Wednesday, May 22, 2013

The Daughter of Third World Immigrants: This Is Who Will Save America?



The butch-looking Anuradha Bhagwati was a former Captain and Company Commander in the Marine Corps. She served in the Marines from 1999-2004 (going one year beyond the minimum requirement of four years). She was honorably discharged from the Marines in 2004 and completed her graduate education, receiving and a Masters of Public Policy from the Kennedy School of Government focusing on international human rights policy. She already had a B.A. in English literature from Yale University, before entering the army. Bhagwati is also a 2010 Petra Fellow, which is an award given to:
...unsung individuals making distinctive contributions to the rights, autonomy and dignity of others...

Often at risk and without the safety net of personal privilege or institutional support, Petra Fellows fight poverty, discrimination, environmental degradation and violence. They work in prisons and police departments, factories and migrant worker camps, health clinics, housing projects, family farms and public schools—wherever people lack the resources, connections or clout to participate fully in American society. [Source: The Petra Foundation]
Bhagwati's special qualities that earned her the Petra Fellowship include being ignored or by-passed for her accomplishments. As the Petra Foundation, which finally and generously recognized her, informs us:
When Anu Bhagwati finished her first three-mile fitness run at Quantico ahead of all of the women and most of the men in her platoon, her drill instructor accused her of skipping a lap. When she stood up in a basic training class of 300 to inquire when submarines would be gender-integrated, she was loudly booed. And when she could no longer stop or stomach the sexual harassment being directed at female NCOs by her second-in-command, her formal complaint was not only disregarded but the offending lieutenant was promoted to command a gender-integrated unit. [Source: Petra Foundation]

Bhagwati with a fellow (female) marine. Her colleague
could muster some femininity, even in the Marines,
unlike Bhagwati's androgynous, young boy, look.


After she left the Marines, Bhagwati co-founded Service Women's Action Network (SWAN) , and served as its first Executive Director.
Under Anu’s leadership, SWAN has spearheaded legislative reform and litigation to end military rape, sexual assault, sexual harassment, and domestic violence, and to eliminate all barriers to equal opportunity for service women. [Source: SWAN Executive Staff]
Bhagwati says about her time in the Marines:
I served for five years, with many gay and lesbian Marines, both enlisted and officer.

My best friend in the Marines was an incredible officer. She was also a lesbian. Because of this, she wasn’t allowed to live a normal life. While I could walk down the street holding the hand of my male partner, she could not do the same with her loved one, for fear of being outed.

Despite the enormous strain of living under the Don’t Ask Don’t Tell policy, my friend volunteered to serve for a year in Iraq, knowing that because she was lesbian, she wouldn’t be able to easily correspond with her partner back home. A couple of years after returning home from Iraq, she was discharged under the Don’t Ask Don’t Tell policy.

What happened to my friend was unfair, wrong and un-American.

Unfortunately, my friend’s story is all too common, especially as it concerns women in the military. While women make up only 15% of the entire armed forces, they make up almost 50% of last year’s Army and Air Force discharges under Don’t Ask Don’t Tell.

Race is another relevant factor in these discharges. African-American women are discharged under Don’t Ask Don’t Tell at three times the rate that they serve in the armed forces.

These statistics are not evidence that the military is upholding unit cohesion, good order and discipline, or any of the other convenient catch-phrases used by proponents of this archaic and useless policy. These statistics are, at the least, shocking, and at the worst, shameful.

Numbers like this originate from an ugly context, which we must discuss. Sexual harassment of women in uniform is pervasive. Lesbian-baiting is simply another insidious manifestation of sexual harassment. Many servicewomen risk two equally devastating prospects, as far as their professional careers are concerned: resist a serviceman’s advances and be labeled lesbian, or don’t resist, and get labeled promiscuous. Being labeled a lesbian, even by rumor, can prompt an investigation that ends in discharge. [Source: Service Women.org]
Baghwati has an interesting background. Her parents are academics, with professorships at Harvard and Columbia and at least two books between them. Her father, Jagdish Bhagwati, speaks highly of his daughter:
"...we are proud of her accomplishments, - particularly since they are based on social engagement that characterized our own parents almost 100 years ago, and are the jewel in the crown of the State of Gujarat from which we come, as did Mahatma Gandhi - but because it shows that none of what Anu has accomplished would have happened if she had not joined the Marines in the first place." [Source: The American Interest]

Bhagwati with her parents in her Marine uniform

Here, he's trying to understand his daughter's choices, and sympathizes with her "social conscience," that is also part of his (and his wife's) background.
"She is consumed by Human Rights work," Professor Bhagwati has said about Anuradha. When his 70th birthday was being celebrated, she could not make it to the event because of her political commitment in Palestine.

"She's our joy," her father said at his birthday celebration, the New York Sun reported in its account of the event. "And while I miss her tonight, I am delighted that it is in a good cause. After all, that is what counts."
One can also see where Bhagwati acquired her narcissism. Her parents give lavish praise and attention to their only daughter. Yet, as is characteristic of narcissists, one gets the feeling that Bhagwati resented their standards which she could never achieve, and her stint in the Marines was a way escape this family's high expectations. Even her post-Marine efforts with graduate work in Harvard and working on a novel, all seem to emulate these pleasant but demanding parents.

Here in this video, she says exactly that:
I had a very unique childhood. I mean, it was all about my parents. Obsessively so about the pressure of like getting into the top schools. And then I went to the top schools, and I was miserable. I just wanted to travel the world, go to war-torn areas and meet people and learn languages, and find out how people lived...I left grad school like mid-semester, and joined the marines [she completed a Masters in Public Policy after her discharge from the Marines].
Her parents seem to vacillate between leftist Third World positions and a capitalist Western lifestyle, which is often the behavior of committed, elitist ideologues: they want all the amenities of the West, but will promote ideologies that could destroy it (with them sheltered in safe havens). This can't have been a very stable environment for Bhagwati to grow up in.

Bhagwati père came to the US in 1969 to study economics at MIT. He is linked throughout his career with leftist institutions. He served:
...as an external advisor to the Director General of the World Trade Organization in 2001, as a special policy advisor on globalization to the United Nations in 2000, and as an economics policy advisor to the Director-General of the General Agreement on Tariffs and Trade from 1991 to 1993. From 1968 until 1980, Bhagwati was an economics professor at the Massachusetts Institute of Technology. Bhagwati currently serves on the Academic Advisory Board of Human Rights Watch (Asia) and on the board of scholars of the Centre for Civil Society. He is a Senior Fellow of the Council on Foreign Relations. [Source: Web India]
Her mother, Padma Desai, is linked with similar leftist ideological bodies. She served as:
...US Treasury’s Advisor to the Russian Finance Ministry (1995), [and] she is regarded as a leading scholar today on the Soviet Union and Russia. [Source: Celebrating Padma Desai, Columbia University]
There is a strange moment in Desai's life where she:
...won a scholarship to the US [from India] and never went back [to her first husband]. In the end, faced with his refusal to grant her a divorce, she converted to Christianity, because under the Indian law, religious incompatibility is a ground for divorce. The suggestion had actually come from him and she converted. She describes in moving detail how the forlorn ceremony took place on a rainy day in a small village in Gujarat. [Source: Random Truths and Common Threads, in The Hindu Business Line].
It is one thing to have leftist parents, another to have a first marriage in her mother's history, but how about her mother's conversion to another religion to facilitate her personal life?

