. .Ginger Rogers
63. .Richard Brake (Welsh)
64. .George Kennedy
65. .Elizabeth Taylor
66. .Pierre Richard (Fr)
67. .Greg Davies (Welsh)
68. .Shashi Kapoor (Ind)
69. .Alain Delon (Fr)
70. .Mickey Rooney
71. .Philippe Noiret (Fr)
72. .Alain Chabat (Fr)
73. .Gerard Jugnot (Fr)
74. .Katharine Hepburn
75. .Montgomery Clift
76. .Cary Grant
77. .George C. Scott
78. .Clint Eastwood
79. .Keith Allen (Welsh)
80. .Jean-Pierre Marielle (Fr)
81. .Gary Oldman
82. .Roger Rees (Welsh)
83. .Raphael Personnaz (Fr)
84. .Kate Winslet
85. .Walter Huston
86. .Jacques Gamblin (Fr)
87. .Laurence Olivier (UK)
88. .Mervyn Johns (Welsh)
89. .Roger Livesey (Welsh)
90. .Julia Roberts
91. .Bernard Fox (Welsh)
92. .Zia Mohyeddin
93. .Norma Shearer
94. .Harry Secombe (Welsh)
95. .Shammi Kapoor (Ind)
96. .Marlon Brando
97. .Desmond Llewelyn (Welsh)
98. .Gene Hackman
99. .Aneurin Barnard (Welsh)
100. .Bruce Lee
_________________
101. .Nathalie Lissenko (Rus)
102. .Hasmik Agopyan (Rus)
103. .Catharine Deneuve (Fr)
104. .Chulpan Khamatova (Rus)
105. .Nataliya Vdovina (Rus)
106. .Elena Solovey (Rus)
107. .Brigitte Bardot (Fr)
108. .Aleksandra Khokhlova (Rus)
109. .Jeanne Moreau (Fr)
110. .Anna Karina (Fr)
111. .Isabelle Adjani (Fr)
112. .Romy Schneider (Fr)
113. .Lea Seydoux (Fr)
114. .Melanie Laurent (Fr)
115. .Audrey Tautou (Fr)
116. .Ekaterina Chtchelkanova (Rus)
117. .Vanessa Paradis (Fr)
118. .Simone Signoret (Fr)
119. .Emmanuelle Beart (Fr)
120. .Isabelle Huppert (Fr)
121. .Sandrine Bonnaire (Fr)
122. .Vasily Livanov (Rus)
123. .Carole Bouquet (Fr)
124. .Anne Parillaud (Fr)
125. .Fanny Ardant (Fr)
126. .Sophie Marceau (Fr)
127. .Nathalie Baye (Fr)
128. .Michael Chekhov (Rus)
129. .Anouk Aimee (Fr)
130. .Alexa Davalos (Fr)
131. .Josiane Balasko (Fr)
132. .Clemence Poesy (Fr)
133. .Natalija Janichkina (Rus)
134. .Laetitia Casta (Fr)
135. .Eva Green (Fr)
136. .Elodie Yung (Fr)
137. .John Gielgud
138. .Kristin Scott Tomas (Fr)
139. .Anna Mouglalis (Fr)
140. .Astrid Berges-Frisbey (Fr)
141. .Charlotte Gainsbourg (Fr)
142. .Savely Kramarov (Rus)
143. .Oleg Popov (Rus)
144. .Capucine (Fr)
145. .Roxane Mesquida (Fr)
146. .Jane Birkin (Fr)
147. .Berenice Bejo (Fr)
148. .Olga Kurylenko (Fr)
149. .Leslie Caron (Fr)
150. .Josephine Baker (Fr)
151. .Grigoriy Dobrygin (Rus)
152. .Yul Brynner (Rus)
153. .Oleg Yankovsky (Rus)
154. .Pom Klementieff (Fr)
155. .Noemie Merlant (Fr)
156. .Nikita Mikhalkov (Rus)
157. .Yuri Borisov (Rus)
158. .Adele Haenel (Fr)
159. .Adele Exarchopoulos (Fr)
160. .Sergei Bondarchuk (Rus)
161. .Sergey Bezrukov (Rus)
162. .Paul Muni
163. .James Mason
164. .Pasha Lychnikov (Rus)
165. .Igor Jijikine (Rus)
166. .James Caan
167. .Alec Guinness
168. .Emma Mackey (Fr)
169. .Michael Roll (Rus)
170. .Yuri Nikulin (Rus)
171. .Vladimir Vdovichenkov (Rus)
172. .Yevgeny Sidikhin (Rus)
173. .Aleksei Serebyakov (Rus)
174. .Yury Solomin (Rus)
175. .Douglas Fairbanks
176. .Paul Newman
177. .Oleg Menshikov
178. .Vyacheslav Tikhonov (Rus)
179. .Yael Groblas (Fr)
180. .Emmanuelle Seigner (Fr)
181. .Craig Roberts (Welsh)
182. .Jim Broadbent (UK)
183. .Nicolas Cazale (Fr)
184. .Gerard Lanvin (Fr)
185. .Jamel Debbouze (Fr)
186. .Uttam Kumar (Ind)
187. .Jean Rochefort (Fr)
188. .Christopher Timothy (Welsh)
189. .Juliette Binoche
190. .Dustin Hoffman
191. .Prem Nazir (Ind)
192. .Peter O’ Toole
193. .Tom Hanks
194. .Romain Duris (Fr)
195. .Ellen Burstyn
196. .Andrei Panin
197. .Humphrey Bogart
198. .Madhabi Mukherjee (Ind)
199. .Danila Kozlovsky (Rus)
200. .Waheed Murad (Pak)
201. .Isabelle Weingarten (Fr)
202. .Sarah Adler (Fr)
203. .Christa Theret (Fr)
204. .Karin Viard (Fr)
205. .Deborah Francois (Fr)
206. .Marie Gillain (Fr)
207. .Juliet Berto (Fr)
208. .Melanie Doutey (Fr)
209. .Monique Melinand (Fr)
210. .Stephane Audran (Fr)
211. .Lea Drucker (Fr)
212. .Dominique Labourier (Fr)
213. .Angelique Litzenburger (Fr)
214. .Francoise Lebrun (Fr)
215. .Valerie Donzelli (Fr)
216. .Bernadette Lafont (Fr)
217. .Sylvie Testud (Fr)
218. .Cecile de France (Fr)
219. .Katia Leclerc O’ Wallis (Fr)
220. .Zouzou (Fr)
221. .Francoise Fabian (Fr)
222. .Maria Schneider (Fr)
223. .Agnes Jaoui (Fr)
224. .Valeria Bruni Tedeschi (Fr)
225. .Aurora Cornu (Fr)
226. .Stacy Martin (Fr)
227. .Lola Creton (Fr)
