Link reblogged from infelicitous teamonster with 986 notes
10 Facts You May Not Know About Asian-American History →
by Jenn Fang
It’s almost the end of May. Do you know your Asian-American history?
Most of America isn’t aware that May is Asian-American Heritage Month. It’s a celebration that started in 1978, when Congress urged President Jimmy Carter to declare the week of May 4th ”Asian-American Heritage Week.” (That date was chosen to coincide with the arrival of the first Japanese immigrants on May 7, 1843, and with the completion of the first transcontinental railroad — built largely by Chinese laborers — on May 10, 1869.) More recently in 1990, following another vote by Congress, President George H.W. Bush expanded Asian-American Heritage Week to encompass the entire month of May.
Sadly, Asian-American history and heritage is rarely taught in U.S. public schools. So for those of you who’ve missed such curriculum, here’s a list of 10 factoids you may not have known about the history of Asian-Americans in this country:
1). The first Asians whose arrival in America was documented were Filipinos who escaped a Spanish galleon in 1763. They formed the first Asian-American settlement in U.S. history, in the swamps surrounding modern-day New Orleans.
2). In the years between 1917 and 1965, Uncle Sam explicitly outlawed immigration to the U.S. of all Asian people. Immigration from China, for example, was banned as early as 1882, when the Chinese Exclusion Act was passed. It wasn’t until the Immigration Act of 1965— which abolished national origins as a basis for immigration decisions — that nearly 50 years of race-based discrimination against Asian immigrants ended.
3). Because of their race, Asians immigrants were denied the right to naturalize as U.S. citizens until the 1943 Magnuson Act was passed. Consequently, for nearly a century of U.S. history, Asians were barred from owning land and testifying in court by laws that specifically targeted “aliens ineligible to citizenship.” Even after the passage of the Fourteenth Amendment in 1868, American-born children of Chinese immigrants were not regarded as American citizens until the landmark 1898 Supreme Court case, United States v. Wong Kim Ark, which established that the Fourteen Amendment also applied to people of Asian descent.
4). Among the earliest Asian immigrants, virtually all ethnicities worked together as physical laborers, particularly on Hawaii’s sugar cane plantations. On these plantations, a unique hybrid language — pidgin — developed that contained elements of Chinese, Japanese, Filipino, Korean and English. Today, pidgin is one of the official languages of Hawaii, a state that is itself 40% Asian.
5). Despite the Alien Land Law, which specifically prevented Asians from owning their own land, Japanese farmers were highly successful in the West Coast where they put into practice their knowledge of cultivating nutrient-poor soil to yield profitable harvests. By the 1920s, Japanese farmers (working their own land, or land held by white landowners that they managed) were the chief agricultural producers of many West Coast crops. In fact, the success of Japanese farmers is often cited as one of the reasons white landowners in California lobbied to support Japanese-American internment following the declaration of World War II.
6). Many of the early Asian immigrants who worked as laborers on plantations and in factories were instrumental in the formation of the American labour movement, helping to organize some of the first strikes and unions throughout the country. Japanese plantation workers, for example, engaged in the first organized strike in Hawaii in 1904.
7). Anti-miscegenation laws that denied marriage licenses between interracial couples specifically prohibited intermarriage between whites and Asians. For example, the 1922 Cable Act revoked the citizenship of any female U.S. citizen who married an “alien ineligible to citizenship,” a phrase repeatedly used in legal documents to refer to Asians.
8). Unlike Irish immigrants, who predominantly entered the United States via the Ellis Island immigration center, most Asian immigrants entered America by way of Angel Island Immigration Station. Unlike at Ellis Island, where immigrants might spend between two and five hours waiting to be processed, the Angel Island facility’s unspoken goal was to limit the flow of Asian immigrants into the country. Between 1910 and 1940, many prospective Asian immigrants were detained for as long as two years at Angel Island, stymied by U.S. immigration officials hoping to find reasons to deport them. Some of the detainees wrote poems in Chinese on the walls of the Angel Island detention facility; these poems have since been translated and collected into anthologies.
9). During World War II, Japanese American internees — including both Japanese immigrants and their American children — were forcibly relocated from their homes in the West Coast to remote relocation camps. Even still, several young Japanese-American men went on to successfully lobby the American government to be allowed to volunteer as soldiers in World War II, often to prove their loyalty to the United States. The 442nd infantry regiment, a segregated Asian-American unit composed almost entirely of Japanese-Americans, fought in Italy, France and Germany and is still the most highly decorated regiment in United States Armed Forces history.