After Desai gets her PhD from Harvard, she returns to India to teach at the Delhi School of Economics, and meets Jadish Bhagwati. They immigrate to America with a position for Bhagwati at MIT, but:
more importantly in order for Desai to make a clean break from her bad first marriage. [Source: Time Out India]
More on her mother's divorce, and her second marriage:
[T]he incredible legal entrapment of the Hindu Marriage Act of 1955...drove Desai to a phoney religious conversion - the only permissible grounds for a judicial separation, if her husband agreed. He did - after years of denying her a divorce - then recanted. Her Christian conversion was in vain. Eventually, in 1968, she followed Bhagwati to Boston, won a position at Harvard, and freed herself via a Mexican divorce before she could remarry...Eventually, she finds [a] life (and an exciting career) in America, with the ever charming and lovable Bhagwati, first at Harvard and then at Columbia. [Source: The Hindu]
Their daughter, Anuradha Bhagwati, was born in New York in 1976 (I calculated her birth date from this article, written in 2008, and which cites her age then as thirty-two). I find it important to know how soon after her parents immigrated to the US Bhagwati was born. She's had the typical, complicated life of a child of Third World of immigrants who arrived in the US after:
...the 1965 Immigration Act which opened U.S. immigration on an equal basis to every country in the world, rather than, as in the past, favoring our historic source nations of Europe. Of course many of the recent immigrants from non-European countries have fitted into America and made good contributions here. It is the unprecedented scale of this diverse immigration that is the problem. [Source: View From the Right"]
When Bhagwati's parents came to the US in the mid-sixties, multiculturalism was just becoming an accepted way of cultural life. By the time Bhagwati was born, it was a part of American life. I wouldn't be surprised if growing up, her life was full of reminders of the country her parents left behind, from the food, to the music, and the friends and relatives who frequented their home. So although she grew up in America, hers was a specific, ethnically restricted, America. I think this speaks of her behavior at the hearings, her victim stance, her repeated blame on racism for her discharge, and her particular singling out of white men leaders in the military as those who prevent non-whites (and of course women) from advancing in the military.

Here is a fascinating video of Bhagwati rambling on in free-style fashion about the evils of the military, misogynistic white men, fighting wars, and the hegemonic empire that is the United States. The video is titled: "Interview With a Reluctant Veteran: Anuradha Bhagwatl." I've transcribed it below from around the 15 minute point in the video to the end, to show the quality of her mind.
And when I see the usually white men who are providing the, I don't want to say, the state version, it's really how it seems at times [laughs while she says this], the state version of events and the state version of how you should operate in Iraq or how you should fix the military or improve and take care or support our troops, which is the biggest slogan of them all, you know, it feels very odd for me to have the same status, you know this veteran status. It feels very awkward. Because I wonder if they are having any intimate conversations with anyone about anything. I mean there are things that happen to every soldier's soul in that institution, regardless of where he or she comes from originally, political baggage, all of that. There's something that happens to their soul, and I'm not sure that enough of them examine what it is that happens. It's a very fragile thing, dealing with force and violence. You don't even have to physically hurt somebody, and you could have, you may have committed an act of violence upon them in what you bring to the table. And the society I don't think understand the ramifications of this, the violence. There is an indoctrination in any army that comes with the training. And any time that the nation perceives itself to be at risk of annihilation, well you know, or invasion, to use a smaller term, the existential issue of Israel, for instance, where you have so much more national ideology at play, and the basic indoctrination of the soldier, all politics aside, I mean that is how literally how Israelis are trained, so you think you're defending your individual family, you know, and societal existence, whether or not that's true. And you'll believe it, and you'll fight and kill, you know, to the end. You know, in a case like India I would imagine that was true at least on a partial scale, because of historic conflicts with neighbors to the north, right. But I don't know, I've talked to members of the military from South Asia, of various nations, there's something slightly more intellectual about their approach to, but I'm sure not everybody, but the few that I've talked to, about their role in the world. The thing that makes an American soldier stand out is his country's role in the world that bleeds into his ideology about where he thinks, who he thinks he is. Completely inflated sense of self. And it's unfortunate, right, because it prevents him from actually reaching out to people from other countries and cultures. It's a shame, in fact, it's a shame. Because it prevents him from being human, right. And so, yeah. I'm not saying, you known, that this is the American condition, and it couldn't ever happen. I think any hegemonic empire that this is the result, right. It's our turn, in the United States. [Source: Kran Film Collective]
This is someone who reached the rank of Captain in the American military. This is the type of soldier who is out in the fields, representing American soldiers. It is not an issue of women in the military anymore, it is an issue of Third World minded, anti-American, anti-military soldiers who are becoming a real detriment to America.

This is who represents America now.


The face of the victimized, feminized, Third World,
anti-American former soldier.


This is who will save America?
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Posted By: Kidist P. Asrat
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Saturday, May 18, 2013

Lilacs


Lilacs
[Photo by KPA]

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Posted By: Kidist P. Asrat
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Diana and the American Renaissance Aesthetic


Diana, 1892–93;
This cast, 1928
Augustus Saint-Gaudens (American, 1848–1907)
Bronze, gilt
Metropolitan Museum of Art, New York



The Charles Engelhard Court
The American Wing
The Metropolitan Museum of Art, New York

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Article Below:

Augustus Saint-Gaudens (1848-1907)
Diana of the Tower ca. 1899-1907
By: Thayer Tolles*
In: American dreams: American art to 1950 in the
Williams College Museum of Art

Hudson Hills Press, Oct 5 2001. Pp102-105

*Tolles is a graduate of Williams College (1987)
And Assistant Curator
Department of American Painting and Sculpture
The Metropolitan Museum of Art

For late-nineteenth-Beaux-Art sculptors a skillfully rendered nude was paramount demonstration of artistic competence. Rigorously schooled in Parisian academics, these artists drew and modeled sketches of the nude, aspiring to translate their talents into finished works with ideal themes. Of subjects inspired by classical mythology, Diana, goddess of the chase and the moon. was favored by sculptors from Jean Antoine Hondon to Jean-Alexandre-Joseph Falguiere, French-trained Americans such as Augustus Saint-Gaudens, Frederick William MacMonnies, and Olin Levi
Warner, were similarly drawn to her ideal feminine beauty. One reason for this popularity was that her understated attributes - bow, arrow, and crescent moon headpiece - so effectively asserted her identity that sculptors were able to give visual prominence to her nudity and thus showcase their prowess at modeling the human form. Although Diana was the only Saint-Gaudens sculpted during his illustrious career, it enjoyed instant renown and remained a cornerstone of his oeuvre.

The William College Museum of Art's graceful rendering of Diana drawing her bow is a reduction after a monumental weathervane that once surmounted the tower of New York's Madison Square Garden (an indoor sporting arena, auditorium, and concert hall completed in 1891). Saint-Gaudens created the figure as "purely a labor of love" at the request of his close friend Stanford White, the architect of this Spanish Renaissance-style structure inspired by the tower of the tower of Giralda in Seville. White - a partner in the noted firm McKim, Mead, and White -often collaborated with Saint-Gaudens to create decorative pedestals and frames; joint efforts such as the Farragut Monument (1877—80, Madison Square Park, New York) and Bessie Smith White (1884, The Metropolitan Museum of Art, New York) are exemplars of the American Renaissance Aesthetic.