228. .Laurence de Monaghan (Fr)
229. .Dominique Blanc (Fr)
230. .Beatrice Romand (Fr)
231. .Melanie Thierry (Fr)
232. .Caroline Cellier (Fr)
233. .Michele Moretti (Fr)
234. .Genevieve Page (Fr)
235. .Elina Labourdette (Fr)
236. .Anne Wiazemsky (Fr)
237. .Marie Dubois (Fr)
238. .Claudine Auger (Fr)
239. .Annie Girardot (Fr)
240. .Juliette Mayniel (Fr)
241. .Brigitte Fossey (Fr)
242. .Martine Carol (Fr)
243. .Dolly Scal (Fr)
244. .Patricia Gozzi (Fr)
245. .Marilou Berry (Fr)
246. .Maria Mauban (Fr)
247. .Janine Darcey (Fr)
248. .Suzanne Flon (Fr)
249. .Colette Marchand (Fr)
250. .Francoise Arnoul (Fr)
251. .Ludivine Sagnier (Fr)
252. .Beatrice Dalle (Fr)
253. .Claude Nollier (Fr)
254. .Josette Day (Fr)
255. .Nicole Stephane (Fr)
256. .Catharine Salee (Fr)
257. .Dominique Sanda (Fr)
258. .Marina Hands (Fr)
259. .Cecile Aubry (Fr)
260. .Nicole Ladmiral (Fr)
261. .Bulle Ogier (Fr)
262. .Vera Clouzot (Fr)
263. .Simone Renant (Fr)
264. .Sylvia Bataille (Fr)
265. .Suzy Delair (Fr)
266. .Jane Marken (Fr)
267. .Catharine Salee (Fr)
268. .Nane Germon (Fr)
269. .Lucienne Bogaert (Fr)
270. .Renee Carl (Fr)
271. .Catherine Frot (Fr)
272. .Maria Casares (Fr)
273. .Arletty (Fr)
274. .Odette Joyeux (Fr)
275. .Marguerite Moreno (Fr)
276. .Madeleine Robinson (Fr)
277. .Helena Manson (Fr)
278. .Paulette Dubost (Fr)
279. .Micheline Francey (Fr)
280. .Ginette Leclerc (Fr)
281. .Mady Berry (Fr)
282. .Edwige Feuillere (Fr)
283. .Jacqueline Laurent (Fr)
284. .Mila Parely (Fr)
285. .Florelle (Fr)
286. .Claudette Colbert (Fr)
287. .Danielle Darieux (Fr)
288. .Rolla France (Fr)
289. .Annabella (Fr)
290. .Anne Chevalier (Fr)
291. .Lya Lys (Fr)
292. .Simone Mareuil (Fr)
293. .Maria Falconetti (Fr)
294. .Yvette Andreyor (Fr)
295. .Musidora (Fr)
296. .Nora Amezeder (Fr)
297. .Virginie Ledoyen (Fr)
298. .Michele Morgan (Fr)
299. .Marine Vacth (Fr)
300. .Louise Bourgoin (Fr)
301. .Pauline Carton (Fr)
302. .Severine Lerczinska (Fr)
303. .Odette Talazac (Fr)
304. .Leora Barbara (Fr)
305. .Simone Simon (Fr)
306. .Marion Cotillard (Fr)
307. .Mireille Darc (Fr)
308. .Edith Scob (Fr)
309. .Chantal Goya (Fr)
310. .Emmanuelle Riva (Fr)
311. .Chiara Mastroianni (Fr)
312. .Claire Maurier (Fr)
313. .Marika Green (Fr)
314. .Delphine Seyrig (Fr)
315. .Mylene Demongeot (Fr)
316. .Marie-France Pisier (Fr)
317. .Francoise Dorleac (Fr)
318. .Marina Vlady (Fr)
319. .Stella Dassas (Fr)
320. .Marpessa Dawn (Fr)
321. .Elsa Zylberstein (Fr)
322. .Bleuette Bernon(Fr)
323. .Vitaly Solomin (Rus)
324. .Sara Forestier (Fr)
325. .Aleksandr Domogarov (Rus)
326. .Michael J. Fox
327. .Aleksei Serebyakov (Rus)
328. .Shawn Ashmore (Can)
329. .Robbie Amell (Can)
330. .Pascale Ogier (Fr)
331. .Amanda Langlet (Fr)
332. .Julie Delpy (Fr)
333. .Ravil Isyanov (Rus)
334. .Linh-Dan Pham (Fr)
335. .Nelly Borgeaud (Fr)
336. .Nicole Garcia (Fr)
337. .Oleg Tabakov (Rus)
338. .Konstantin Lavronenko (Rus)
339. .Yevgeny Mironov (Rus)
340. .Andrei Smirnov (Rus)
341. .Irene Jacob (Fr)
342. .Myriem Roussell (Fr)
343. .Arielle Dombasle (Fr)
344. .Marie Riviere (Fr)
345. .Solveig Dommartin (Fr)
346. .Emilie Dequenne (Fr)
347. .Oleg Vidov (Rus)
348. .Ariane Labed (Fr)
349. .Pablo Schreiber (Can)
350. .Zabou Breitman (Fr)
351. .Romane Bohringer (Fr)
352. .Sabine Azema (Fr)
353. .Hafsia Herzi (Fr)
354. .Andrea Ferreol (Fr)
355. .Jeanne Balibar (Fr)
356. .Alexander Petrov (Rus)
357. .Raymond Burr
358. .Cory Monteith
359. .Donald Sutherland
360. .Innokenty Smoktunovsky (Rus)
361. .Isabelle Renauld (Fr)
362. .Mireille Perrier (Fr)
363. .Juliana Samarine (Fr)
364. .Catherine Mouchet (Fr)
365. .Aurora Marion (Fr)
366. .Sergei Puskepalis (Rus)
367. .Anais Demoustier (Fr)
368. .N.T. Ramarao (Ind)
369. .Jason Priestley
370. .Thomas B. Kin Chong
371. .Judith Chemla (Fr)
372. .Marie Laforet (Fr)
373. .Michele Valley (Fr)
374. .Helene Alexandridis (Fr)
375. .Yevgeni Lazarev (Rus)
376. .Roy Dupuis
377. .Alan Thicke (Can)
378. .Konstantin Khabensky (Rus)
379. .Anne Consigny (Fr)
380. .Corey Haim (Can)
381. .Macha Meril (Fr)
382. .Anne Brochet (Fr)
383. .Miou-Miou (Fr)
384. .Anne Teyssedre (Fr)
385. .Josephine Sanz (Fr)
386. .Gabrielle Sanz (Fr)
387. .Aleksey Batalov (Rus)
388. .Sergei Garmash (Rus)
389. .Fantine Harduin (Fr)
