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About Alluding Misnomer

Alluding Misnomer

Culture clash between two brothers on modern vs. tradition
A monk and a punk

When you take into account the images of the acceptable roles of the Asian nerd-slash-social outcast and Asian clown that are appreciated and contrast them to the Asian male pop stars that seem to have no cachet with the Western mainstream, one of the most obvious differences is that the Asian male pop stars exude sexiness whereas the clowns and the geeks, even though they are completely able to be cool–like PSY–do not. Even the most dangerous of the Asian male stereotypes, the martial artist, is denied any notable sexuality in the movies that become mainstream popular in the West.

Bruce Lee’s most popular movie in the US is Enter the Dragon. He doesn’t get the girl. When Jet Li was still someone that people were trying to make a star in America, he starred in Romeo Must Die and, rather than Aaliyah’s romantic counterpart, he is merely a platonic friend at the end. Apparently pre-screening audiences booed the interracial kiss version which was screened. The producers must have known since they had already prepared an edit without a kiss.

Thus, even when the power of the Asian martial artist or the gunplay of the cop and gangster is appreciated by the white heterosexual male hegemonic power structure that rules the mainstream, the potential threat of Asian male sexuality is clearly not and, therefore, for heterosexual Asian and Asian American men to see mainstream success, it genuinely helps not only to fit one of the pre-ordained acceptable Asian male roles (nerd, martial artist, gangster, and clown), but also to avoid any positive displays of sexuality and presenting yourself in a manner that can be seen as desirable to heterosexual women.

The male vanguard of K-pop–with polished music, image, and music videos, dressed in high fashion and with hard bodies that they aren’t shy in showing off–fit none of these prescribed stereotypes and definitely exude sexiness, as well as frequently contesting the sexiness of hyper-masculinity prevalent in the West (especially North America). And the confident display of Asian male sexuality from these pop stars might simply be enough for Western audiences to find reasons in those cultural differences–whether the fashion, the style of music, or the differences in acceptable masculinity–to reject that particular image of Asians. And that might be one reason why Asian pop keeps losing its bid for a place in Western mainstream music.

Guest contributor refresh_daemon says just about everything I think about the popularity of PSY’s “Gangnam Style.” Check it out on the R today (if you haven’t already)! (via racialicious)
"Respect your characters, even the ­minor ones. In art, as in life, everyone is the hero of their own particular story; it is worth thinking about what your minor characters’ stories are, even though they may intersect only slightly with your protagonist’s."

Sarah Waters (via amandaonwriting)

Good advice!

(via yeahwriters)


365 Days of Hand Lettering

“We lived next to each other for 20 years, but just became friends 2 years ago.”

Magnetic Thinking Putty
can I have this as a pet I mean just think about it
you have a little aquarium with magnets hidden in the top on a little motor that move around and the putty like, reaches up for it and follows it around
then when your family comes to visit they see it and ask what it is and you just sort of stare at them until they get nervous and tell them that you used to have a bird but then one day you found this black stuff on the ground by a bunch of feathers
then you tell them it likes to get out of it’s tank sometimes and you have to catch it before it goes after the neighbor’s children
wait I think I got sidetracked

ok but

Sadayakko as Ophelia (1905)
“Sadayakko (貞奴) was her stage name as an actress and dancer, derived from a combination of her real name, Sada Koyama, and her geisha name, Yakko.
Born in 1871, the twelfth child of a Samurai family, which had fallen into poverty, she was indentured to the Hamada okiya (geisha house) in the Yoshi-cho hanamachi (geisha district) of Tokyo at the age of four. In 1893, after a successful career as a geisha, she retired at the age of twenty-two to marry Otojiro Kawakami, a ‘new wave’ actor and theatrical entrepreneur. However, after only a few years of marriage they were in severe financial difficulties when one of his major ventures failed.
So, in 1899 the couple leapt at an opportunity to tour the United States of America where, at the age of twenty-eight she re-invented herself as Sadayakko (or Sada Yacco), the first female actor in Japan for two hundred and fifty years. After a tumultuous beginning, Sadayakko eventually found acclaim and they went on to tour Paris and the European capitals where Sadayakko was feted as a star, her performances influencing artistic luminaries of the time such as, Pablo Picasso, Isadora Duncan and Claude Debussy.
The couple returned to Japan in August 1902 and went on to champion ‘new wave’ theatre and European-style productions at home, re-interpreting many of the Western classics for a Japanese audience.
Her portrayal of Orié (Ophelia) was a triumph, her long black tresses tumbling to her waist, her face like that of a little lost child, wearing a pale water-blue dress trimmed with white lace, flowers in her hair and in her hands, singing snatches of nursery rhymes “rain is falling on his grave…no, not rain, it is tears of blood”.” (source)
Not today.: In response to this image that was going around (which in turn was a response to fan response of another image. It's a...

