“It was a historic night at The Oracle Arena in Oakland. A crowd of 17,408 was there to witness the first full Asian American ever to play in the NBA (Wat Misaka played three games in the BAA later becoming the NBA). After chants of “Put in Jeremy”, “Put in Jeremy”, Jeremy Lin was finally inserted with 2:32 left in the game and the Warriors leading 106-88. The crowd went wild as JLin tied up Brian Cook for a jump ball. With the Warriors gaining possession, Jeremy was credited with the first steal of his career with many more to come.”
>>>>personally, when the crowd roared, you knew that was coming, but they roared almost too much to the point of embarrassment and hurting any chances for lin to be a normal player. then a friend pointed out to me it WAS asian heritage night, so that made sense. i hope that doesn’t happen for every game lol.
“‘Kano’ is a full-length documentary feature by Monster Jimenez. The film is funded by the National Commission for Culture and the Arts (Philippines), the Asian Network of Documentary (South Korea) and the Goteborg Film Fund (Sweden). It is the first documentary project of Arkeofilms. For more on the documentary feature, go to kanothemovie.com.”
A community bank in Little Saigon, already on the brinks in its finances, received what’s considered a most serious notice from the FDIC, short of a takeover and shutdown.
The “prompt corrective action” notice was served by the FDIC to the First Vietnamese-American Bank on September 29, and was made public by the FDIC today, reports the OC Register here.
“The increasingly popular Clara Chung was spotlighted by the OC Register in an in depth feature article with interviews not only with Clara and her crew, but other peer musicians as well. Since 2009 her star has risen quickly and they talk a lot about her career to date while keeping it context with the growing Asian-American presence in online media. It’s a great read, don’t skip this one folks. Check the performance below and you can catch the interview after the break or over at the OC Register.”
Freddie Wong’s Roadtrip makes a stop in in Seattle, Washington at Freddie’s Bar & Grille, where the customer is always Wong. Freddie takes care of some business, but the…
“Proposition 19, the act to legalize marijuana, is set to change California. Once it’s legalized, get ready for the deluge of pot ads hitting the airwaves. Here’s the first one. Lynn Chen joins the ranks of Kal Penn and John Cho as stoners. Maybe she should be in the next Harold and Kumar film. Check out a stoned Lynn Chen in this commercial parody.”
Last year, there was a buzz around Jeremy Lin, a talented Harvard basketball player. He made headlines and impressed recruiters, but he wasn’t so lucky during the NBA drafts. Big name…
The Lakers entered the U.S. Airways Centre in Phoenix on Friday, with a game against the rivaled Suns. A highly anticipated Western Conference Finals rematch. However, something was left out. The Zen Master was entering the game with 1099 career head-coaching wins.
so who is that girl in g6 song? first time i heard her on the radio, not gonna lie, sounded like 90s asian new wave song. not jocelyn enriquez but somebody. if someone can think of who she reminds me of, let me know. there were so many back during that new wave/technoish era. remember those days? lol.
first time i saw the vid i was like, wait so she is asian? i couldn’t tell from the glasses. maybe mixed? a hapa? who knows.
anyhoo, then saw this song on youtube:
lyrics to ‘like a g6′ at 1:50 mark
‘i wanna see that booty bounce’.
so i’m trying to figure her out a bit, meaning who she ‘sounds like’ or ‘style’ and to be honest, i can’t tell. it’s not really ‘kesha’ combined w/ asian 90s new wavish.
you gotta admit, although catchy, it does have that white girl singing black lyrics kinda theme, which is fine i guess as long as the beat is catchy/good. let me also say that this i am totally clueless of what is ‘hot’ or not. i still listen to de la soul. this is not really my type of music, so it would kinda like me reviewing country music. not really fair to the artist, but my own opinion lol.
first off the song is called ‘let me see that booty bounce?’ what booty? lol. it’s kinda like the andy samberg skits of snl. he kinda has his niche of white guy singing ghetto lyrics and he’s sticking to it. we (america which = majority white people) likes seeing white people talking ghetto. we do. natalie portman rapping. andy samberg rapping. marky mark, vanilla ice. i like it, you like it, we all scream for ice scream.
it’s just funny. so when dev sings ‘that’s my shit’ lol. i just can’t help but laugh. but yes, it is catchy. now that i think about it, ‘that’s my shit. that’s my shit’ sounds like gwen stefani’s shit lol. so maybe:
dev = ke$ha x gwen stefani x asian 90s new waveish?