390. .Charlotte Very (Fr)
391. .Elodie Bouchez (Fr)
392. .Natacha Regnier (Fr)
393. .Pili Groyne (Fr)
394. .Yolande Mareau (Fr)
395. .Emmanuelle Devos (Fr)
396. .Nina Meurisse (Fr)
397. .Florence Darel (Fr)
398. .Faye Dunaway
399. .Rajendra Kumar (Ind)
400. ..Malik Zidi (Fr)
401. .Michele Verly (Fr)
402. .Park Mi-sun (Kor)
403. .Bae Seul-ki (Kor)
404. .Ahn Ji-hyun (Kor)
405. .Ahn Seo-hyun (Kor)
406. .Ahn Ji-hye (Kor)
407. .Jae-un Lee (Kor)
408. .Ahn-in Suk (Kor)
409. .Lee Jung-hyun (Kor)
410. .Seon Yu (Kor)
411. .Moon Geun-Young (Kor)
412. .Ho-jeong Yu (Kor)
413. .Shin Se-Kyung (Kor)
414. .Jin-Seo Yoon (Kor)
415. .Park Bo-Young (Kor)
416. .Jin-hee Park (Kor)
417. .Ji-young Ok (Kor)
418. .Ji-a Park (Kor)
419. .So-yeon Lee (Kor)
420. .Mi-yeon Lee (Kor)
421. .Jeong-eun Lim (Kor)
422. .Ji-min Kwak (Kor)
423. .Kim Bo-kyung (Kor)
424. .So-Young Ko (Kor)
425. .Bo-Young Lee (Kor)
426. .Kang So-ra (Kor)
427. .Eun-ji Jo (Kor)
428. .Bo-bae Han (Kor)
429. .Shin Hye-jin (Kor)
430. .Moon Jeong-hee (Kor)
431. .Min-seo Chae (Kor)
432. .Kim Hye-su (Kor)
433. .Kim Hae-sook (Kor)
434. .Youn Yuh-jung (Kor)
435. .Yuna Ito (Kor)
436. .So-yi Yoon (Kor)
437. .Hyeon-jin Seo (Kor)
438. .Yu-ri sung (Kor)
439. .Sandara Park (Kor)
440. .Kim Yeo-jin (Kor)
441. .Yeon-hee Lee (Kor)
442. .Park Shin-Hye (Kor)
443. .Hyo-jin Kim (Kor)
444. .Hye-eun Park (Kor)
445. .Lee Da-hae (Kor)
446. .Kang Soo-youn (Kor)
447. .Kim Hee-seon (Kor)
448. .Gyu-ri Kim (Kor)
449. .Jin young-Jang (Kor)
450. .Ri-su Ha (Kor)
451. .Chae-Young Han (Kor)
452. .Kim Hyun-joo (Kor)
453. .Yeo-jin Choi (Kor)
454. .Eun-kyeong Lim (Kor)
455. .Hind Rustum (Egypt)
456. .Marsha Fitzalan (UK)
457. .Yoo-jin Kim (Kor)
458. .Jung Yu Mi (Kor)
459. .Min-Hee Kim (Kor)
460. .Han Ji-Min (Kor)
461. .Moon Chae-Won (Kor)
462. .Suzy Vernon (Fr)
463. .Seung-Yun Lee (Kor)
464. .Song Hye-Kyo (Kor)
465. .Valentine Tessier (Fr)
466. .Natalia Trouhanowa (Fr)
467. .Maria Ventura (Fr)
468. .Alice Tissot (Fr)
469. .Gabrielle Rejane (Fr)
470. .Sylvie (Fr)
471. .Renee Sylvaire (Fr)
472. .Agnes Souret (Fr)
473. .Nadia Sibirskaya (Fr)
474. .Yvonne Printemps (Fr)
475. .Suzy Prim (Fr)
476. .Marcelle Pradot (Fr)
477. .Marcelle Praince (Fr)
478. .Pilar-Morin (Fr)
479. .Polaire (Fr)
480. .Renee Passeur (Fr)
481. .Germaine Michel (Fr)
482. .Daniele Parola (Fr)
483. .Marthe Vinot (Fr)
484. .Paulette Noiseux (Fr)
485. .Cecile Sorel (Fr)
486. .Mary Odette (Fr)
487. .Stacia Napierkowska (Fr)
488. .Marthe Mellot (Fr)
489. .Julienne Mathieu (Fr)
490. .Mary Marquet (Fr)
491. .Arlette Marchal (Fr)
492. .Lee Sang-hee (Kor)
493. .Gina Manes (Fr)
494. .Ginette Maddie (Fr)
495. .Jeanne Loury (Fr)
496. .Germaine Reuver (Fr)
497. .Francoise Rosay (Fr)
498. .Rita Jolivet (Fr)
499. .Emmy Lynn (Fr)
500. .Francine Mussey (Fr)
501. .Gabrielle Robinne (Fr)
502. .Margeurite de Morlaye (Fr)
503. .Madeleine Milhaud (Fr)
504. .Georgette Leblanc (Fr)
505. .Louise Lagrange (Fr)
506. .Suzy Pierson (Fr)
507. .Claude Merelle (Fr)
508. .Simone Vaudry (Fr)
509. .Jane Pierson (Fr)
510. .Madeleine Renaud (Fr)
511. .Gina Relly (Fr)
512. .Illa Meery (Fr)
513. .Gina Palerme (Fr)
514. .Anna Held (Fr)
515. .Anna Lefeuvrier (Fr)
516. .Germaine Sablon (Fr)
517. .Germaine Rouer (Fr)
518. .Catherine Hessling (Fr)
519. .Edith Jehanne (Fr)
520. .Jeanne Helbling (Fr)
521. .Gaby Morlay (Fr)
522. .Marie Glory (Fr)
523. .Madeleine Guitty (Fr)
524. .Yvette Guilbert (Fr)
525. .Marie Grisier-Montbazon (Fr)
526. .Renee Heribel (Fr)
527. .Denise Grey (Fr)
528. .Lilian Greuze (Fr)
529. .Berthe Jalabert (Fr)
530. .Jane Faber (Fr)
531. .Marcelle Geniat (Fr)
532. .Josseline Gael (Fr)
533. .Claude France (Fr)
534. .Lucy Gerard (Fr)
535. .Marie Epstein (Fr)
536. .Huguette Duflos (Fr)
537. .Fabienne Fabreges (Fr)
538. .Jeanne Marie-Laurent (Fr)
539. .Cecile Didier (Fr)
540. .France Dhelia (Fr)
541. .Rachel Devirys (Fr)
542. .Marcelle Monthil (Fr)
543. .Blanche Montel (Fr)
544. .Mistinguett (Fr)
545. .Gaby Deslys (Fr)
546. .Margeurite Deval (Fr)
547. .Janine Merrey (Fr)
548. .Lucienne Legrand (Fr)
549. .Suzanne Despres (Fr)
550. .Dolly Davis (Fr)
551. .Germaine Dermoz (Fr)
552. .Suzanne Delve (Fr)
553. .Suzanne Dehelly (Fr)
554. .Rose Dione (Fr)
555. .Amelie Dieterle (Fr)
556. .Jeanne Delvair (Fr)
