#filipina in america

[blade-liger-4ever]

I need something lighthearted and just to see what the general reaction is:

If you hate it, scroll past. If you think my crackship has potential though, let me know. I wanna hear what people think of this.

[crimesuntold]

Porn and Human Trafficking. Maria Abugan. Indian bike. Filipina Demon.

[barongtagalogs-blog]

The Barong Tagalog, a traditional Filipino garment, underwent significant transformations throughout the 20th century, adapting to modern trends while maintaining its cultural roots. This evolution was influenced by historical events, social changes, and the shifting dynamics of Filipino identity. From being a symbol of colonial subjugation to a marker of national pride, the Barong Tagalog adapted in response to both local and global fashion trends, making it relevant in the modern age.

Here’s how the Barong Tagalog evolved and adapted to modern trends in the 20th century:

1. Colonial Influence and Early 20th Century: Reinterpretation Post-Revolution

At the turn of the 20th century, after the Philippine Revolution (1896–1898) and the country’s shift from Spanish rule to American colonization, the Barong Tagalog began to gain prominence as a symbol of Filipino resistance and national identity. The garment, which had once been associated with colonial subjugation, became a powerful emblem of Filipino pride and cultural assertion.

Early 1900s (Post-Revolutionary Period):

Return to Tradition: Following the revolution, the Barong Tagalog was reinterpreted by Filipino elites as a garment that expressed nationalism. It was no longer worn solely by the lower classes or as a sign of colonial oppression but became a symbol of the growing Filipino elite’s sense of identity and cultural pride.

American Colonial Influence: During the American colonial period (1898-1946), the Barong Tagalog experienced Western influence. While the American administration encouraged Western-style suits and uniforms, the Barong Tagalog remained important for formal occasions. It was worn by politicians, diplomats, and businessmen in place of the Western suit, creating a distinct Filipino sartorial identity.

2. The Mid-20th Century: The Rise of Piña and Embroidery

The mid-20th century was marked by refinement in the Barong Tagalog’s materials and design, which aligned with broader trends in global fashion. As the Philippines gained independence in 1946, the Barong Tagalog continued to adapt, becoming a more formal and prestigious garment.

1940s–1950s:

Fabric Refinement: Piña (pineapple fiber), long valued for its lightness, texture, and elegance, became the most iconic fabric used for the Barong Tagalog. The intricate hand-embroidery also began to reach new heights in terms of artistry, with Filipino artisans adding detailed, intricate patterns, often reflecting regional styles. These features made the Barong more suited for high-end formal occasions, such as weddings, state functions, and official engagements.

Celebrity and Political Influence: Political figures, such as Manuel Roxas (the first President of the independent Third Republic of the Philippines) and Ferdinand Marcos, wore Barong Tagalog during official events. The Barong Tagalog became the de facto formal wear for Filipino men in positions of power, cementing its place in the national consciousness.

Filipino Men’s Fashion: The Barong Tagalog gradually evolved from a plain, functional garment into something more fashionable and stylish. By the mid-20th century, it was designed with more embellishments like lace trim, delicate embroidered motifs, and sheer, semi-transparent fabrics. These changes reflected the globalized fashion scene, which was growing increasingly focused on detailed craftsmanship and unique designs.

3. 1960s–1970s: Globalization and Cultural Resurgence

In the 1960s and 1970s, the global fashion world became more aware of traditional garments from various cultures, and the Barong Tagalog, as an important symbol of Filipino heritage, started to gain international recognition.

1960s–1970s:

Cultural Nationalism: The rise of cultural nationalism in the Philippines in the 1960s, spurred by figures like Carlos ��Botong” Francisco (a prominent Filipino artist) and Nicolás Zafra (a cultural historian), brought the Barong Tagalog back into the public eye as an expression of Filipino identity. This era was marked by efforts to promote Filipino culture through arts, architecture, and fashion. The Barong became a popular garment for formal gatherings, especially after President Ferdinand Marcos issued an executive order in 1975 urging Filipino men to wear the Barong Tagalog on national holidays like Independence Day.

The Barong in International Fashion: As part of the globalization of fashion, the Barong Tagalog began to make its way into international events. The 1960s and 1970s saw Filipino diplomats and leaders sporting the Barong Tagalog at international conferences, state dinners, and even at UN summits, where foreign dignitaries were encouraged to wear the garment. The World Expo in 1964 in New York, where the Philippines was prominently featured, marked an important moment for the Barong Tagalog in the global spotlight.

Changing Fabric and Style: While piña remained the most prestigious fabric, there was also a move towards using other fabrics such as cotton, organza, and rayon. These fabrics made the Barong Tagalog more affordable and accessible to a wider range of Filipinos while still maintaining its traditional elegance. The designs became simpler, though still retaining elements of embroidery, making the Barong more wearable for casual and semi-formal events.