The initial seeds for Diana were sown in 1886 when Saint-Gaudens sculpted a portrait bust of his model and mistress Davida Johnson Clark (marble bust, Saint-Gaudens National Historic Site, Cornish, N.H.). This likeness later served as a study for the head of Diana, from which small figural studies were mechanically enlarged to an ambitious eighteen-foot-high figure by the W. H. Mullins manufacturing company in Salem, Ohio. When the statue of gilded copper sheets was hoisted atop the tower of Madison Square Garden in October 1891, it instantly became the point of greatest elevation in New York. With its clean lines and vivid silhouette, Diana gleamed in the light of day and was dramatically illuminated at night. However, her tenure atop the tower was short-lived; both architect and sculptor felt its scale was disproportionately large for its site. Furthermore, the immense weight - eighteen hundred pound - and awkward positioning of the left foot on the spherical base prevented the sculpture from revolving, thereby negating its function as a weathervane. Saint-Gaudens and White determined to create a smaller, lighter and more streamlined version at their own expense.


First weathervane version, bronze, photographed in the [Ohio] foundry,
Historic photograph collection of Saint-Gaudens National Historic Site


The first Diana (no longer extant) was removed in 1892 and sent to Chicago for display at the 1893 World's Columibian Exposition atop the Agricultural Building. Saint-Gaudens remodeled the figure, adjusting the hair, drapery and mounts as well as eliminating the crescent headpiece. When the slimmer, thirteen-foot figure was installed in November 1893, the critic Royal Cortissoz wrote appreciatively of the transformation: "The lithe goddess now has movement and elasticity as well as dignity; there is more strength in her limbs than there was, and there is more grace." Like the first Diana, the reworked figure featured a rudder of flying drapery to catch the wind. Unfortunately, when strong gales blew this piece off, the sculpture had to be permanently bolted into a stationary position. A famous New York landmark despite ongoing controversy over the issue of nudity, Diana remained resplendent on her perch until 1925, when Madison Square Garden was demolished. Seven years later, the New York Life Insurance Company, owners of the Garden site, gave the piece to the Philadelphia Museum of Art, where it is situated prominently at the top of a staircase.

By the time Saint-Gaudens modeled Diana for Madison Square Garden, he had revolutionized the field of American sculpture through his masterful handling of the bronze medium, his stirring monuments, and character-penetrating portrait reliefs. However, he, like other American sculptors, had been unable to encourage sustained interest for their bronze statuettes to the same degree artists enjoyed in France, for instance with the animal sculptures of Antoine-Louis Barye. Saint-Gaudens's replication of Diana as a statuette was a calculated attempt to bridge the gap between his large-scale images and smaller bronzes created for domestic display. During the 1890s and beyond, he successfully marketed multiple casts of three of his most attractive efforts: first Diana, then Robert Louis Stevenson and The Puritan. Ever concerned about maintaining control over the artistic process, he assured the individual aesthetic integrity of each cast by making occasional refinements, remodeling by hand rather than mechanically. He also experimented with the coloration of the patinas, which ranged from gold to green to brown. Copyrighted in January 1895, replicas of Diana were sold through Tiffany and Co. in New York, Doll and Richards in Boston, and by the sculptor himself.

When Saint-Gaudens reduced Diana, he made several changes from the original oversize figure. One, the removal of the billowing drapery. was the most significant compositional alteration; others, such as ongoing refinements to the hair, bow and base were more subtle, intended to improve the overall aesthetic. The earlier reductions, cast by Aubry Brothers in New York, are thirty-one inches high, and mounted on a half sphere (example in the collection of Chesterwood, National Trust for Historic Preservation, Mass.). Saint-Gaudens then produced a twenty-one-inch figure poised atop full orb on a low two-tiered base (example in the collection of the MetropolitanMuseum of Art). This "small" Diana was cast by Gruet in Paris, the artist's foundry of choice.

Although the figure is the same height at the "small" version, Williams College's Diana represents a third variation on the reduction theme. While Saint-Gaudens was in Paris in 1899, he remodeled the base so that the nude surmounts a sphere balanced atop a tripod adorned with winged griffins and classicizing scrolls and rosettes. This alteration is particularly pleasing since the elongated taper of the base complements the elegant sweeping lines of the nude.

Both French and American foundries produced this third version. The bronzes were in existence as early as 1899, and casting continued after Saint-Gaudens's death in 1907. For these reasons, as well as the sculptor's incomplete records, it is not possible to determine an exact production date for Williams's Diana. The raised letters on the base may be read as "Diana Op the Tower" rather than "Diana Of the Tower," but this does not necessarily imply a foundry error, but rather a less crisply cut inscription.

Among other casts featuring the tripod base are those in the collection of the Cleveland Museum of Art; Gilcrease Museum, Tulsa Oklahoma; the New York Historical Society; and the Virginia Museum of Fine Arts, Richmond. A cast at the National Gallery of Art, Washington D.C., differs in the treatment of the hairstyle, while one at the Smith College Museum of Arts, Northampton, Massachusetts, has a knob on the side of the base which when turned causes the figure to rotate as did the original large-scale version.

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Posted By: Kidist P. Asrat
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Friday, May 17, 2013

Shunga By Lucy Liu


Lucy Liu with Boxer Wladimir Klitschko in 2008,
with one of her paintings


I recently wrote about the Asian (American) actress Lucy Liu, and posted the photo above of her posing with one of her paintings.

I got a response to that posting from a reader:
That painting from the 2008 photo seems to sum it up better than I ever could.
I was debating whether to post that photograph or not, but it was pertinent to the discussion.

Liu is of Chinese background, but "Asian" is the term most Chinese/Korean/Japanese use when referring to their ethnic background, as does Liu.

Liu's painting exhibited at the Six Friedrich gallery for modern art in Munich is a Japanese style painting called Shunga. It is not surprising that she chose this style since it is one of the more famous "Asian" styles of painting, and I think it fits with her eroticization of the Asian female, at least in the film roles she has taken on.

Eroticism is a form of power. Rather than show us beauty, Liu shows us sex (or pornography, or "erotica" in more polite society). By putting these paintings aggressively before us, Liu is confronting us and our sense of decorum, partly saying she can do what she wants, and if we complain or find it repulsive, then we are criticizing her and her ethnicity, thus making us racist.

The only way to win back our dignity, and our civilization, is to call out these tactics by disgruntled non-whites, by showing the inferiority of their supposed superiority and by attacking back when they attack us.

Rather than let Liu and her ilk have their say (with art, fashion, literature, film, etc.) without criticism, we should hold them accountable for their words (and works), ask them to explain and substantiate their positions, and let our arguments be the best judge.

Below is the painting behind her in the above photo (there is nothing larger online, and I couldn't find a title for the piece).



Why couldn't Liu look toward Europe, or America, in other words, the West? Why is she running to the East?

It harks back to her victim-tainted statement where she said:
"I can’t say that there is no racism [in America toward Asians] - there’s definitely something there that’s not easy..."
Liu "channels" the Japanese Shunga and this cultural background despite it having no relation to her own ethnic history, simply to identify with her "Asianness." It is interesting that she uses eroticism (or porn, to be more blunt) to identify with her "Asianness." There are many more pastoral Japanese and Chinese paintings she could have used, or the aggressive ones of warriors, rather than to resort to Shunga.

But, this is her way of showing us the alternate to "the emotionless Asian girl," a label which seems to haunt her (and which she gave to herself), and which she has to disprove at any opportunity, from her string of boyfriends to her pornographic art.

Is this what we are creating? A whole generation of aggrieved non-whites, who will reject the West, its culture, art and eventually society, to build their own versions of their ethnicity and society?

I think so.
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Posted By: Kidist P. Asrat
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Response to: Women as Public Figures: Why it Doesn't Work


Diana West beint interviewed at the Presidential Speakers Series

Tiberge from GalliaWatch wrote a post on women as public figures here.

I was recently discussing the evil Angelina Jolie, and the horror she has inflicted on us, and most terribly, on a whole generation of young women who want to emulate her. I think Tiberge's comments on her are exactly right.

