#Thomas Chinn

[duckprintspress]

National Non-Fiction Day: 31 Titles to Get Your Queer Learn On!

In the past year, we’ve posted a lot about our favorite queer fiction titles. We wanted to take Non-Fiction day to talk about the non-fiction titles that have impacted us! Whether self-help, memoirs, psychology, history, sociology, or a different non-fiction genre, these are books that have helped us learn, helped us teach, helped us improve, helped us see and be seen, and helped us be more informed. So join us as we introduce our thirty-one recommendations for National Non-Fiction Day!

Fine: A Comic About Gender by Rhea Ewing

Gender Born, Gender Made: Raising Healthy Gender-Nonconforming Children by Diane Ehrensaft

Dear Senthuran: A Black Spirit Memoir by Akwaeke Emezi

Fun Home: A Family Tragicomic by Alison Bechdel

Ace: What Asexuality Reveals about Desire, Society, and the Meaning of Sex by Angela Chen

Here For It: Or, How to Save Your Soul in America by R. Eric Thomas

Transforming: The Bible and the Lives of Transgender Christians by Austen Hartke

Bitch: On the Female of the Species by Lucy Cooke

Unmasking Autism: Discovering the New Faces of Neurodiversity by Devon Price

My Lesbian Experience with Loneliness by Nagata Kabi

transister: Raising Twins in a Gender-Bending World by Kate Brookes

!Hola Papi!: How to Come Out in a Walmart Parking Lot and Other Life Lessons by John Paul Brammer

Strangers: Homosexual Love in the Nineteenth Century by Graham Robb

London and the Culture of Homosexuality, 1885 – 1914 by Matt Cook

Queering Your Craft: Witchcraft from the Margins by Cassandra Snow

Female Husbands: A Trans History by Jen Manion

The Ethical Slut: A Guide to Infinite Sexual Possibilities by Janet W. W. Hardy and Dossie Easton

The New Queer Conscience by Adam Eli

Before We Were Trans: A New History of Gender by Kit Heyam

Testosterone Rex: Myths of Sex, Science, and Society by Cordelia Fine

Peculiar Places: A Queer Crip History of White Rural Nonconformity by Ryan Lee Cartwright

Delusions of Gender: How Our Minds, Society, and Neurosexism Create Difference by Cordelia Fine

Queer Budapest, 1873 – 1961 by Anita Kurimay

LGBTQ-Inclusive Hospice and Palliative Care by Kimberly D. Acquaviva

Queering Colonial Natal: Indigeneity and the Violence of Belonging in Southern Africa by T. J. Tallie

Handbook of LGBT Elders: An Interdisciplinary Approach to Principles, Practices, and Policies edited by Debra A. Harley and Pamela B. Teaster

LGBT Transnational Identity and the Media by Christopher Pullen

Gender Diversity: Crosscultural Variations by Serena Nanda

LGBTQ Cultures: What Healthcare Professionals Need to Know about Sexual and Gender Diversity by M. J. Eliason and P. L. Chinn

The Terrible We: Thinking with Trans Maladjustment by Cameron Awkward-Rich

Trans Bodies, Trans Selves: A Resource for the Transgender Community edited by Laura Erickson-Schroth

You can view this list as a shelf on Goodreads!

It can be so difficult to find good non-fiction resources on queer topics. Which titles to DO you recommend?

[my-chaos-radio]

Release: October 18, 2024

Lyrics (Original):

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

Kissy face, kissy face

Sent to your phone but,

I’m trying to kiss your lips for real

Red hearts, red hearts

That’s what I’m on yeah

Come give me something I can feel

Oh oh oh

Don’t you want me like I want you, baby

Don’t you need me like I need you now

Sleep tomorrow but tonight go crazy

All you gotta do is just meet me at the

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

It’s whatever it’s whatever it’s whatever you like

Turn this 아파트 into a club

I’m talking drink, dance, smoke, freak, party all night

건배 건배 girl what’s up

Oh oh oh

Don’t you want me like I want you, baby

Don’t you need me like I need you now

Sleep tomorrow but tonight go crazy

All you gotta do is just meet me at the

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

Hey so now you know the game

Are you ready?

Cause I’m comin to get ya

Get ya, get ya

Hold on, hold on

I’m on my way

Yeah yeah yeah yeah yeah

I’m on my way

Hold on, hold on

I’m on my way

Yeah yeah yeah yeah yeah

I’m on my way

Don’t you want me like I want you, baby

Don’t you need me like I need you now

Sleep tomorrow but tonight go crazy

All you gotta do is justmeet me at the

아파트 아파트

아파트 아파트

아파트 아파트

Just meet me at the

(Uh huh uh huh)

아파트 아파트

아파트 아파트

아파트 아파트

Just meet me at the

(Uh huh uh huh)

아파트 아파트

아파트 아파트

아파트 아파트

Just meet me at the

(Uh huh uh huh)

Lyrics (Romanization):

apateu apateu

apateu apateu

apateu apateu

Uh, uh huh uh huh

apateu apateu

apateu apateu

apateu apateu

Uh, uh huh uh huh

apateu apateu

apateu apateu

apateu apateu

Uh, uh huh uh huh

Kissy face, kissy face

Sent to your phone but,

I’m trying to kiss your lips for real

Red hearts, red hearts

That’s what I’m on yeah

Come give me something I can feel

Oh oh oh

Don’t you want me like I want you, baby

Don’t you need me like I need you now

Sleep tomorrow but tonight go crazy

All you gotta do is just meet me at the

apateu apateu

apateu apateu

apateu apateu

Uh, uh huh uh huh

apateu apateu

apateu apateu

apateu apateu

Uh, uh huh uh huh

It’s whatever it’s whatever it’s whatever you like

Turn this apateu into a club

I’m talking drink, dance, smoke, freak, party all night

geonbae geonbae girl what’s up

Oh oh oh

Don’t you want me like I want you, baby

Don’t you need me like I need you now

Sleep tomorrow but tonight go crazy

All you gotta do is just meet me at the

apateu apateu

apateu apateu

apateu apateu

Uh, uh huh uh huh

apateu apateu

apateu apateu

apateu apateu

Uh, uh huh uh huh

Hey so now you know the game

Are you ready?

Cause I’m comin to get ya

Get ya, get ya

Hold on, hold on

I’m on my way

Yeah yeah yeah yeah yeah

I’m on my way

Hold on, hold on

I’m on my way

Yeah yeah yeah yeah yeah

I’m on my way

Don’t you want me like I want you, baby

Don’t you need me like I need you now

Sleep tomorrow but tonight go crazy

All you gotta do is just meet me at the

apateu apateu

apateu apateu

apateu apateu

Just meet me at the

(Uh huh uh huh)

apateu apateu

apateu apateu

apateu apateu

Just meet me at the

(Uh huh uh huh)

apateu apateu

apateu apateu

apateu apateu

Just meet me at the

(Uh huh uh huh)

Songwriter:

apateu apateu

apateu apateu

apateu apateu

Uh, uh huh uh huh

ROSÉ / Amy Allen / Christopher Brody Brown / Rogét Chahayed / Omer Fedi / Philip Lawrence / Bruno Mars / Theron Thomas / Henry Walter / Michael Chapman / Nicholas Chinn

SongFacts:

👉📖

Homepage:

ROSÉ

Bruno Mars

[meogtwimalu]

APT. - ROSÉ(로제), Bruno Mars [듣기 / 뮤비 / 가사/ 발음]

채영이가 좋아하는

Random Game

Random Game

Game Start!

​

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

​

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

​

Kissy face,

[키씨 페이스]

kissy face

[키씨 페이스]

Sent to your phone but,

[센 투 유어 폰 벗]

I'm trying to kiss your lips for real

[암 트라잉 투 키스 유어 립스 포 리얼]

(Uh, uh huh uh huh)

​

Red hearts,

[레드 하츠]

red hearts

[레드 하츠]

That’s what I’m on yeah

[댓 왓 암 온 예]

Come give me something I can feel

[컴 기브 미 썸띵 아 캔 필]

Oh oh oh

​

Don't you want me like

[돈 츄 원 미 라이크]

I want you, baby

[아 원 츄 베이비]

Don't you need me like

[돈 츄 니드 미 라이크]

I need you now

[아 니 쥬 나우]

​

Sleep tomorrow

[슬립 투머로우]

but tonight go crazy

[벗 투나잇 고 크레이지]

All you gotta do is just meet me at the

[올 유 가라 두 이스 저스트 밋 미 앳 더]

​

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

​

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

​

It’s whatever

[이츠 왓에버]

it’s whatever

[이츠 왓에버]

it’s whatever you like

[이츠 왓 에버 유 라잌]

​

Turn this 아파트

[턴 디스 아파트]

into a club

[인투 어 클럽]

(Uh, uh huh uh huh)

​

I’m talking drink, dance, smoke,

[아임 토킹 드링크, 댄스, 스모크]

freak, party all night

[프리크, 파티 올 나잇]

건배 건배 girl what’s up

[건배 건배 걸 왓츠 업]

Oh oh oh

​

Don't you want me like

[돈 츄 원 미 라잌]

I want you, baby

[아이 원 유 베이비]

Don't you need me like

[돈 츄 니드 미 라잌]

I need you now

[아이 니 쥬 나우]

​

Sleep tomorrow

[슬립 투머로우]

but tonight go crazy

[벗 투나잇 고 크레이지]

All you gotta do is just meet me at the

[올 유 가라 두 이스 저스트 밋 미 앳 더]

​

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

​

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

​

Hey so now you know the game

[헤이 쏘 나우 유 노우 더 게임]

Are you ready?