10). In 1982, a young Chinese-American man named Vincent Chin was brutally clubbed to death by two white men in Detroit, Michigan. The crime was motivated, in part, by anti-Asian sentiment stemming from widespread loss of auto manufacturing jobs to Japanese competitors; Ronald Ebens, one of the attackers, was heard saying “it’s because of you little motherfuckers that we’re out of work” to Chin moments before the attack. Despite pleading guilty to second-degree murder, Chin’s killers did not serve any jail time for Chin’s murder, and were only fined $3,000. Vincent Chin’s death served as a flashpoint that ignited the modern Asian-American political movement.
Source: news.change.org
Photoset reblogged from Legend of Korra with 663 notes
The Mech’s that the Equalists use have weaknesses in the design that if taken out would disable the machine. And since Lin is now outside of the Law, i have a feeling that this will come up and they will have to fight more of these. The Mech has four main weaknesses.
One: The driver.
While the Armor is unbendable Platinum, the driver inside is still vulnerable to the shaking and smashing of the attacks against the hull. If the hit is hard enough, the shock could disable the driver.
Two: The Glass.
The driver is protected by the strong armor, however, the glass is not as strong and is capable of being broken. As shown when Lin almost took down that one mech by herself.
Three. The Support.
Over all, the mech is extremely stable with its tripod stance. With out the support wheel in the back, the machine would become too heavy and would be easily knocked over. Destroy the support and you cripple the mech. However, the spport is most likely made of platinum. So instead of cutting clean through, one would only need to compromise the integrity of the design to topple it.
Four: The Power Supply
The power supply is located on the back of the machine. It is also most likely made out of platinum, but there are two tubes that provide power to the mech from the supply on the back. Those are most likely not made of platinum, at least not completely. If they were cut, then the mech would have no power and no way to move. They would be trapped.
Source: avatarideasinmyhead
Link reblogged from Bend It Like Korra with 347 notes
Bend It Like Korra: Since I'm being lazy and not getting to my rp posts... →
I want to share something that’s kinda bothering me about Legend of Korra.
It’s not a bad thing really, and it’s not an example of bad writing or bad storytelling (actually it’s an example of very good storytelling). It’s just something that’s been…
Source: skoochythevagabond
Photoset reblogged from Sherlock BBC with 1,535 notes
Sherlock: The Pendant Soldiers
Sherlock Visual Novel game based off of Charles Augustus Milverton.
Set after The Great Game, but before Series 2, Sherlock Holmes takes on a new case, one that at first seems quite simple and easy to manage.
But one thing leads to another, and soon he and John Watson are involved in a dangerous, complex mystery, unsure who is pulling at the strings.
Instructions for use
1. Download the *.rar on the right. You need winrar (or equivalent) to extract the file.
2. Extract the whole folder somewhere and open the *.exe to start.
3. If you don’t have the fonts included, right click to install. But I think they’re pretty common fonts.
In-Game instructions
Control is through the mouse.
To exit, navigate to the main menu and quit, or press F12 from wherever you are.
Saving/Loading isn’t supported, and anyway the story isn’t long enough to make that worthwhile.Notes
- This is windows only and an updated DirectX is required to see everything properly. The dll problem is to do with DirectX.
- I advise against saving/reloading, that’s what the chapters are for.
- I advise against playing fullscreen. Bad stuff may happen.
This has been posted with the permission of y0do. Please note he is no longer troubleshooting the VN at all, or answering any questions about it. Please read through the comments [HERE] for any questions. y0do did the art while his IRL friend wrote the story.
We know we are late to the party on this one, but we just discovered it and were instantly in love. This is so much fun and has some lovely nods to the canon in it! There are three endings you can end up getting. Naturally, on our first try, we got the most depressing one. Way to go Ardy.
Source: y0do.deviantart.com
Photoset reblogged from endearingly creepy with 6,964 notes
‘Secret Agent Calvin and Hobbes’ and ‘Secret Agent Calvin and Hobbes: Meet Dr. Robin’ by Coran “Kiser” Stone
Holy shit, I love this.
holy heaven
Calvin & Hobbes look BADASS.