anyhoo on to her bio:
Devin Star Tailes, better known by her stage name Dev, is a singer signed to Universal Republic.[1] She featured in the song “Like a G6″ along with The Cataracs and Far East Movement. Dev released her debut single known as “Booty Bounce” that now has a video that was released as of August 18, 2010, which was sampled in and provided the name for “Like a G6.”[2] She currently lives in Los Angeles.[3]
Dev is from Manteca, California and is of Mexican and Portuguese descent. (that’s why we haven’t heard of her. you know if she was asian, asian bloggers would be ‘all up on dat shit!’ lol) She was a competitive swimmer in the US Olympic development program. (that’s right..competitive olympic swimmer to …makin that booty bounce. lol. sweeeet lol) In 2008 some of her recordings, uploaded to MySpace, were discovered by Bay Area group The Cataracs, a group she had been a fan of. They invited her to record and tour with them, and she was featured in their songs “2Night”, and “Top Of The World.”[3] She now lives in Los Angeles, California, where she is finishing her first album with The Cataracs.[5] Music Industry website “Crazed Hits” announced on October 26, 2010, that Dev signed a recording contract with Universal Republic. [6]
Hometown:
Manteca, CA
(manteca is the houuuuuuseee!! jk, i don’t know where that is)
edit: just googled. by sac-town. props to her….anytime anyone comes from sacramento to do anything….props to them! lol
the cataracs found her on myspace a la lilly allen, liked her talent, put her up w/ far east, like their talent and bam: chemistry and big hit (of course after paying their dues and far east PAID their dues. you work your booty off like they did, you deserve a break and this is theres)
in a way, they’re all kinda underdogs on the scene which is kinda cool (manteca in the houuuuse. jk lol) anytime smaller group, not named brittany spears or backstreet boys or something makes it big, props to them. i can’t even fathom how hard that would be. i’ll admit, the first time i heard the song on the radio it blew my mind like, wow, made it to the radio. cool. it had this ‘lighter shade of brown’ or ‘back at the hotel’ kinda feel to it, which everyone knows the lyrics/beat to but nobody really knew WHO was the actual group.
i guess what i’m saying is that it also kinda had that ethnic kinda feel, which is not a bad thing, but you can tell it was different. lighter shade of brown had it, whatever ‘it’ (maybe the voices are more high pitched for non black rappers?) was but i remember all of lighter shade of brown’s radio songs from ‘sunday afternoon’, etc etc. even the spanish parts. even though we weren’t mexican, we could all relate in a way, and maybe in another way the whole minority thing. who knows. just sayin.
so right away, it does have that indie feel to it like, wow, pretty cool this is on the radio. then you hear it AGAIN and go, whoa, is this going to be a one hit wonder (not a diss to one hit wonders..just saying really fast rise) kinda deal? and THEN you hear it go number ONE and you’re like HOLY SHIT! wow. props to them. you can hate the song, but it’s hard to hate the hustle. i used to like black eyed peas, now they’re catchy but too pop for me, but they’re making dough. and anyone that can figure out the system and make dough…hey, props to them. can’t knock the hustle.
so i wonder if dev will make more songs w/ far east? and if this song is such a huge hit, will she later be PART of far east? a la fergie x black eyed peas?
apparently she likes to tell everyone that ‘g6′ is number one w/ her middle finger
so ok, she’s lipsyncing here. but seriously, does it really matter? i mean, the whole thing is autotuned/digitized anyways so does it really matter? audience member: ‘that’s not her real autotuned voice!’ lol
This one’s just for THSF Giants fans. If you have a ticket to the San Francisco Giants’ World Series games, you can stop by THSF either today or tomorrow (BEFORE your game), and show your ticket to pick up a free GET UP! STAND UP! SF-themed Adam Bomb t-shirt. This t-shirt can NOT be bought, only 1 t-shirt per ticket. Remember, the point of this shirt is for THSF fans to wear it to the game to show support. The Hundreds is Huge, The Hundreds is GIANT!
Tim Burton’s Batman has always been one of my favorites! I love the music and the characters. I wanted to recreate Catwoman’s look. This look can work with other costumes too, like sexy cop, pirate, etc. Please enjoy this tutorial! iQQU’s new Stippling Brush, only $12.00!http://www.iqqubeauty/.
The next installment of director Jon M. Chu’s epic dance adventure web series saga thing The LXD: Legion of Extraordinary Dancers went live last night. Honestly, I don’t always entirely understand what’s happening, but it doesn’t matter — I came to see the awesome dancing. You’ve already met the h…
“US Weekly is reporting singer Justin Timberlake cheated on girlfriend Jessica Biel with half-Chinese actress Olivia Munn. The two first met at a September 26th MySpace event and an…” http://blog.aarising.com/post/1416814265/olivia-munn-makes-it-in-the-tabloids-this-week
i hate munn. she’s not funny. and apparently not smart either. hanging out w/ timberlake? yea, no paparazzi’s there lol
VN film industry yet to embrace market: Director Noyce
Australian Director Phillip Noyce.
