​
The most interesting parts were -
" In the hotel room, he searches for a piece of wood. “Touch wood,” he says, “Every bad film of mine has flopped. Imagine if they succeeded. I would be so confused. I would not know why I am here, or what I must do. I would not know why I succeeded. Isn’t that terrible? Not knowing why you have succeeded?”
As he says that, there is a glint in his eyes that suggests he is seeing in his mind the high-resolution images of some actors whom he would not name. Aamir, despite his image of largely minding his own business in his private world of triumphs and wounds, is an extremely competitive man, as competitive as Shah Rukh Khan. He doesn’t say it, but he believes he has the right to be considered the greatest of his time."
" Aamir Khan says, “I’ve not read the book.” It is common for a film script to change many times, he says, and in the end the film had no resemblance to the novel. But he is clearly not interested in talking more about the subject. He implies it is a minor issue and that nobody was wronged. “We bought the rights and credited him as it was mentioned in his contract.”
​
Here is the full article. Link added below -
How he understands his audience, how he managed to tame the media, and why he is a different man.
Most men will die one day without ever using a puff. Aamir Khan is not among them. Bearing the same authority of a surgeon extending his hand for a scalpel without looking up from the body, Aamir says, “puff”. Nothing happens for a while, as if the existence of something called a puff is a figment of his imagination. But then a man appears with the puff and a circular mirror. Aamir sets aside the enormous book, Mohandas by Rajmohan Gandhi. And you would think he is going to chuckle in male shame, but he does not as he powders the region under his large translucent eyes which somehow look very expensive. He has probably not slept well in the days before and after the release of 3 Idiots. He has traveled all over the country in various disguises to startle the general public and in that way offer something new to journalists, part of his many devices, ethical devices as he would point out, to ensure a relentless coverage of the film in newspapers and on TV channels.
Before a release, filmmakers usually pay money for flattering coverage in newspaper supplements. Star rumors are manufactured for publicity and some minor mishaps are choreographed. Films are declared hits even before they are released. Aamir says he does not have the heart to do such things. He would play the marketing games, of course, but they would be hard won. He would not negotiate a compromise with his own values. He is not fully infatuated yet with that overrated human quality called practicality. Also, after a two decade long “relationship in the dark room” with all kinds of Indians, it is below his dignity to have to pay to be written about. Or to do things that he believes have no meaning. He still does not participate in Filmfare awards. “That award has no value,” he says.
It does not mean he is not cunning. In the surprisingly modest Bangalore hotel where he is staying, as Aamir walks down its corridors, or stands in its lobby or even in the lift, he is constantly dispersing the latest collection figures of 3 Idiots. “It’s going to earn more than any film in the history of Indian films.” Surely, he knows figures have to be adjusted for inflation rates before one arrives at such conclusions, but he also knows the power of repetition. In the years when he was in his bunker of private grouses and rage against the media, he had seen other filmmakers do it successfully—keep repeating figures until they become common knowledge. However, independent enquiries with the trade confirm that 3 Idiots is an extraordinary success.
For Aamir, the commercial success of a film is a reassurance that his “instinct about my own people” is still sharp, and that the new world has not left him behind. Like all stars, Aamir makes an unspoken distinction between the faceless masses, whom he loves and wants to impress, and the visible fragments of the same human monolith, who want their photographs taken with him, who annoy him. He has developed tactics to save himself from the fragments. He does not maintain eye-contact and tries to appear unfriendly, and does not feel it is rude anymore to tell strange women that he would not give them his mobile number. But the audience, “the people”, he loves them, he wants to know them. He still persists with the tradition of making clandestine visits to halls where his film is running. “Earlier, I used to go in disguise. Now, I enter the hall when the film has just started, when the hall is dark. I leave before the interval and visit another hall. I manage to visit seven or eight theatres in a day. I have seen people dance in the aisles. I have seen people squirm. When they squirmed, I have cried.”
It is said that getting Aamir interested in a film has the excruciating agony of waiting to win a girl’s affections, and his acceptance comes with the greater torments of a woman’s terrifying obsessive love. “He is involved in every aspect of a film,” a director says, “Some might not like that. He does not trust anyone, it seems.”
Most of the time, though, Aamir rejects the scripts. One such writer who was rejected remembers a whole evening he spent in Aamir’s home trying to sell him the idea. “I was nobody then, but Aamir spent a lot of time with me discussing the story. He had so many questions. So many doubts. ‘Would this work, would people find this convincing… I know people and the people won’t accept it’. He didn’t know me at all, but we went to the toilet together and we peed standing side by side, talking about the script. In the end, he said ‘no’.”
Aamir says that he does not waste the moments of his life doing anything he does not love enough. “When I am choosing a script, I don’t think of the audience. I think of myself. I have to love it. Then I think of the audience. I wonder how can we tell this story without boring anyone. I have only one interest in a film. The message is not important to me. What is important is that I don’t bore you. I know what you want is entertainment. The only responsibility of a film is to provide it.”
In the hotel room, he searches for a piece of wood. “Touch wood,” he says, “Every bad film of mine has flopped. Imagine if they succeeded. I would be so confused. I would not know why I am here, or what I must do. I would not know why I succeeded. Isn’t that terrible? Not knowing why you have succeeded?”
As he says that, there is a glint in his eyes that suggests he is seeing in his mind the high resolution images of some actors whom he would not name. Aamir, despite his image of largely minding his own business in his private world of triumphs and wounds, is an extremely competitive man, as competitive as Shah Rukh Khan. He doesn’t say it, but he believes he has the right to be considered the greatest of his time. His gift, he says, is his power of observation. “I am very curious about people, their mannerisms. I am a bad mimic, but I can adapt well.” He says an actor can either live like a star or be interested in people. “I am interested in people. Even now, I am observing you. I know what you are doing. I know what the photographer is doing. I am not researching. I am just looking. I may use it somewhere in the future.”