Source: kizer180.deviantart.com
Photo reblogged from Sherlock BBC with 4,655 notes
EVERY SHERLOCKIAN GET ON THE GOOGLE MAIN PAGE AND DO THIS NOW! I JUST SAT AND WORKED THIS OUT.
Press these keys:
A G G 8 G 9 G F K
F K K J K L K =
G A A S 6 5 A G A
A S 6 6 F S S 6 A A S X 2 Q A
OMG
Source: juliechelon
Post reblogged from Avatar Korra! with 372 notes
LOK Memes!
.
.
MORE UNDER THE
Best post ever!
Source: avatar-love
Photoset reblogged from Legend of Korra with 134 notes
THERE ARE KORRA STICKERS.
One for checking in once, one for becoming a fan (Like + 5 check-ins). These are not live check-in stickers which makes them easy to get~
reblogging once more :D
Source: legochesters
Photo reblogged from Avatar Korra! with 1,256 notes
Korra Background Painters, Fred Stewart & Emily Tetri, Interviewed By Me!
I thought it would be fun to flip the script and interview some other folks for a change. As the art director for all things color/lighting on Korra, working with Fred and Emily is a pure joy for me. They do all of the background painting keys, the lighting direction in the image boards, and make notes and revisions to every single background painting used in the show. No matter what I throw at these two, they eagerly accept the challenge and always impress me with their work, positive attitudes, youthful energy, and in Emily’s case, speed! (She’s the fastest artist I’ve ever worked with, hands down.)
I had some big art direction goals for Korra, and the biggest of them was to inject a healthy dose of “handmade” style into the background paintings. My plan was to find an artist who already had a great personal style and just make that the style of the show. That seemed the best way to imbue an artist’s hand into the art direction. Luckily, Nickelodeon’s recruiter pointed me to Fred Stewart’s portfolio and I knew that with some minor tweaking, his style was just what I was looking for (“Softer clouds, Fred! SOFTER!”). We hired him right as he graduated from college. We found Emily shortly thereafter, and she adapted quickly to Fred’s style, and of course has contributed her own wonderful stylistic sense and skill to what has become the collective Korra background painting style.
Fred and Emily are pictured above with Kyung Hwa Lim, the background painting chief at Studio Mir in Seoul. Chief Kyung has done a wonderful job embracing their style and leading her team to make the thousands of paintings in Book 1 look incredible. I’m really proud of what we’ve all achieved together this season, and I’m really lucky to have them all on the team! The interview is below.
BRYAN: Before Korra came along, how familiar with Avatar: The Last Airbender were you? Would you say you were a fan?
EMILY: I was a big Avatar fan. I caught a marathon on Nickelodeon when I was home from college one year and got hooked. Avatar was the first time I ever bought a series on iTunes, because I didn’t have a TV at school there was no way I could wait for DVDs to see the third season. I always wished that I’d been out of school and gotten to work on it, so getting to work on Korra was so exciting for me.
FRED: I hadn’t seen any of Avatar: The Last Airbender until I got the background paint test for Korra. I rented the season one box set to see what it was all about, got hooked, and ended up watching all three seasons in something like four days while I was working on Illustration BFA finals. I am definitely a fan now.
BRYAN: Fred, you were hired onto Korra right out of college, and Emily, you had only been out a short while. Now that you’ve been on the show for about two years, has the job lived up to your previous conceptions of what “working in the animation industry” would be like? What about it has surprised you, if anything, either positive or negative?
EMILY: It seemed like there were always these warnings about “working in the industry” - that it’s some sort of soulless grind or something. But I always wanted to work in animation so much anyways. And it’s been great. Of course it’s a lot of work, but painting all day for my job? It’s hard to beat that. I think what surprised me most was actually just how friendly animation folks are. After two years of mostly being a hermit because I was freelancing from home, coming to work in a studio full of friendly artistic people was so nice. The other surprising thing was how sore I was the first week or two! I thought I’d been drawing a lot, but turns out “a lot” was not “all day” and my shoulders and right arm let me know.
FRED: I think I was actually expecting to have less freedom, less fun, and the work to have less variety. I guess I was expecting a bit more of the industry. I tried to have what I thought was a realistic assessment of what the beginning of my career might be. I was pretty excited about that already so when I started I was pleasantly surprised. I feel super lucky to be able to come into work paint pictures of fantastic places, and try to tell a story with color and light and weather and atmosphere.