4. 1980s–1990s: The Barong as a Fashion Statement

By the 1980s and 1990s, the Barong Tagalog had fully entered the global fashion mainstream, adapting to the ready-to-wear movement while retaining its identity as a garment for special occasions. The emergence of fashion designers who embraced Filipino craftsmanship also played a key role in modernizing the Barong Tagalog.

1980s–1990s:

Crossover into Fashion: In the late 20th century, Filipino designers such as Rajo Laurel, Cathy Valencia, and Inno Sotto played a crucial role in modernizing the Barong Tagalog. They experimented with fabric choices, introducing organza, silk, and modern synthetics while preserving the garment’s defining sheer, embroidered look. These modern adaptations allowed the Barong Tagalog to remain a fashionable option for contemporary men’s wear while being rooted in tradition.

Global Recognition and Celebrity Endorsement: International figures, including Hollywood celebrities and foreign diplomats, began to wear the Barong Tagalog at formal events. For example, Imelda Marcos, former First Lady of the Philippines, famously wore the Barong Tagalog during high-profile events, and Filipino-American celebrities such as Lou Diamond Phillips began donning the Barong as a celebration of their cultural heritage. This helped elevate the garment’s status on a global scale.

Filipino-American Influence: The growing Filipino diaspora in the United States also contributed to the Barong Tagalog’s adaptation in the 1980s and 1990s. Filipino-Americans began to wear the Barong at weddings, family reunions, and cultural festivals, where it became a fashion statement blending both traditional and contemporary aesthetics.

5. Late 20th Century to Early 21st Century: The Barong Tagalog as a Formal Staple

As the 21st century dawned, the Barong Tagalog evolved further into a formal yet versatile garment. The garment’s continued popularity and its ability to adapt to modern trends ensured that it remained relevant in Filipino society, even as global fashion trends continued to shift.

1990s–2000s:

Barong in Weddings and Formal Functions: The Barong Tagalog became a popular choice for weddings, particularly in Filipino-American communities. Its light fabric and elegant appearance made it an ideal garment for tropical weddings and formal functions in the Philippines, and it became a mainstay in Filipino society for occasions such as national holidays and state dinners.

Global Fashion Recognition: The Barong Tagalog’s integration into the global fashion lexicon continued as international fashion weeks, like those in New York and Paris, saw designers incorporating Filipino elements into their collections. This led to a growing international appreciation for the Barong Tagalog, both as an ethnic garment and as a timeless fashion piece that combines history, art, and modern sophistication.

The Barong Tagalog’s Enduring Appeal

The Barong Tagalog has successfully adapted to modern trends while preserving its cultural significance. From its post-colonial re-emergence as a symbol of Filipino pride to its modern-day adaptation as a staple of formal Filipino fashion, the Barong Tagalog has remained a symbol of the country’s rich heritage and evolving identity.

Through continuous modernization, including fabric innovation, embroidery techniques, and cultural reinterpretations, the Barong Tagalog has become both a formal garment and an international fashion statement, cementing its place in the global fashion scene. Whether worn during state occasions, cultural festivals, or weddings, the Barong Tagalog is a lasting testament to the resilience, craftsmanship, and beauty of Filipino culture.

[143vijay]

This is the Nainital area of ​​our Uttarakhand which looks beautiful than heaven. Seeing this area gives great peace to the mind.

[arkipelagic]

The Spanish surnames of many Filipinos have often misled foreigners here and abroad, who are unaware of the decree on the adoption of surnames issued by Governor-General Narciso Clavería in 1849. Until quite recently in the United States, the Filipinos were classified in demographic statistics as a “Spanish-speaking minority,” along with Puerto Ricans, Cubans, Mexicans, and other nationals of the Central or South American republics. The Philippines, as is well known, was a Spanish colony when Spain was mistress of empires in the Western Hemisphere; but the Americans were “hispanized” demographically, culturally, and linguistically, in a way the Philippines never was. Yet the Spanish surnames of the Filipinos today—García, Gómez, Gutiérrez, Fernández—seem to confirm the impression of the American statistician, as well as of the American tourist, that the Philippines is just another Mexico in Asia. Nor is this misunderstanding confined to the United States; most Spaniards still tend to think of “las Islas Filipinas” as a country united to them through the language of Cervantes, and they catalogue Philippine studies under “Hispano-America.” The fact is that after nearly three-and-a-half centuries of Spanish rule probably not more than one Filipino in ten spoke Spanish, and today scarcely one in fifty does. Still the illusion lives on, thanks in large part to these surnames, which apparently reflect descent from ancient Peninsular forbears, but in reality often date back no farther than this decree of 1849.