She agrees with my views on Diana West and Pamela Geller, who are Of course, not on the same level as Jolie, but who nonetheless inhabit the world of women as public figures.

On women in general, Tiberge wrote:
It's difficult to criticize a person's appearance. I feel uncomfortable doing it, so I keep it to a minimum. Lawrence Auster did it all the time, and sometimes I felt he went much too far, attributing an entire gamut of psychological traits to a person based on one photo.
I have to disagree. There are certainly many uncontrollable elements when one's photo is taken, but we still have control over a lot. We decide what to wear, how to pose, whether to smile or to scowl, how we groom ourselves (make-up, hairstyle), and we can even control with whom we have the photo taken. The ultimate decision is ours, unless we live in some kind of totalitarian gulag. If we don't like the photo, we can ask to have it removed from a public posting, and if that is not possible, write a statement that it wasn't our decision to have that (unflattering) photo taken in the first place.

So, if we as ordinary citizens can do all that, more important figures have more power over the dissemination of their image and to present the kind of image they want disseminated. And ultimately, their responsibility is also larger, and hence their damage potentially greater.

And writers also have some kind of duty to call them out on this. If these public figures claim to represent us, then they should represent us properly.
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Posted By: Kidist P. Asrat
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Women as Public Figures: Why it Doesn't Work



By Tiberge
writer at GalliaWatch

Pamela Geller is a self-infatuated egoist, even if she does some good. I'm often repelled by those who cannot resist showing off while they serve a worthy cause. This often creates dissent within the group serving the same cause, and does harm ultimately to the cause. An excellent example recently in France has been the outrageous behavior of Frigide Barjot (a.k.a. Virginie Merle) who has ostentatiously displayed sympathy for homosexuals to the point where she has accused the traditionalists and the Front National of being "fachos" and "extremists". She highjacked the cause of anti-gay marriage for her own self-serving ends. This has not gone unnoticed or uncriticized, and I believe she may have a lesser role to play now in the Manif Pour Tous. I have written about her and her movement here.

As for Diana West, I'm sorry she was not able to see herself more objectively. I like her, but she showed too much leg and the shoes were ugly as well (the shoes they wear today are beyond hideous). So she asked for it. I assume that a woman looks carefully at herself in a full-length mirror while preparing for a TV interview and perceives the dangers of a mini- skirt. But, the problem is that she doesn't see the problem, since she (like most women) want to be in vogue.

It's difficult to criticize a person's appearance. I feel uncomfortable doing it, so I keep it to a minimum. Lawrence Auster did it all the time, and sometimes I felt he went much too far, attributing an entire gamut of psychological traits to a person based on one photo. I would not do that, except perhaps in the case of a known criminal. In the case of Deneuve I was more critical of her thoughts that then ricocheted back onto her face revealing something not so beautiful. But that was a subjective criticism on my part - she was still beautiful in the plastic sense.

I presume you have heard about the monstrous Angelina Jolie. She has been a self-mutilating maniac from the beginning with her tattoos and drugs, etc... Now she is the martyr of the pink-ribbon girls. The medical profession and the so-called scientists will have their place in Hell. Here is an article I found of interest:

The thought that other impressionable women will imitate her is horrific.

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Posted BY: Kidist P. Asrat
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The Book of Judith


Ellen Frank
The Sword Page from “The Book of Judith,” 2012-2013
23.5 k moon gold, white gold, palladium leaf
and egg tempera on classic English vellum
(23 1/2" x 17")

O Lord God of my father Simeon, who gavest him a sword to execute
vengeance against strangers (The Book of Judith, 9:2)


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The above image is from the Ellen Frank's Illuminated Arts project website. A Reclaiming Beauty reader sent me the link. According to the Ellen Frank Illuminated Arts Foundation's Mission Statement:
For centuries, societies far apart in culture and religion have had in common an exquisite art form: the Art of Illumination. Made with pictures, paint and precious metals, these cultures used illumination to create beautiful renderings of their most sacred documents. In archives and museums, a decorated Hebrew marriage contract (or ketubah), an embellished New Testament manuscript, and a dazzling Koran, bespeak the reverence and intensity of feelings expressed through this fine art.

The Ellen Frank Illumination Arts Foundation, a not-for-profit corporation, was formed in June 2004 to revitalize passion for and public awareness of the art of illumination, in part through education and training at the unique Illumination Atelier. Modeled after the Renaissance atelier (studio), the Illumination Atelier is the first of its kind in the United States.
About the Book of Judith, Ellen Frank writes:
The Book of Judith is a contemporary illuminated manuscript that tells the ancient, inspiring story of Judith, a woman of valor, who single handedly saves her small town from Assyrian military take-over and religious oppression. It chronicles the historic struggle for religious freedom in a contemporary voice while echoing the great illuminated manuscripts that flourished in the Middle Ages and the Renaissance.
Wikipedia says this about the Book of Judith:
The Book of Judith is a deuterocanonical book, included in the Septuagint and the Catholic and Eastern Orthodox Christian Old Testament of the Bible, but excluded by Jews and assigned by Protestants to the Apocrypha. The book contains numerous historical anachronisms, which is why many scholars now accept it as non-historical; it has been considered a parable or perhaps the first historical novel.

The name Judith (Hebrew: יְהוּדִית, Modern Yehudit Tiberian Yəhûḏîṯ ; "Praised" or "Jewess") is the feminine form of Judah.
Here is our first introduction to Judith, in Chapter 8 of The Book of Judith:
1 Now at that time Judith heard thereof, which was the daughter of Merari, the son of Ox, the son of Joseph, the son of Ozel, the son of Elcia, the son of Ananias, the son of Gedeon, the son of Raphaim, the son of Acitho, the son of Eliu, the son of Eliab, the son of Nathanael, the son of Samael, the son of Salasadal, the son of Israel.

2 And Manasses was her husband, of her tribe and kindred, who died in the barley harvest.

3 For as he stood overseeing them that bound sheaves in the field, the heat came upon his head, and he fell on his bed, and died in the city of Bethulia: and they buried him with his fathers in the field between Dothaim and Balamo.

4 So Judith was a widow in her house three years and four months.

5 And she made her a tent upon the top of her house, and put on sackcloth upon her loins and ware her widow's apparel.

6 And she fasted all the days of her widowhood, save the eves of the sabbaths, and the sabbaths, and the eves of the new moons, and the new moons and the feasts and solemn days of the house of Israel.

7 She was also of a goodly countenance, and very beautiful to behold: and her husband Manasses had left her gold, and silver, and menservants and maidservants, and cattle, and lands; and she remained upon them.

8 And there was none that gave her an ill word; ar she feared God greatly.

9 Now when she heard the evil words of the people against the governor, that they fainted for lack of water; for Judith had heard all the words that Ozias had spoken unto them, and that he had sworn to deliver the city unto the Assyrians after five days;

10 Then she sent her waitingwoman, that had the government of all things that she had, to call Ozias and Chabris and Charmis, the ancients of the city.

11 And they came unto her, and she said unto them, Hear me now, O ye governors of the inhabitants of Bethulia: for your words that ye have spoken before the people this day are not right, touching this oath which ye made and pronounced between God and you, and have promised to deliver the city to our enemies, unless within these days the Lord turn to help you.

12 And now who are ye that have tempted God this day, and stand instead of God among the children of men?

13 And now try the Lord Almighty, but ye shall never know any thing.

14 For ye cannot find the depth of the heart of man, neither can ye perceive the things that he thinketh: then how can ye search out God, that hath made all these things, and know his mind, or comprehend his purpose? Nay, my brethren, provoke not the Lord our God to anger.