When Aamir speaks, he looks at you. It might seem like an unremarkable quality, but the truth is that an extraordinary character of the Hindi film industry is that most of its stars do not. With Shah Rukh, for instance, when he talks, you get the feeling you can slip out of the room and come back, and he would still be talking. That is why Aamir claims that one of his greatest gifts is his relative normalcy, a mental balance that is hard to maintain in the unsettling life of a star. He exaggerates when he claims that he does not behave like a star or think like a star, but he is convincing when he says that he has the capacity to be normal. And why it is a special character in the Hindi film industry can be fully comprehended only when we understand others who are as famous and powerful as him—his contemporaries, his rivals, his “competitors” as the word accidentally slips out of his usually careful mouth.
About six years ago, Shah Rukh Khan told me in a low calm voice, in introspection over his own ageing and future, “Will I insist on acting with young girls to hide my age? Will I ever address myself in third person like these film people end up doing: ‘Shah Rukh is impressed with you. Shah Rukh is angry?’” It was actually a satire on other actors who have done all this. Curiously, he has now begun doing exactly that, including addressing himself in the third person. Sanjay Dutt and Salman Khan do not attempt to hide their estrangement from reality. When I met Sanjay Dutt during the shoot of Munnabhai MBBS, he sat on a stool and told a shrub, “Some people make me work too hard, they are pushing me, brother.” The only time I have met Salman Khan, he was sitting bare-chested and cutting his own finger nails with a blade, and tried to appear menacing but that only made him laugh. And, Sunny Deol, at the height of his commercial worth in the years that followed Gadar, told a director who went to narrate a film, “I cannot die in the end. The Deols don’t die.” It is in the face of many such stories that Aamir appears normal.
For his tenacious link with sanity, for his perpetual curiosity about the Indian population, for his love for cinema which comes before his love for money, and for his indescribable instinct about what would work on screen, Aamir Khan craves acknowledgement. And he would really like to walk on a stage and collect an Indian film award that was not a farce. “I miss that,” he says. But, there is an award that he respects. He even went to Chennai to collect it. It is a film award not many people have heard of. The Golapuri Award is given once a year to the best debut director. It is promoted by a family in Chennai, and dedicated to their son who had died while filming his first film. Aamir won the award for Taare Zameen Par. “I like the seriousness of the award,” he says.
The absence of a truly coveted national award forces him to consider the media as the next best form of recognition. He looks wounded when he talks about the media, and it is not the wound of an old animosity as commonly believed, but of a perpetual infatuation. He wants the affections of the press because “it’s a bridge between me and the people”, and he is unable to accept its occasional betrayal. Like Sachin Tendulkar, he was once known to be unforgiving and to blacklist journalists and magazines. The behaviour of journalists during his marriage to Kiran Rao repulsed him. “Cameras tried to zoom into our house. That’s not fair. My marriage is private.” Also, he believed that his rivals were manipulating the media to declare his films (like Mangal Pandey) failures after their first day of release. “So, for a period of time, I decided not to speak to the media.” But now he has changed. “Something strange happened which made me change my view of the media.” And it happened, improbably, when he went to meet a doctor.
“I was researching Taare Zameen Par and this doctor told me something interesting about what parents should know about what children want. A) They need security. They have to feel secure all the time. B) Trust. You have to trust them and trust them honestly. If your child says he has not done something, then trust him. C) Dignity. You have to treat your child like a human being. D) Love. But without the other three, love is meaningless. When I heard this, the first thing that came to my mind is, ‘I need these four things, too. Not just children. I need to feel secure, I need to be trusted, I don’t like it when you insult me and I need a lot of love.’ Then the thought came to me that even the media needs the four things. I decided to apply what I learnt to the media. I think it worked. My relationship with the media is better now.”
An interesting consequence of Aamir Khan reaching out to the media is the lesson that the overwhelming charm of a Hindi film actor would obliterate all opposing forces, including the English media’s very own synthetic darlings. That Chetan Bhagat had a grouse, any grouse would normally be news in these starved times. That he would have a grouse about how he was not credited in any significant way for 3 Idiots should have been news. But Aamir’s gigantic shadow over the media has made Bhagat’s complaint go largely unnoticed. “They (director Rajkumar Hirani and probably his conscience) say the film is only loosely based on my novel,” Bhagat says, “But I’ve seen the film. Scene after scene is from the book. I’ve been credited at the end, after junior artistes. I don’t know why they have done this. They kept me out during the making of the film. I asked for the script. They didn’t give it to me.”
Aamir Khan says, “I’ve not read the book.” It is common for a film script to change many times, he says, and in the end the film had no resemblance to the novel. But he is clearly not interested in talking more about the subject. He implies it is a minor issue and that nobody was wronged. “We bought the rights and credited him as it was mentioned in his contract.”
Aamir’s formidable media presence at the time of the release of his film also overshadows directors and producers. Rajkumar Hirani, despite his fame, is clearly not the voice of 3 Idiots. Even the film’s producer Vidhu Vinod Chopra, not a shy man at all, a man who loves himself immensely and had described himself in the first version of his website as someone who was ‘trapped in his own brilliance’ from early childhood, had to let Aamir take over the marketing of the film. Aamir’s predominance and the fact that in recent times he has not worked with a director twice, gives substance to a common perception in the industry that he is a difficult man, and that directors are wary of him. “Not true,” he says, “Those directors want to work with me, but they don’t have a story that interests me.”
The fact that Aamir chooses his films carefully has created a perception that he is a cerebral actor, but there is also a surprising intellectual austerity in him which might be a gift in the world he occupies. His films are simple and accessible not because he has made an artistic compromise, they are that way because he too is simple. This quality is best explained in his own perceptions of his film Ghajini and its inspiration, Memento. Directed by Christopher Nolan, Memento is based on a short story by his brother, Jonathan Nolan, and is a story that moves back in time about a man with a short-term memory loss condition who seeks revenge for his wife’s murder. There are those who consider Memento a work of rare precious genius, and those who do not understand it. “I didn’t understand it,” Aamir says, “It bored me.” It is a statement that would disappoint one of the two kinds of people in the world.
Link - https://openthemagazine.com/art-culture/the-instinct-of-aamir-khan/