557. .Mona Goya (Fr)
558. .Helene Darly (Fr)
559. .Maryse Dauvray (Fr)
560. .Denise Legeay (Fr)
561. .Colette Darfeuil (Fr)
562. .Lili Damita (Fr)
563. .Eve Francis (Fr)
564. .Lilian Constantini (Fr)
565. .Simone Cerdan (Fr)
566. .Adrienne d’ Ambricourt (Fr)
567. .Gabrielle Colonna-Romano (Fr)
568. .Juliette Clarens (Fr)
569. .Jeanne Brindeau (Fr)
570. .Andree Brabant (Fr)
571. .Renee Carl (Fr)
572. .Sarah Bernhardt (Fr)
573. .Catherine Fonteney (Fr)
574. .Yvonne de Bray (Fr)
575. .Judy Cornwell (UK)
576. .Renee Jeanne Falconetti (Fr)
577. .Suzanne Bianchetti (Fr)
578. .Josette Andriot (Fr)
579. .Jeanne Berangere (Fr)
580. .Paule Andral (Fr)
581. .Marie Bell (Fr)
582. .Mathilde Comont (Fr)
583. .Aimee Campton (Fr)
584. .Jean d’Yd (Fr)
585. .Jean Yonnel (Fr)
586. .Jean Worms (Fr)
587. .Jehanne d’Alcy (Fr)
588. .Georges Wague (Fr)
589. .Geymond Vital (Fr)
590. .Roger Vincent (Fr)
591. .Felicien Tramel (Fr)
592. .Andree Lafayette (Fr)
593. .Simone Genevois (Fr)
594. .Abel Tarride (Fr)
595. .Jacques Varennes (Fr)
596. .Jean Toulout (Fr)
597. .Roger Treville (Fr)
598. .Armand Tallier (Fr)
599. .Gabriel Signoret (Fr)
600. .Francois Rozet (Fr)
601. .Aime Simon-Girard (Fr)
602. .Henry Roussel (Fr)
603. .Henri Rollan (Fr)
604. .Noel Roquevert (Fr)
605. .Gabrielle Fontan (Fr)
606. .Georges Treville (Fr)
607. .Charles de Rochefort (Fr)
608. .Rene Rocher (Fr)
609. .Fernand Rivers (Fr)
610. .Andre Roanne (Fr)
611. .Robert Pizani (Fr)
612. .Nicolas Rimsky (Fr)
613. .Raoul Paoli (Fr)
614. .Philippe Richard (Fr)
615. .Jean Perier (Fr)
616. .Constant Remy (Fr)
617. .Felix Oudart (Fr)
618. .Jean Peyriere (Fr)
619. .Georges Peclet (Fr)
620. .Andre Nox (Fr)
621. .Rene Navarre (Fr)
622. .Georges Paulais (Fr)
623. .Andre Nicolle (Fr)
624. .Lucien Muratore (Fr)
625. .Georges Melchior (Fr)
626. .Edouard de Max (Fr)
627. .Pierre Magnier (Fr)
628. .Ralph Fiennes (UK)
629. .Joseph Fiennes (UK)
630. .Raymond Rognoni (Fr)
631. .Pierre Zimmer (Fr)
632. .Pierre Brasseur (Fr)
633. .Jean De Briac (Fr)
634. .Benoit-Constant Coquelin (Fr)
635. .Pierre Couderc (Fr)
636. .Daniel Mendaille (Fr)
637. .Jean De Limur (Fr)
638. .Andre Luguet (Fr)
639. .Bleuette Bernon (Fr)
640. .Madhubala (Ind)
641. .Max Linder (Fr)
642. .Ian McKellen (UK)
643. .Vanisri (Ind)
644. .Sowcar Janaki (Ind)
645. .Adelaide Nielsen (UK)
646. .Doria Achour (Fr)
647. .Suzanne Dantes (Fr)
648. .Marcel Maupi (Fr)
649. .Dominique Zardi (Fr)
650. .Frederic Mariotti (Fr)
651. .Pierre Blanchar (Fr)
652. .Naidra Ayadi (Fr)
653. .Andre Liabel (Fr)
654. .Gaston Modot (Fr)
655. .Ruben Rabasa (Cub)
656. .Renee Adoree (Fr)
657. .Beatrice Agenin (Fr)
658. .Francoise Brion (Fr)
659. .Hugh Grant (UK)
660. .Paul Olivier (Fr)
661. .Camille Cottin (Fr)
662. .Loan Chabanol (Fr)
663. .Roschedy Zem (Fr)
664. .Rina Morelli (Ita)
665. .Barbara D’ Urso (Ita)
666. .Rosemary Dexter (Ita)
667. .Dori Dorika (Ita)
668. .Giuliana De Sio (Ita)
669. .Julie Peasgood (UK)
670. .Laura Adani (Ita)
671. .Valeria Ciangottini (Ita)
672. .Marta Abba (Ita)
673. .Adriana Ambesi (Ita)
674. .Pier Angeli (Ita)
675. .Lando Buzzanca (Ita)
676. .Riccardo Scamarcio (Ita)
677. .Raf Vallone (Ita)
678. .Walter Chiari (Ita)
679. .Amedeo Nazzari (Ita)
680. .Renato Rascel (Ita)
681. .Rossano Brazzi (Ita)
682. .Claudio Bigagli (Ita)
683. .Ciccio Ingrassia (Ita)
684. .Fabio Testi (Ita)
685. .Alberto Sordi (Ita)
686. .C. R. Vijayakumari (Ind)
687. .Raja Sulochana (Ind)
688. .Nanni Moretti (Ita)
689. .S. Varalakshmi (Ind)
690. .Toto (Ita)
691. .Dora Romano (Ita)
692. .Betty Pedrazzi (Ita)
693. .Julia Jedlikowska (Ita)
694. .Luisa Ranieri (Ita)
695. .Eleonora Giovanardi (Ita)
696. .Teresa Saponangelo (Ita)
697. .Margherita Buy (Ita)
698. .Giusi Merli (Ita)
699. .Alba Rohrwacher (Ita)
700. .Sonia Gessner (Ita)
701. .T. R. Rajakumari (Ind)
702. .Galatea Ranzi (Ita)
703. .Serena Grandi (Ita)
704. .Iaia Forte (Ita)
705. .Pamela Villoresi (Ita)
706. .Matilde Gioli (Ita)
707. .Sara Serraiocco (Ita)
708. .Sabrina Ferilli (Ita)
709. .Violante Placido (Ita)
710. .Maya Sansa (Ita)
711. .Piera Degli Esposti (Ita)
712. .Margareth Made (Ita)
713. .Chiara Caselli (Ita)
714. .Maria Nazionale (Ita)
715. .Valeria De Franciscis (Ita)
716. .Diane Fleri (Ita)