VietNamNet Bridge – Phillip Noyce, director of “The Quiet American,” has been back in Vietnam since October 16 for the first Vietnam International Film Festival, eight years after he first came here to direct the film. He spoke to Tuoi Tre about Vietnamese films. A look at Vietnam’s first int’l film festival
What’s your overview of the Vietnamese movie industry?
I am not an expert because I have just seen some Vietnamese films at the VNIFF, which wrapped up on October 21 in Hanoi. However, the biggest difference that I see here is your cities now have more cinemas than eight years ago when I came to Vietnam to make “The Quiet American.”
In the past, there were few cinemas and people’s incomes were lower. But today many people are willing to spend money to buy cinema tickets. That’s progress.
Some days ago I watched “Floating Lives.” It is a very impressive film. I also know that the film did good sales in the first two days of public screening at the VNIFF. It has been promoted efficiently. I think it’ a model for Vietnamese cinema in future.
VNIFF got several international cinema experts and the quality of films screened at the festival was also quite good. I think later film festivals in Vietnam will become bigger. And when your movies make more money at the box office, more people will send their films to your festivals and distribute them here.
Many Vietnamese films have competed at international film festivals but have not won any awards. What should Vietnamese cinema do to be internationally recognized and attract foreign audiences?
The best solution is to have more cinemas. They are the best cinema schools for Vietnamese filmmakers. Vietnam switched to a market economy long ago but the development of a market economy for cinema is still lagging behind.
However, Vietnam has several international-standard cinemas. So, local filmmakers will learn a lot when their films are screened at the cinemas because they will have a chance to interact with audiences.
It is also the formula for success for major movie industries around the world. It is also a dance party between filmmakers, directors, actors with audiences.
But the dance party can only be successful if the audiences are happy to pay for their tickets. If they think films are worth their money, they will keep on visiting cinemas and then, of course, the dance parties will take place often.
Thus, I believe Vietnamese filmmakers will soon mature.
What do you think about Vietnamese audiences?
They are as good as any cinema fans across the world.
They want entertainment and they want to watch interesting films that are worth their money. They are ready to bring their families and friends to the cinema if they know there is a good film. When the “Floating Lives” was screened in Hanoi, I witnessed many people happily spending money to buy tickets. One woman I met paid VND300,000 (US$15) to buy a ticket in the black market [official price around VND40,000].
You used to make big films, which one of them is your favorite?
My favorite film is not a big film but a small one named “Rabbit-proof fence” that I directed in Australia. The film is about three little colored Australian girls who are separated from their families and have to travel 2,400 kilometers to return home.
Before I made it, many people told me I would not be able to find a producer, draw audiences, or take it to the international market. But I proved them wrong.
You have produced many action films and also scored big successes with psychological films. Which categories do you prefer?
In Hollywood, it is easier to make action films like “Salt” because you can easily get back your money. However, I don’t worry about that.
I have switched to making small films, from action to psychological… For me, all categories of film are similar and personally, I like different categories of film. Recently, I have also been interested in cartoons like “How to train your dragon.”
How do you maintain the balance between your art, audience tastes, and producers’ expectations?
In reality, there’s no conflict because I serve audiences. I think cinema exists just for audiences. I am just an entertainer like an acrobat in a traveling circus in the old days. When I was a child, two traveling circuses often came to my hometown to perform. One came by train and the other by road.
When the circus train arrived, I went out to watch the train and dreamed of getting onboard. Frankly, I am now on my own train and traveling to many places with it to perform and leave.
The only way for me to survive is to keep my audiences entertained. And, if they are happy I am happy.
Source: Tuoi Tre
books by http://www.asian-nation.org/headlines/2010/10/new-books-asian-american-assimilation-then-now/
Following the end of World War II, Congress passed the War Brides Act of 1945, which allowed foreign wives of U.S. military personnel to immigrate to the United States. However, with the ban of Asian immigration after World War II, the sudden influx of thousands of women created social tension while opening up one of the country’s largest cross-cultural integrations.
This book reveals the stories of nineteen Japanese war brides whose assimilation into American culture forever influenced future generations, depicting love, strength, and perseverance in the face of incredible odds. With an estimated 50,000 women who migrated from Japan to the U.S. during 1946-1965, they all hold a unique place in American history and have been called ambassadors to the U.S. For the first time in English these women share their triumphs, sorrows, successes, and identity in a time when their own future was tainted by social segregation.
This oral history focuses mainly on women’s lives during World War II and the occupation of Japan. It illuminates the cultural expectations, the situations brought about by the war, and effects of the occupation, and also includes quotes from various war brides regarding this time. Chapter interviews are set up in chronological fashion and laid out in the following format: introduction of the war bride, how she met her husband, her initial travels to America, and life thereafter. Where needed, explanations, translations, and background history with references are provided.