This is an effort post, I believe this will play a sparrow's role in extinguishing the fire amid the mockery of the fleeing big lions. (TL;DR)
India, as described by Immortal soul- Swami Vivekananda is the blessed punyabhumi, the land of virtue: the land where humanity has attained its highest towards generosity, towards purity, towards calmness, above all, the land of introspection and of spirituality - it is India. "
I feel proud to breathe in the air where such greats have lived, having smelled the fragrance of the soil in which civilizations have taken roots, having tasted the sweetness of the rivers which flow from the valleys where saints have preached. India is one of its kind, the unique land of torchbearers.
but,
India has failed in realizing its true potential for 73 years of independence.
why,
India is ranked 129 in the UN development index, as of 2019, but nobody cares about that, worse is that we are still in the notion that India can become a superpower. Wut?
So what is the real glitches, with our country of aristocrats! Incompetent aristocrats!
Any democratic country is influenced by mass media the highest-- thoughts, ideals stem from the human needs of information through it only. It is considered as unbiased, open-source platform of public opinion where the right of expression is professed upon... at least that's what our schools teach us. Four sections are subsumed in mass media as of now- Newspapers/ Magazines, journalism- media houses/ television, Cinema/ Films, Literature. they influence the common masses the most.

• Have you seen a promising youth or teen reading a newspaper daily- I mean to say not only headlines- the whole content published in newspapers full length (half of the content is ads) with dedication? No, never would be the answer excluding the people who are preparing for civil services exams. not even adults do that let alone teens. Did you see the flaw, even I don't read them. But, we think we foster the love of reading!
• Talk about godi media or modia, you understand what I am talking about. Do you think of a democratic country where media houses are sold by the ruling parties? Aren't such journalists misleading the youth? are we living in the most populous democracy? Deepak chaurasia talks about Tablighi Jamat for 3 weeks straight (daily soap) in his debates calling the same aristocrats again and again in order to gain more audiences. Arnab Goswami is the congress demon whose larynx is made of titanium, Sudhir Chaudhary the DNA researcher where his own research his freakin' lies (google Mahua Moitra defamation). police brutality, government inefficiency, COVID imperfections sidelined, Galwan ghati would be a tourist destination by now. shouldn't we boycott our own news media before Chinese products? (MOST RECENT- Jeyaraj and Fenix case. rip to them)
• The film industry in India- Bollywood: crap- Bullshit, this should be an analogy included in the school syllabus, because the culture of cinema has been degraded because of foul-mouthed fools like K.J. Nepotism is reaching new heights every day, and b-graded directors are casting c-graded actors with a d-graded acting sense to produce e-graded films with z-graded content. Exceptions are present but the pressure and defamation fears cause them to end lives. Talent is nothing here, its money power. What can u say of the most glamorous film industry which hasn't grabbed a single academy award in its history? the industry which recommends gully boy for Oscars when better films like Tumbadd, Super deluxe exist. what can you make of Varun Dhawan who controversially compared Inception to Dilwale! do I need to say more? I pity the youth of India.
• Literature is nonexistent in India. I am talking about English literature, while there is an abundance of regional literature, it can't be considered as a whole. No one pens Hindi books these days, our own national language. All that there is- retro. So English literature- novels, fiction, short stories, historical narratives. Reading in India is confined to syllabus books, digests, self-help books-- 'How can I become successful' types. Our ideas are similar to junk. We are to mug up in schools, mug up in colleges, mug up in life, that's who Indian youth are. Indians have written novels winning booker prizes, but they get no attention here. they are critically acclaimed worldwide but we don't know anything about them. Romance novels win in India, with poor writing and cliched plots, Chetan bhagat, hehe