717. .Anna Bonaiuto (Ita)
718. .Aurora Quattrocchi (Ita)
719. .Angela Finochhiaro (Ita)
720. .Claudia Gerini (Ita)
721. .Anita Kravos (Ita)
722. .Pandari Bai (Ind)
723. .Stefania Rocca (Ita)
724. .Asia Argento (Ita)
725. .Monica Bellucci (Ita)
726. .Giovanna Mezzogiorno (Ita)
727. .Sabrina Impacciatore (Ita)
728. .Jasmine Trinca (Ita)
729. .Fransesca d’ Aloja (Ita)
730. .Laura Morante (Ita)
731. .Anna Della Rosa (Ita)
732. .Giuliana Lojodice (Ita)
733. .Francesca Neri (Ita)
734. .Aitana Sanchez-Gijon (Ita)
735. .Alessandra Martines (Ita)
736. .Virna Lisi (Ita)
737. .Maria Grazia Cucinotta (Ita)
738. .Giovanna Bozzolo (Ita)
739. .Valentina Scalici (Ita)
740. .Valeria Golino (Ita)
741. .Marisa Tomasi (Ita)
742. .Nadia Ottaviani (Ita)
743. .Antonella Attili (Ita)
744. .Anna Galiena (Ita)
745. .Simona Brandalise (Ita)
746. .Antonella Ponziani (Ita)
747. .Paula Liguori (Ita)
748. .Anita Laurenzi (Ita)
749. .Nicoletta Braschi (Ita)
750. .Isabella Rossellini (Ita)
751. .Alessandra Vanzi (Ita)
752. .Marcella Petrelli (Ita)
753. .Patrizia Terreno (Ita)
754. .Norma Martelli (Ita)
755. .Domiziana Giordano (Ita)
756. .Miriam Guidelli (Ita)
757. .Daniela Silverio (Ita)
758. .Laura Lenzi (Ita)
759. .Greta Scacchi (Ita)
760. .Marcella Michelangeli (Ita)
761. .Jole Silvani (Ita)
762. .Francesca Bertini (Ita)
763. .Valeria D’ Obici (Ita)
764. .Carmen Scarpitta (Ita)
765. .Francesca Moriggi (Ita)
766. .Laura Antonelli (Ita)
767. .Agostina Belli (Ita)
768. .Francesca Marciano (Ita)
769. .Laura Betti (Ita)
770. .Ornella Muti (Ita)
771. .Isabella Ferrari (Ita)
772. .Elena Fiore (Ita)
773. .Daria Nicolodi (Ita)
774. .Valentina Cortese (Ita)
775. .Lea Massari (Ita)
776. .Pupella Maggio (Ita)
777. .Pia De Doses (Ita)
778. .Mariangela Melato (Ita)
779. .Maria Monti (Ita)
780. .Isa Danieli (Ita)
781. .Giovanna Galletti (Ita)
782. .Maria Michi (Ita)
783. .Fiona Florence (Ita)
784. .Silvana Mangano (Ita)
785. .Nora Ricci (Ita)
786. .Anita Pallenberg (Ita)
787. .Femi Benussi (Ita)
788. .Stefania Sandrelli (Ita)
789. .Claudia Cardinale (Ita)
790. .Margherita Caruso (Ita)
791. .Liliana Gerace (Ita)
792. .Mara Krupp (Ita)
793. .Paola Pitagora (Ita)
794. .Susanna Pasolini (Ita)
795. .Sandra Milo (Ita)
796. .Sophia Loren (Ita)
797. .Giorgio Moll (Ita)
798. .Graziella Galvani (Ita)
799. .Gabriella Giorgelli (Ita)
800. .Franca Pasut (Ita)
801. .Lilla Brignone (Ita)
802. .Gabriella Pallotta (Ita)
803. .Rina Morelli (Ita)
804. .Catherine Spaak (Ita)
805. .Loredana Detto (Ita)
806. .Paola Guidi (Ita)
807. .Anna Magnani (Ita)
808. .Monica Vitti (Ita)
809. .Silvana Corsini (Ita)
810. .Marisa Allasio (Ita)
811. .Giovanna Ralli (Ita)
812. .Nada Fiorelli (Ita)
813. .Franca Marzi (Ita)
814. .Giulietta Masina (Ita)
815. .Dorian Gray (Ita)
816. .Bruna Corra (Ita)
817. .Gina Lollobrigida (Ita)
818. .Lucia Bose (Ita)
819. .Ileana Simova (Ita)
820. .Anna Proclemer (Ita)
821. .Brunella Bovo (Ita)
822. .Anna Amendola (Ita)
823. .Lina Gennari (Ita)
824. .Emma Gramatica (Ita)
825. .Maria Pia Casilio (Ita)
826. .Dhia Cristiani (Ita)
827. .Alida Valli (Ita)
828. .Carla Del Poggio (Ita)
829. .Lianella Carell (Ita)
830. .Elena Altieri (Ita)
831. .Carmela Sazio (Ita)
832. .Luisa Ferida (Ita)
833. .Tina Apicella (Ita)
834. .Clara Calamai (Ita)
835. .Jean Bradin (Fr)
836. .Elisa Cegani (Ita)
837. .Tatyana Pavlova (Ita)
838. .Rene Creste (Fr)
839. .Isa Miranda (Ita)
840. .Jean Murat (Fr)
841. .Lyda Borelli (Ita)
842. .Pierre Larquey (Fr)
843. .Pauline Polaire (Ita)
844. .William Shatner (Can)
845. .Saturnin Fabre (Fr)
846. .Dominique Blanchar (Fr)
847. .Sujatha (Ind)
848. .Valerie Karsenti (Fr)
849. .Jayamala (Ind)
850. .Sharada (Ind)
851. .Kiefer Sutherland (Can)
852. .Colette Brosset (Fr)
853. .Pierre Renoir (Fr)
854. .Albert Rieux (Fr)
855. .Fernand Ledoux (Fr)
856. .Harry Baur (Fr)
857. .Jayabharathi (Ind)
858. .Astrid Berges-Frisbey (Fr)
859. .Arathi (Ind)
860. .Joelle Bernard (Fr)
861. .David Fumero (Cub)
862. .Marie Bizet (Fr)
863. .Jeanne Boitel (Fr)
864. .Jules Moy (Fr)
865. .Irene Bordoni (Fr)
866. .Lina Brunelle (Fr)
867. .Georges Riviere (Fr)
868. .Henry Krauss (Fr)
869. .Marc Riviere (Fr)
870. .Urvashi (Ind)
871. .Maurice Mariaud (Fr)
872. .Glenn Ford (Can)
873. .Patrick Stewart (UK)
