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There’s a slew of books coming out about Asian mothers. It’s nothing new. Asian-Americans have been banking on airing their family’s dirty laundry for years. I noticed this genre first coming into prominence with Amy Tan’s Joy Luck Club. Asians stereotype their hospitable nature ("don’t rock the boat") by accommodating the host of the country in which they are attempting to integrate. What better way to put people at ease by talking about all things Asian? My concern is that as long as Asians continue to develop their narratives and experiences as Asians, audiences will continue to see them as Asians first, and individuals second. Everyone loves a Jhumpa Lahiri yarn about the hard life in India…even though she was born in London and moved to Rhode Island.

For example, you would rather hear how my family cooked bones to create a new dish to save from buying some fresh meat (I made that up), rather than my fascination with Andre Breton’s surrealistic poetry and how his images were resonant in the works of Luis Bunuel. It would make better copy to hear about how my training in martial arts (I have none) helped me overcome bullying as a child. It would put you at ease for me to make Ancient Chinese secret jokes as oppose to talking about the astute observation by Peter Wang (A Great Wall, Chan is Missing) that no Asian man can truly rise to the position of upper level management in corporate America.

So to put everyone at ease, Asian-Americans keep the boat steady and make fun of themselves the way outsiders would like to make fun of them, but are held back by our current PC climate. Margaret Cho used to do this exclusively, and to this day, I cross my fingers and pray whenever I see the next Asian stand-up comic. I hold my breath and hope they won’t cave in to the will of the masses. It must explain the purple pallor to my face. SFGate’s Jeff Yang writes "Black folks tell "yo momma" jokes; Asian folks tell "my momma" jokes." What Asians are telling non-Asians in this country is: "It’s OK to laugh at us. We are giving you the green light.  In fact, we’ll cater to you so much we will adopt your accent to make fun of my parents’ accent."

The cliché is, "nobody respects you when you don’t respect yourself." I say "nobody respects your people when you don’t respect your own people." Whenever I hear an Asian person pander to non-Asians by adopting the stereotypes given to their race or making fun of their parents, they are, in essence, aligning themselves with the outsider, reassuring, "Look! I have successfully integrated! I’m with you. I’m not with them (their unassimilated parents)."

This uneasy duality and the accesses it gave to the predominant culture was the very reason Dave Chappelle went on a sabbatical to Africa.

The book that is kicking up the most free publicity is Amy Chua’s "Battle Hymn of the Tiger Mother." Since Chua was born and grew up in the midwest (Indiana, Illinois) it’s no surprise she’d adopt the view of the outsider looking in at her own ethnic parents. There are others.  Lac Su’s I Love Yous Are for White People: A Memoir and Teresa and Serena Wu’s My Mom is a Fob: Earnest Advice in Broken English from Your Asian-American Mom ("FOB" by the way, is abbreviation for "Fresh Off the Boat" a term used by assimilated Asians to look down upon the unassimilated).  

I think Chua’s book is practical in the sense they will help other first generation Asian kids identify, categorize, and cope with their parents’ brand of child-rearing. At the same time I believe you can’t really criticize an Asian parent for being Asian. They are merely using the tools they themselves were brought up with. They are doing what they were taught by their parents to be effective. Even though my parents were easy-going, even by American standards, I could easily write a book on some of the questionable methods my mother used to raise me. (I think any person from any culture could list some "issues") That’s not going to happen here. As much as it annoys me sometimes, I know she was only doing what she believed was best. (or what in her generation was considered to be the best)  I often wished I was raised differently, but that’s a conjecture whose rewards can never be fathomed.  I’d probably say the same thing if I was indeed raised differently. 

Don’t judge a person’s technique by the predominant standard that you are currently surrounded by.  Give consideration to their abilities by how much they have achieved using the tools available to them.

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talia shire

For 20 years, friends of mine have been appalled that I have neglected to watch The Godfather installments.  I finally saw it a few months back.  Honestly, it didn’t make much of an impression.  Over the weekend, someone casually suggested I watch the original Rocky, if I hadn’t yet seen it.  (I haven’t at that point)  I know I love Talia Shire’s Adrian Pennino in the short clips I have come across over the years.  To me, her character was the last stance of the good, supportive wife that is sadly absent from movies these days.  So I decided to give it a shot.