By now, we know what's wrong. The youth of India is constantly pushed to achieve great grades in academics and arts and sports are considered a waste of life. What do we boast of despite academic brilliance, no invention, no innovation, no discovery, no curiosity? Shit!!! This is what inclines the next generation to incline towards intoxication, anxiety, and promotes compromisation of work ethics in the corporate world.
I am a topper in academics myself. While my fellow classmates slog and toil day and night to go ahead of me, they are unable to, I don't even study for an hour with no classes involved. reason- approach, I enjoy reading, updating myself about current affairs, creative writing, involving a large number of hobbies, and maintaining ease in life. The education system needs a major overhaul and I at the age of 15 feel that the voice of the youth is suppressed behind rigorous mathematical and scientific formulae... ngl, a friend of mine who was in 8 std CBSE board asked me what Vande Mataram would translate in English, I was in 6 std that time, still, I told him- Mother, I bow to thee. He asked me "ye thee kya hota hai?", I silently got up and went away.
Lastly politics, what can you make of a prime minister who, on the podium of world economic forum, says that 600 cr voters voted for his party! who spelled 'strength' as streanh on one of his tours. On the same side of the coin, what can you make of the opposition leader who embraces the pm in look Sabha for no valid reason and then winks at him? who says he will make a machine in which you put a potato and it will change into gold, tons of gold.
It has been the story of India, where the poor are poorer and the rich are richer. Money and status speak in India, no matter what. Corruption is at its best. Ppl like Nirav Modi and Vijay Mallya leave the country after looting crores of money from banks. An elephant is fed fruits of firecrackers. The minister sahibs lead thug lives. Aren't these signs of a dystopia?
The problem is that we are nationalists and not patriotic, jingoism flourishes everywhere in India.
I am a troubled teen of a troubled nation. Will its glory return soon? Or will it be pulverized between the accusations and counter-accusations of political parties?
Thank you for reading :)

A few years ago I put this list down on paper just for fun because I was amused at how many words with repeating syllables Tagalog has. I just remembered that exercise a few days ago after seeing this post and after some procrastination I finally got to type it down! Of course not every single word here is essential in everyday life, and there's a lot of extra inessential info so it might not be the best resource for beginners, but I do hope someone somewhere out there will find this fun exercise helpful somehow
A few notes:

• These are arranged based on the structure of the repeating syllable. C = consonant, V = vowel
• The /ng/ sound is considered as one consonant
• The vowels i/e and u/o are mostly considered the same except in some cases
• The noun/adj/verb designations are pretty arbitrary in many cases. Just assume that almost everything is a root word with no category
• Words that are archaic or only used in a special context will be indicated as such
• My own personal comments will be in {}
• Stress and final glottal stops are indicated by diacritics here because this is meant as a reference but in actual usage they are all just spelled as plain letters
• I will not include words whose repeating elements are standalone words on their own and with meanings derived from that repeating element, because then this list will never end. For example, sama-sama ("together," from sama "to join") will not be included, but halo-halo (a kind of dessert) will be included despite it being derived from the standalone word halo, because the repetition gives it an all-new meaning

And most importantly, this is mostly based on my own experience of Tagalog, not an official dictionary. Practically all the definitions given here are mine and I haven't double checked and validated all of them (yet). I spent the formative years of my childhood in a house in Cavite where half the people speak Cebuano, so there might be some discrepancies here with Standard/Manila Tagalog. If I got a word wrong or if anyone has any additional words to add, please leave a comment! If anyone needs an example of usage or any further clarifications, please leave a comment!
And without further ado...