Somehow overlooked, this decree, with the Catálogo Alfabético de Apellidos which accompanied it, accounts for another curiousity which often intrigues both Filipinos and foreign visitors alike, namely, that there are towns in which all the surnames of the people begin with the same letter. This is easily verifiable today in many parts of the country. For example, in the Bikol region, the entire alphabet is laid out like a garland over the provinces of Albay, Sorsogon, and Catanduanes which in 1849 belonged to the single jurisdiction of Albay. Beginning with A at the provincial capital, the letters B and C mark the towns along the coast beyond Tabaco to Tiwi. We return and trace along the coast of Sorsogon the letters E to L; then starting down the Iraya Valley at Daraga with M, we stop with S to Polangui and Libon, and finish the alphabet with a quick tour around the island of Catan-duanes. Today’s lists of municipal officials, memorials to local heroes, even business or telephone directories, also show that towns where family names begin with a single letter are not uncommon. In as, for example, the letter R is so prevalent that besides the Roas, Reburianos, Rebajantes, etc., some claim with tongue in cheek that the town also produced Romuáldez, Rizal, and Roosevelt!

Excerpt from the 1973 introduction to Catálogo de Alfabético de Apellidos by Domingo Abella

[council-of-beetroot]

MIKU INDEX

List I | List II | List III | Polish List

800+ mikus and counting ↑ in those four links above

French Bretonne Miku

French Auvergne Miku

French Alsace Miku

Spain Galicia Miku

Italian Miku

Belgian Miku

Finnish Miku

Finnish Miku

Swedish Miku

Norwegian Miku

Austrian Miku

Serbian Miku

Serbian Miku

Albanian Miku

Bułgarian Miku

Bułgarian Miku

Romanian Miku

Romanian Miku

Belarusian Miku

Belarusian Miku

Ukrainian Beer Miku

Ukrainian Miku

Grand Duchy of Lithuania Miku

Lithuanian Miku

Lithuanian Miku

Lithuanian Miku

Polish Miku

Polish Miku

Polish Łowicz Miku

Polish Biedronka Miku

Slovak Miku

Slovak Miku

San Marino Guard Miku

Pennsylvania Dutch Miku

Acadian Miku

Colombian Cundinamarca Miku

Chilean Miku

Venezuelan Miku

Surinamese Miku

Guyanese Miku

Guatemalan Miku

Puerto Rican Miku

Grenadian Miku

Trinidadian Miku

Antigua and Barbuda Miku

Dominica Miku

Barbados Miku

Muscogee Miku

Alaskan Yupik Miku

Aleut Miku

Nigerian Miku

Cameroonian Miku the real trendsetter

Cameroonian Miku

Liberian Miku

Liberian Miku

Egyptian Miku

Tunisian Miku

Mauritanian Miku

Congo (Brazzaville) Miku

Sierra Leonean Miku

Reunión Miku

Kikuyu Kenyan Miku

Kenyan Kamba Miku

Rwanda Miku

Ugandan Miku

Seychellois Miku

Bangladeshi Miku

Nepali Miku

Thai Miku

Khmer Miku

Vietnamese Miku

Samoan Miku

Samoan Miku

Tongan Miku

Australian Miku

Filipina Miku

Filipina Miku

Filipina Palay Maiden Miku

Taiwanese Miku

Ming Dynasty Chinese Miku

Qing Dynasty Chinese Miku

Chinese Miku with other Mikus from around the world

Korean Miku

Kazakh Miku

Don Kazakh Miku

Ingush Miku

Mari Miku

Armenian Miku

Syrian Miku

Syrian Miku

Israeli Miku

Jewish Miku

Jordanian Miku

Turkish Miku

Azeri Miku

I have yet to see any for

In Africa

Botswana, Burkina Faso, Burundi, Central African Republic, Equatorial Guinea, Eritrea Eswatini, Guinea, Guinea Bissau, Lesotho, Malawi, Mali, Niger, Sao Tome, Tanzania,

In North America

Antigua and Barbuda, Dominica, St. Lucia, St Vincent and the Grenadines,

In Asia

Maldives, East Timor,

In Oceania

Kiribati, Marshall Islands, Micronesia, Nauru, Palau, Solomon Islands, Vanuatu,

If I am missing your miku let me know or if you have found a country I have listed that I couldn't find

[the-lazyyy-artist]

i saw you in a dream a two-part Karasu Tabito x Filipina!reader story part two

Synopsis: The dreams of a distant war led you to believe that he could exist now. Maybe he did.

Word Count: 2.3K

Content Warning: Discussions of history (especially with how Japan teaches it), reincarnation au, reoccurring dreams, fluff, a little ooc (sighs again i know), mentions of Karasu's childhood experiences (lmao huhu)

Author's Note: Now, I know that the discussions of Japan's way of teaching their people about the history of WW II are quite different from how the rest of the world tells it and how it's still controversial, I dabbled lightly around this sensitive topic just to give an insight of how the reader and the other characters dealt with it. I just wanna give you a heads-up on that. If you have any insights about it, please let's discuss it together through replies, reblogs, dms, or asks. I want everyone who reads this part to have an open mind and be willing to give out their points in terms of writing and history. Thank you so much for reading the first part.

