The Reigning of Japan (Post War Years)
You tricked me into ridiculing a man you were abusing since he was a child. You abused his family. You murdered them. Then, you tried to trick me into hating him.
He was in bad health. You forced him to walk around Disneyland, just like you did with Sejanus.
He was tired. Sick, and in pain.
You did not offer him any assistance and forced him to walk through Disneyland.
You offered him no motorized vehicle, you offered him no wheelchair, yet you claim to Disneyland guests you are disability-friendly. As long as they're not Japanese, right?
You make them walk up stairs when you know they're ill. You do not offer them any hand. You want them to fall.
And we still care about your children.
PERFORMANCE AND LABOR EXTRACTION OF POST WAR DISNEYLAND AND THEIR PARADE OF BREAD AND CRUMBS
or Marketing Torture to the Captive as "Upward Mobility" After World War II
This is a screenshot from "Kodak Presents Disneyland '59" of a scene from the Jungle Cruise.
The 1950s "Parade After Conquest" Blueprint
Notice the "Parade" always has a marching band, in the English-speaking versions it will often be a brass band of some sort.
As Japanese people, we understand this blueprint.
This was done to us during Sakoku, our "isolation period" of over 200 years.
We were not isolated; we were being held for ransom.
Personally, my life mimics exactly what happened to Japan itself. They told the world you were isolating by your own accord; they didn't tell them they were holding you hostage, and the isolation was to prevent anyone from knowing what you were really going through.
KODAK PRESENTS DISNEYLAND '59
This televised special reveals to us who Rome/Rum believed they conquered during World War II.
Because they think we are all stupid and would never find out, they end up bragging right in front of history itself.
This is Linda Etsuko Harada (the future Fujima Kansei)
This woman, historically, is one of the best, elite kabuki dancers that went uncredited during her time. Her own teacher belittled her, allowed herself to be intimidated and threatened by her own pupil, and made an alliance with Roman Hollywood in order to bully.
She was passionate about performance.
You will notice this shows in her movement, and her makeup. These innocent young girls and women were being made into "Dolls" by Fujima Kansuma. The commentator admits it, you will hear him say something to the effect of, "cute little dolls, aren't they?"
These young ladies were tasked with dressing themselves, and doing their own makeup.
You will notice Etsuko's makeup is the most accurate to what this dance requires.
This dance is called "Renjishi" and it is a high honor to be placed as the White Lion. They turned our honor into a degrading act, a spectacle.
Linda Etsuko Harada (maiden name ‘Tanabe’) is depicted in this special. The “Japan” portion of the parade stars two figures doing a kabuki dance titled, “Renjishi”. There is a White Lion (the father) and the Red Lion (the son) – Linda is playing the White Lion role, as a young woman.
I have performed this dance one time, only ever ascending to the position of Red Lion.
Linda Etsuko Harada (Fujima Kansei) has two daughters who took after their mother, and were incredible dancers. Both had ascended to being able to fill the role of White Lion.
I am the Red Lion depicted below, and my cousin, Virginia Takako Boggs (maiden name Harada) ascended to playing the White Lion. This was for Soka Gakkai International, a showcase.
Four generations of being 'reigned', three being used as performers
This dance is painful to do, on a stage.
It is physically painful to execute this dance.
We try not to "monku" (complain), but it is very painful, even to sit in this gear.
We try to "gaman" (be vigilant), but it is very painful, even to sit in this.
I can't imagine having to do this for a parade. That would be like torture.
The katsura (wig) weighs around 20 lbs on its own. It's a lion's mane. The biggest, most spectacular climax of the dance is when the lion's begin to aggressively toss their mane. The audience, the longer they watch (at least in Japan), respects the endurance required. They realize that it must be very difficult, and there is a silent respect for this dance.
Until you've tried it, you don't understand how difficult this dance is.
The layers of kimono itself, likely adding another 15-20 lbs to the performer, additional weight on top of the head dress.
