Even in a multicultural, polyglot city like L.A. (which has the largest population of Asian-Americans (1.4 million) in the country and where the percentage of the population which is Asian-American is roughly equal to that which is black) most discussions of race appear to still be framed in the outmoded, bipolar terms of  black and white.  For example, whereas a lot of people and many organizations honor Black History Month, Asian Pacific American Heritage Month is almost completely unrecognized except by some Asian-Americans. The centuries-long struggle and strife of blacks in America is well-documented and worth honoring- but Asians have also been subjected to legal segregation, racist violence, widespread discrimination and harassment. So why is it that the Asian-American experience is so downplayed? I'll admit, I hadn't even heard of Asian Pacific American Heritage Month until I was hipped to it by reknowned Asian-American rights activist, Ngoc-thu Thi Nguyen.

According to polls, 23% of Americans are uncomfortable voting for an Asian-American to be President of the United States. This is in contrast to 15% compared with an African-American candidate and 14% compared with a woman candidate. A lot of Asians are suspected and viewed of holding allegiances to Asia, and not the U.S. which plays into the "perpetual foreigner" syndrome. True, many Asians are more recent immigrants than the white or black population but even Asians born in America often speak, in my experience,  of "Americans" only in the third person. Last year, coming up with movies to showcase for APA Heritage Month resulted in the suggestion of Chinese Kung Fu movies the distinction between Asians in Asia and Asians in America remains a lot harder than distinguishing African-Americans from Africans or white people from Europeans partly because America loves Asian movies and Korean dramas seem to show at all hours of the day, but Hollywood almost never casts Asian-Americans in anything and, to date, there have only been five TV shows to focus on Asian-Americans.

East Turkestan is the English name for an occasionally independent region occupied by China since it invaded in 1949. In Manchu Chinese it is known as Xinjiang, which means "new frontier", a phrase which belies its extrinsic nature to China. For the Turkic peoples that live beyond this "new frontier", the country is known as "Sharqi Turkistan" which translates to "Eastern Land of the Turks." The country is largely desert with towns built around oasises that were, in ancient times, important stops on the Silk Road.

The population of the region is mainly made up of Turkic peoples, the largest group being the Uyghurs (less commonly spelled Uighur, Uighur, Uygur or Uigu). Most Uyghurs feel more culturally aligned with their Turkic brethren to the West than the Beijing goverment of the East which currently controls the region. However, as with Tibet, China is attempting to dilute the region's culture and ethnicity by inundating it with Han immigrants lured by economic incentives and an apartheid system that favors them over the indigenous population. In 1949, when China invaded, the region was 75% Uyghur. As of 2003 it had been diluted to 45%. Ironically, identity in the region was largely based on the particular oasis communities and a strong coalescence based on a common, Turkic identity only really began in response to Chinese repression and occupation.

This installment of Eric's Blog takes us to Rosemead. To vote for another Los Angeles neighborhood, vote here. To vote for a Los Angeles County Community, vote here. To vote for Orange County neighborhoods, vote here.

 
Pendersleigh & Sons' Official Map of Rosemead

EARLY HISTORY
First, a bit of background on the City of Rosemead. As is proving to be true of everywhere I go in Southern California, the area which now makes up Rosemead was formerly inhabited by the Tongva for thousands of years before the Spanish came. I'm considering just saying in regards to my posts about Southern California, "Unless I say otherwise, this area was inhabited by the Tongva for thousands of years before the Spanish came." Anyway, the Spanish did come and built a mission there in what's now Whittier Narrows. Due to flooding, they relocated the mission to its current home over in San Gabriel in 1775.

BEGINNING OF AMERICAN ERA
After the land moved from Mexico to the U.S.A.'s hands, pioneers began moving to the area like John and Harriet Guess in 1852. Around that time, Leonard and Amanda Rose bought a tract of land where they bred horses and they named their ranch "Rosemeade."

Vietnamese New Wave

Are any of my readers out there Vietnamese? I was turned on to this amazing genre by "the Jewel of La Puente," the one and only (OK, one of thousands but still one of a kind) Ngoc Nuyen. I have asked the experts here at Amoeba Hollywood about "Vietnamese New Wave" (also referred to as Asian New Wave at times) groups and no one seems even remotely familiar with any of them, with the exception of Chris Matthews, to whom "Modern Talking" sounds familiar ...

First of all, when people talk about Vietnamese New Wave, they’re not talking about Vietnamese artists (although there is Thu Thuy, Lynda Trang Dai and supposedly a tieng viet cover of a Night Society song), but rather a movement that includes mostly German Euro-disco, Italo-disco and English synthpop artists who acquired, through means that no one seems to understand (although it definitely involves mixtapes) massive popularity amongst Vietnamese in Cali, Texas and Canada (and maybe elsewhere).

And whilst there’ve been at least four or five documentarians who’ve explored the still supposedly strange popularity of Morrissey amongst Mexicans and Mexican-Americans, to my knowledge no one has yet delved into the mysterious “Vietnamese New Wave” movement in which (in addition to OMD, Pet Shop Boys and Gazebo's "I Like Chopin") four German performers, with no radio play, no MTV exposure, no Amazon recommendations, no local performances came, against all odds, to achieve stardom in the Vietnamese immigrant population.

Famed Asian-American rights activist Ngoc-Thu Thi Nguyen and I watched this documentary about depictions of Chinese in Hollywood film called ... Hollywood Chinese. I love observing how Hollywood deals with all races and ethnicities. Sometimes it's hilarious and sometimes it's pretty appalling and then there's the rare occasion on which it rings true, which usually catches me by surprise. The development of an Asian-American Cinema has interesting similarities and differences with more often discussed and documented minority film genres like Black Cinema and Gay Cinema, which sprang up to tap into markets Hollywood mostly ignored for decades. In the 1948 case of the U.S. vs Paramount the government ruled against the studios and they were no longer allowed to control the studios, the distribution and the theaters and Hollywood opened up, to a degree, to the minorities which they'd systematically ignored up to that point.

 

In the Classic Hollywood era, Chinese women (like all Asians) were generally played by white actresses as shy, subservient innocents totally devoted to their white lovers. Chinese men were usually portrayed as cruel, buck-toothed, long-fingernailed mystics who delighted in tormenting the white heroes who'd fallen for their women. Or, they were depicted as simple, asexual, buck-toothed peasants who almost always wear a queue. Either way, it's only the women that are sexualized.