Read part one here!

@mininji @wannabepoeticischiya @x3nafix ✨

You were 8 years old.

The dream was always blurry like a camera lens that needed some wiping. The voices sounded underwater; only its tone was familiar to you. The song from the record player was oddly clear to you, but you never figured out what the song was. You can feel the grief in it... because, in the dream, you were the woman left behind by... what was his name again?

At a young age, you'd always read the story of the Japanese Occupation in the Philippines in your History Book almost every week, memorizing the events. However, to your knowledge, you know that there's something more than just the important date of when the Bataan Death March started and where the destination was or what McArthur said when he fled the Philippines for safety. 

You asked your teacher to tell you more when the class reached the lesson, being the only one awake and active in such a boring class. She was more than willing to tell you more after classes for a one-on-one session, further increasing your excitement. She warned you as you sat comfortably beside her desk that the deeper event of the colonization wasn't for children, to which you only responded, "I'm a big girl, teacher! I'm sure I can handle it." 

You did not.

Because who even knew that there were abuses against women, forcing them to bring men comfort? Who even knew that the Philippines suffered the most because of the battles between Japan and America? Who knew the country was almost erased from the map because of the war? Who knew that it was a bloody part of the country's history?

You struggled to sleep that night, and the dream didn't help you much.

By age 12, your parents took you to Japan as they worked there. It was better for everyone to be together; they told you to comfort you as you cried and cried not to let you leave your grandparents' house. They promised a complete family if you just go with them this time. The plane ride in a foreign country, the country that did so much damage to your homeland, made you feel nauseous. You didn't want to be with these people, you thought, as you sat in your seat, unable to understand anyone in class. It was a sad sight. You were thankful that your dad was patient enough to teach you basic phrases and Hiragana. "You'll get better when you make friends. That way, you can talk and learn from them," he told you one night after your nightly tutoring session.

Easier said than done. Until someone did approach you.

He was nice, at least. He didn't care much that you were different and quiet. He sat beside you one day and said, "Otoya." You replied with your last name, and he nodded. Then he started to talk. You tried to understand what he said, and he was patient enough to let you process what he said before saying more. He was so chill around you that you brought him home to introduce him to your parents, saying, "Ma, Pa, Otoya," then turning to Otoya, saying, "Otoya, Ma, Pa."

It was a weird sight that your parents talked to him more than you did to him, your parents translating what they just said in your native tongue. Slowly, he became a frequent visitor in your home, being around whenever your father gave you your daily language lessons. When you started to get the hang of the language, you finally had a proper conversation with him without writing your questions and responses on paper. There would be times that Otoya would correct you, and you'd roll your eyes at him at which he'd just shrug.

You told him about the dream, how it's connected to history, and how your country suffered. You and Otoya had a silent argument about what version of history was right, almost causing both of you to almost break off your friendship.

You decided to say sorry and to just drop the history thing. But Otoya was still intrigued by your dream.

"Might be reincarnation," he said as you two were taking a break from studying, lying on the hardwood floor of your living room. His silvery hair shone from the sunlight streaming through the window. You sighed and started to fidget on the hem of your shirt. "That would be weird. Why would I be a reincarnation of a sad lady?" you asked quietly. Otoya turned to look at you, his slanted eyes looking bored yet interested. "Maybe you'd grow into one," he teased, his tone unchanging. He always spoke nonchalantly, but you always picked up the intention of his words through the little quirks of his voice. You grabbed your notebook and slapped his head with it, earning a little "ow" from him. "And you'd grow up into a miserable old man who will never get a girlfriend."

Otoya laughed softly and shook his head. "You're wrong. I'm already on my sixth girlfriend this year," he said, his laughter fizzled into a small smile on his lips. "Eugh, we're in our second year of middle school and you had 6 girlfriends already? Gross." 

"If you aren't so hung up with your dreamscape husband, maybe you'd enjoy dating too," he replied, sitting up. The ends of his silver hair dropped on his forehead, then he fixed the green streak in front. "Are you really gonna grow your hair out?" you asked, ignoring his comment from earlier. Otoya nodded and messed his hair up a little. "I read somewhere that girls are into guys with longer hair. Might wanna try that out."

You let out another gagging noise before you sat back up. "Enough with the dating talk. You disgust me."

You noticed that the dreams were becoming clearer yearly, revealing more events. The conversations were a little audible, the faces of your dreamscape siblings were no longer a blur, and the song... you were finally able to figure out the tune of the song. The moment you woke up one day, you quickly hummed the song through your phone's voice recorder, hoping one day you'd find the title. 