[알 유 레디?]

Cause I’m comin to get ya

[커스 암 커민 투 겟 챠]

Get ya, get ya

[겟 챠, 겟 챠]

​

Hold on, hold on

[홀드 온, 홀드 온]

I’m on my way

[암 온 마이 웨이]

Yeah yeah yeah yeah yeah

I’m on my way

[암 온 마이 웨이]

​

Hold on, hold on

[홀드 온, 홀드 온]

I’m on my way

[암 온 마이 웨이]

Yeah yeah yeah yeah yeah

I’m on my way

[암 온 마이 웨이]

​

Don't you want me like

[돈 츄 원 미 라잌]

I want you, baby

[아 원 츄 베이비]

Don't you need me like

[돈 츄 니드 미 라잌]

I need you now

[아이 니 쥬 나우]

​

Sleep tomorrow

[슬립 투머로우]

but tonight go crazy

[벗 투나잇 고 크레이지]

All you gotta do is just meet me at the

[올 유 가라 두 이스 저스트 밋 미 앳 더]

​

아파트 아파트

아파트 아파트

아파트 아파트

Just meet me at the

(Uh huh uh huh)

​

아파트 아파트

아파트 아파트

아파트 아파트

Just meet me at the

(Uh huh uh huh)

​

아파트 아파트

아파트 아파트

아파트 아파트

Just meet me at the

(Uh huh uh huh)

​

아파트 아파트

아파트 아파트

아파트 아파트

Uh, uh huh uh huh

Album / APT.

Lyrics / 로제 (ROSÉ), Amy Allen, Christopher Brody Brown, Rogét Chahayed, Omer Fedi, Philip Lawrence, Bruno Mars, Theron Thomas, Henry Walter, Michael Chapman, Nicholas Chinn

Composed / 로제 (ROSÉ), Amy Allen, Christopher Brody Brown, Rogét Chahayed, Omer Fedi, Philip Lawrence, Bruno Mars, Theron Thomas, Henry Walter, Michael Chapman, Nicholas Chinn

Arranged / Bruno Mars, Cirkut, Omer Fedi, Rogét Chahayed

Released / 2024. 10. 18.

[demospectator]

“No. 1015. A Chinese Chef driven from Kitchen to Curb by the San Francisco Earthquake disaster, April 18, 1906.” Photographer unknown (from the collection of Wong Yuen-Ming).

Wok-ing Outside: Chinese Quake Cooks of 1906

The settlement of the American West was marked by labor shortages in practically all fields of endeavor. In California, men far outnumbered women during the Gold Rush era, and domestic services were in short supply, and Chinese entered the field in which competition with white labor was less intense, as was the case in the industrial and agricultural sectors. “He was seen in homes, on the ranchs [sic] and farms,” historian Thomas W. Chinn wrote, “tending stock, cooking, cooking, doing indoor and outdoor work such as washing and ironing, cutting firewood and working in the garden.”

Officer’s home on Funston Avenue, c. 1880. Photographer unknown (from a private collection). Two Chinese servants flank the members of an Army officer’s family in the Presidio of San Francisco.

Chinese domestic workers often endeared themselves to Californians, and family memoirs often recounted the presence of Chinese houseboys and cooks in employers’ homes, often serving families for two or three generations. Domestic work provided the workers of the 19th and early 20th centuries the opportunity to work outside the confines of Chinatown and often for prosperous white employers.

In the chaos of the April 1906 earthquake and fire in San Francisco, Chinese domestic servants found themselves thrust into a harrowing ordeal. Many were forced to flee alongside their employers, abandoning their homes and livelihoods in the face of impending disaster. As they navigated the rubble-strewn streets and sought refuge from the encroaching flames, these workers faced challenges and uncertainty. Some managed to find temporary shelter in makeshift camps with friends or family members. Others remained with their employers.

A lone Chinese man, having fled from the 1906 earthquake and fire, sits next to a white woman amongst a collection of household goods with other refugees probably in the Potrero Hill area of San Francisco, c. April 1906. No other Chinese appears present. Photographer unknown (from a private collection).

In the aftermath of the 1906 disaster, it was hardly surprising that many Chinese domestic workers -- already adept in the culinary arts -- rose to the occasion. San Francisco lay in ruins, buildings and streets having crumbled or fractured. Amidst such desolation and chaos, the need for sustenance became paramount. Chinese cooks utilized their skills to provide food to their employer’s households and the displaced populace in improvised street kitchens, which had sprung up all over the city. Photographers captured images of makeshift kitchens operating outdoors in the face of adversity.

A lone Chinese cook stands outside a small shack, inspecting his improvised stove and oven probably assembled from salvaged bricks, a pile of which appears at left, c. April 1906. Photographer unknown (from the collection of the California Historical Society).

Chinese domestic servants were among the many who demonstrated remarkable adaptability in the wake of the disaster. With traditional households destroyed, they took to the streets, employing whatever resources were available to them. Improvised stoves and salvaged utensils allowed them to ply their culinary craft despite the challenges posed by the destruction.

The images of cooks with their employers reflect a kind of community and solidarity amongst the Chinese domestic servants and their patrons. Amidst the uncertainty and upheaval, the street kitchen became not only a place to procure nourishment but perhaps provided a higher degree of interaction through sharing of meals, amidst the ruins of homes and buildings in the aftermath of the disaster.

Chinese cook in a makeshift kitchen shack stands by while a man, possibly his employer, reads the day’s news, April 1906. Photographer unknown (from the collection of the California Historical Society).

The appearance of the street kitchens represent a snapshot in time of the perseverance and adaptability of Chinese domestic workers amidst community devastation and adverse conditions. The small stories recognize and honor the resilience that shaped the collective history of Chinese San Francisco and America.

The Chinese cook, grinning from the doorway, Chinatown, San Francisco" c. 1896-1906. Photograph by Arnold Genthe (from the Library of Congress Prints and Photographs Division)

[ulkaralakbarova]

Loosely based on the Charles Dickens’ classic novel, “Great Expectations” is a sensual tale of a young man’s unforgettable passage into manhood, and the three individuals who will undeniably change his life forever. Through the surprising interactions of these vivid characters, “Great Expectations” takes a unique and contemporary look at life’s great coincidences. Credits: TheMovieDb. Film Cast: Finnegan Bell: Ethan Hawke Estella: Gwyneth Paltrow Walter Plane: Hank Azaria Joe: Chris Cooper Ms. Dinsmoor: Anne Bancroft Prisoner / Lustig: Robert De Niro Jerry Ragno: Josh Mostel Maggie: Kim Dickens Erica Thall: Nell Campbell Owen: Gabriel Mann Finnegan at Age 10: Jeremy James Kissner Estella at Age 10: Raquel Beaudene Carter Macleish: Stephen Spinella Ruth Shepard: Marla Sucharetza Lois Pope: Isabelle Anderson Man on Phone: Peter Jacobson Marcy: Drena De Niro Anton Le Farge: Lance Reddick Mr. Barrow: Craig Braun Mrs. Barrow: Kim Snyder Security Guard: Nicholas Wolfert Ted Rabinowitz: Gerry Bamman Senator Elwood: Dorin Seymour Hitman #1: Clem Caserta Hitman #2: Frank Pietrangolare Hitman #3: Dennis Paladino Hitman #4: Clem Caserta Jr. Cop on Boat: Marc Macaulay Clemma: Ana Susana Gerardino Waiter: Francis Dumaurier Lover: Pedro Barquin 7 Year Old Girl: Kendall Williamson Singing Indian Woman: Shobha Jain Singing Indian Girl: Aditi Jain Anchor Woman: Margo Peace Waitress: Kimmy Suzuki Doorman: John P. Casey Taxi Driver: Adusah Boakye Gallery Waitress: Dyan Kane Gallery Receptionist: Anne Ok Gallery Guest: Alva Chinn Gallery Guest: G.B. Thomas Gallery Guest: Albert Zihenni Gallery Guest: Fritz Michel Gallery Guest: Lisa Herth Gallery Guest: Nino Pepicelli Gallery Guest: Wills Robbins Gallery Guest: Jewel Turner Gallery Guest: Jim Taylor McNickle Gallery Guest: Martin Alvin Gallery Guest: William Rothlein Gallery Guest (uncredited): Maria Capp Gallery Guest (uncredited): Stephen Sherman Cop #2 (uncredited): Paul Neglio DJ (voice) (uncredited): Gary Newton Richard (uncredited): Dale Resteghini Film Crew: Director: Alfonso Cuarón Novel: Charles Dickens Original Music Composer: Patrick Doyle Screenplay: Mitch Glazer Editor: Steven Weisberg Director of Photography: Emmanuel Lubezki Production Design: Tony Burrough Art Direction: John Kasarda Set Decoration: Susan Bode Tyson Costume Design: Judianna Makovsky Sound Designer: Richard Beggs Executive Producer: Deborah Lee Producer: Art Linson Co-Producer: John Linson Casting: Jill Greenberg Sands Makeup Artist: Vivian Baker Key Makeup Artist: Angel De Angelis Makeup & Hair: Ilona Herman Makeup Artist: Manlio Rocchetti Hairstylist: Anthony Veader Key Makeup Artist: Cecilia Verardi Makeup Artist: Linda Kamp Makeup Artist: Sara Seidman Vance Movie Reviews:

[eug3ne1]

Dear Mr. President Joe Biden

We admire you, We love you & your family. Mr. President Joe Biden you are awesome and you have done more for our country Then any other president In history.