15 For if he will not help us within these five days, he hath power to defend us when he will, even every day, or to destroy us before our enemies.

16 Do not bind the counsels of the Lord our God: for God is not as man, that he may be threatened; neither is he as the son of man, that he should be wavering.

17 Therefore let us wait for salvation of him, and call upon him to help us, and he will hear our voice, if it please him.

18 For there arose none in our age, neither is there any now in these days neither tribe, nor family, nor people, nor city among us, which worship gods made with hands, as hath been aforetime.

19 For the which cause our fathers were given to the sword, and for a spoil, and had a great fall before our enemies.

20 But we know none other god, therefore we trust that he will not dispise us, nor any of our nation.

21 For if we be taken so, all Judea shall lie waste, and our sanctuary shall be spoiled; and he will require the profanation thereof at our mouth.

22 And the slaughter of our brethren, and the captivity of the country, and the desolation of our inheritance, will he turn upon our heads among the Gentiles, wheresoever we shall be in bondage; and we shall be an offence and a reproach to all them that possess us.

23 For our servitude shall not be directed to favour: but the Lord our God shall turn it to dishonour.

24 Now therefore, O brethren, let us shew an example to our brethren, because their hearts depend upon us, and the sanctuary, and the house, and the altar, rest upon us.

25 Moreover let us give thanks to the Lord our God, which trieth us, even as he did our fathers.

26 Remember what things he did to Abraham, and how he tried Isaac, and what happened to Jacob in Mesopotamia of Syria, when he kept the sheep of Laban his mother's brother.

27 For he hath not tried us in the fire, as he did them, for the examination of their hearts, neither hath he taken vengeance on us: but the Lord doth scourge them that come near unto him, to admonish them.

28 Then said Ozias to her, All that thou hast spoken hast thou spoken with a good heart, and there is none that may gainsay thy words.

29 For this is not the first day wherein thy wisdom is manifested; but from the beginning of thy days all the people have known thy understanding, because the disposition of thine heart is good.

30 But the people were very thirsty, and compelled us to do unto them as we have spoken, and to bring an oath upon ourselves, which we will not break.

31 Therefore now pray thou for us, because thou art a godly woman, and the Lord will send us rain to fill our cisterns, and we shall faint no more.

32 Then said Judith unto them, Hear me, and I will do a thing, which shall go throughout all generations to the children of our nation.

33 Ye shall stand this night in the gate, and I will go forth with my waitingwoman: and within the days that ye have promised to deliver the city to our enemies the Lord will visit Israel by mine hand.

34 But enquire not ye of mine act: for I will not declare it unto you, till the things be finished that I do.

35 Then said Ozias and the princes unto her, Go in peace, and the Lord God be before thee, to take vengeance on our enemies.

36 So they returned from the tent, and went to their wards.


Botticelli, Alessandro (1444/45-1510)
The Return of Judith to Bethulia
Oil on Panel
Date Painted: 1472
31 x 24 cm
Galleria degli Uffizi, Florence


Judith returns to Bethulia carrying the sword she used to decapitate Holofernes's head, while her maidservant Abra carries his head.


Michelangelo Buonarroti (1475 - 1564)
Detail from: Judith carries away the head of Holofernes
Fresco
Date Painted: 1508-1512
Sistine Chapel

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Posted By: Kidist P. Asrat
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Thursday, May 16, 2013

Crime and Punishment


James Woods as convicted criminal Gregory Ulas Powell
representing himself in the film The Onion Field.
The film is in color, but I think this black and white
photo best captures Woods as Powell
.

I watched the Sun Media's The Arena yesterday, whose host is Michael Coren. Sun Media and Coren purport to be the "conservative" news of Canada. But, I remember Coren saying a while ago that he wasn't a conservative, which explains his many ambiguous positions, and which is why I barely tune into their much-touted program (it's like the National Post, which never lived to its "alternate" message).

I met Coren when with a group from the International Free Press Society invited me to join them. One of the stops we made was to attend an interview by Coren of Lars Hedegaard, the president of the Danish Free Press Society.

Still, Coren, because of his forceful nature, does some of the better interviews (pepperd with disclaimers) of the more controversial issues of our time.

Last night's interview is not yet online. Coren interviewed one of the Sun Media journalists about the abortion doctor Gosnell, who was charged with killing (murdering) one woman and four infants. He is labelled as a serial killer, but the jury's verdict was life imprisonment, although as a serial killer he could have got the death penalty.

Coren, in his forceful and confident way announces: "I'm against the death penalty, myself. Everyone else can believe what they want, but I'm against it."

So much for the intellectual level of our public figures and opinion makers. Judgment is simply a matter of opinion, and we can all believe what we want.

In any case, this reminded me of the strong, well-made movie (based on true events) The Onion Field. When politics fails, go to art for the true answers. Yes, today's films are mostly liberal, made for liberals, and watched by liberals (I haven't been to the movies in at least two years now), but people are still conservative when it comes to their families (who want a daughter to have an abortion? Etc.), so some films and television programs have a sliver of conservatism in their messages. And also, I find that films made prior to the mid-sixties retain a higher level of conservative elements.

The Onion Field is the true story of a cold-blooded murder by two escaped convicts. James woods makes a formidable performance as one of the convicts, Gregory Ulas Powell. They eventually get caught and are convicted of first-degree murder. The judge, at this verdict, makes an impassioned speech saying that these two deserved nothing less than the death penalty, and that these clever men would exploit the judicial system to its fullest.

As the judge predicted, Powell spent years writing appeals for his death sentence, including appearing in court to represent himself. This horrible spectacle, of a convicted murder appearing in a court of law to appeal his situation became too much for one of the lawyers, who resigned. Powell died in 2012, after almost fifty years in prison.

Coren, in his arrogance about what justice constitutes, is allowing for this type of "justice" to flourish in the judicial system. And sure enough, we have the serial killer Gosnell, who will get the best of prison life, as well as unconditional support from a myriad of "abortion" sympathizers, for the rest of his life.

Here is the President of the United Sates making another one of his ambiguous statements.



The part which is difficult to hear is:
"I think abortion should be safe, legal and rare."

In typical Obama fashion, safe and legal are the important words. Rare is a matter of "judgement." He appears to be strict on abortion, but he is as liberal as they get. When will the American people realize who he really is?

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Posted By: Kidist P. Asrat
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Wednesday, May 15, 2013

Hoop-La Around the Latest Gatsby Film: But Who Will Pick Up the Book?


Tamara de Lempicka (1898 - 1980)
Jeune fille en vert
(Jeune fille aux gants)
1927 - 1930
Huile sur contreplaqué
Centre Pompidou, Paris
61,5 x 45,5 cm


Tamara de Lempicka's Jeune Fille en Vert (it has a number of other titles including Young Girl with Gloves) is whom I would choose to act in Baz Luhrmanns' The Great Gatsby, which is screening now in theaters. The world-weary, yet sophisticated and glamorous "Girl in green" would fit Gatsby's Daisy, who despite her outward gaiety is a sad and hardened woman.

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I started reading The Great Gatsby after I saw all the hoop-la about this latest film version (which I'm not going to watch - see below). I thought I had already read the book (I used to be a fan of Fitzgerald's), but not so. It is a pleasure to read a book of such high writing quality. Here are the first lines of the second chapter (the whole book is online here - pdf file), where we see Gatsby's ominous residence for the first time:
About half way between West Egg and New York the motor-road hastily joins the railroad and runs beside it for a quarter of a mile, so as to shrink away from a certain desolate area of land. This is a valley of ashes—a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. Occasionally a line of grey cars crawls along an invisible track, gives out a ghastly creak and comes to rest, and immediately the ash-grey men swarm up with leaden spades and stir up an impenetrable cloud which screens their obscure operations from your sight.
Luhrmann's Gatsby is becoming the rage of fashion designers, musicians, talk show hosts and of course movie critics. It is a film in 3-D, and whose musical director is the black hip-hop/rap star Jay-Z.