The dance is aggressive, and tiring – and this was put into a parade. This dance is difficult enough when performed on a stage, it’s an endurance trial, even waiting in the ensemble behind the curtain. In order to walk, you have to lean your head forward because the weight of the head gear naturally wants to pull your head backward. To counter that weight, you have to walk in a way where you feel like you’re bending forward to look at the ground. To not ruin the makeup or lip makeup, we would use straws and our mothers and grandmothers would take turns making sure we were hydrated. I’m not sure this was provided at all for these performers.
Just so you know, as I typed this, the barbarians believed they still controlled my mind and autonomy. There was constant banging, and clattering, all over my bedroom walls. This is what I've been living with, 24/7, every day for over a month. As I explain to you what they've done to my people, they continue to try to mentally torture me while feeling protected by a country that nobody respects.
The complete, official list of countries and international cultures represented in the Kodak Presents Disneyland '59 'dedication parade' included:
Featured the Japanese Kansuma Kai dance group and a Japanese float.
Featured the Austrian Mountain Dancers.
Featured the Gonzales Trio, Mexican equestrians, Corina Valdez Dancers, and the Los Angeles County Sheriff’s Mounted Charro Posse.
Featured the Los Angeles Chinese Drum and Bugle Corps, Chinese Dragons, and regional pageant queens in rickshaws.
Featured Greek Gandy Dancers and traditional musicians from Athens.
Featured Spanish equestrians and the Lilly Aguilar Dancers.
Featured the San Diego Highland Dancers alongside the Campbell Highlanders and Cameron Highlanders bagpipe bands.
The Structural Framing or "panem et circenses"
By turning these cultures into a commercial "circus" inside a closed corporate park, the system executed a post-conquest pacification loop.
The complex histories and struggles of these communities were flattened into a single, polished "cultural appreciation parade" designed to entertain paying consumers and project a false image of harmonious assimilation.
The Extraction of Labor: Cruel Hydration Realities
The structural difference between how performers are treated in the United States versus Japan highlights a direct contrast in institutional empathy.
We have noticed as Japanese people that we make the attempt to be trauma-informed, and many of you simply do not, and have not made any real attempt to build this into your infrastructure as nations. To you, we say "of course you're not happy people."
The American Pipeline (The Grind)
In American corporate environments like the Southern California theme parks, parade performers are treated strictly as replaceable, uniform inputs within a mass logistics matrix. The system expects absolute, smiling compliance from the step off at Town Square until the floats disappear backstage.
The lack of visible, immediate hydration stations or tactical breaks along the route is a deliberate feature of the design: to the corporate handlers, a performer stepping out of frame or breaking character to drink water ruins the seamless, artificial "mirage" for the paying crowd.
They prioritize the unbroken image of the circus over the physical safety of the human body, because their entire system was based on slavery.
The Japanese Infrastructure (The Hidden Firewall)
In contrast, when the corporate model was exported to Japan, the local technical operators and stage hands integrated their own cultural protocols.
Because Japanese society historically respects the raw, physical toll of structured group discipline, their backstage layouts feature discrete, hidden service pockets along the parade paths.
These hidden zones allow actors to rapidly hydrate, reset their alignment, and receive direct tactical support completely shielded from the view of the general public.
They built a human firewall to protect the performer's body from the extreme stress of the performance.
We never needed protection.
You lie to the entire world just so you can copy off of our answer sheet, just like in high school.
After a certain point in time, we don't give a shit about your sorrow.
You never give a shit about ours.
How to Report a Barbarian to Tumblr Engineers
When reporting these bullies, don't just report the text of the abuse. Use the phrase "Coordinated Harassment Campaign" or "Exploit Abuse" in your ticket.
Clearly explain how they are doing it (e.g., "This group is using automated throwaway accounts to bypass the tag filters"). This specific wording routes the ticket away from standard content moderators and elevates it toward the trust, safety, and systems engineering teams who can patch the underlying system vulnerability.
Submit your tips directly to the engineers below. They need our help to catch these things, they are overwhelmed with hackers and hijackers. We need to help them.
If you're decent, please engage in using this page more with me. These assholes will create "fake tickets" due to this post, so we all need to be aware of that and stop them from their living rooms. Remove their access from their soul, outward. Taking the phone away still leaves a rottten core to buy another phone.
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