BRYAN: You are both incredibly talented artists and skilled painters, and you are both so eager to learn, improve, and add to your art experiences and skill sets. How much time do you spend working on your own artwork, and taking classes and workshops?
EMILY: I can’t seem to stop taking classes, I love seeing how other people work and there are so many people who are amazing at what they do, how can I resist the chance to learn from them? As far as working on my own stuff goes, I enjoy making things and drawing and painting, so it’s pretty natural to be doing that in my free time as well.
FRED: I always drew and painted because it was something that I liked to do. That might be a really thing obvious for any artist but it is also true! So I’m glad for a job where that is what you do and I’m glad that there are people that are willing to help you learn what they know about it. I’m pretty glad that this thing that I happen to like doing has so much history and lore and depth that there is probably no reason to stop learning more about it. So I try to spend a lot of time doing classes and personal work.
BRYAN: What concept/visual development artists provide the most inspiration to you?
EMILY: Oh man. There are so many artists. Here are some I regularly look at, but this list could just keep going and going. There are too many people out there who do things that are too cool. Nathan Fowkes, Bill Cone and Dice Tsutsumi have some awesome color. I think Shaun Tan’s books are amazing. I love Chris Turnham’s colors and designs. Jon Klassen’s work is so neat. I love comics with great color, like Tony Cliff’s Delilah Dirk. John Nevarez, Paul Felix, Robh Ruppel, Man Arenas… there are so many inspiring artists. This question took forever because I got sucked into looking at all this art. It’s impossible to stop sometimes.
FRED: I’m only going to mention a couple because there are so many amazing artist around that if I try to think of a big list I’ll be thinking of people I should have put on it for days. None of these guys are obscure or controversial so I may not get any prestige points for saying that they influence and inspire me but they are amazing artists: Craig Mullins, Alberto Mielgo, and Neil Campbell Ross.
BRYAN: Your combined painting styles have helped to greatly shape the visual identity of the Korra series. What has that experience been like, and how has it evolved your own artwork? Do you find that your working habits are different now than when you started?
EMILY: I’ve learned so much on this job. I learned from working with Fred. I learned because I had to actually finish paintings. I learned to use reference effectively. I think you can’t paint all day every day and not improve.
BRYAN: You both had the opportunity to travel to South Korea to work closely with the background painting team at Studio Mir, training them in your style. I had a very similar experience when I was around your ages working on Invader Zim, and it really had a lasting effect on me and greatly shaped how I approached making Avatar. How was that experience for you two?
EMILY: That was a great experience. It’s weird when you’re working and you know that there are these other people working on the same thing halfway around the world, but you never have any contact with them except to see the work that comes in from them. So going over there and meeting the team in person was great. They’re all so talented, but the style of the show is pretty different, and so we were training them to paint in this specific style. And it was cool because there’s this language barrier, but then they were excited to learn how we’re painting and it’s always fun to show people something you enjoy, so all of us are going back and forth gesturing and painting and they’re using what English they know (and man, I wished I knew any Korean) and we had translators. But the cool thing about it was getting to connect with people who you can barely talk to because you’re all interested in painting and working on the same thing. Also, the food was incredible.
FRED: It was so great to be able to work with the paint team in Korea. They were really receptive, super hard working, talented, and all around fun people to be around even with the language barrier. Meeting all the people there, seeing where they work, and working with them in person to get the best possible show made it clear that we are definitely one team working on the show not a team and a outsource studio. I think that’s pretty great and I don’t know if that is that way too many other projects think of it.
BRYAN: Any parting advice you’d like to share with aspiring artists?
EMILY: I think a lot of people get discouraged when their art isn’t coming out the way they want it to, but in my experience, things usually get the hardest right before you level up. I think that the main thing is to just keep going - step back, reevaluate, etc, but keep going. That’s my plan till I get old. I don’t think I’m wise enough to give any other advice, come back when I’m wrinklier.
Thanks, Emily & Fred! Check out their personal work (and please don’t hound them with inane questions) on their blogs:
Fred –fredericstewart.blogspot.com
Emily – monsterlings.blogspot.com
Source: bryankonietzko
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