By the time you reach the age of 17, you realize you've been having the dream more frequently than before, sometimes five times every couple of months. By now, you know how deep the man's voice was, comforting and warm despite the situation. He was caring, he was kind. You wondered if Otoya's guess years ago of this being a reincarnation was true because now, you only wanted to find someone like the man in your dreams. How much of a coincidence would it be when you find the same person as him?

Five years have passed, and you have slowly forgotten about the dream. Maybe it was just your busy life that made you forget how you had it for the past year. Now, it's just an afterthought, a memory of how you experienced a love story every time you closed your eyes at night. 

The classroom door opened, revealing Otoya and the security guard following behind him. "Eita! It's class hours, what are you doing here?" You asked, pushing him out of the room. The kids inside the room gasped and giggled, hushed conversations between them. "You're attracting too much attention now," you scolded him silently. Otoya shrugged and replied, "Come with me this weekend." Typical Otoya, not acknowledging the commotion he's causing. Now kids are lurking by the door, looking at the star footballer and wondering what he's doing with their beloved English teacher. You smiled at them and asked them to get inside, your sweet voice filling the hallways. The kids giggled and hid behind the door. "Eita," you said, returning your focus to your childhood friend, "you could've texted me that you're back in town."

"You could've been busy, and this is easier. I've invited some soccer friends to visit and take them around the city. Plus, they don't believe I have a best friend, so come with me," Otoya replied, his voice a little sing-song tune, but when he sounds like that, he's annoyed. You scoffed, reaching out to tug his green-streaked hair gently. "Alright, I'll accompany you and your friends. Just text me the details so I can clear my schedule, but only on the weekend. Okay?" 

As soon as Otoya nodded, you started to push him out of the hallway. "Now you have to leave. The kids might not be able to stop themselves from seeing more of you." Otoya nodded and waved at the kids peeking through the door, watching him leave. The moment you turned to tell the kids to get back inside, they started to bombard you with questions about your relationship with Otoya and how you knew him. You sighed, knowing that the lessons would be put aside for this.

The moment Karasu heard Otoya mention your name in the locker room after their last match, he knew.

The dreams, he knew this is what it meant. He knew that he was going to meet you one day. "Who?" he asked.

"Oh, interested?" Otoya replied, "Too bad 'cause she's in love with someone else."

He must be interesting, Karasu thought, but meeting you might change everything. Maybe. Chigiri chimed in, saying he doesn't believe that Otoya has a best friend when all he talks about are girls and how to pick them up. "How about we visit each other's hometowns while off-season?" Otoya suggested, throwing his duffle bag over his shoulder, and waiting for Karasu and Chigiri to finish up. Chigiri shrugged, saying he was okay with it. Karasu agreed too, saying it would be interesting to look around.

Your name has been on his mind for years, it's crazy. He has never told anyone about his dreams, how he sees himself as a soldier in high ranks, marrying a girl in a country he has studied so much about, learning as much as he could, even the parts he cannot accept at first but kept his mind open for the possibility that it might be true. It was crazy enough that people might start making fun of him for it, so he kept it to himself, kept it in his heart, and swore to find you, even if the possibility of meeting you were low. He believed that in his ordinary life, this dream made it extraordinary.

The dreams started when he was 8. Every night, it’s always so clear. Karasu could see the face of the lady, the way she smiled, the way she cried when he left, the way she looked when he danced with her. The sad lady, he once called her, became his favorite dream. Maybe that's why he rejected Marisa. He was too in love with her. 

It was sad when he dreamt of the lady less and less as he aged. He could remember her name, her face, and her voice. Karasu knew that this might have meant something.

He read about reincarnation in other religions and how it works. He read about it in fairytales and watched it in romance movies his sister loved to watch. Karasu knew he could be reaching, but if he kept dreaming of a certain woman, this might be it.

Now it seemed fate was working overtime as he and Chigiri waited for Otoya to pick them up at the station. It was a lovely day, too. The breeze was gentle and cool, and the sky was as blue as ever. 

He knew this would be the day he’d meet the sad lady.

"Sup," Otoya greeted as he arrived, walking towards the two. "Where's your best friend?" Chigiri asked, looking around, "You said your 'best friend' would be here."

"She will be here. She has some school things to do," Otoya responded.

"Student?" Chigiri asked.

"Nah, teacher."

The day went on as Otoya took Karasu and Chigiri to local spots to avoid a surge of tourists that day. Otoya was good at playing tour guide for the two, taking pictures of each other, noting places with great deals, and buying souvenirs for their families. It was not long before Otoya took Chigiri and Karasu to Sakae District, awaiting your arrival.

And Karasu knew you before you even spoke.

God, you looked exactly like how you did in his dream. The kind eyes, a smile that could take every worry away, and your hair, though longer, was the same. But you weren’t as sad as you were in his dreams. "Is that her?" Karasu asked, his eyes glued on you as you walked towards them. "Yep."