From 1910 to 1940, the Angel Island immigration station in San Francisco served as the processing and detention center for over one million people from around the world. The majority of newcomers came from China and Japan, but there were also immigrants from India, the Philippines, Korea, Russia, Mexico, and over seventy other countries. The full history of these immigrants and their experiences on Angel Island is told for the first time in this landmark book, published to commemorate the immigration station’s 100th anniversary.
Based on extensive new research and oral histories, Angel Island: Immigrant Gateway to America examines the great diversity of immigration through Angel Island: Chinese “paper sons,” Japanese picture brides, Korean refugee students, South Asian political activists, Russian and Jewish refugees, Mexican families, Filipino workers, and many others. Together, their stories offer a more complete and complicated history of immigration to America than we have ever known.
Like its counterpart on Ellis Island, the immigration station on Angel Island was one of the country’s main ports of entry for immigrants in the early twentieth century. But while Ellis Island was mainly a processing center for European immigrants, Angel Island was designed to detain and exclude immigrants from Asia. The immigrant experience on Angel Island-more than any other site-reveals how U.S. immigration policies and their hierarchical treatment of immigrants according to race, ethnicity, class, nationality, and gender played out in daily practices and decisions at the nation’s borders with real consequences on immigrant lives and on the country itself.
Building on works in Chinese transnationalism and cultural anthropology, this book examines the everyday practices of Chinese merchant families in Manila from the 1860s to the 1930s. The result is a fascinating study of how families and individuals creatively negotiated their identities in ways that challenge our understanding of the genesis of ethnic identities in the Philippines.
The first scholarly work to come from inside the Hmong community, Hmong America documents Chia Youyee Vang’s own migration from Laos to Minnesota at age nine and the transformations she has witnessed in Hmong communities throughout the migration and settlement processes. Vang depicts Hmong experiences in Asia and examines aspects of community building in America to reveal how new Hmong identities have been formed and how they have challenged popular assumptions about race and ethnicity in multicultural America.
With an approach that intermingles the archival research of a historian, the personal experiences of a refugee, and the participant-observer perspectives of a community insider, Vang constructs a nuanced and complex portrait of the more than 130,000 Hmong people who came to the United States as political refugees beginning in the mid-1970s. She offers critiques of previous representations of the Hmong community and provides the sociological underpinnings for a bold reassessment of Hmong history in the greater context of globalization.
This new understanding redefines concepts of Hmong homogeneity and characterizes ordinary Hmong migrants not as passive victims but as dynamic actors who have exercised much power over their political and social destinies. While Vang focuses on the Hmong community in the Twin Cities, she also has conducted research in numerous Hmong enclaves in the United States and abroad.
The majority of the nearly 28,000 undergraduates at the University of Illinois at Urbana-Champaign–including a large population of Korean American students–come from nearby metropolitan Chicago. Among the campus’s largest non-white ethnicities, Korean American students come to college hoping to realize the liberal ideals of the modern American university, in which individuals can exit their comfort zones to realize their full potential regardless of race, nation, or religion. However, these ideals are compromised by their experiences of racial segregation and stereotypes, including images of instrumental striving that set Asian Americans apart.
In The Intimate University, Nancy Abelmann explores the tensions between liberal ideals and the particularities of race, family, and community in the contemporary university. Drawing on ten years of ethnographic research with Korean American students at the University of Illinois and closely following multiple generations of a single extended Korean American family in the Chicago metropolitan area, Abelmann investigates the complexity of racial politics at the American university today.
Racially hyper-visible and invisible, Korean American students face particular challenges as they try to realize their college dreams against the subtle, day-to-day workings of race. They frequently encounter the accusation of racial self-segregation–a charge accentuated by the fact that many attend the same Evangelical Protestant church–even as they express the desire to distinguish themselves from their families and other Korean Americans. Abelmann concludes by examining the current state of the university, reflecting on how better to achieve the university’s liberal ideals despite its paradoxical celebration of diversity and relative silence on race.
giants x hyori x korean bboy championships x miss universe x kimberly tia toys x the chameleon x baohaus x kim do x sacro x koshka x du juan x far east movement x three 6 mafia x michelle phan x lxd x jara mariano victoria’s secret lingerie and swimwear photoshoot x ambriosio x facebook dress
“Indivisible” South Asian American poets reading Monday AnnArbor.com I then started reading Asian American poetry and although not all the experiences were the same as mine, finally, I could see the images and feel the …
The Hotel Le Bristol Paris recently featured an installation for Chinese artists Yue Minjun and Zhan Wang; a partnership with the Enrico Navarra Gallery. The works on display allow audiences, as they admire forms as stunning as they are unexpected, to discover the full range of imagination associated with the revival of Asian art. Offered below are shots from the installation, with further information available here.
Magic Johnson vs. the Celtics. A classic…