874. .Sarah Biasini (Fr)
875. .Roberto Sanchez (Cub)
876. .Estella Blain (Fr)
877. .Martine Brochard (Fr)
878. .Danielle Godet (Fr)
879. .Jean-Michel Rouziere (Fr)
880. .Jim Gerald (Fr)
881. .Judith El Zein (Fr)
882. .Blanchette Brunoy (Fr)
883. .Stephane Caillard (Fr)
884. .Consolate Siperius (Fr)
885. .Jean Mercanton (Fr)
886. .Christine Fabrega (Fr)
887. .Laetitia Casta (Fr)
888. .Mi Kwan Lock (Fr)
889. .Finnegan Oldfield (Fr)
890. .Daniel Russo (Fr)
891. .Jean Debucourt (Fr)
892. .Fernand Mailly (Fr)
893. .Jacques Feyder (Fr)
894. .Micheline Gary (Fr)
895. .Pierrette Caillol (Fr)
896. .Diane Fleri (Fr)
897. .Sophie Hardy (Fr)
898. .K. R. Savithri (Ind)
899. .Yvonne Rozille (Fr)
900. .Maurice Escande (Fr)
901. .Simone Silva (Fr)
902. .Bernard Tiphaine (Fr)
903. .Anthony Quayle (UK)
904. .Yvette Etievant (Fr)
905. .Pierre Etchepare (Fr)
906. .Emmanuelle Bercot (Fr)
907. .Dharmendra (Ind)
908. .Eddie Redmayne (UK)
909. .Tony Leung (Chn)
910. .Kenneth Branagh (UK)
911. .Colin Firth (UK)
912. .Georges Lannes (Fr)
913. .Anthony Hopkins (UK)
914. .John Wayne
915. .Alice Isaaz (Fr)
916. .Karina Testa (Fr)
917. .Ronald Colman
918. .Ariel Wizman (Fr)
919. .Catherine Serre (Fr)
920. .Sacha Baron Cohen (UK)
921. .Lorant Deutsch (Fr)
922. .Sylvain Jacques (Fr)
923. .Raymond Pellegrin (Fr)
924. .Michel Lemoine (Fr)
925. .Jacques Rosny (Fr)
926. .Bernard Lancret (Fr)
927. .Robert Moor (Fr)
928. .K.P.A.C. Lalitha (Ind)
929. .Sreeleela (Ind)
930. .Angharad Rees (UK)
931. .Lucilla Agosti (Ita)
932. .Richard Briers (UK)
933. .David Suchet (UK)
934. .Oleg Strizhenov (Rus)
935. .Moon So-ri (Kor)
936. .Yeong-hie Seo (Kor)
937. .Kim Ji-soo (Kor)
938. .Chae An (Kor)
939. .Vadim Andreyev (Rus)
940. .An Jo (Kor)
941. .Jenny Agutter (UK)
942. .Antonio Acqua (Ita)
943. .Armando Francioli (Ita)
944. .Manorama (Ind)(Tamil)
945. .Nakamura Ganjiro II (Jpn)
946. .Aleksandr Pashutin (Rus)
947. .Masi Oka (Jpn)
948. .Taketoshi Naito (Jpn)
949. .Kilchi Nakai (Jpn)
950. .Nikolay Parfyonov (Rus)
951. .Pyotr Kolbasin (Rus)
952. .Sergei Bodrov Jr (Rus)
953. .Aleksandr Yakovlevich Mikhailov (Rus)
954. .Jo Soo-hyang (Kor)
955. .Aleksey Rozin (Rus)
956. .Yun Jeong-hie (Kor)
957. .Kong Hyo-jin (Kor)
958. .Konstantin Bogomolov (Rus)
959. .Sergey Koltakov (Rus)
960. .Egor Koreshkov (Rus)
961. .Peppo Biscarini (Ita)
962. .Aleksei Smirnov Rus)
963. .Andrey Merzlikin (Rus)
964. .Ennio Balbo (Ita)
965. .Usharani (Ind)
966. .Grigori Abrikosov (Rus)
967. .Shanvi Srivastava (Ind)
968. .Vladimir Konkin (Rus)
969. .Boris Plotnikov (Rus)
970. .John Barrowman (UK)
971. .Janet Suzman (UK)
972. .Shoji Nakayama (Jpn)
973. .Kinuyo Tanaka (Jpn)
974. .Paul Barber (UK)
975. .Vladimir Andreyev (Rus)
976. .Leonid Kanevsky (Rus)
977. .Leonid Kmit (Rus)
978. .Kurt Katch (Rus)
979. .Vladimir Mayakovsky (Rus)
980. .Mitsuko Yoshikawa (Jpn)
981. .Tsutomu Kitagawa (Jpn)
982. .Shreeram Lagoo (Ind)
983. .Kim In-seo (Kor)
984. .Kim Soo-jin (Kor)
985. .Kim Eul-boon (Kor)
986. .Kim Hee-jung (Kor)
987. .Kal So-Won (Kor)
988. .Kang Boo-ja (Kor)
989. .Onoe Baiko VII (Jpn)
990. .Toru Nakamura (Jpn)
991. .Viktor Korshunov (Rus)
992. .Lee Young-eun (Kor)
993. .Lee ye-hyun (Kor)
994. .Lee Su-hyun (Kor)
995. .Lee Se-Young (Kor)
996. .Rowan Atkinson (UK)
997. .Sarah Douglas (UK)
998. .Alberto Lionello (Ita)
999. .Daniela Formica (Ita)
1000. .Maurizio Nichetti (Ita)
1001. .Alighiero Noschese (Ita)
1002. .Domenico Viglione Borghese (Ita)
1003. .Kang Da-hyun (Kor)
1004. .Kavita Srinivasan (Ind)
1005. .Andrey Andreev (Rus)
1006. .Mahmoud Yassin (Egypt)
1007. .Pamela Franklin (UK)
1008. .Alvaro Vitali (Ita)
1009. .Robert Hundar (Ita)
1010. .Kathy Burke (UK)
1011. .Jiro Okamoto (Jpn)
1012. .Toshiro Mifune (Jpn)
1013. .Park In-Young (Kor)
1014. .Corso Salani (Ita)
1015. .Yurei Yanagi (Jpn)
1016. .Takao Osawa (Jpn)
1017. .Jet Li (Chn)
1018. .Vladimir Antonik (Rus)
1019. .Song Wok-suk (Kor)
1020. .Sunwoo Eun-sook (Kor)
1021. .Yoo Da-in (Kor)
1022. .Park Ji-yeon (Kor)
1023. .Shim Yi-Young (Kor)
1024. .Park Ju-hyun (Kor)
1025. .Seo Young-hee (Kor)
1026. .Son Se-bin (Kor)
1027. .Martin Freeman (UK)
1028. .Soo Ae (Kor)
1029. .Sunwoo Sun (Kor)
1030. .Yoon Da-gyeong (Kor)
1031. .Park Sol-mi (Kor)
1032. .Park So-yeon (Kor)