Luhrmann has already an eclectic and exuberant musical/theatrical/film blockbuster under his belt: Moulin Rouge! - yes, it deserves the exclamation mark. Moulin Rougeis a film that starts out a dreary black white for a brief glimpse at a poor soul stuck in an artist's garret in the Montmartre region of Paris (which also houses the famous Moulin Rouge cabaret), dreaming of his lost love. It reverts to a happier time of this lost soul's life when he had his lover, by exploding into a colorful kaleidoscope of: a musical; a cabaret; an old-time Hollywood movie; a time-travel fantasy; a spiced-up MTV production replete with a David Bowie and Madonna songs; and Bollywood. And there is not one second of 3-D. It is a movie that tries to capture it all, during a brief two hours, half the length of Luhrmann's The Great Gatsby. And it works fantastically. I've seen it at least three times. It is a work of pure creativity, traveling to all corners of the imagination.

Michael Wilmington, writing at the Daily Camer praises Luhrmann's Moulin Rouge:
The score is eclectic, with songs by Offenbach, The Beatles, Sting, Elton John, and Rodgers and Hammerstein, among others and having the actors sing these songs themselves, without dubbing, lends them unusual power and immediacy.
So what went wrong with The Great Gatsby? I think the first mistake was putting Jay-Z as the musical director. Luhrmann chose him, although he doesn't spell it out in any of the interviews he's given, because The Great Gatsby is supposedly about the Jazz Age, and a black musician like Jay-Z should know all about Jazz.

Wrong. On a couple of counts (at least).

First, the Jazz Age was coined by Scott F. Fitzgerald to describe the flamboyance of 1920s (or the Roaring Twenties as they are known). It did not refer exclusively to music, and it did not refer to the kind of jazz we're familiar with now (John Coltrane and Charlie Parker). In fact, most of the "jazz" musicians of the Jazz Age were white, or were black musicians who were most successful when they played for white audiences, curtailing some of the abandon they showed when playing for black audiences. The music was nothing like the improvised riffs that we know as jazz today, but was carefully crafted with band members knowing exactly what they were playing. The Jazz Age was referring more to the heady optimism the time.

And second, Jay-Z's fame is based around the monotonous rap which he "sings" in a perennial monotone. I haven't heard him sing a single "jazz" number. In The Great Gatsby, Emma Rosenblum writing in Business Week says:
...[Jay-Z is with] a car full of black dandies and flappers. They’re sipping Moët and dancing wildly to Jay-Z’s [H to the] Izzo (the movie, set in 1922, has a modern soundtrack); the camera slows down and lingers lovingly on the champagne bottle labels as Jay-Z raps nonsense like “Fo’ shizzle my nizzle.” Is Luhrmann commenting on the racial politics of the Jazz Age? Is he somehow connecting expensive alcohol to greed? Does he just really like the song?

Turns out he’s not saying anything. Moët & Chandon is an official sponsor of the film, and the French champagne brand is releasing a 1921 vintage to coincide with the movie’s premiere on May 10.
Rap for a Jazz Age soundtrack? I agree with Rosenblum: What's Luhrmann thinking? Nothing apparently, other than some deep-seated desire to bring "class" to the much aligned rap and hip-hop music (there are now fifty-seven rappers in jail, according to this site).

R. Kurt Oselund says something similar at Slate Magazine:
[The rap and hip-hop] may just be a winking "thank you" to [Luhrmann's] mega-mogul collaborator, but the inclusion of Jay-Z's "H to the Izzo" in a scene on the Queensboro Bridge is unforgivably tacky, and the fury with which it yanks you from the moment is a shock to the system.
About the film, Osenlund writes:
Since Fitzgerald's Gatsby prose is so specific, and so indispensably poetic, adaptations of it essentially require Nick Carraway's narration, if only to give the viewer that full, vicarious sensation of being "within" and "without." But the handling of this by Luhrmann and his co-writer Craig Pearce feels a bit like a bastardization, in ways that go beyond a purist's dissatisfaction with changes to the text.
Succinctness is the quality of a clear mind. Luhrmann, with his music/social conscience/black-music-promoting film is trying to say so much, and is unclear about so much, that his best recourse is to keep on going until the forsaken project is done. His proposal to make this film was rejected twice, and was finally picked up by Warner Brothers who gave him the $105 million he was asking for. I am sure the money came with a lot of strings attached. A socially conscience message, for one? Moulin Rouge, with its revolving sets and extravagant dance numbers, cost half the price (still huge for Hollywood) at 53 million dollars.

Previously, The Great Gatsby was cast with Robert Redford, whose charm and good looks exceed Leonardo Dicaprio, the current Gatsby. Dicaprio is too tall and lanky, and his features too youthful. But he looks leaner and harsher than Redford, although he is the same age as Redford was (thirty eight) when he made in the film.

DiCaprio, whom I found talented and engaging in Revolutionary Road, seems to have gone downhill in his choice of films. This became apparent when he starred in the insidiously destabilizing films Inception and Shuter Island, where he seems to be in a reality that is crumbling under his feet. I wrote:
[In] Shuter Island and Inception, DiCaprio's characters enter some abyss (in Shuter Island we find out that he's actually mad) where the laws of reality (including gravity) don't exist, or at least they don't fully and consistently exist.
His latest film Django Unchained, really unchained his demons.

Carey Mulligan was the last of a series of actresses who was interviewed to play Daisy in Lurhmann's Gatsby. She got the role. She lacks the spark to play a woman with a face that:
...was sad and lovely with bright things in it, bright eyes and a bright passionate mouth - but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered ‘Listen,’ a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour. [From Chapter One of The Great Gatsby, when the narrator meets Daisy for the first time at Gatsby's home]
Mulligan acted recently in Shame as:
Sissy, a deeply troubled girl with an almost incestuous attachment to her brother, a sex addict. Both characters are in search of something—anything—that will make them feel whole. Sissy, who works as a singer, is naked even when she’s clothed. She reveals too much, sleeps with the wrong men, and when she turns up unexpectedly in her brother’s spare, pristine New York City apartment, the effect is like a bomb going off: The siblings ignite each other’s self-destructive ways.
It is hardly surprising that DiCaprio and Mulligan were both willing to take on Luhrmann's Gatsby. As Mulligan says in a recent interview:
...there is "a real weakness and a cowardice to the way she behaves at the end, so there's huge holes in her character."
Why accept such a role? Because, there is "a real weakness and a cowardice to the way she behaves at the end, so there's huge holes in her character," in the perverted logic of young actresses these days. So much for womens's lib. Daisy may be many things, but she is not weak.

About Fitzgerald and his book, David Denby at The New Yorker writes:
The tale of Fitzgerald’s woeful stumbles—no great writer ever hit the skids so publicly—is suffused with varying shades of irony, both forlorn and triumphal. Fitzgerald was an alcoholic, and no doubt his health would have declined, whatever the commercial fate of his masterpiece. But he was a writer who needed recognition and money as much as booze, and if “Gatsby” had sold well it would likely have saved him from the lacerating public confessions of failure that he made in the nineteen-thirties, or, at least, would have kept him away from Hollywood. (He did get a fascinating, half-finished novel, “The Last Tycoon,” out of the place, but his talents as a screenwriter were too fine-grained for M-G-M.) At the same time, the initial failure of “Gatsby” has yielded an astounding coda: the U.S. trade-paperback edition of the book currently sells half a million copies a year. Jay Gatsby “sprang from his Platonic conception of himself,” and his exuberant ambitions and his abrupt tragedy have merged with the story of America, in its self-creation and its failures. The strong, delicate, poetically resonant text has become a kind of national scripture, recited happily or mournfully, as the occasion requires.
A "strong, delicate, poetically resonant text" has become "a bastardization, in ways that go beyond a purist's dissatisfaction with changes to the text" in the hands of a contemporary mega-blockbuster director.