But if you allow trump to be sworn into office you & all of Congress have failed us & you have failed to keep your oath to the Constitution Of the United States . But I don't just blame on you. Blame also goes on all of Congress as well. Our Constitution Of The United States says no one is above the law, So why isn't Justice John Roberts, Clarence Thomas and Samuel Alito charged with accepting bribes & why aren't the millionaires that bribed them also charged with bribery?

And the opinion of the FBI, not to prosecute a sitting president because it interferes with his duties is Bogus. Is not a President breaking the law, already interfering with the their Duties as President? We should be able to prosecute a sitting president if he is breaking the law.

And does not Our United States Constitution Disqualifies Felons & Rapists from taking the Oath of Office the Presidency? It shouldn't matter if it's only Democrats or only you Uphold the constitution Because it is your Oath. We need you to do your job and stop trump from taking office And protect our United States Constitution. He is not qualified. What good is our United States Constitution? Is it just a joke? Please stick To the United States Constitution and do not allow Trump to be sworn in, our constitution says so! If you all do not stop the swearing in of Trump then that means our United States Constitution is worthless, Might as well just throw it in the Trash. Because you know Trump is gonna turn United States into Russia and anybody that would think otherwise is just gullible and ignorant Of the facts. And you all know more than we do. Again thank you for all you have done & I'm glad that you pardoned your son which was the best right thing to do. But it is all for not if you allow trump to take office when it's against our constitution. If you all allow trump to take office then that means you & all of Congress have broken Their oath to uphold the Constitution of the United States

Sincerely

Concerned American Citizen & Supporter

Douglas Chinn

[bowchickawowpodcast]

One of our all time favourites

[the-football-chick]

Panthers have assigned the jersey numbers to their new draft class.

IG:panthers

[hallmark-movie-fanatics]

Here's when all 40 new Hallmark Christmas movies will premiere (from ew.com) — Part 1(Hallmark Channel only)

Noel Next Door

Premieres: Oct. 21, 8 p.m. ET/PT, Hallmark Channel

Stars: Natalie Hall, Corey Sevier

Contains: Nasty neighbor, unlikely romance

Official description: "A hard-working single mom gets into a war of words with a neighbor who she feels is ruining Christmas, only to find that this misunderstood grouch just may steal her heart."

We Wish You a Married Christmas

Premieres: Oct. 22, 8 p.m. ET/PT, Hallmark Channel

Stars: Marisol Nichols, Kristoffer Polaha

Contains: Stranded couple, car trouble, Vermont, lots of alpacas

Official description: "Becca and Robby are a married couple having a hard time connecting with each other as the holidays approach. Just before Christmas, they head to a cozy Vermont inn at the advice of their marriage coach so they can recharge.  Their weekend away gets unexpectedly extended when a mishap puts their car out of commission and just may put them on the road to a very happily married Christmas."

A Kismet Christmas

Premieres: Oct. 23, 8 p.m. ET/PT, Hallmark Channel

Stars: Sarah Ramos, Carlo Marks, Marilu Henner

Contains: Holiday homecoming, reignition of old flames, supposedly magical cookies, children's books

Official description: "Sarah is a children's book author who returns to her hometown, where she reconnects with her family and Travis, her teenage crush. She soon discovers that a long-held family legend might actually be true." 

A Cozy Christmas Inn

Premieres: Oct. 28, 8 p.m. ET/PT, Hallmark Channel

Stars: Jodie Sweetin, David O'Donnell

Contains: Motivated real estate exec, B&B with an unfortunate owner, Alaska

Official description: "Real-estate exec Erika travels to Alaska during Christmastime to acquire a bed and breakfast, only to discover that it's owned by her ex. While there, she finds herself falling in love with the town and quite possibly him." 

Jolly Good Christmas

Premieres: Oct. 29, 8 p.m. ET/PT, Hallmark Channel

Stars: Reshma Shetty, Will Kemp

Contains: Gift hunting, professional shopper, American in London

Official description: "David is an American architect who recently moved to London for a prime opportunity in a prestigious firm. With just three days before Christmas, he crosses paths with Anji, a professional shopper, who raises an eyebrow over his choice of a gift card for his girlfriend. David ultimately decides to hire Anji and, thanks to a series of unexpected events, finds himself on a wild adventure across jolly old London as Anji helps him search for the perfect present." 

Ghosts of Christmas Always

Premieres: Oct. 30, 8 p.m. ET/PT, Hallmark Channel

Stars: Kim Matula, Ian Harding, Beth Leavel, Lori Tan Chinn, Reginald VelJohnson

Contains: Family business owner in need of Yuletide joy, the Ghost of Christmas Present

Official description: "Katherine is a Ghost of Christmas Present and she must help one soul, Peter, rediscover his Christmas spirit. But this year has something unusual in store."  

A Magical Christmas Village

Premieres: Nov. 4, 8 p.m. ET/PT, Hallmark Channel

Stars: Alison Sweeney, Luke Macfarlane, Marlo Thomas

Contains: Three generations of women under one roof, magical figurines

Official description: "When Summer's mother, Vivian, moves in with her and her young daughter, Chloe, her orderly existence is upended. Upon arrival, Vivian sets up an heirloom miniature Christmas village resembling their town and tells Chloe it grants Christmas wishes. As Chloe begins setting up the figurines, real-life events seem to mimic the scenes she creates. With a little help from the magic of the Christmas village, the family will be brought closer together and, just maybe, Summer will learn to open her heart to love again." 

Lights, Camera, Christmas!

Premieres: Nov. 5, 8 p.m. ET/PT, Hallmark Channel

Stars: Kimberley Sustad, John Brotherton

Contains: Christmas movie within a Christmas movie, above-the-line/below-the-line romance

Official description: "When a holiday rom-com movie shooting in her town needs a costume designer, Kerry, a local shop owner, steps into the role. While working on the movie, she rediscovers her passion for costume design and finds herself falling for Brad, the film's famous leading man." 

All Saints Christmas

Premieres: Nov. 6, 8 p.m. ET/PT, Hallmark Channel

Stars: Ledisi, Roger Cross

Contains: Holiday homecoming for music star, New Orleans, reignition of old flames, fake dating

Official description: "Lisette is a popular R&B singer who's getting ready to travel home to New Orleans for Christmas. When the media mistake a photo of her with her music producer ex as an engagement announcement, her family insists that he join her on the trip."

In Merry Measure

Premieres: Nov. 11, 8 p.m. ET/PT, Hallmark Channel

Stars: Patti Murin, Brendan Penny, Jennifer Robertson

Contains: Holiday homecoming for music star, choir rivals

Official description: "When pop star Darcy returns home to spend Christmas with her sister and niece, she unexpectedly finds herself coaching the high school choir with her onetime rival, Adam." 

The Royal Nanny

Premieres: Nov. 12, 8 p.m. ET/PT, Hallmark Channel

Stars: Rachel Skarsten, Dan Jeannotte, Greta Scacchi

Contains: Undercover spy, royal romance

Official description: "Claire is an MI5 agent who goes undercover as the royal nanny. She must overcome the challenges of her assignment, like resisting the charms of Prince Colin, while keeping the family safe at Christmas." 

Christmas at the Golden Dragon

Premieres: Nov. 13, 8 p.m. ET/PT, Hallmark Channel

Stars: Kara Wang, Osric Chau, Sara Canning, Antonio Cupo, Barbara Niven

Contains: Family restaurant in jeopardy, another Arrowverse star

Official description: When Romy and Rick's parents surprise them with the news that they will be closing the Chinese restaurant they have owned and operated for decades, the siblings each find themselves re-evaluating their futures. Also impacted by the news are the landmark restaurant's loyal patrons and staff, who have all come to depend on the restaurant over the holidays." 

Inventing the Christmas Prince

Premieres: Nov. 18, 8 p.m. ET/PT, Hallmark Channel

Stars: Tamera Mowry-Housley, Ronnie Rowe Jr.

Contains: Rocket science, child's imagination

Official description: "Shelby is about to quit her job as a rocket engineer when her daughter becomes convinced that her Scrooge-like boss, Evan, is the Christmas Prince from a story Shelby invented years ago." 

Three Wise Men and a Baby

Premieres: Nov. 19, 8 p.m. ET/PT, Hallmark Channel

Stars: Paul Campbell, Tyler Hynes, Andrew Walker, Margaret Colin

Contains: Trio of overwhelmed brothers, no sign of Steve Guttenberg

Official description: "Three brothers get the surprise of their lives when they are forced to work together to care for a baby over the holidays. As they slowly get the hang of things, they find themselves on unexpected journeys of self-discovery and begin to rebuild their relationships as brothers, as well as the damaged romantic and professional relationships in their respective lives… all while rediscovering their love of Christmas." 