The Modern Couple
"Until we have seen someone’s darkness, we don’t really know who they are. Until we have forgiven someone’s darkness, we don’t really know what love is."
Marianne Williamson (via mindovermatterzine)

When Olivia de Havilland celebrated her 96th birthday last month in Paris, it was a public event worthy of Hollywood royalty — after all, she’s not only a two-time winner of the Best Actress Oscar, but stars in two of the most beloved classic-age movies, “Gone With the Wind’’ and “The Adventures of Robin Hood.’’
Conspicuously absent from the festivities was de Havilland’s estranged younger sister, Joan Fontaine, 94, another Best Actress winner who by all accounts is as robustly healthy as her sibling, and lives an ocean and a continent away in Carmel, Calif.
The sisters have carried on Hollywood’s longest-running and most bitter feud, currently in its eighth decade — clashing over roles, Oscars and lovers, among other things. They have not spoken in 35 years.
Their rivalry goes back to their childhood in Japan, where Fontaine claims the 15-month-old de Havilland “was still too young to accept the arrival of a competitor for the affections of her parents and adoring staff.’’ Their British-born parents split in 1919, and their mother, Lillian, took them to California because of young Joan’s poor health.
After the family resettled near San Jose, Lillian married a department store owner named George Fontaine. Both sisters hated their stepfather and his authoritarian ways, but disliked each other even more. Olivia, the editor of a school magazine, published a mock will: “I bequeath to my sister the ability to win boys’ hearts, which she does not have at present.’’
When Joan was 15, in 1933, “Olivia threw me down on the poolside flagstone border, jumped on top of me and fractured my collarbone,’’ the younger sister recalled. “I regret I remember not one act of kindness all through my childhood.’’
Both elegant beauties, the sisters were soon professional stage actresses, with de Havilland quickly zooming to stardom when she was signed by Warner Bros. and teamed with Errol Flynn in “Captain Blood,’’ the first of their seven films together.
Fontaine, meanwhile, struggled in forgotten B-movies before landing bland romantic roles in more ambitious movies opposite stars like Fred Astaire and Cary Grant.
Fontaine was the first to marry — to one of de Havilland’s discarded boyfriends, actor Brian Aherne. The night before the wedding, de Havilland’s beau at the time, billionaire Howard Hughes, flirted with Fontaine — something her sister was none too happy about.
But that was nothing compared to their professional rivalry. When Fontaine tested for the role of Scarlett O’Hara in “Gone With the Wind,’’ producer David O. Selznick asked if she would be interested in playing the sweet Melanie Hamilton instead.
To her everlasting regret, Fontaine rejected what she considered an inferior role. Instead, she suggested her sister, who snagged an Oscar nomination, for Best Supporting Actress.
Fontaine beat out her sister for the much-sought lead in Alfred Hitchcock’s “Rebecca’’ and received her first Best Actress nod, though she ended up losing to Ginger Rogers.
But at the 1942 Oscars, the sisters went head to head for Best Actress — the first time this ever happened — de Havilland for “Hold Back the Dawn,’’ and Fontaine for another Hitchcock film, “Suspicion.’’ Fontaine won, and things got really bad.
Fontaine recalled: “I froze. I stared across the table, where Olivia was sitting. ‘Get up there!’ she whispered commandingly. All the animus we’d felt toward each other as children . . . all came rushing back in kaleidoscopic imagery . . . I felt Olivia would spring across the table and grab me by the hair.’’
Things got worse when de Havilland finally won her own Best Actress Oscar, in 1946, for “To Each His Own.’’ “After Olivia delivered her speech and entered the wings, I went over to congratulate her as I would have done to any winner,’’ Fontaine recalled. “She took one look at me, ignored my hand, clutched her Oscar and wheeled away.’’
Sharp-tongued Fontaine gave as good as she got. When de Havilland wed the frequently married novelist Marcus Goodrich in 1946, Fontaine quipped, “It’s too bad that Olivia’s husband has had so many wives and only one book.’’ The sisters didn’t speak for six years after that, not even when de Havilland won her second Oscar for 1949’s “The Heiress.”
“This cut me to the quick,’’ de Havilland told Hollywood columnist Hedda Hopper in a never-aired radio interview unearthed by film historian Robert Matzen for his book “Errol and Olivia.’’ “I never got any kind of apology, and wasn’t going to say, ‘How do you do?’ to her until I did get it,’’ she added.
There were occasional truces between the sisters. But after their mother died in February 1975, the estrangement became permanent.
“I was not invited to the memorial service,’’ Fontaine wrote in her scathing memoir, “No Bed of Roses’’ (in which she refers to herself in the third person). “Only after . . . threatening to call the press and give them the whole story was the service postponed and Joan and her daughter Debbie permitted to attend.’’
Occasionally they crossed paths at Oscar ceremonies. In 1978, they were seated at opposite ends of the stage. A decade later, Joan learned they were booked into adjacent rooms — and had hers changed. London’s Daily Mail asked de Haviland about a possible reconciliation. She gritted her teeth and said, “Better not.’’
Even the long-feuding Dean Martin and Jerry Lewis managed to patch things up before Martin’s death in 1995. But Matzen thinks a better comparison may be founding fathers John Adams and Thomas Jefferson, enemies who died within hours of each other on the 50th anniversary of the ratification of the Declaration of Independence.
“Like Adams and Jefferson,” he says, “Olivia and Joan’s rivalry will probably go on to death, with each determined to outlive each other.”

— from Sisters in spite - NYPOST.com (via oldfilmsflicker)

Could a city inhabited exclusively by robots provide the ideal testing ground for smarter cities for people? via This Big City


The Custom of the Country - Vogue by Annie Leibovitz, September 2012
Natalia Vodianova as Edith Wharton, Juno Temple as Wharton’s secretary & friend Anna Bahlmann.