"Hi, guys! I'm sorry I joined you so late! Had to grade the kids' essay papers," you said, your cheerful voice somehow lifting their exhaustion. Otoya threw his arm over your shoulder, pulling you to him. "It's alright. We had fun without you anyway."

"Rude," you scoffed, nudging his rib with your elbow. "Are you gonna introduce me to your soccer friends, Eita?"

"Ah, right. Karasu, Chigiri, Y/n. Y/n, Karasu, Chigiri."

Your mind somehow sparked at the name. Karasu. Where have you heard that name again? 

His eyes met yours, pretty blues that reminded you of something distant. A memory? His smirk reminded you so much of someone you met before. He was familiar yet a stranger, someone you want to know more and get close to. What was this feeling?

You held out your hand for Chigiri, which he was happy to shake, and turned to Karasu who held your hand firmly, and for a split-second...

You were taken back to the conversations in the dream about the war and the soldier telling you he loved you, how he told you he wanted you as his wife, and how his name was...

"Tabito?"

Karasu smiled at you as he stepped closer, meeting your gaze once more.

"So, it really is you, Y/n. I've been waiting to meet you for years."

[jencattv]

Hey there! I’m Jenelle (she/her) and I’m a theatre actress/vocalist based in Las Vegas 📍

I got to play my dream role of Jane Doe from Ride the Cyclone at my favorite theatre Majestic Rep and I will be insufferable about it for the rest of my life 🫶🏼

I love to travel, cosplay, eat yummy food, junk journal, collect nostalgia anime figures and Kuromi/My Melody plushies, and many more things.

Proud bisexual Filipina-Canadian in America 🏳️‍🌈🇵🇭🇨🇦🇺🇸

Every few months I pack my things and live on a cruise ship to sing in their theatre production shows and travel the world 🌎

Am in a long distance relationship with a drummer from Chile I met on my last ship contract 🇨🇱

I am also currently getting back into reading books and want to get back into drawing and painting as well! 🎨

I’m always open for questions, so feel free to ask away! ❤️ and I absolutely love fan art of my version of Jane Doe, so yes I would love to see it and please send them my way 😊

Thanks for reading and for all the love and support 🫶🏼

[hotvintagepoll]

Propaganda

Marpessa Dawn (Black Orpheus)—She's like. fairy tale princess etheral pretty. truly eurydice realness. AND she's a singer AND she's a dancer. she used to be a governess/nightclub dancer, which isn't hot per say i just thought it was an interesting job combination. If you want to hear her sing just look up the Black Orpheus soundtrack

Margaret Lindsay (Frisco Kid, The House of the Seven Gables, Scarlet Street)—she was born in Dubuque, Iowa, then moved to England to make her stage debut. She framed herself as a British actress and moved back to America to try Hollywood, then starred with James Cagney in a bunch of movies. She was in the Ellery Queen movie series and The House of the Seven Gables. She never married (I suspect lesbian stuff) but lived with her sisters. She dated Cesar Romero and Liberace (I told you. Lesbian stuff.) Please include the pic of her in the tie [included above]

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Margaret Lindsay:

Marpessa Dawn:

Marpessa Dawn was an filipina/african american who became well known as an actress, singer and dancer in France. She is most famous for her role in 'Black Orpheus' in which she played Eurydice. It's difficult to find a picture where she and her husband, the actor Eric Vander, aren't kissing or hugging or laughing together, they are incredibly cute (and hot).

basically everyone and their mother will agree that marpessa dawn was one of THEE og vintage black women working in cinema (even if it was mostly in french cinema! the cross language barrier slay). mostly did her work in french cinema, and her smile in black orpheus is literally like the sun breaking over the sea

[crushedsweets]

What is the ethnicity/nationality of everyone in ur AU?

I don't have concrete HC's for everyone, and a lot of them just have a general region/race rather than specific ethnicity, but i have some stuff for some characters! fine with it being up to interpretation too

most r born in alabama..cuz.... story takes place in alabama

Tim - white american, born in alabama Brian - white american, born in alabama Toby - white american, grandparents were german immigrants, born in colorado Kate - half white, half chinese american, born in alabama

Natalie - french american, born in louisiana - family has been in america for quite a few generations Jack - indian american, parents immigrated from india, born in north dakota Sally - half chilean, half white american, born in alabama BEN - white american, born in oregon

Jeff - white american, born in new jersey Liu - white american, born in new jersey Jane - black american, born in alabama Nina - mexican/black/filipina american, born in california

Ann - argentinian american, born in new york Lulu - vietnamese american, born in alabama Lazari - white american, born in alabama Dina - english/white american, born in alabama

ok basically theyre all born in america. damn. maybe i should change that HAHA

[celestiarambles]

this is so random but i suddenly remembered @turtlethebean ’s headcanon of carmen being filipina-american, so as a filipina myself here are some headcanons about carmen being half-filipina:

- while her family would visit america from time to time, carmen actually studied and lived in the philippines up until high school, then she moved to america for college.