The List

◆ V Repetition

áà (noun/adj, baby talk) dirt, dirty; óo (particle) yes, affirmative; úù (noun/verb) poop, to poop [softer version of táe, often used when talking to kids or more polite company];

◆ VC Repetition

an-án (noun) a kind of skin infection; ék-ek (noun/root?, slang) quirkiness, bullshit; éng-eng (adj, mild insult) dumb, in a cloudcuckoolander kind of way [very mild insult, may possibly be used as a term of endearment]; is-ís (verb/noun) to scrub; something used for scrubbing, usually sponge or steel wool [originally referred specifically to a plant that was used for scrubbing, but the term has over time come to refer mostly just to the act];

◆ CV Repetition

bábà (noun) [1] lowness; [2] chin; babâ (verb) to go down; bíbe (noun) duckling [duck is ítik]; bóbo (noun/adj, offensive) stupid [mostly in an intellectual way];
kíkì (noun, vulgar) female genitalia; kukó (noun) fingernails;
dadâ (noun/verb) chatter, to chatter; déde (noun) breasts, milk [softer version of súsò, often used when talking to kids or more polite company]; dódò (noun) [same as déde but slightly less common];
gága (noun/adj, fem, vulgar) stupid, idiot [mostly in a decision-making way(?); can be used as a term of endearment if sufficiently close with the person, regardless of gender; male/default counterpart is gágo which is less endearing]; gúgò (noun, not commonly used) a plant that lathers and is used to clean scalp, native shampoo;
{This part is mostly just my interpretation} haha (onomatopoeia) generic laugh; hehe (onomatopoeia) playful/teasing laugh; hihi (onomatopoeia) flirty/childish laugh; huhu (onomatopoeia) generic crying;
lalâ (noun) severity; lólo (noun) grandfather [grandmother is lóla];
máma, mamá (noun) mother, mom; mámà (noun) a man who is middle-aged or older [when used as a direct adress, it becomes mámang plus the name of the person, and is almost always shortened to just mang; the female counterpart is ále/áling]; méme (verb, baby talk) to sleep; múmo (noun) bits of rice left on one's plate or on the table after eating; múmù (noun) ghost [softer version of multó, often used when talking to kids or when wanting to sound childish/cute];
nánà (noun) pus; Nénè (noun) generic placeholder name for girls; nénè in small caps can be used to mean a little girl in general [the male counterpart for the first function is Juán, and tótoy for the second one]; núnò (noun) ancestor [short for ninúnò] but most often used in the mythological context of a dwarf-like old man supposedly living in mounds of earth [they're called núnò sa punsô];
ngángà (noun) a kind of gum made from betel nuts and leaves, popular in the Northern regions of Luzon; ngangá (verb) to open one's mouth; ngóngò (noun/adj) someone who speaks in a nasally muffled manner; sounding nasally muffled {when you hold your nose shut and try to speak, you sound ngóngò}
pápa, papá (noun) father, dad; Pépe (noun) nickname for José, associated with national hero José Rizal; pépè (noun) female genitalia [softer version of pékpek, often used when talking to kids (and supposedly more polite company but it's still generally avoided)]; pípi (noun/adj) a person who can't speak; mute; pipî (adj/verb) something that has been flattened; to flatten; púpù (noun/verb) [same as úù but a bit softer];
sísi (noun/verb) blame; to blame someone; súso (noun, might be considered vulgar) breasts; (verb) to feed from the breast; susô (noun) snail;
títì (noun, vulgar) penis {but more vulgar imo}; túto (verb) to learn;
wáwà (adj) pitiful [short for kawáwà, often used when talking to kids or when wanting to sound childish/cute] wíwì (noun/verb) pee, to pee [softer version of íhì]
yáya (noun) household help, maid [also used as a direct adress]; yáyà, yayâ (verb) to invite; yóyò (noun) ...yoyo;