When I Think of Christmas

Premieres: Nov. 20, 8 p.m. ET/PT, Hallmark Channel

Stars: Shenae Grimes-Beech, Niall Matter, Beth Broderick

Contains: Holiday homecoming, reignition of old flames, Christmas concert

Official description: "Sara Thompson returns to her hometown to help her mother move and is surprised to find her ex-boyfriend Josh Hartman is back home. The two had once planned a life in music together, but Sara left to study law. The former flames slowly reconnect and try to heal wounds, both old and new. When Sara makes a surprising discovery, she and Josh forge a bold plan for the upcoming Christmas concert that will lead them all back to their musical roots and make this a holiday to remember." 

My Southern Family Christmas

Premieres: Nov. 24, 8 p.m. ET/PT, Hallmark Channel

Stars: Jaicy Elliot, Bruce Campbell, Ryan Rottman, Moira Kelly, Brian McNamara

Contains: Bruce Campbell, a character named Campbell not played by Bruce Campbell, journalist learning about her roots

Official description: "Under the guise of a journalist, Campbell has a chance to get to know her biological father for the first time — without him ever knowing who she really is. As she spends time with him and his family, as well as with the town's record keeper, she realizes that families are messy, wonderful things. In the end, Campbell must decide if she's going to keep her identity a secret or reveal the truth to her father — a decision that will change their family Christmas forever." 

#Xmas

Premieres: Nov. 25, 6 p.m. ET/PT, Hallmark Channel

Stars: Clare Bowen, Brant Daugherty

Contains: Design contest, fake family

Official description: "When Jen gets the chance to enter a brand's design contest, she poses as a family influencer, enlisting the help of her best friend, Max, and her baby nephew. When her video is selected as a finalist, Jen is torn on whether to go on with her perfect 'family' or reveal the truth." 

A Royal Corgi Christmas

Premieres: Nov. 25, 8 p.m. ET/PT, Hallmark Channel

Stars: Hunter King, Jordan Renzo

Contains: A corgi named Mistletoe, royal romance with commoner (dog trainer), Christmas Ball

Official description: "Reluctant Crown Prince Edmond returns home just before Christmas in anticipation of being named successor to the throne. To ingratiate himself to his mother the Queen, he gifts her with 'Mistletoe,' a rambunctious Corgi in need of some serious training. After several doggy disasters, Edmond turns to Cecily, a canine behavior expert from America for help — but to his great surprise, Cecily demands that he take an active part in the daily dog training sessions. Sparks fly between them as the pair work together to get Mistletoe ready to present at the annual Christmas Ball. Just as the precious pup captures their hearts, they discover that love can grow in the most unexpected places, leading them to question what they really want." 

A Tale of Two Christmases

Premieres: Nov. 26, 6 p.m. ET/PT, Hallmark Channel

Stars: Kat Barrell, Chandler Massey, Evan Roderick

Contains: Another Arrowverse star, Sliding Doors-style Christmas

Official description: "Thanks to some Christmas magic, Emma gets to experience two different Christmases — one where she stays in the city and celebrates with a new crush and his friends, and one where she returns home for all the traditions with her family... and Drew, a longtime friend who may have feelings for her. Emma's double holiday ultimately helps her discover what will truly make her happy in life as well as in love." 

Haul Out the Holly

Premieres: Nov. 26, 8 p.m. ET/PT, Hallmark Channel

Stars: Lacey Chabert, Wes Brown, Ellen Travolta, Peter Jacobson, Melissa Peterman, Stephen Tobolowsky

Contains: Lacey Chabert, holiday homecoming with a twist, HOA intervention

Official description: "Emily arrives home, hoping to visit her parents, only to discover that they are leaving on a trip of their own. As she stays at their house for the holidays, their HOA is determined to get Emily to participate in the neighborhood's many Christmas festivities. 

A Christmas Cookie Catastrophe

Premieres: Nov. 27, 6 p.m. ET/PT, Hallmark Channel

Stars: Rachel Boston, Victor Webster

Contains: Cookie company in jeopardy, stolen secret recipe, handsome local baker

Official description: "Annie Cooper has big shoes to fill when she takes over as CEO of her late grandmother's small-town cookie company and is doing her best to help their struggling business get back on track. That task gets more daunting when her grandmother's secret recipe is stolen during the Christmas party. As Annie tries to crack the case and uncover the culprit she works with Sam, the owner of a local bakery, to recreate the recipe in the hope of saving the company and her job. As Annie and Sam bake batch after batch in pursuit of the perfect one, they begin to learn that their lives go together like milk and cookies." 

A Holiday Spectacular 

Premieres: Nov. 27, 8 p.m. ET/PT, Hallmark Channel

Stars: Ginna Claire Mason, Derek Klena, Eve Plumb, Ann-Margret

Contains: Ann-Margret, the 1950s, the Radio City Rockettes

Official description: "In 1958, Maggie is an heiress from Philadelphia who puts her high-society wedding plans on hold in order to sneak up to New York City and make her secret dream come true: dancing live on stage in the Christmas Spectacular at Radio City Music Hall." 

A Big Fat Family Christmas

Premieres: Dec. 2, 8 p.m. ET/PT, Hallmark Channel

Stars: Shannon Chan-Kent, Shannon Kook, Tia Carrere, Jack Wagner

Contains: Photojournalist with a secret, social media followers, massive family holiday party

Official description: "Liv is a photojournalist eager to make it on her own. To get a dream assignment — shooting the Chang family's annual holiday party for a cover story — she doesn't reveal that they are, in fact, her family. When she finds herself growing close to Henry, the co-worker covering the story with her, she wants to confide in him but doesn't want to jeopardize her big break." 

A Fabled Holiday

Premieres: Dec. 3, 8 p.m. ET/PT, Hallmark Channel

Stars: Brooke D'Orsay, Ryan Paevey

Contains: Reunion of childhood BFFs, magical town

Official description: "Talia and her childhood best friend, Anderson, unexpectedly reunite in a curiously familiar-looking town full of Christmas spirit that restores its visitors when they need it most." 

Undercover Holiday

Premieres: Dec. 4, 8 p.m. ET/PT, Hallmark Channel

Stars: Noemi Gonzalez, Stephen Huszar

Contains: Pop star holiday homecoming, fake dating

Official description: "When returning home for the holidays, newly minted pop star Jaylen tells her protective family that Matt is her new beau, when in reality, he's her overzealous security guard." 

The Most Colorful Time of the Year

Premieres: Dec. 9, 8 p.m. ET/PT, Hallmark Channel

Stars: Katrina Bowden, Christopher Russell

Contains: Color blindness, school teacher-optometrist romance

Official description: "Ryan is an elementary school teacher who learns that he is colorblind. Michelle, an optometrist and mother of one of his students, helps bring color into his life in time for the holidays." 

Christmas Class Reunion

Premieres: Dec. 10, 8 p.m. ET/PT, Hallmark Channel

Stars: Aimee Teegarden, Tanner Novlan

Contains: Holiday homecoming, high school reunion

Official description: "High school classmates, who once dubbed themselves the 'cursed class,' reconnect at Christmas for their 15-year reunion. Over the course of their time reconnecting, the classmates challenge each other to remember who they were, who they are, and who they want to be." 

The Holiday Sitter

Premieres: Dec. 11, 8 p.m. ET/PT, Hallmark Channel

Stars: Jonathan Bennett, George Krissa, Chelsea Hobbs

Contains: Overwhelmed uncle turned babysitter, hot neighbor turned love interest

Official description: "Sam is a workaholic bachelor who babysits his niece and nephew before the holidays when his sister and her husband have to go out of town. Completely out of his element, he recruits help from their handsome neighbor Jason and finds himself in an unexpected romance." 

Holiday Heritage 

Premieres: Dec. 16, 8 p.m. ET/PT, Hallmark Channel

Stars: Lyndie Greenwood, Brooks Darnell, Holly Robinson Peete

Contains: Family in need of repair, helpful ex, Hallmark's first celebration of Kwanzaa

Official description: "Ella returns to her hometown to mend fences with her fractured family. With the help of Griffin, her ex-boyfriend, she encourages her family to celebrate Christmas and Kwanzaa and to heal their past wounds before it's too late." 

Twas the Night Before Christmas

Premieres: Dec. 17, 8 p.m. ET/PT, Hallmark Channel

Stars: Torrey DeVitto, Zane Holtz

Contains: Actress turned director, analysis of the poem "A Visit from St. Nick," possible ghosts

Official description: "A former actress trying to break into directing tests her skills with a town's annual Christmas Eve courtroom production in which the true authorship of the famous poem 'A Visit from St. Nick' is debated." 

Hanukkah on Rye

Premieres: Dec. 18, 8 p.m. ET/PT, Hallmark Channel

Stars: Jeremy Jordan, Yael Grobglas, Lisa Loeb

Contains: Another Arrowverse star, Lisa Loeb, matchmaker, rival deli owners

Official description: "A matchmaker connects Molly and Jacob, but their new romance is put to the test when they realize that they are competing deli owners. Will a Hanukkah miracle keep them together?" 

