By Special Correspondent Fatemeh Fakhraie. An expanded version of this piece can be found at Muslimah Media Watch.
Last summer saw the launch of ALO Hayati, “America’s Top Middle Eastern Lifestyle Magazine.” Thanks to a gracious donor, I finally got my hands on a copy of the July 2008 issue.
All lifestyle magazines have an aspirational feel to them, and this one was no different. Chock full of advertisements for Dubai hotels and Swiss watches, ALO wasn’t particularly different than any other lifestyle magazine. Considering the economic situation of magazines, it doesn’t seem like an incredibly auspicious time to launch one aimed at a materialistic lifestyle. I wasn’t able to find any updates about the magazine’s publication on the website, and as far as I’m aware, this is the only edition, though in the magazine they refer to an earlier issue in some places.
As someone who enjoys a good glossy every now and then, I delighted over advertisements with Kim Kardashian, and interview with exclusive designer Bijan, and a fluffy piece on intercultural relationships (though I did not care for the cover teaser: “Shocking Intercultural Stories”).
The magazine featured an interview with Leila Ahmed, which was a great one, likening the current western media representation of Muslim women to the same patronizing Orientalism that played out in the first wave of colonialism in Middle East. Her interview shed lots of light on the history and future of the headscarf. Despite the educational qualities of her interview, I kept thinking, “Who is this educating?”
While not every Middle Eastern person is going to be familiar with the history behind the headscarf, it seems sort of odd to have an educational feature about hijab in a magazine aimed at a demographic that has a fairly lengthy history with headscarves, even if many of them aren’t Muslim. Something about this piece tugged at me. It almost felt as if it was aimed at people who were not Middle Eastern. Continue reading →
The tomato comes from Peru and spaghetti was probably a gift from China.
It is, though, the “foreign” kebab that is being kicked out of Italian cities as it becomes the target of a campaign against ethnic food, backed by the centre-right Government of Silvio Berlusconi.
The drive to make Italians eat Italian, which was described by the Left and leading chefs as gastronomic racism, began in the town of Lucca this week, where the council banned any new ethnic food outlets from opening within the ancient city walls.
Yesterday it spread to Lombardy and its regional capital, Milan, which is also run by the centre Right. The antiimmigrant Northern League party brought in the restrictions “to protect local specialities from the growing popularity of ethnic cuisines”.
Luca Zaia, the Minister of Agriculture and a member of the Northern League from the Veneto region, applauded the authorities in Lucca and Milan for cracking down on nonItalian food. “We stand for tradition and the safeguarding of our culture,” he said.
Mr Zaia said that those ethnic restaurants allowed to operate “whether they serve kebabs, sushi or Chinese food” should “stop importing container loads of meat and fish from who knows where” and use only Italian ingredients.
Asked if he had ever eaten a kebab, Mr Zaia said: “No – and I defy anyone to prove the contrary. I prefer the dishes of my native Veneto. I even refuse to eat pineapple.”
In Madea Goes to Jail, Sonny, Madea’s nephew, his wife Vanessa, and their infant son, live with the outspoken matriarch. Vanessa is in graduate school, and Sonny works hard at the local jail, pulling extra hours to finance her education. The two have a deal that once she earns her degree, it will be his turn to go back to school. But it soon becomes clear that Vanessa is an ill-mannered, disrespectful, spoiled, ungrateful bitch who doesn’t want to do the right thing by catering to her husband out of gratitude for his hard work and support. She loudly complains about taking care of the baby or performing any other domestic chore, stressing the need to complete her graduate study so she can make something out of herself. She’s so out of pocket that the busybody next door neighbor, Ella, admittedly manless, irons Sonny’s work shirt for Vanessa, as she sings about how to take care of a man and keep him happy. Continue reading →
by Guest Contributor Restructure, originally published at Restructure!
Finally, somebody summarized the myths that non-Chinese Americans have about Chinese food. Most of what White Americans consider “Chinese food” is mostly eaten by white people, and would be more accurately described as “American food” (and perhaps even “white people food”).
Fortune cookies are almost ubiquitous in “Chinese” American restaurants, but they are of Japanese origin. Most people in China have never seen fortune cookies. Fortune cookies were “invented by the Japanese, popularized by the Chinese, and ultimately consumed by Americans.” Fortune cookies are more American than anything else.
General Tso’s chicken is unrecognizable to people in China. It is the quintessential American dish, because it is sweet, it is fried, and it is chicken.
Beef with broccoli is of American origin. Broccoli is not a Chinese vegetable; it is of Italian origin.
Chop suey was introduced at the turn of the 20th century (1900). It took thirty years for non-Chinese Americans to figure out that chop suey is not known in China. “Back then”, non-Chinese Americans showed that they were sophisticated and cosmopolitan by eating chop suey.
Last week, I picked up the new issue of Script Magazine looking for some information on script reviewers . However, what I found was Baz Luhrmann talking about the planning and writing of Australia.