◆ CVC Repetition

^{oh boy here we go}
bakbák (verb) to chip the paint off something; balbál (noun/adj) vulgarity, vulgar [in the sense of lacking sophistication or good taste]; basbás (noun) blessing [as in church or family blessing] {"blessing" in the sense of "a gift from above" is biyáyà}; batbát (adj, archaic) covered with, replete with {this definition is from TagalogLang and not from me, I just assumed it's a word because of the expression "walang binatbat" or "can't hold a candle to." I'm keeping it in the list in case anyone wants to chime in with more info}; baybáy (noun) [1] beach, seaside; [2] spelling, to spell; bilbíl (noun) belly fat; binbín (verb, slightly outdated) to stall; bitbít (verb) to carry [mostly applicable to something small or handheld]; budbód (verb) to sprinkle on something {think salt or parmesan, but not water}; bugbóg (verb) to beat someone up; bulból (noun, vulgar) pubic hair; butbót (verb) to tinker with something;
kadkád (verb, archaic) to unfurl {not really used nowadays; possibly related to bukadkád or the blossoming of a flower}; kalkál (verb) to rummage through something, often without permission; kamkám (verb) to hoard something; kapkáp (verb) to frisk in search of something; kaskás (verb) to scratch off; kawkáw (verb) to whisk a body of water with one's hand, usually done to test its temperature {special thanks to my brother for the word "whisk" because I originally wrote "to put one's hand in and move it around to disturb the water" lol}; kimkím (verb) to hold one's feelings in; kipkíp (verb, slightly archaic?) to carry under one's arm; kiskís (verb) to rub one's body or body part against someone or something {often applied to cats}; kudkód (verb) to grate something {think cheese or coconut meat}; kupkóp (verb) to adopt, to take under one's wing; kuskós (verb) to scrub; kutkót (verb) to scratch something {until it peels...?}; kwék-kwek (noun) a popular street food -- hard-boiled quail eggs dipped in an orange-colored batter and deep fried until crispy {idk where else to put this in this list lol};
dakdák (verb) [same as dadâ]; dagdág (verb) to add; daldál (adj/verb) talkative; to be talkative, to engage in small talk; damdám (noun/verb) to internalize a feeling [as opposed to damá, which is simply to feel] {thanks again to my brother for the word "internalize"}; dibdíb (noun) chest; dikdík (verb) to grind into dust {think mortar and pestle}; dildíl (verb) to insist, to press ["magdildil ng asin" = to press salt and use it as viand for rice]; dingdíng (noun) wall; dubdób (noun/adj, archaic) intensity of fire ["marubdob" = passionately, but mostly only used nowadays in a poetic manner]; dukdók (verb) to hit a body part against something hard {it's what happens when you squat or kneel too fast your knee hits the ground, or when you strike the funny bone in your elbow}; dutdót (verb) to poke {repeatedly...?};
gadgád (verb) [same as kadkád]; gasgás (noun/verb) scratches, abrasions; to scratch or abrade; (adj, slang) out of style; gawgáw (noun) starch; gitgít (verb) to make way for one's self by pushing others away {for me this has the implication of the other person being stuck with less elbow room/breathing space due to being pushed away/against a boundary, but that could just be me}; gunggóng (noun/adj, mild insult) stupid, someone who doesn't think things through;
habháb (noun) a type of pancit {afaik it's only ever used as "pancit habhab" as a whole}; hadhád noun jock itch; hawháw (verb, deep) to rinse <"Ihawhaw mo nga muna aré bago ibilad." = "Rinse these first before drying, will you." > {the less deep, more commonly used synonym is banláw}; Háw Haw (noun) a popular milk candy in the Philippines; hinhín (noun/adj) meekness; hithít (verb) to inhale a substance {think cigarettes or meth}; huthót (verb) to extort;
laklák (verb) to drink thirstily, to chug [often used in the context of alcohol]; ladlád (verb) to expose by unfolding or unfurling; (slang) to come out of the closet; laglág (verb) [1] to fall down from a high place; [2] to be aborted, to have an abortion; (slang) to be exposed by friends [usually meant in jest]; lamlám (noun/adj, slightly outdated?) dimness of light ["malamlam na mata" = half-lidded eyes]; lapláp (verb, vulgar) to French kiss {this is seen as very sexual here}; laslás (verb) to slit one's wrist; lawláw (adj/verb) hanging low, dangling; to hang low {think grandma boobs}; layláy (adj/verb) hanging limply over the edge; to hang limply over the edge {think your arm hanging down from your bed while you sleep}; liblíb (adj) remote, far-flung; liglíg (adj, archaic) to shake a container, typically of grains, so the maximum amount of contents could fit; limlím (verb) to brood or sit on eggs until they hatch [obviously usually applied to chickens and other birds]; lislís (verb) to lift someone's skirt up; lublób (verb) to partially submerge, to dunk; luklók (verb, slightly archaic?) to appoint; to promote; luslós (noun) hernia;
manmán (verb) to observe carefully, to monitor; mangmáng (noun/adj, mild insult) dim-witted [cannot be used as term of affection]; Mikmik (noun) a popular powdered milk or chocolate candy in the Philippines; mingming (noun?) affectionate way of calling a cat [the more popular version is míming, often just elogated into one long miiiiiiiing]; mismís (noun) leftover food; mukmók (verb) to sulk; musmós (noun/adj) a young child; having childlike qualities;