Check out the full article HERE at ew.com 

[watching-pictures-move]

Put On Your Raincoats #50 | The Jade Pussycat & The China Cat (Chinn, 1977)

From my understanding, Paul Thomas Anderson is a big fan of The Jade Pussycat, having encouraged his cast to watch it when he made Boogie Nights and compared Bob Chinn's direction to that of Alfred Hitchcock. Now, Anderson is considered to be one of the greatest directors currently working and I've directed jack shit, so perhaps I am missing something, but having seen the film, I find Anderson's claim to be a tad generous. This is seventh entry in the Chinn-helmed John-Holmes-starring Johnny Wadd series, the inspiration for the Brock Landers movies in Boogie Nights, but the first one I've seen, although I suspect one doesn't need to see the prior entries to follow along. This is a porno-noir, with the Macguffin being a priceless artifact called the Jade Pussycat, which fell into Japanese hands during World War II and is now being smuggled into the US by Jon Martin.

Martin gets doublecrossed and kidnapped by Linda Wong and her gang (which includes Chinn himself), so his sister hires private detective Johnny Wadd, played by Holmes, who we meet while his secretary is sucking his dick. Complicating things are the involvement of a pair of Germans, one of whom is a Sidney Greenstreet stand-in played by Steve Balint (whose only IMDb credits are on this movie; he also acted as "production bartender"), and the other is Georgina Spelvin doing a teeeeerrible Teutonic accent (which evaporates during her sex scenes). There are plot twists, a scene of characters pulling guns on each other in succession that reminded me of the climax of the Bollywood comedy Andaz Apna Apna, some location footage from San Francisco's Chinatown, the usual pornofunk scoring (which goes really heavy during a rape scene) and an undercranked silent comedy style sequence leading up to the Holmes-Spelvin sex scene (which the poster touts as the selling point). And some good dialogue too, like Martin's retort about the beauty of the artifact ("Baby, anything worth half a million bucks is beautiful") and Holmes' exasperated quip after bribing a hotel clerk for information ("One more thing: don't forget to claim all that money on your income tax, you asshole").

This is diverting enough, as porn and noir are natural bedfellows thanks to their innate seediness, but a lot less lively than previous efforts I've seen from Chinn. While some of the visual style was lost on me thanks to watching this on a less than ideal transfer, I'm not sure Chinn ever really nails the noirish tone this material calls for. Bizarrely, all the actors seem to be aiming for understatement, which might be an attempt to commit to the material but just makes things less fun all around. Balint and Spelvin come across the best, as they're tasked with hammier characters, and there are scenes where Wong seems like she's trying to keep a straight face after hearing a great joke the audience isn't privy to, but the latter two aren't nearly as magnetic as I've seen them elsewhere. As for Holmes, I thought back to Wade Nichols in Punk Rock, who sank his teeth into his hardboiled dialogue in a way Holmes never tries to. I've found Holmes enjoyable in a comic ensemble (Chinn makes good use of him in Hard Soap, Hard Soap and Disco Lady), but his work here is too deadpan (one could sarcastically call it Bressonian) to provide a decent centre for the movie's.

More enjoyable than The Jade Pussycat is its follow-up, The China Cat. In case you're wondering, it refers to the same artifact, which Holmes refers to by the new title only in the opening and closing narration. This picks up where the previous movie left off, with Holmes in possession of the artifact, and a group inspired by Charlie's Angels (called the Devils) trying to get their hands on it. Chinn and Holmes seem to be having more fun this time around, Chinn finding ways to pornify genre elements (like when a character puts chloroform on her privates) and tip his hat to the masters ("Send it to Bogie!") and Holmes leaning more into the comedy. There's a scene were he pours drinks in the nude, another where he shows off his Chinese snuff bottle collection (which is only three bottles, making "collection" a bit of a stretch), a restaurant scene that was lovingly recreated in Boogie Nights, a nicely varied soundtrack (one of the sex scenes is scored by some ambient synth that reminded me a bit of Air's Moon Safari), a "miniature hitlady", and some heroic acting by one of the ladies who tells Holmes "You're a very attractive man, Johnny". If the movie does suffer, it's because it's far too episodic for a private detective yarn and lacks much narrative momentum, and that Holmes' character is neither a very good detective nor terribly sympathetic. I will concede that some of my enjoyment of classic porn actors stems from my familiarity with them and I have less history with Holmes than some of the era's other stars, but I never found myself warming up to him or the Johnny Wadd character.

[daineraekhanem-browen]

Work Cited

Adams, C., & Thomas, S. P. (2017). Alternative prenatal care interventions to alleviate Black-White maternal/infant health disparities. Sociology Compass, 12(1), e12549.

Chinn, J. J., Eisenberg, E., Artis Dickerson, S., King, R. B., Chakhtoura, N., Lim, I. A. L., Grantz, K. L., Lamar, C., & Bianchi, D. W. (2020). Maternal mortality in the United States: research gaps, opportunities, and priorities. American Journal of Obstetrics and Gynecology, 223(4), 486-492.e6.

Hardeman, R. R., Karbeah, J., Almanza, J., & Kozhimannil, K. B. (2020). Roots Community Birth Center: A culturally-centered care model for improving value and equity in childbirth. Healthcare, 8(1), 100367.

How Implicit Bias Contributes to Racial Disparities in Maternal Morbidity and Mortality in the United States. (2021). Journal of Women’s Health, 30(2), 270–273.

Leimert, K. B., & Olson, D. M. (2020). Racial disparities in pregnancy outcomes: genetics, epigenetics, and allostatic load. Current Opinion in Physiology, 13, 155–165.

Patterson, E. J., Becker, A., & Baluran, D. A. (2022). Gendered Racism on the Body: An Intersectional Approach to Maternal Mortality in the United States. Population Research and Policy Review, 41(3), 1261–1294.

Vilda, D., Wallace, M., Dyer, L., Harville, E., & Theall, K. (2019). Income inequality and racial disparities in pregnancy-related mortality in the US. SSM - Population Health, 9, 1–7.

[demospectator]

“San Francisco – P.M.S.S. Co.’s Wharf- Off for China and Japan” c. 1874. Illustrator unknown (from the collection of the National Parks Gallery).

Ships, Sheds and Wharves: Chinese and the Pacific Mail Steamship Co.

The earliest history of the Chinese in America remains intertwined with the Pacific Mail Steamship Company’s sheds on San Francisco’s wharf and the broader narrative of maritime transportation, immigration, and economic development during the 19th century in California. Founded in 1848 as a response to the California Gold Rush, the Pacific Mail Steamship Company (“PMSSC”) aimed to carry US mail on the Pacific leg of a transcontinental route from the east coast of the US to San Francisco on the west coast via Panama.

Illustration of the steamship SS California, the first ship of the Pacific Mail Steamship Company. Only a few passengers were on board when the ship left New York on October 6, 1848. By the time the ship reached its stop on the Panama’s Pacific coast, word had spread of the great new find of gold in California. Over 700 people tried to get passage on the ship in that harbor. The Pacific Mail agent managed to cram 365 people aboard the ship before it set sail for California. The ship and passengers reached San Francisco on February 28, 1849, where all but one member of the crew deserted the ship for the goldfields. The ship was lost in a wreck off the Peruvian coast in 1894. (Illustrator unknown, from the collection of the US National Postal Museum)

The discovery of gold in the Sierra Nevada in 1849 produced a massive influx of people to California

from all over the world, including China. According to historian Thomas W. Chinn, “Hong Kong was the general rendezvous for departure to California. The emigrants usually stayed at dormitories provided by the passage brokers or at friends' and relatives' homes until the day of embarkation. The earliest ships between China and California were sailing vessels, some of which were owned by Chinese. . . . However, most of the ships in the early days bringing Chinese immigrants were American or British owned. At the time the shipping of Chinese to California was a very profitable business.”

The voyage in sailing vessels across the Pacific varied from 45 days to more than three months. Chinese passengers typically spent most of the voyage below decks in the overcrowded steerage. Conditions aboard the ships varied with the ship and shipmaster. In March 1852, 450 Chinese arrived in the American ship Robert Browne bound for San Francisco objected to the captain's order to cut off their queues as a hygienic measure. They rebelled, killed the captain and captured the ship. According to Chinn, “health conditions on the bark Libertad were so bad that when she sailed into San Francisco harbor in 1854, one hundred out of her five hundred Chinese passengers and the captain had died during the voyage from Hong Kong.”

In 1866, the Pacific Mail Steamship Company (“PMSSC”) entered the cargo and passenger trade to and from the Orient. As the sole federal contract-carrier for US mail, the PMSSC became a key mover of goods and people and a key player in the growth of San Francisco, California.

“257. Pacific Mail Steamship Company’s Wharf” c. 1869 -1871. Photo and stereoview by Eadweard J. Muybridge (from a private collection). The Pacific Mail’s wharf at the foot of Brannan Street in San Francisco at the approximate location of its old Pier 36. This was the first waterside view of the city for virtually every Chinese immigrant making landfall in San Francisco.

For the first six decades of the Chinese diaspora to the US, the sheds provided the first experience for every Chinese immigrant on California soil.

“Chinese Emigration to America,” no date. Illustrator unknown (from the collection of the Bancroft Library). This illustration shows life aboard a Pacific Mail Steamship Co. ship making the passage from China to San Francisco.