- in the philippines we’d have these major journalism competitions called press cons/press conferences, and they’d start from districts, divisions (cities), regions and finally nationals. carmen definitely competed in those kind of competitions as a photojournalist and as a tv broadcaster. she even ended up in the nationals once.

- she knows how to speak in bisaya (a filipino language)

- one of the reasons why she’s so impatient all the time is because of filipino time. (a negative filipino aspect where filipinos would arrive WAY later than the agreed time)

- she used to play chinese garter (a filipino game where you have to crosswire over a garter without touching it and the garter would get higher and higher) a lot as a kid, and she’s REALLY good at it.

- she likes to wear jackets even if the weather’s really hot.

- like most filipinos, she can actually sing a little, but she doesn’t like showing it. ever.

- one of the beauty standards here is straight hair, so there were always some peers that would tell carmen to straighten her hair. she would just promptly tell them to fuck off.

- she loves mangoes, especially with bagoong. (fermented fish/shrimp paste)

- one of her guilty pleasures is watching filipino dramas. she’d sometimes watch some even when she had already moved away from the philippines for fun.

[iamnmbr3]

"Donald Trump’s conduct is straight out of the same strongman playbook that others have used, and his presidential victory is part of a recent global trend of illiberal leaders being elected democratically. “We’re seeing the ‘Philippinization’ of America,” says the Filipina journalist and Nobel Peace Prize laureate Maria Ressa. “Look at our experience for what’s coming up in the days ahead,” she adds, cautioning that what could happen in America has already occurred in other countries like the Philippines. There may be tough times ahead, but she advises that people should “hold the line” and “stay committed to [their] values.”

[irithnova]

Notes on Empire of Care by Catherine Ceniza Choy

The scapegoating of Filipino nurse immigrants: Filipina Narciso and Lenora Perez are examples of two nurses who were scapegoated.

Filipino nurses with temporary work visas, H-1 visas, were exploited

Mass murder cases involving Filipino nurses included the 1996 Richard Speck massacre. Some of his victims were Filipino nurses and the only survivor was one of these Filipino nurses

The only survivor - Luisa Silverio

The victims

The 1975 Veterans administration hospital murders that happened in Ann Arbor, Michigan, and involved the previously mentioned nurses Narciso and Perez, bering initially convicted and then later acquitted. They were accused of poisoning and conspiracy

These cases reflect how US imperialism shaped the treatment that was levelled at Filipino nurses

During the late 1970s, Filipino nurse organisations emerged in order to combat the exploitation and discrimination that Filipino nurses faced

There is still a huge gap in the study of Filipino Americans. Quoted from Sucheng Chan's essay on Asian American historiography

"Despite the steady progress in Asian American historical scholarship, significant gaps remain. The most glaring is the absence of book-length studies on Filipino Americans"

American imperialism still shapes the way in which Filipinos - especially Filipino women are perceived

Jesse Ventura, an American politician in his autobiography "I ain't got no time to bleed" reminisces on his days as a Navy Seal stationed in the Philippines.

He talks about being young with a large libido, and how the abundance of Filipino women for him and his comrades to take home relieved that.

He spoke of going through less hurdles when he came to getting a Filipina to sleep with him compared to American women back home. In other words - Filipinas were easy.

This is a reflection of how US imperialism has shaped how the Philippines is viewed.

Filipino women are used in order to portray the Philippines as a feminised, hypersexual, always-willing paradise for the pleasure of Western men.

This depiction of so called "love" between Filipinos and Americans erases the long history of US violence, US domination, the colonial relationship between the US and the Philippines and the history of sexual violence perpetuated against Filipino women. Not to mention the destruction of the environment and spread of disease

US military presence in the Philippines also helped in influencing migration patterns.

By 1970, there were more Filipino men in the US navy than the Philippine navy. This was due to the active recruitment of Filipino men into the US military

Yet another example of how the US imperialist narrative erases truths about history and the lived experiences of Filipinos:

Filipino American organisations had to convince Minnesota legislature to correct a plaque commemorating the Spanish-American war.

The plaque stated that it was honouring the fact that the war was fought to free the Philippines from the tyrannical Spanish

This is unequivocally untrue and rings back to the concepts of American exceptionalism - The US being far more "benevolent" to it's colonies than their European counterparts.

The war was fought in order to defeat the Spanish - not to liberate the Philippines.

The Philippines then fought against the US for independence thereafter

America's so called "forgetfulness" when it comes to Filipino-American history continues to hurt Filipinos.

In particular, Filipino American war Veterans who struggle to fight for their access to veterans benefits.

[bajoop-sheeb]

I can't help but notice that all of the people in your anti-colonialism by "marginalized people" book rec list are people who were born and grew up in either the US or, in one or two cases, another white Anglophone country. I.e. the imperial core.