naknák (noun) pus [same as nánà, but more severe]; namnám (verb) to savor the taste of something; néknek (noun?) {no one actually knows what "neknek" itself means, but "neknek mo" (your neknek) is an expression of disbelief that more or less has the same feel as "my ass"}; ningníng (noun/verb) brilliance; to twinkle, to sparkle [usually associated with stars]; nisnís (noun/verb) parts of a cloth that are frayed or fraying; to fray; nugnóg (noun, archaic) something that immediately follows another {from Vocabulario de la lengua tagala; apparently a synonym for dugtóng};
ngalngál (noun/verb) wailing; to wail; ngatngát (verb/noun) to nibble, to bite something little by little [as with a rat]; nibble marks or holes; ngawngáw (noun/verb) [same as ngalngál]; ngitngít (verb) to gnash one's teeth [usual context is while asleep or when angry]; ngudngód (verb) to shove one's snout or face into something [usually used threateningly]; nguyngóy (verb) to blubber inelegantly;
pakpák (noun) wings; padpád (verb) to end up somewhere after travelling aimlessly; pagpág (verb) to get rid of dirt by slapping a surface with your hands or waving a piece of cloth snappily; (noun/verb, slang?) leftover food from restaurants; to scavenge for leftover food from restaurants {the implication is that the food is what one would have pagpag-ed away}; pámpam (noun/adj, slang) attention seeker [the non-slang word is papansín] paspás (adj/verb) brisk; to move briskly; patpát (noun) a thin wooden stick {a classic household weapon like Mexican chanclas; means "very thin" when used to describe a person}; paypáy (noun/verb) a non-electric fan; to fan something or someone; pékpek (noun, vulgar) female genitalia; pitpít (verb/adj) to flatten something via blunt or pinching force; something that's been flattened in that manner; pókpok (noun, vulgar) whore; pukpók (verb) to pound or hammer something; pudpód (adj/verb) made blunt from overuse; to wear down the surface of something from overuse; pulpól (adj) blunt, dull [unlike pudpod this can be used as to insult someone not perceived as a bright or sharp person]; puspós (adj, archaic) fully, wholeheartedly ["puspos ng luwalhati ang langit at lupa" = "heaven and earth are filled with your glory"];
ratrát (verb) to riddle with bullet holes;
sabsáb (noun, archaic?) poultry or farm feed {"sabsaban" = manger, like the one Jesus was born in. It's the only usage I know of this word}; saksák (noun/verb) stab wounds; to stab someone; (verb) to forcefully insert something into somewhere; (verb) to plug an appliance; sadsád (verb) to run aground; salsál (verb, vulgar) to masturbate; samsám (verb) to collate; sangsáng (noun/adj) strong smell; strong smelling; sapsáp (noun) slipmouth fish; satsát (noun) idle chatter; sawsáw (verb) [1] to dip something {think fries in ketchup or chicharon in vinegar}; [2] to suddenly jump into a conversation without invitation {might be slang}; saysáy (noun) importance, meaning ["ano ang saysay" = "what's the point"]; siksík (verb/adj) = to insert oneself or something into a space that's already tightly packed; tightly packed, completely filled; singsíng (noun) ring [as in for fingers]; sipsíp (verb) to sip; (noun, slang) a suckup; sitsít (noun/verb) "psst"; to call someone using "psst"; subsób (verb) to dive headfirst into something and be buried in it; suksók (verb) to insert something into somewhere; sudsód (verb) to have a moving object suddenly stop by having the leading edge touch a surface, to stub <"Napasudsod ang paa sa bakô sa kalsada dahil hindi natingin sa dinadaanan. Ayun, patáy ang kukó." = "Foot got stubbed on a crack in the pavement due to not looking at the road. Bam, dead toenail.">; supsúp (verb) to suck something [may have sexual connotations]; sutsót (verb) to scold or call someone out using "psst" or whistling;
takták (verb) to empty the contents of a container by tapping it against something; tadtád (adj) rife, covered in or riddled with something; (verb) to chop finely; tastás (verb/adj) to rip off the stitches of a cloth; to have ripped stitching; Taytáy (noun) a municipality in Rizal Province, Philippines; tiktík (noun) a mythical shape-shifting creature that feeds on unborn babies [also known by the more commom term aswáng]; (noun, not very common usage) detective; tingtíng (noun) the sticks that make up a broomstick; tuktók (noun) peak, topmost part; tugtóg (noun/verb) music; to play or make music; tuntón (verb) to find the whereabouts of; tungtóng (verb) to stand on top of; tustós (verb) to spend for, to give financial support;
wakwák (adj/verb) ripped apart; to rip apart [as in cloth]; (noun) a mythical creature similar to the tiktík; wagwág (verb) to wag; walwál (verb, colloquial) to finally let loose after a period of stress {usualy translates to getting wasted after exams in my uni lol}; wáng-wang (noun, modern) sirens that grant easier passage through traffic (such as used by police, ambulance, and firefighters), which translates to the mentality of some people that they deserve special passes or privileges because of their position in society;
yugyóg (verb) to rock or shake back and forth {yugyog is also what happens when you go hard on the dance floor, or to the bed when people make love, hence why yugyugan is a term that can be applied for either dancing or sex}; yupyóp (verb, obscure) to brood or sit on eggs until they hatch [the less obscure term is limlím];