Amidst the Gold Rush and burgeoning industries like mining, agriculture, and construction, Chinese immigrants from southern China flocked to California. The PMSSC’s sheds, located along San Francisco’s waterfront, played a crucial role in handling cargo, passengers, and immigrants who arrived via steamships. Serving as pivotal infrastructure, they provided storage space for goods, customs processing areas, and waiting areas for passengers.

Pacific Mail Steamship Co. dock, c. 1864- 1872. Photograph by Carlton Watkins, probably derived from Watkins Mammoth Plate CEW 611. (from a private collection, the Roy D. Graves Pictorial Collection, Bancroft Library; and the San Francisco National Maritime Museum). In this elevated view east from Rincon Hill to the Pacific Mail dock, sidewheel steamer vessels identified by the SF National Maritime Museum as the SS Colorado (built in 1865 and scrapped in 1879), the steamer SS Senator at right (1865-1882), and various sailing ships are seen with Yerba Buena Island in the background. The Oriental Warehouse (built 1867 and still standing at 650 Delancey Street) is at left. The opensfhistory.org site identifies the three-part wooden structure at center as the Occidental Warehouse, used for grain storage, with blacksmith and boiler shops to the left. Ads for C.C. Hastings & Co. Clothing at Lick House can be seen on the fence.

Even as the Gold Rush waned, the PMSSC initiated in 1867 the first regularly scheduled trans-Pacific steamship service, connecting San Francisco with Hong Kong, Yokohama, and later, Shanghai. This route facilitated an influx of Japanese and Chinese immigrants, enriching California’s cultural diversity.

Pacific Mail Steamship Co. docks, c. 1871. Photograph by Carleton Watkins (from a private collection).

“Disembarking.” Painting by Jake Lee (from the collection of the Chinese Historical Society of America). In this watercolor, one among a suite of paintings commissioned by Johnny Kan for his then-new Kan’s Restaurant on San Francisco’s Grant Avenue in Chinatown, artist Jake Lee depicted a stylized unloading of mostly male passengers at the Pacific Mail Steamship Co. wharf in San Francisco.

When a ship dropped anchor at the dock in San Francisco, the emigrants finally set foot on American soil. A journalist for the Atlantic Monthly in 1869 described the debarkation of 1,272 Chinese as follows:

"… a living stream of the blue coated men of Asia, bearing long bamboo poles across their shoulders, from which depend packages of bedding, marring, clothing, and things of which we know neither the names nor the uses, pours down the plank…. They appear to be of an average age of twenty-five years… and though somewhat less in stature than Caucasians, healthy, active and able bodied to a man. As they come down upon the wharf, they separate into messes or gangs of ten, twenty, or thirty each, being recognized through some to us incomprehensible free-masonry system of signs by the agents of the Six Companies as they come, are assigned places on the long broad shedded wharf [to await inspection by the customs officers]."

A detail from the "Bancroft's Official Guide Map of San Francisco" of 1873. The lower right corner of the image locates the Pacific Mail Steamship Co. pier at the foot of First Street (at Townsend) running in a southeasterly direction. According to local historian Garold Haynes, "that was before the seawall realignment of the waterfront in the late 1870s."

“Chinese Immigrants by The San Francisco Custom House” Harper’s Weekly, February 1877. Illustration by artist Paul Frenzeny (from the collection of the Library of Congress). Chinese immigrants wait for processing in the Pacific Mail Steamship Co.’s sheds while more arrivals from China disembark from the gangway seen in the background.

For many of the immigrants arriving on Pacific Mail steamships, the sheds served as the initial point of contact with the United States. Additionally, the sheds served as immigration processing areas, where Chinese immigrants underwent inspections and screenings. The sheds were a crowded and unsanitary place. Immigrants were often forced to wait for days in the sheds before they could be processed. They were also subjected to medical examinations and interrogations by immigration officials.

As the Atlantic Monthly writer described in 1869 described after each group passed through customs, “. . .They are turned out of the gates and hurried away toward the Chinese quarters of the city hv the agents of the Six Companies. Some go in wagons, more on foot, and the streets leading up that way arc lined with them, running in 'Indian file' and carrying their luggage suspended from the ends of the bamboo poles slung across their shoulders . . .”

In a political cartoon (c. 1888, based on the reference to the Republican Party presidential ticket of 1888 in the upper left corner of the image), Chinese immigrants stream off ships onto the wharves of the Pacific Mail Steamship Co. and the Canadian Pacific Steamship Co. and directly into the factories of San Francisco Chinatown and beyond. Illustrator unknown (from the collection of the Bancroft Library).

"New Arrivals." Date, location, and photographer unknown. The wagon on which the Chinese are riding, presumably having come directly from the Pacific Mail Steamship Co. wharf to San Francisco Chinatown, appears very similar to the 1877 configuration seen in the upper right corner of the preceding Harper's Weekly illustration.

The surge in Chinese immigration led to anti-Chinese sentiments, as reported in the illustrated magazines of the era. The arrival was often violent, as hoodlum elements would sometimes throw stones, potatoes and mud at the new immigrants. After the arrival in Chinatown, the newcomers were temporarily billeted in the dormitories of the Chinese district associations (citing Rev. Augustus W. Loomis, “The Chinese Six Companies,” Overland Monthly, os. v. 1 (1868), pp. 111-117).

“Hoodlums” Pelting Chinese Emigrants On Their Arrival At San Francisco” c. 1870s. Illustrator unknown (from a private collection). A rough sketch of the Pacific Mail Steamship Co. sheds appears in the background.

In San Francisco, local efforts to stop Chinese immigrants moved beyond the sheds and onto the arriving ships, which often became the focal points for Chinese litigants in the local and federal courts.

For example, in August of 1874, the Pacific Mail Steamship Company’s vessel Japan arrived in San Francisco carrying around 90 Chinese women. The Commissioner of Immigration boarded the ship and conducted interviews with about 50 to 60 of these women. From his inquiries, he concluded that 22 of them had been brought to San Francisco for “immoral purposes,” as reported by the Daily Alta California on August 6, 1874. When the Pacific Mail Steamship Company refused to provide the necessary bonds, the Commissioner instructed the ship’s master to keep the 22 women on board.

Pacific Mail Steam Ship Company’s Steamer, Japan, c. 1868. Print created by Endicott & Co. (New York, N.Y.), Menger, L. R., publisher (from the collection of The Huntington Library). Junks in the foreground, and, to the left in the background, Hong Kong’s Victoria Peak with semaphore at top appears in the background, center right. The SS Japan is flying the American flag from its stern, a Pacific Mail house-flag from the middle mast, and a pennant with the vessel’s name from the aft mast. A flag flying from the first mast appears to be a red dragon on a yellow field. Print includes vessel statistics and the name of the builder, Henry Steers.

Promptly, attorneys representing the detained women sought legal recourse by requesting a writ of habeas corpus from the state District Court in San Francisco. For two days, legal representatives from various parties engaged in debates over whether the Commissioner’s authority under the law was valid and whether the so-called “Chinese maidens” were indeed involved in prostitution. Reverend Mr. Gibson, who claimed expertise in this area, confidently asserted that Chinese prostitutes could be easily identified by their attire and behavior, likening the distinction to that between courtesans and respectable women in the city. He concluded that only half of the women were destined for prostitution. Ultimately, the District Court ruled that all the women should remain detained and ordered them to stay on the ship.

Shortly before the ship Japan was set to depart, the County Sheriff boarded and brought the 22 women ashore based on a writ of habeas corpus issued by the California Supreme Court. Two weeks later, Justice McKinstry, in a brief opinion on behalf of the court in Ex Parte Ah Fook, 49 Cal 402 (1874), affirmed the lower court’s decision, validating the Commissioner’s authority as a legitimate exercise of the state’s police power.

“258. Steamship Japan in California Dry Dock, Hunter’s Point, San Francisco”c. 1869. A side view of the steamship Japan of the Pacific Mail Steamship Company at the dry dock at Hunters Point. Photograph by Thomas Houseworth (from the Marilyn Blaisdell Collection). The ship would become the setting for a controversial habeas corpus case involving the entry of 22 Chinese women over the objections of state authorities in the case of Ex Parte Ah Fook, 49 Cal 402 (1874).

A third writ of habeas corpus presented the matter to the United States Circuit Court, presided over by Justice Stephen J. Field and Judge Ogden Hoffman. During the oral arguments, Justice Field made it clear that he wouldn’t dismiss constitutional arguments as easily as the state Supreme Court had, emphasizing the principle of equal treatment for citizens and non-citizens.

The Pacific Mail Steamship Co. derrick and coal yard in San Francisco, c. 1871. Photograph by Carleton Watkins (from the collection of the California Historical Society).

In the ruling, Justice Field discharged the petitioners, stating that California’s statute surpasses a state’s legitimate police power and violates the principle of “the right of self-defense.” He noted that the statute could exclude individuals who posed no immediate threat to the state. Judge Hoffman, in a concurring opinion, went further, suggesting that the states should have no control over immigration due to the exclusive nature of the commerce clause.