1033. .Park Soo-jin (Kor)
1034. .Seo Ji-Young (Kor)
1035. .Yeo Min-jeong (Kor)
1036. ..Park Ye-eun (Kor)
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Books of 2023
Book 18 of 2023
Title: Meeting Steve Canyon: ...And Flying With the CIA in Laos
Authors: Karl L. Polifka
ISBN: 9781490979854
Tags: A-1 Skyraider, A-37 Dragonfly, AC-119K Stinger, AUS Australia, AUS RAAF No 35 Sqd - Wallaby, AUS RAAF Royal Australian Air Force, AUS Sydney, B-57 Canberra, Boeing 707, C-7 Caribou, CHN China, CHN Hong Kong, CHN Kowloon, EC-121 Warning Star, EC-130 Commando Solo, F-100 Super Sabre, F-105 Thunderchief, F-4 Phantom II, FAC, Fast-FAC, FRA France, FRA SDECE GCMA Mixed Airborne Commando Group, FRA SDECE Service de Documentation Extérieure et de Contre-Espionnage, HH-53 Jolly Greens, HKG Hong Kong, LAO Ban Ban Valley, LAO Ban Moung Ngan, LAO Boung Lam, LAO Fishes Mouth Region, LAO Forward Air Guide RAINBOW (Laotian Civil War), LAO Hmong Meo Tribesmen, LAO Houi Hok, LAO ICC Internationl Control Commission, LAO Khang Khai, LAO Lima Site 108 - Moung Soui (Laotian Civil War), LAO Lima Site 15 - Phong Saly (Laotian Civil War), LAO Lima Site 184 - Houei Tong Kho (Laotian Civil War), LAO Lima Site 198 - Houi Hok (Laotian Civil War), LAO Lima Site 20 - Sam Thong (Laotian Civil War), LAO Lima Site 20A - Long Tieng (Laotian Civil War), LAO Lima Site 236 - Ban Moung Ngan (Laotian Civil War), LAO Lima Site 32 - Boung Lam (Laotian Civil War), LAO Lima Site 36 - Na Khang (Laotian Civil War), LAO Lima Site 46 - Seno (Laotian Civil War), LAO Lima Site 54 - Luang Prabang (Laotian Civil War), LAO Long Tieng, LAO Luang Prabang, LAO Moung Soi, LAO MR Military Region (Laotian Civil War), LAO MR2 (Laotian Civil War), LAO Na Khang, LAO Nong Het, LAO Operation About Face / Kou Kiet (1969) (Laotian Civil War), LAO Operation Barrel Roll (1964-1973) (Laotian Civil War) (Vietnam War), LAO Operation Palace Dog (1966-1973) (Laotian Civil War), LAO Operation Shining Brass / Prairie Fire / Phu Dong (1965-1975) (Laotian Civil War) (Vietnam War), LAO Operation Snare Drum (1969) (Laotian Civil War), LAO Operation Stranglehold (1969) (Laotian Civil War), LAO Phnom Nam Lyr, LAO Phong Saly, LAO Phu Na Kok, LAO Plain of Jars / Plaine des Jarres, LAO RLA General Vang Pao, LAO RLA RT Hotplate (Laotian Civil War), LAO RLA SGU Special Guerrilla Units, LAO RLAF Lt Colonel Lee Lue, LAO RLAF Royal Lao Air Force, LAO Route 13, LAO Route 4, LAO Route 7, LAO Sam Nuea, LAO Sam Thong, LAO Seno, LAO USAF Project 404 (Laotian Civil War), LAO USAF Steve Canyon Program - Ravens FAC (Laotian Civil War), LAO Vientiane, LAO Xieng Khoung, O-1 Bird Dog, O-2 Skymaster, PsyOps, SpecOps, T-28 Trojan, THA RTAFB Korat Royal Thai Air Base, THA RTAFB Nakon Phanom Royal Thai Air Base, THA RTAFB Takhli Royal Thai Air Base, THA RTAFB Ubon Royal Thai Air Base, THA RTAFB Udorn Royal Thai Air Base, THA Thailand, THA USAF ISC Infiltration Surveillance Center - Nakhon Phanom, THA USN NGSD Camp Ramasun Station, U-17 Skywagon, UK Force 136 (SOE), UK Special Operations Executive (SOE), US COA CASI Continental Air Services International, US COA Continental Airlines, US Father Lucien Bouchard (Catholic Priest), US PAA Pan American World Airlines, US Secretary of Defense Robert McNamara, US USA General Creighton Abrams, US USA Green Berets, US USA United States Army, US USA USSF Special Forces, US USAF 12th Air Commando Sqd - Hades, US USAF 12th Special Operations Sqd - Hades, US USAF 20th TASS - Covey, US USAF 21st TASS - Walt FAC, US USAF 22nd Special Operations Sqd - Zorro, US USAF 23rd TASS - NAIL, US USAF 34th TFS - Hatchet, US USAF 354th TFS - Newark, US USAF 355th TFW - Vegas, US USAF 388th TFW - Scuba, US USAF 388th TFW - Tiger, US USAF 416th TFW, US USAF 416th TFW - Det 1 - Misty, US USAF 432nd TRW - Laredo, US USAF 433rd TFS - Machete, US USAF 497th TFSq - Agile, US USAF 504th TASG, US USAF 505th Tactical Control Group, US USAF 555th TFS, US USAF 557th TFS - Sharkbait, US USAF 56th Special Operations Wing, US USAF 56th Special Operations Wing - Det 1, US USAF 602nd Special Operations Sqd - Firefly, US USAF 609th Air Commando Sqd - Nimrod, US USAF 609th Special Operations Sqd - Nimrod, US USAF 612th TFS - Tide, US