◆ CCV Repetition

plá-pla noun a triangle-shaped illegal firework that produces large explosions and is infamous for taking many fingers every new year;

◆ VCV Repetition

alaála (noun) memories; Iloílo (noun) a province located in Western Visayas, Philippines; ipo-ípo (noun) whirlwind, tornado; otso-ótso (noun) a kind of dance popularized in the early 2000s where hands are put on the knees and the back is moved up and down {it's extremely popular, enough that everyone knows what it is, so I thought it belongs here. Also I know it's technically a VCCV repetition but the /ts/ is pronounced as /ch/ most of the time anyway} ulúli (noun, obscure) whirlpool;

◆ VCVC Repetition

agam-ágam (noun) worries, concerns, feelings of impending doom; agar-ágar (noun) a kind of gelatin made from seaweed or algae; ilang-ílang (noun) a kind of yellow flower [archaically spelled ylang-ylang]; ipil-ípil (noun) river tamarind, a common plant in the Philippines; itik-itik (noun) a folk dance from Surigao where dancers imitate the movement of ducks [duck is ítik]; ukay-úkay (noun) a thrift store that sells secondhand clothes for very low prices;

◆ CVCV Repetition

batobató (noun) zebra dove; binibíni (noun) a young unmarried woman, the equivalent of Ms. and shortened as Bb. when used as a title; boka-bóka (noun) a type of kite made from folded paper; kilikíli (noun) armpits; kitikití (noun) mosquito larvae, often found in containers with stagnant water {also used to describe kids who move too much in a wriggling fashion -- "para kang kitikiti" = "you're like a kitikiti"}; dilidili (verb, obscure) to think deeply about something; gamugamó (noun) winged ants/termites, moth; guniguní (noun) baseless speculation {like imagination, but in a negative way -- "akala ko may nakita ako, pero baka guniguni ko lang yon" = "I thought I saw something, but that's probably just my imagination"}; haka-hákà (noun) speculation; halo-hálò (noun) a famous summertime dessert made from various ingredients mixed with milk and crushed ice; lapu-lápu (noun) grouper fish; Lapu-Lápu (noun) a datu from Mactan, Philippines, considered as the first Filipino hero for defeating Ferdinand Magellan's forces and resisting the Spanish Empire when they first arrived in the archipelago in 1521; lawaláwà (noun, obscure/deep) house spiders; maya-máya (noun) red snapper; mayá-mayà (adv) a short while later {closer to the present than mamaya}; muni-múni (verb) to meditate or reflect on something; ngala-ngalá (noun) palate, roof of the mouth {sometimes also used to mean uvula, though the actual and more obscure word for uvula is tilao}; palupálò (noun, kinda obscure) a wooden paddle used for beating laundry [pálò means to beat or slap]; palu-pálò (noun) a folk dance from Batanes where dancers emulate a mock battle by hitting sticks; paruparó (noun) butterfly; Tawi-Táwì (adv) the southernmost province of the Philippines, located in Mindanao;

◆ CVCVC Repetition

habal-hábal (noun) a mode of transportation prevalent in some provinces where up to 10 or so people ride a single motorcycle by balancing on a long beam laid across it [from Bisaya]; sapin-sapín (noun) a Filipino delicacy made of rice flour and coconut that has multicolored layers [sapín means a cloth that is used to cover a surface for protection, or to cover something with cloth]; siyam-siyám (noun, slightly archaic/obscure) rain that lasts for nine days and nine nights, traditionally signalling the start of the rainy season [the word for nine is siyam] {nowadays it's only ever used in the expression "abutan ng siyam-siyam," or "get caught in siyam-siyam," often said by older folks when someone is taking too long to do something; it's often just pronounced /sham-sham/ but it's easier to put under here than in CVC};

◆ CVCCV Repetition

lumba-lumba (noun, archaic/obscure) dolphin; túmba-tumba (noun, slightly outdated) rocking chair;
^{This took me 8 hours to type on mobile my gOD I hope it shows up correctly}
This is very much open for improvements and suggestions, so suggest away! And thank you for reading this far :D
Special thanks to:

• nkktngnmn2 (some corrections + hawhaw, liglig, and sudsod)
• notantifun (some corrections)
• silentmajority1932 (many many additions)
• roelm2 (some corrections)
• numquamsolus (muni-muni and dili-dili)

After three long minutes of frustratingly hard work and hundreds of changes and edits making old versions mutually unintelligible from the new versions, I, myself, in all my glory and linguistic brilliance, have found almost three hundred million apathetic users who care about my conlang only enough to tell me that they speak it. My next objective is 272,523,010 speakers, and I'll continue to post after every objective and every revision until I die or am forced to stop posting.
If you visit my subreddit here you'll find nothing in the sidebar that will help you except an out-of-date version of the language from a minute-and-a-half ago that isn't of any use for those who are truly devoted to FluidLang.
I've come across a major-league predicament in my linguistic adventures. I have all these people interested in my language, but I don't know how to tell people who aren't interested in my language how many people are interested in my language so I've decided to tell you that there are people interested in my language and that I don't know how to tell you that there are people interested in my language. What I want: a list of all 272,523,000 people and their names, hair color, eye color, weight, mass, velocity, orbital mass, orbital velocity, number of functioning appendages, race, fingerprints, footprints, and length of the hour during the summer solstice.
In other news, I'm working my magnum dong opus, Quit Gawking to Yourseylk!, a guide on how to find more Siberian sheep farmers who will devote half-an-hour of their time to looking over something they can't read 'cause it's not in their natural language in exchange for a couple rubles or perhaps a goatskin of rice wine.
EDIT 1: I am bolding text to convey anger.
EDIT 2: Just because FluidLang has more speakers than Hindi has L1 speakers DOES NOT MEAN I AUTOMATICALLY INTEND TO WANT TO THINK TO MAKE TO COME TO KNOW THAT THIS IS A PERSONAL ACCOMPLISHMENT. IT ISN'T AND I MUST REMAIN HUMBLE AT ALL TIMES.
EDIT 3: AuUAguauhraaauaUAHghuhghhhhhh