Although the Circuit Court decision released the Chinese women, while limiting the state’s power over Chinese entry, the Japan case reinvigorated California’s efforts to deter Chinese immigration. The influx of Chinese immigrants coupled with high unemployment in the late 1870s allowed Dennis Kearney of the Workingmen’s Party to target the Chinese as scapegoats. The “Chinese must go” movement gained traction, with both the Republican and Democratic parties adopting anti-Chinese stances.

The Pacific Mail Steamship Co.’s wharf in San Francisco. Photograph by Carleton Watkins (from the collection of the Fine Arts Museums of San Francisco).

During the San Francisco Riot of 1877, the sandlot mob attacked the wharves of the Pacific Mail Steamship Company, because this shipping line represented the primary mode of transportation for America-bound Chinese immigrants headed to California. Although the steamships were not burned, the wharves were partially wrecked. Rioters also burned the lumber and hay yards adjacent to the Pacific Mail wharves.

“The Anti-Chinese Wall – The American Wall Goes Up as the Chinese Original Goes Down.” Illustration by Friedrich Graetz in Puck of March 29, 1883 (v. 11, no. 264). The cartoon portrays a multi-ethnic coalition gathered on the wharf to halt Chinese immigration in the aftermath of the passage of the Chinese Exclusion Act in May 1882.

California was able to transfer its racial grievances and resentments to the national stage, culminating in the passage of the Chinese Exclusion Act in 1882. This marked a turning point in the history of Chinese immigration and had profound effects on the Chinese-American community. The Act severely restricted Chinese immigration to the United States.

The use the PMSSC’s sheds posed significant challenges to federal and state attempts to enforce the Exclusion Act (and its punitive extension in the Geary Act of 1892), against all Chinese, regardless of birth or immigration status.

As an article in the San Francisco Call of May 12, 1900, details, the chaotic scene at the Pacific Mall dock where Chinese immigrants disembarked from the ship Coptic was typical for that era. In the Coptic case, federal officials were observed allowing the landing of alleged "coolies" despite the spirit of the exclusion act, causing outrage. The detention shed, initially meant for temporary housing, had become a long-term residence for over 370 Chinese immigrants, generating substantial profit for the PMSSC. The maintenance of this facility posed several concerns, including violations of health regulations and potential disease outbreaks. The Call decried the authorities' negligence in enforcing the law and highlighted the role of a Chinese "ring" in facilitating fraudulent practices and illegal immigration. With multiple ships arriving with more immigrants, the newspaper called for investigation and reform.

Headlines from the The Call of May 12, 1900, regarding the crowd of detained Chinese immigrants disembarked from the Pacific Mail ships Coptic and America Maru, the lack of security in the Pacific Mail sheds, and alleged immigration fraud.

Illustrations and photographs from the San Francisco Call of May 12, 1900, for its report about the crowd of detained Chinese immigrants disembarked from the Pacific Mail ships Coptic and America Maru, the lack of security in the Pacific Mail sheds, and alleged immigration fraud.

For Chinese and other immigrants and travelers from Asia, the transpacific journey, and even entering San Francisco Bay itself, posed hazards. The dangers were never more evident than in the case of the SS City of Rio de Janeiro. Launched in 1878, this steamship had been an essential component of the Pacific Mail Steamship Company's fleet. Its routes connected pivotal locations such as San Francisco, Honolulu, Yokohama, Japan, and Hong Kong, and the ship had played a role in America's expansion into the Far East and the Pacific in the aftermath of the Civil War and during the Spanish American War.

“A Thousand Boys in Blue S.S. Rio de Janeiro bound for Manila” copyright 1898. Published by M.H. Zahner (from the collection of the Robert Schwemmer Maritime Library). Built by John Roach & Son in 1878 at Chester, Pennsylvania, this vessel had served as a vital link between Asia and San Francisco, regularly transporting passengers and cargo. This stereograph shows its charter by the federal government for use as a military troop transport during the Spanish American War.

On the morning of February 22, 1901, the SS City of Rio de Janeiro commenced its approach to the Golden Gate and the entrance to San Francisco Bay. They had sailed with a crew that was mostly Chinese. History indicates that approximately 201 people were aboard the Rio de Janeiro, as follows: Cabin passengers 29; second cabin, 7; steerage (Chinese and Japanese), 68; white officers, 30; Chinese crewmen, 77. Of the Chinese crewmen, only two spoke English and Chinese. During the long voyage, the ship’s officer gave orders by using signs and signals. The ship’s equipment and lifeboat launching apparatus appeared to be in good working order and were capable of being lowered in less than five minutes.

Near the location of the future location of the Golden Gate Bridge, tragedy struck as the SS City of Rio de Janeiro. In the dense morning fog that obscured the surroundings, the ship collided with jagged rocks on the southern side of the strait, near Fort Point. The vessel’s non-watertight bulkheads led to rapid and unstoppable flooding. In a mere ten minutes, the SS City of Rio de Janeiro succumbed to the relentless forces of the sea.

The majority of the passengers, many of whom were Chinese and Japanese emigrants in steerage, were caught unaware in their cabins as the ship sank. The toll was staggering, with 128 lives lost out of the 210 souls on board. Of the 98 Asians reportedly on board the ill-fated ship, only 15 passengers were rescued, and 41 Chinese crewmen survived.

The SS City of Rio de Janeiro in Nagasaki, Japan, c. 1894. Photographer unknown (from the collection of the San Francisco Maritime National Historical Park). The ill-fated ship, which transported passengers and cargo between Asia and San Francisco, sank seven years later after running into rocks near the present site of the Golden Gate Bridge. The never-salvaged shipwreck rests 287 feet underwater.

The sinking of the SS City of Rio de Janeiro represented the deadliest maritime disaster at the San Francisco Bay's entrance, forever etching its name in the annals of maritime history as the “Titanic of the Golden Gate,” drawing a sad parallel to another infamous shipwreck. Today, the case serves as a reminder of the unpredictable forces of nature and the inherent dangers of maritime travel to which thousands of Chinese immigrants and other Asian travelers subjected themselves to gain a better life in America.

"Chinese Passengers on Deck, 1900–15," enroute to Hawaii. Photographer unknown (from the collection of the Hawaii State Archives). Chinese passengers, some eating from rice bowls, crowd the deck of a steamship. After the Exclusion Acts, the numbers of Chinese voyaging to the US had decreased sharply.

Despite reduced immigration due to the passage of successive exclusion acts in 1882 and 1892, the PMSSC's sheds remained operational, their purpose shifting from off-loading immigrants to facilitating trade and commerce between the east and west coasts of the US.

The Pacific Mail Steamship shed on the San Francisco waterfront at the turn of the century. Photograph attributed to Arnold Genthe. Located at the former pier 36, where Brannan Street runs into the Embarcadero, the immigration station was moved to Angel Island in 1910. Pier 36, the last of the docks at Brannan was torn down in 2012. In just one year, 1852, 25,000 Chinese entered California for the Gold Rush and other opportunities. Chinese America began here.

The convergence of the Central Pacific and Union Pacific railroads in Utah in 1869, had started the process of eroding the Pacific Mail's profitability on the Panama-to-San Francisco route over the ensuing decades, eventually leading to the sale or redirection of many of its ships to other routes.

The Pacific Mail Steamship Co. offices on the southeast corner of Market and First streets in downtown San Francisco, c. 1896. Photographer unknown (from a private collection).

The landscape changed drastically in 1906, when a devastating earthquake and subsequent fire struck San Francisco, including the PMSSC’s wharf facilities. Although destroyed during 1906 disaster, the PMSSC’s sheds were rebuilt shortly thereafter. The sheds continued to be used for detaining and interrogating Chinese immigrants until the opening of immigration station facilities on Angel Island in 1910 for the processing Chinese and other immigrants.

A detail from the August Chevalier Map of 1915. The PMSSC sheds were located on Pier 36 at the intersection of Brannan and First Street.

The legacy of the PMSSC’s sheds, intertwined with their role at the inception of Chinese immigration to California and the US, is deeply rooted in San Francisco's maritime and Chinese American history. Both the company's operations and the experiences of the first wave of the Chinese diaspora arriving on American shores by steamships will remain forever part of the socio-economic dynamics of 19th-century San Francisco and the American West.

“Chinese Immigrants by the San Francisco Custom House” c. 1877. Detail of the magazine cover illustration by artist Paul Frenzeny for the Harper’s Weekly (from the collection of the New York Public Library.

[updated 2023-10-17]

[bthenoise]

Congrats To The Grammys For Finally Getting Their Rock & Metal Category Figured Out

Following a pretty up-and-down rollercoaster ride the past few years, the Recording Academy has seemingly gotten their stuff together when it comes to their rock and metal categories.

After dealing with an embarrassing year last year where Avenged Sevenfold publically called out the prestigious institution for their lack of support to the metal community, apparently, someone at the Academy was paying attention as this year’s nominees might be one of their best in quite some time. 

For Best Metal Performance, the Grammys see a lot of new faces including Between The Buried And Me, Deafheaven, High On Fire and Trivium as well as scene staples Underoath (Underoath were previously nominated back in 2006 for Best Short Form Music Video).

As for Best Rock Performance, previous nominees like Arctic Monkeys, Cris Cornell (rest in peace) and Halestorm are accompanied by the likes of Greta Van Fleet and, surprisingly and well-deserved, FEVER 333.