I was stunned.  It instantly made it into my Top 10 favorite movie of all time.  I guess my impression of the Rocky franchise had been tremendously tainted by the repetitive nature of sequels:  We all know that the key points, the "crowd-pleasing" moments, the hero triumphant at the end of the movie, and the signature scenes are all mandatory in sequels. I have since watched the other sequels that came after Rocky 1.  The jogging-in-to-sprinting-ending-at-a-victory-stance-at-a-higher-elevation scene, the protagonist-creatively-making-do-with-improvised-exercise-gear, the underdog getting the beat-down before he triumphs, the "I Love You" at the end of each sequel, are all too predictable.  Unfortunately, it’s not just the Rocky franchise that falls victim to formula.  Many sequels (not counting "Halloween 3") suffer from the desire to please audiences and give the people what they want.  In all fairness, I have to allow for the possibility that people return to sequels – not always for creative innovation- but more as one would to a comfortable couch or a favorite old coat: it fits.

But the very nature of sequels makes it difficult for them to outshine the original.  An original has no antecedent: it’s like an unclassified marine invertebrate snaking out from the darkness for the very first time.  Biologists and casual observers are speechless, because they are witnessing something they’ve never seen before.  They don’t know how it’s going to behave.  They can’t predict how it would move. That’s the magic of an original.  Sequels give us characters and situations we are already familiar with.  What’s worse, with modern marketing research and focus groups, Nielsen groups and box office tallies can predetermine the outcome of the next sequel.  The artist as moviemaker no longer creates according to his or her inner voice, obligatory scenes in sequels humor the general audience like blood placates rubberneckers who have been sitting in traffic for hours.

The success of an original movie and the need for a sequel is like the curse of a reputation.  Once you have one – whether it be bad or good – you are imprisoned by expectations.  You have to keep different parties happy.  Making an original movie is the height of creative freedom.  It’s a blank canvas; the equivalent of having no reputation- you can go anywhere, you can do or say anything.  I guess that’s why people pick up and move to new towns.

It just makes it that much more mysterious why Hollywood and the record industry is diseased with remakes today.  I guess the dwindling box office sales, due to dvd’s, On Demand, and piratebay have forced companies to take less financial risks.  Why start a new canvas when you can trace over a proven favorite?

So here’s is my list of why I love Rocky I.

1. It’s an original.

2.  Winning isn’t everything. It shows that boxers and contenders do triumph even when they don’t outright win.  Winning isn’t everything.

3. It’s tender and sweet.  It’s a beautiful romance movie if you take the boxing out of the picture.  Besides, the boxing sequence is the least significant part of the story.  Stallone rushed home to write it after seeing the Wepner-Ali fight, which, in and of itself was an epic display of human tenacity and heart.

4. Talia Shire’s supportive girlfriend character. It’s a blueprint of who I’ve tried to be all my life.

5. I love simplicity, and the understatement of the film won me over immediately.  Godfather is like a Mahler Symphony: a major production with a massive cast and good budget.  Rocky is a simple Gibbons’s Allemande. The bare bones ensemble, making do on a 900 k budget makes the story of making the film an allegory of the Rocky theme itself.

6. The observation that tough rough men have doubts, deep fears, and a lapse in the belief of themselves.

7. It’s about aging, time, and missed opportunities in life, but it doesn’t dwell on it.  The movie is understated in many ways that future sequels were not.

8. There are no clear cut good guys and bad guys.

9. It shows that well-dressed, nice, proper girls can hang out with creepy-looking thugs.

10. Bill Conti’s tremendous closing credit score, a 4 part string ensemble composition reminiscent of Bach’s counterpoint, reaffirming a deep sense of dignity to one of the oldest story about mankind’s struggle.  On the surface, it appears to be about nothing more than a gritty thug’s Cinderella story.

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