As a non-American I wonder whether, due to the cultural hegemony of the US and other Anglophone countries, the perspectives of people who have spent their whole lives in the Imperial core (even if marginalized in other ways due to their race or some other attribute) can be considered "authentic" depictions of the effects of colonialism in the way that you are presenting them. I find that people from the US, even POC people from the US, are often pretty incapable of understanding non-US perspectives on social justice issues because they're rarely exposed to them and because they grew up brainwashed with media that treats the US as the center of the world, so they overlay the US framework over everything.

I would perhaps have liked to see more recs for authors writing about colonialism who actually grew up in countries that have been affected by colonialism, or at least in countries that aren't as rich and powerful as the US and are therefore heavily dependent on the political whims of powerful Western ones. I'm sure there's a bunch of people in South America writing SF/F, for example, considering their long tradition of awesome magical realism. Or South Africa. Or India (I note that Salman Rushdie is not on your list, for example). I'm not writing this to be pettish, because I don't know enough about it either and would actually like to know, I just feel like perhaps we should all be a bit humbler when talking about this since a strictly US-centric perspective is still a VERY limited one when talking about colonialism (by definition an international, intercultural phenomenon), even when written by POC.

I also wonder about your definition of "marginalized" and if it doesn't fall into the same US-centrism that I talked about in my previous paragraph (even if we assume that "marginalized" means "marginalized as it relates to colonialism" and ignore other forms of marginalization). Is a person from, say, the Balkans, marginalized enough to write about anti-colonialism, or are they exactly the same as a white American in your perspective? Does it matter where from the Balkans? Does it matter if they're Muslim or Christian? How about a Ukrainian person? How about a Ukrainian Jew? Is a person from Bosnia or Ukraine, who went through a war in their lifetime, less qualified to write about war than Kuang, who grew up middle class and went to an Ivy League school (and honestly did a really shitty job of portraying a war in The Poppy Wars), just because they're "Caucasian"?

Also, people are allowed to acknowledge flaws of books written by POC without being automatically labeled as racist, you know. Finding Babel too heavy-handed or on the nose has nothing to do with finding POC characters annoying or unrelatable and sorry but, yeah, IMHO it's really on the nose and annoying about it. It's the writing style that's the problem, not the themes. Also the central metaphor, IMHO, makes it completely useless as a colonialism allegory because if you can destroy colonialism by destroying one magical uberpowerful whatsit, your book is kinda not serious enough about nuanced representation of sociological and political forces to be considered impactful anti-colonialist literature. Saying that as someone who loves Butler and Jemisin. Thea Guanzhon, for example, is a Filipina born and raised in the Philippines and still lives there, which makes her book way more of an "own voices" account of colonialism than Kuang's could ever be in my accounting, but that doesn't mean that her account of colonialism has any particular nuance to it (so far it's just the backdrop for the enemies to lovers romance). So even assuming that Kuang's account is resonant enough with enough people (which I know it is because her book is super popular), who is more deserving of being on your "own voices" list, Kuang or Guanzhon?

I also wonder why white women in particular?

The simple response to all of this is that the post you're referring to broke containment.

I debated replying, because I can't help but feel your message was written in bad faith. But I'm going to try to give you the benefit of the doubt.

You are absolutely right about the limitations of the original list. I truly didn't expect it to reach so many people, and I am not nearly as well-read as I'd like to be when it comes to literature written outside of the West. Please take a look at the reblogs, where a bunch of awesome people have done incredible work filling the gaps I left.

I struggle with the rest of your message. I explicitly stated that I do not expect people to enjoy specific books written by BIPOC authors, simply that I've noticed a very frustrating pattern. And yet you suggest I'm saying that if someone doesn't like Babel or The Hurricane Wars, I'm saying they're racist. Be serious.

Even as a child of multigenerational immigrants, I'll freely admit that I personally have a very US-centric perspective on social issues that I need to work on, but it's wild of you to say that all POC people born in the US are "pretty incapable of understanding" global issues.

When I wrote "marginalized" in the original post, what I really meant was "BIPOC and BIPOC queer people.” I should’ve been more careful about the wording.

Why white women in particular? When it comes to anti-colonial and anti-imperialist fiction (written by Anglophones) the authors that I see most highly and frequently praised are white women. I'd list the specific ones I'm talking about here, but 1. I don't want to be hunted for sport by their fans, 2. I've actually enjoyed some of their work, and 3. they're only a small part of the problem and I think people should be allowed to write whatever they want as long as they can handle the criticism. But I'm sorry, white women. I'll do better next time. I also want to use this moment to apologize to all the dumbasses complaining about my tone/me being "shouty." Reverse racism is real, and we must all stand vigilant hahaha miss me

You telling me to be humble feels a tad hypocritical, but sure, I'll take that under advisement.