Another fantastic nomination comes in the Best Rock Song category. Sandwiched between well-known household names like Ghost, Twenty One Pilots, and St. Vincent is Bring Me The Horizon and, for the second time, Greta Van Fleet. 

All in all, as much as we bash on award shows for their lack of support towards our hard rock and metal community, this year the Grammys got it right. Were there other artists that deserved a nomination? Of course there were. But considering how things have been in the past (Leonard Cohen Best Rock Performance 2018, Beyonce Best Rock Performance nominee 2017, Tenacious D Best Metal Performance 2015, etc.), we’ll take it.        

To check out the full list of nominees to prepare you for the 61st annual Grammy Awards which will take place on Sunday, February 10th, be sure to look below.

Best Rock Performance

“Four Out Of Five” —Arctic Monkeys “When Bad Does Good” — Chris Cornell “Made An America” — The Fever 333 “Highway Tune” — Greta Van Fleet “Uncomfortable” — Halestorm

Best Metal Performance

“Condemned To The Gallows “— Between The Buried And Me “Honeycomb” — Deafheaven “Electric Messiah” — High On Fire “Betrayer” — Trivium “On My Teeth” — Underoath

Best Rock Song

“Black Smoke Rising” — Jacob Thomas Kiszka, Joshua Michael Kiszka, Samuel Francis Kiszka & Daniel Robert Wagner, songwriters (Greta Van Fleet) “Jumpsuit” — Tyler Joseph, songwriter (Twenty One Pilots) “MANTRA” — Jordan Fish, Matthew Kean, Lee Malia, Matthew Nicholls & Oliver Sykes, songwriters (Bring Me The Horizon) “Masseduction” — Jack Antonoff & Annie Clark, songwriters (St. Vincent) “Rats” — Tom Dalgety & A Ghoul Writer, songwriters (Ghost)

Best Rock Album

Rainier Fog — Alice In Chains M A N I A — Fall Out Boy Prequelle — Ghost From The Fires — Greta Van Fleet Pacific Daydream — Weezer

Record Of The Year

“I Like It” — Cardi B, Bad Bunny & J Balvin “The Joke” — Brandi Carlile “This Is America” — Childish Gambino “God’s Plan” — Drake “Shallow” — Lady Gaga & Bradley Cooper “All The Stars” — Kendrick Lamar & SZA “Rockstar” — Post Malone Featuring 21 Savage “The Middle” — Zedd, Maren Morris & Grey

Album Of The Year

Invasion Of Privacy — Cardi B By The Way, I Forgive You — Brandi Carlile Scorpion — Drake H.E.R. — H.E.R. Beerbongs & Bentleys — Post Malone Dirty Computer — Janelle Monáe Golden Hour — Kacey Musgraves Black Panther: The Album, Music From And Inspired By (Various Artists)

Song Of The Year

“All The Stars” — Kendrick Duckworth, Solána Rowe, Al Shuckburgh, Mark Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA) “Boo’d Up” — Larrance Dopson, Joelle James, Ella Mai & Dijon McFarlane, songwriters (Ella Mai) “God’s Plan” — Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) “In My Blood” — Teddy Geiger, Scott Harris, Shawn Mendes & Geoffrey Warburton, songwriters (Shawn Mendes) “The Joke” — Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile) “The Middle” — Sarah Aarons, Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael Trewartha & Anton Zaslavski, songwriters (Zedd, Maren Morris & Grey) “Shallow” — Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper) “This Is America” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)

Best New Artist

Chloe x Halle Luke Combs Greta Van Fleet H.E.R. Dua Lipa Margo Price Bebe Rexha Jorja Smith

Best Pop Solo Performance

“Colors” — Beck “Havana (Live)” — Camila Cabello “God Is A Woman” — Ariana Grande “Joanne (Where Do You Think You’re Goin’?)” — Lady Gaga “Better Now” — Post Malone

Best Pop Duo/Group Performance

“Fall In Line” — Christina Aguilera Featuring Demi Lovato “Don’t Go Breaking My Heart” — Backstreet Boys “‘S Wonderful” — Tony Bennett & Diana Krall “Shallow” — Lady Gaga & Bradley Cooper “Girls I Like You” — Maroon 5 Featuring Cardi B “Say Something” — Justin Timberlake Featuring Chris Stapleton “The Middle” — Zedd, Maren Morris & Grey

Best Traditional Pop Vocal Album

Love Is Here To Stay —Tony Bennett & Diana Krall My Way — Willie Nelson Nat “King” Cole & Me — Gregory Porter Standards (DELUXE) — Seal THE MUSIC…THE MEM’RIES…THE MAGIC! —Barbra Streisand

Best Pop Vocal Album

Camila — Camila Cabello Meaning Of Life — Kelly Clarkson Sweetener — Ariana Grande Shawn Mendes — Shawn Mendes Beautiful Trauma — P!nk Reputation — Taylor Swift

Best Alternative Music Album

Tranquility Base Hotel + Casino —Arctic Monkeys Colors — Beck Utopia — Björk American Utopia — David Byrne Masseduction — St. Vincent

Best Rap Performance

“Be Careful” — Cardi B “Nice For What” — Drake “King’s Dead” — Kendrick Lamar, Jay Rock, Future & James Blake “Bubblin” — Anderson .Paak “Sicko Mode” — Travis Scott, Drake, Big Hawk & Swae Lee

Best Rap/Sung Performance

“Like I Do” — Christina Aguilera Featuring Goldlink “Pretty Little Fears” — 6LACK Featuring J. Cole “This Is America” — Childish Gambino “All The Stars” — Kendrick Lamar & SZA “Rockstar” — Post Malone Featuring 21 Savage

Best Rap Song

“God’s Plan” — Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake) “King’s Dead” — Kendrick Duckworth, Samuel Gloade, James Litherland, Johnny McKinzie, Mark Spears, Travis Walton, Nayvadius Wilburn & Michael Williams II, songwriters (Kendrick Lamar, Jay Rock, Future & James Blake) “Lucky You” — R. Fraser, G. Lucas, M. Mathers, M. Samuels & J. Sweet, songwriters (Eminem Featuring Joyner Lucas) “Sicko Mode” — Khalif Brown, Rogét Chahayed, BryTavious Chambers, Mike Dean, Mirsad Dervic, Kevin Gomringer, Tim Gomringer, Aubrey Graham, John Edward Hawkins, Chauncey Hollis, Jacques Webster, Ozan Yildirim & Cydel Young, songwriters (Travis Scott, Drake, Big Hawk & Swae Lee) “Win” — K. Duckworth, A. Hernandez, J. McKinzie, M. Samuels & C. Thompson, songwriters (Jay Rock)

Best Rap Album

Invasion Of Privacy — Cardi B Swimming — Mac Miller Victory Lap — Nipsey Hussle Daytona — Pusha T Astroworld — Travis Scott

Best Music Video:

“APES***” — The Carters, Ricky Saiz, video director; Mélodie Buchris, Natan Schottenfels & Erinn Williams, video producers “This Is America” — Childish Gambino, Hiro Murai, video director; Ibra Ake, Jason Cole & Fam Rothstein, video producers “I’m Not Racist” Joyner Lucas & Ben Proulx, video directors; Joyner Lucas, video producer “Pynk” —  Janelle Monáe, Emma Westenberg, video director; Justin Benoliel & Whitney Jackson, video producers “Mumbo Jumbo” — Tierra Whack Marco Prestini, video director; Sara Nassim, video producer

Best Music Film:

“Life in 12 Bars”— Eric Clapton, Lili Fini Zanuck, video director; John Battsek, Scooter Weintraub, Larry Yelen & Lili Fini Zanuck, video producers “Whitney” — (Whitney Houston), Kevin Macdonald, video director; Jonathan Chinn, Simon Chinn & Lisa Erspamer, video producers “Quincy” — Quincy Jones Alan Hicks & Rashida Jones, video directors; Paula DuPré Pesmen, video producer “Itzhak”— Itzhak Perlman, Alison Chernick, video director; Alison Chernick, video producer “The King” — (Elvis Presley), Eugene Jarecki, video director; Christopher Frierson, Georgina Hill, David Kuhn & Christopher St. John, video producers

[amysbooketlist]

The English Wife: Book Review

The English Wife: Book Review

Review at a Glance The English WifeMy Rating: 3.5Genre: Historical FictionFormat: eARC*Publication Date: February 16, 2021Author: Adrienne Chinn Similar To ABL REVIEWABL REVIEWABL REVIEW The English Wife Book Blurb VE Day 1945: As victory bells ring out across the country, war bride Ellie Burgess’ happiness is overshadowed by grief. Her charismatic Newfoundlander husband Thomas is still…

[honolulubelle]

Book Review: The English Wife by Adrienne Chinn  @onemorechapter @adriennechinn @TLCBookTours

Book Review: The English Wife by Adrienne Chinn  @onemorechapter @adriennechinn @TLCBookTours

The English Wife by Adrienne Chinn  . Amazon  / B&N / HarperCollins / GP/ Apple  Publisher: One More Chapter (February 16, 2021) Paperback: 448 pages Two women, a world apart. A secret waiting to be discovered… VE Day 1945: As victory bells ring out across the country, war bride Ellie Burgess’ happiness is overshadowed by grief. Her charismatic Newfoundlander husband Thomas is still missing…