The good thing out of all of this is that book sales for The Great Gatsby have spiked. At least, people will get introduced to good literature. Now it is up to them if they prefer a five hour escape into a dark theater,or if they will finish reading the book.

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Robert Redford as Gatsby


Dicaprio, leaner, harsher, but somehow younger looking unlike the relaxed wealth of Redford (Dicaprio is the same age that Redford was when he made the movie: Thirty eight.


Carey Mulligan has a world-weary look in Luhrmann's 2013 production


Mia Farrow as Diasy in 1974


Betty Field as Daisy in 1947, soft but strong

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Posted By: Kidist P. Asrat
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The World's Most Beautiful Golf Courses


The Golfers
By: Charles Lees (1800-1880)
Painted 1847
Oil on Canvas
National Galleries of Scotland, Edinburgh


From the National Galleries of Scotland, Edinburgh:
This large painting shows a match being played on the Old Course at the Royal and Ancient Golf Club, St Andrews. The centre of everybody's attention is a decisive moment in a match between Sir David Baird and Sir Ralph Anstruther against Major Hugh Lyon Playfair and John Campbell of Glen Saddel. Lee carefully composed this complex scene, which includes over fifty individual portraits, using photographs of some of the golfers to help him.
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Tiger Woods was trying to make a come-back at The Players Championship at Sawgrass, Florida. While watching some of the news footage, I realized what how beautiful golf courses are. There is a refined cultivation of the elements - sea, woods, and of course hilly meadows (or lawns), which the golfers and spectators enjoy. It is still a wonder that Woods has stayed so long in the sport. He cannot enjoy it much. He is into showdowns and public scenes. This last tournament was no exception.


Tiger Woods at The Players Championship in Ponte Vedra Beach, Florida

Does Woods even enjoy the intricacies of golf? Or is it just some testosterone inducing walloping of a ball with a stick? Golf is the gentleman's game par excellence. A quiet, unperturbed demeanor is part of it [See article below: Etiquette of Golf - A Gentleman’s Game].

At the same time, golf's aesthetics go beyond the style of the game. The surrounding course is as important as the game itself. Elaborate landscapes are designed from grass, trees, water and rock, to create miles of terrain.

All sport is grueling and competitive, but it also needs an element of beauty, like the smooth and strong strokes of the racket by a tennis player, or the leap of a save of a goal keeper in soccer. Even football can be beautiful, as I wrote here (although we would be hard pressed to find that now). Golf is no less competitive, and requires as well-prepared an athlete as any. But there must be something that lifts the spirit of athletes when they participate surrounded by environments of superior aesthetic design.

Below are photos of golf courses from the Pebble Beach, California resorts:


Del Monte Golf Course


Pebble Beach Golf Course


Spyglass Hill Golf Course


Spanish Bay Golf Course

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Etiquette of Golf - A Gentleman’s Game
Tom Swanston
January 11, 2013
A Perfect Gentleman

Throughout its history, golf has retained a few basic tenets. Without referees, golf requires players to be self-governing. Even the top professionals govern themselves unless they need advice on a ruling, in which case they can call for a marshal or rules official.

The rules of golf are inextricably linked to the game’s etiquette. Each player must show consideration for the game, the course, and other players. Those who do not abide by these unwritten rules, often find themselves shunned and unable to find a game, with no other golfers willing to play with them. Being brandished as a cheat can tarnish a player’s reputation for his entire career.

Goldfinger, the infamous Bond villain, is the perfect example of a man who knows and understands the rules and etiquette of golf, but is willing to bend and break these in any way that will help him to win. Winning by any and all means is the antithesis of what it means to be a true golfer.

Let’s take a closer look at the infamous Bond scene, filmed at Stoke Park Golf Club (named Stoke Poges at the time of filming). Bond makes the first faux pas when he stands too close to Goldfinger as he is putting. He compounds this by asking Goldfinger a question as he is about to make the putt. Players should be given ample room to make their shot and their fellow players should remain quiet before and throughout the stroke. But Goldfinger returns the favour on the next tee, by asking Bond a question just as he reaches the top of his back swing.

When Goldfinger loses his ball in the rough he blatantly breaks the rules by placing another ball down and pretending he has found the first one.

A rule of golf is that the ball furthest from the hole should be played first. On the next green Goldfinger is due to putt (being further from the hole), but Bond politely asks if he would like him to mark or play his own ball. This is because the ball nearer the hole can be a distraction, or even directly in the way, for the player further from the hole. This is the sort of situation where the players can agree to break the rules in favour of being gentlemanly toward one another.

On the next tee, Goldfinger strides up to play his shot, but Bond’s caddy exclaims: “It’s your honour, sir!” The player who won the previous hole should play first on the next hole i.e. it is his ‘honour’. Goldfinger is playing out of turn. However, the rules state that there is no automatic penalty for playing out of turn, unless the opposing player wishes to impose one, in which case he can ask the other player to replay the shot. Bond choses not to do this. This is a classic example of how the rules and etiquette merge, and it is left to the discretion of the players to implement as they see fit.

The rules of golf, as stipulated by the Royal & Ancient Golf Society and the US Golf Association, are fairly hefty tomes, and only appointed rules officials need know them all by heart. However, one of the joys of the game is that, if you play it in a gentlemanly manner you are more than likely to abide by the rules.

Professional golfer Brian Davis gained international favour when he had the chance to win the Verizon Heritage at Hilton Head Island, South Carolina, but on the final hole he called a penalty on himself for a rules infringement that no one else saw and could only be seen by the cameras with an extreme close-up replayed in slow motion.

As top golfer Phil Mickleson so eloquently put it: “The object of golf is not just to win. It is to play like a Gentleman, and win.”
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Posted By: Kidist P. Asrat
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Tuesday, May 14, 2013

Lucy Liu's Long List of Lovers

And they're all white.


The May 13, 2013 online issue of the Daily Mail has
a full section on Lucy Liu where she says:
'I wish people wouldn't just see me as the emotionless Asian girl'


No culture loves the Asian woman more than does the contemporary Western culture. Or I should be more specific: No male loves Asian women more than does the contemporary white Western male. No male abandons his own women as does the contemporary white Western male.

So it baffles me why an Asian female star complains as Lucy Liu does here:
I can’t say that there is no racism - there’s definitely something there that’s not easy, which makes [an acting career] much more difficult.
She continues:
I wish people wouldn’t just see me as the Asian girl who beats everyone up, or the Asian girl with no emotion. People see Julia Roberts or Sandra Bullock in a romantic comedy, but not me. You add race to it, and it became, "Well, she’s too Asian", or, "She’s too American".
Perhaps what we are seeing is the threshold of the much-praised Asian talent. I've noticed in fashion designers, university students and other environments where Asians have been touted, that they peak at a sub-par level (they peak at a level lower than whites). And, at least in Canada, they begin the usual race-related complaints of "racism" and ask for such handouts as affirmative action positions in university programs (which I've written about here, and related posts here and here).

