Thomas Lumley called my attention to the neologism and bilingual pun "whaumau", now a Twitter hashtag:
The only reason why I'm bothered about having very limited wifi access here… can't stream Matatini 😭 #WHAUMAU pic.twitter.com/X2yYL6Uji1
— Josephine (@soseesays) February 21, 2019
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Three days ago, we saw how the group named Apink wrote the Korean phrase “eung-eung 응응” (“yes”, “okay”, or “uh huh”) as %% for the title of their hit single: "Visual puns in K-pop" (1/10/19).
Now comes another famous K-pop song called "T T" (Roman letter T):
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It is my solemn duty to call the attention of Language Log readers to a seriously deficient BBC article:
"China's rebel generation and the rise of 'hot words'", by Kerry Allen with additional reporting from Stuart Lau (8/10/18).
Language Matters is a new column from BBC Capital exploring how evolving language will influence the way we work and live.
Even though the article annoyed me greatly, I probably wouldn't have written a post about it on the basis of the flimsy substance of the last 23 paragraphs were it not for the outrageous first paragraph, which really requires refutation.
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Japanese artists depicted almost anything imaginable concerning humans, animals, and the natural world, and they did so with great skill and emotional power. One sub-genre of Japanese painting that I recently became aware of is that of the fart battle (hōhi gassen 放屁合戦):
"21 Classic Images Of Japanese Fart Battles From The 19th Century", by
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Robert Hay writes:
There's a Korean pitcher in the majors named Seung-Hwang Oh who was just traded to the Colorado Rockies. Both his previous uniform numbers, 26 and 22, were already taken, so he got number 18, leading to this realization by Sung Min Kim on Twitter:
https://twitter.com/sung_minkim/status/1023410771743596544
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This amazing song from Taiwan seems to have been inspired by some Japanese cultural practices, which we will explore later in this post.
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The news about sexism in China's high tech industry is out and it's all over the internet:
The most damning account of all comes in Lijia Zhang's "Chinese Tech Companies’ Dirty Secret" (New York Times Opinion, 4/23/18), which includes a video presentation. At 1:34, there's a job ad from the Chinese tech company Meituan which is so disgusting that I've purposely put the screenshots on the second page. (What follows in the video is even more repulsive.) I didn't want to pass up the Meituan ad altogether, however, because it does have an interesting linguistic hook.
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There's a roundly execrated publication of the CCP called Global Times in English. The Chinese name is Huánqiú shíbào 环球时报. Associated with the People's Daily, it is infamous for its extreme, provocative, anti-Indian, anti-Japanese, anti-Western (especially anti-American) editorials and articles.
Now it seems that some Indian Tweeps are referring to the Global Times as "Gobar Times", using Hindi gobar गोबर ("cow-dung") to mimic the sound and the sentiment the name evokes. A tweet by Donald Clarke calls our attention to this fecal phenomenon.
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We are thoroughly familiar with the use of puns to foil and irritate the censors in China:
"Punning banned in China" (11/29/14)
"It's not just puns that are being banned in China" (12/7/14) — with links to earlier posts on puns in China
"Fun bun pun" (4/9/17)
And many others, including the most recent post on puns and censorship, which focused squarely on the heated controversy over the abolition of term limits for the presidency:
"The letter * has bee* ba**ed in Chi*a" (2/26/18 — the day after the announcement of the constitutional change)
Another means of evading the censors, and more difficult to detect than puns because they speak through indirection (the answers are not given), are riddles.
"Lantern Festival riddles outwit and enrage Chinese censors", by Oiwan Lam, Hong Kong Free Press (3/6/18)
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