USAF 7th ABCCC Airborne Command and Control Sqd - Alley Cat, US USAF 7th ABCCC Airborne Command and Control Sqd - Cricket, US USAF 7th/13th Air Force, US USAF ANG Air National Guard, US USAF General George S. Brown, US USAF TACP Tactical Air Control party, US USN NSGD Naval Security Group Detachment, US USN United States Navy, VNM AUS RAAF RTFV Royal Transport Flight Vietnam - Wallaby (Vietnam War), VNM Ban Me Thout, VNM Cam Ranh Bay, VNM CIA Air America (1950-1976) (Vietnam War), VNM CIA Phung Hoang / Phoenix Program (1965-1972) (Vietnam War), VNM Dak Lak, VNM DRV NVA 312th Division, VNM DRV NVA 316th Division, VNM DRV NVA North Vietnamese Army, VNM DRV VC Viet Cong, VNM Duc Lap, VNM Duc Xuyen, VNM Gia Nghia, VNM Ho Chi Minh Trail (Vietnam War), VNM II Corps (Vietnam War), VNM Montagnard, VNM Operation Banana Ditch (1969), VNM Operation Combat Skyspot (1965-1973) (Vietnam War), VNM Operation Igloo White (1968-1973) (Vietnam War), VNM Operation Ranch Hand (1962-1971) (Vietnam War), VNM Phan Rang, VNM Pleiku, VNM Quang Duc Province, VNM Route 13, VNM Route 8, VNM RVN ARVN 22th ID, VNM RVN ARVN Army of the Republic of Vietnam, VNM RVN ARVN CIDG Civilian Irregular Defense Group, VNM RVN ARVN RF/PF Regional Forces/Popular Forces (Vietnam War), VNM RVN RVNP CSDB PRU Provincial Reconnaissance Units (Vietnam War), VNM RVN SVNAF South Vietnamese Air Force, VNM RVN SVNAF South Vietnamese Air Force - Jackpot, VNM Tan Son Nhut Air Base, VNM Tan Son Nhut Air Base - Camp Alpha (Vietnam War), VNM US Agent Orange (Vietnam War), VNM US MACV Advisory Team 32 (Vietnam War), VNM US MACV Advisory Teams (Vietnam War), VNM US MACV Military Assistance Command Vietnam (Vietnam War), VNM US MACVSOG (1964-1972) (Vietnam War), VNM US USN NAF Naval Air Facility Cam Ranh (Vietnam War), VNM US USSF Mobile Strike Force (MIKE) (Vietnam War), VNM USAF DASC Direct Air Support Center (Vietnam War), VNM USAF II Corps DASC / 505th TCG - Carbon Outlaw (Vietnam War), VNM USAF TACC Tactical Air Control Center - BLUE CHIP (Vietnam War)
Rating: ★★★★★ (5 Stars)
Subject: Books.Military.20th-21st Century.Asia.Vietnam War.Aviation.USAF.FAC, Books.Military.20th-21st Century.Asia.Vietnam War.Laotian Civil War, Books.Military.20th-21st Century.Asia.Vietnam War.Laotian Civil War.Ravens
Description:
A personal account of a USAF Forward Air Controller in a remote highland province in South Vietnam in 1969 and how he met "Steve Canyon" and transitioned to the "secret" war in Laos, living with the CIA and the Hmong clans and having near-complete control over the use of US airpower. This account has many illustrations of the grinding stress of intense combat in Laos, and the periodic clashes with the distant headquarters that had little knowledge of an extremely complex combat environment and was more focused on control rather than results.
Review: This book is one of the rare 5 stars for me. There were parts of the book that were absolutely incredible and make this book a must read! While it’s not a perfect book, those parts really showcase how this genre should be written. Instead of just saying “I flew here... I did this” ... he actually walks you through the mission, the steps, where he put his hands, how he got into the aircraft, what he saw, what he thought, what he felt. There is always more to the story than just what someone did... it’s important to make the tale multidimensional and also explain why in a big and small picture way. This author really did that well. At times the book slogs and gets more into the I flew 10 sorties that day, went to the bar, woke up the next day. He also talks a lot about the failures of the whole war and how it was run, which occupied too much space of the book. And yet, even with those criticisms, the book is really excellent!
You get to see a side of the vietnam war in II corps, as well as the Laotian civil war, and the command and control issues with both, and the success and failure in both.
Definitely a great read about a forward air controller during that time!
#Books#Ebooks#Booklr#Bookblr#vietnam war#Laotian civil war#non fiction#history#usaf#forward air controller#fac#USAF Ravens#CIA
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