The lengthy article describes the thought process involved in creating a script of epic scope, and reveals that Luhrmann wanted to write a film encompassing the history of Australia. Script explains:
There were a number of issues that Luhrmann knew he wanted to explore, including those related to the continent’s Aboriginal peoples as well as those related to Australia’s to achieve self-determination and self-governance.
After spending six months immersed in research and historical documents, Luhrmann decided to set the film near the beginning of World War II, due to “the transitional period” that it represented in Australia’s history. Also of note:
Another reason Luhrmann chose this time period because it allowed him to shine a light on what he describes as “probably the most heinous and difficult part of our history” – a period that marked a low point in the relationship between Australia’s white majority and the indigenous peoples with whom they share their land. In the time between the two World Wars, so many white Australian cattle stockmen were having relationships with Aboriginal women that the population of mixed-race children was causing a dilemma for those concerned about the country’s racial purity. A government policy was instituted in which mixed race children were taken from their parents, placed in Christian monasteries, and, in Luhrmann’s words, “basically trained to be white. This decimated large sections of the indigenous population – you can imagine the spiritual decimation and the pain. So, it was an extremely dramatic problem that has haunted this nation for a very, very long time and it really began in that period.”
Luhrmann wanted to deal with this issues in his film, not as its primary focus, but woven into the fabric of the piece in much the same way that slavery – while certainly not the main subject of the movie – was an indelible part of the texture of Gone With the Wind.
I find the journalist’s recounting of historical events extremely interesting. Continue reading →
by Guest Contributor SLB, originally posted at Postbougie
I think if we’re all quite honest with ourselves, we’ll admit that the methods to approaching big-screen biopics are finite—especially biopics about musicians. In order for people’s lives to warrant the silver screen treatment in the first place, those lives have to possess extremes—a series of extenuating events that can be exploited for the highest dramatic impact the actors can generate. And face it: biopics are only as good as their actors. Sure, the writing has to be passable. If you’re lucky, the writing makes the actors’ jobs easy, but to our main point: the lives themselves provide the pathos. The writers need only heighten it. Yes, there are glaring historical omissions. Yes, there are all kinds of melodramatic liberties taken—especially in the film’s second to last scene of this film. But that, too, comes with the predictable territory of biopics, and good actors mine that melodrama for all its worth. That’s what makes a decent biopic so watchable.
Everyone involved in Darnell Martin’s Cadillac Records understands the pecking order of the biopic genre—which is precisely why this one works so well. Fortunately, the casting directors brought their A-game, tapping Adrien Brody as Leonard Chess, the Jewish-Polish immigrant who founded the most successful Blues and R&B label in Chicago history, Chess Records, and the incomparable Jeffrey Wright as Muddy Waters, Chess’s flagship artist.
With Brody and Wright anchoring the film, the substantial supporting cast had no choice but to tow the Oscar-caliber line and, with very few exceptions, they did. Granted, Cedric the Entertainer was probably miscast as songwriter Willie Dixon. He always sounds like he’s faking an accent, rather than playing a role. It’s as though his acting ability doesn’t extend beyond varying the tenor of his voice. But since he was only in a few scenes, total (even his role as the narrator didn’t yield him that many lines), he wasn’t distracting at all. Continue reading →
My brother likes to push my buttons. When I bring up women’s issues, he tells me to get back to the kitchen. When I bring up Iranian culture, he cracks jokes in a fakey Middle Eastern accent.
I love him anyway.
We’re pretty close. We look alike, family members often confuse our voices on the phone, and we crack jokes to keep each other entertained when things get tense or boring. I feel very blessed to have him, and to have the relationship that we do.
Since high school, I have been striving to reconnect with my Iranian and Muslim identities; he hasn’t shown the same inclination. This isn’t to say that he’s remained the same person since high school: he and his interests have developed and evolved, but they have not done so in a direction that seeks to connect with this half of his ethnic identity. He is just as Iranian as I am in his biological makeup, but his identification doesn’t mirror mine.
by Guest Contributor Tanglad, originally published at Tanglad
As we celebrated the eve of November 4th, I was struck by a comment from New Mexico Governor Bill Richardson. He pointed out with pride the role of the Latino vote in Obama’s election. I wish I could say that about my fellow Filipinos.
And yes, I know, the Filipino vote is not monolithic. I am specifically talking about Filipinos like me, who have immigrated here in our adult lives. We’re working to make ends meet. Many of you are raising families, go to church every Sunday, support extended families back in the Philippines. The Philippines that would theoretically be a very red state if it could vote.
So yeah, there are lots of factors behind this particular Pinoy demographic’s support of McCain and Proposition 8, but I will dive into the one that presents the most challenges.
Filipinos can be quite forthcoming when talking about race. In news interviews in the Philippines and in Pinoy gatherings, many immigrant Pinoys have made it abundantly clear that their “discomfort” over Barack Obama is not due to the rumors that he’s an inexperienced, socialist, Muslim politician. Their discomfort is from Obama’s blackness.Continue reading →
Race, Culture, and Identity in a Colorstruck World