So, Perhaps there is a little thing called talent, which Liu isn't able to deliver adequately. I watched for a little while Liu's break-out role as Ling Woo in Ally McBeal. This is how Wikipeida describes her:
Ling Woo's character has been described as the antithesis of Ally McBeal's. For example, Woo is portrayed as evil, McBeal as good; Woo growls, McBeal purrs.At the same time, Woo's verbal assaults present a fantasy of authority that appeals to even McBeal...

The character's main function was to inject into the show "sensuality, promise, terror, sublimity, idyllic pleasure, intense energy" - elements long associated with the Orient in Western culture, according to Orientalism author Edward Said. Ling brings to mind the geisha, the unreadable Oriental, and the dragon lady. Describing her as "fearsome, devouring, vicious, cool," and with an "exotic sexuality", Georgia State University professor Greg Smith sees Woo as a stereotype of Asian women, a "Dragon Lady".

Her character was frequently used to examine matters related to gender definition and topics. Ling is the only major character in Ally McBeal who does not have a story for the origin of her particular neurosis. She is exempt from the psychoanalytic focus given to others in the series, which Smith attributes to her Asian "mysteriousness".
First, Liu had the option to refuse the role. Second, the fact that she accepted it, and acted the role for so many years, shows that she must agree with, or like, certain aspects of that role. Finally, stereotypes are a simplistic way to categorize people, but they are not untrue, and help with social interactions (a sales-girl behaves like a sales-girl and is treated like a sales-girl, for example), otherwise ever day interactions would be long, laborious and ultimately impossible.

On a side note, Ally McBeal (played by Callista Flockhart) acts like a typical white woman who is ready to prostate herself before exotic foreigners. It is no wonder that white men are running like droves towards Asian women. Who want a victim-centered woman as a partner?

"She's my hero", says McBeal [of Ling], "she's vicious, I disagree with almost everything she says, she treats me like dirt, and somehow she's my hero."

Rather than white men coming to the rescue of their women, they allow them to deteriorate like the Ally McBeal character. And when this happens, they abandon them for what they perceive as a better prize.

I don't blame white women. It is the responsibility of their men to help them behave like women. But, in this hypocritical world of feminist men, why should they? White feminist women can go on fighting the battle of "equality and fairness" while white men can find the more accommodating wife at home.

Asian women are clever. They know what the stakes are, and they know they have to play the game. They will be as "feminine" as they can. Their gains are to high, materialistically - a prestigious husband (any white male is prestigious, regardless of real social standing), a good income, or the potential of a good income, and half-white children adding more to the prestige. But I wonder what really goes on behind these marriages? I've witnessed, in public, vocal arguments between white men and their Asian companions (wife, girlfriend, friend?), which I write about here.

And I'm seeing many young Asian women with white women "friends." Often, the Asian woman is smartly dressed, slim and attractive. The white women is sloppy, overweight and often too friendly-looking. Such a white woman becomes a source of white men - her brothers, her family friends, her natural affinity for other white men - from which this Asian "friend" can start her pickings.

And white men oblige.

They will be judged.

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Lucy Liu has never been married, although she was engaged once.


Lucy Liu with George Clooney in 2000


Lucy Liu with Zack Helm in 2003


Lucy Liu with Wladimir Klitschko in 2008, with one of her paintings


Liu with Noam Gottesman in 2010


Lucy Liu with Soon-to-be-Divorced Michael C. Hall in 2010


Lucy Liu with Maretto in 2011


Lucy Liu with Johnny Lee Miller in 2012

The married Johnny Lee Miller says: "If you're going to spend a lot of time with someone, you really need to be able to get on with them."

"But one of the main attractions was Johnny," says Liu about accepting her role in the TV series Elementary.

Another conquest for 2013?


Lucy Liu (2013) and Will McCormack (2012)

Even for a modern woman, Lucy Liu's list of lovers is very long (she's only been married once. This supports my theory that Asian women are more difficult to be around than white women when all other factors are weighed in (i.e. feminism, wealth, years of education, years married, etc.).

And with Liu's erratic lifestyle of a "movie star" all these negatives are more pronounced than they would be in a white woman. She's never been married, although engaged once.

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Posted By: Kidist P. Asrat
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Sunday, May 12, 2013

Ken Russell's Tchaikovsky: Descent into Sublime Evil


Tchaikovsky in Music Lovers during a fantasy sequence of aerial conducting

Richard Chamberlain (himself a homosexual) as Tchaikovsky in one of the memorable moments of the film. The grand globes of the Russian Orthodox church frame this fantasy shot of Tchaikovsky, who swirls around conducting some imaginary symphony.

The scene is at the end of the film, and was shot at Bray Studios, near Windsor, England. The golden domes of the Kremlin were built on the backlot.

This image "freezes" into a statue as the film ends, giving is that moment for eternity.



Imagine going to so much trouble to orchestrate these scenes!

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Ken Russell has made a grand film on Tchaikovsky titled The Music Lovers. It vacillates between the sublime and the horrific. Images of beautiful Russian architecture and interiors are juxtaposed with crass sex scenes and characters (Tchaikovsky's mother, for example) rotting on their death beds. The film's director seems to think that these ugly images constitute drama, and scripts the score with Tchaikovsky's grand oeuvres. The more delicate scenes are honored with softer works.

I watched the whole film, both fascinated and horrified (I switched channels a couple of times), but I was also enchanted by its beauty. This was clearly a clever, sophisticated trick to pull me into the sublime evil of the film.

Roger Ebert agrees with me:
Ken Russell is a most deviously baroque director, sucking us down with him into his ornate fantasies of decadent interior decoration, until every fringe on every curtain has a fringe of its own, and the characters have fringes, too, and the characters elbow their way through a grotesque jungle of candlesticks, potted plant stands, incense sticks, old champagne bottles, and gilt edges, and it is almost certain that something is happening in the movie. But what?
But I think there is another reason for the film's descent into horror. Tchaikovsky cannot allow him to view homosexuality as normal. Visions of horror keep escaping through the beauty he's trying to capture.


Video of Jennifer Roback Morse of the
National Organization for Marriage’s Ruth Institute
speaking at a Catholic Women’s Conference.
in Venice, Florida on February 2013
Her speech is titled "Defending Marriage."


Tchaikovsky is said to have died of cholera, although some attribute his death to suicide. I tend to believe the latter. It was his only out, other than to renounce his sins, beg for, and wait for, forgiveness. And live his life as piously as he could after that. But with stubborn and strong-willed men, who have defied and rejected God for so long, waiting for God's answer would seem longer than eternity, and his own swift hands would send him to the eternity that seems shorter to him.

One commentator somewhat agrees with me. It was not Tchaikovsky who took his life, it was his family which influenced him to take arsenic and end his life:
Quite contrary to the ridiculous myth that he drank a glass of unboiled water in order to contract cholera, thereby committing suicide, strong evidence suggests that he was forced to take arsenic as a matter of honour: one of his sexual adventures with a boy of noble birth so outraged the boy's father that Tchaikovsky's dalliances were in danger of being brought to the attention of the Czar, thus bringing dishonour to the school where Tchaikovsky trained as a civil servant. A sort of trial was held by about a dozen of his former classmates, now holding high positions in government and law. He was presented with two choices: have his indiscretion revealed to the Czar (a letter had been written but had not yet been delivered), or commit suicide through taking arsenic.
Perhaps it is this attempt at expiation, however coerced, that allows us to appreciate and admire Tchaikovsky's music. The world of Western art is full of such ambiguous characters. The beauty that they try to capture is tainted with sin. It is the arrogance that we think we can create as well as God which exposes our weakness, and our achievements become hostage to dangerous forces.

Here is the soundtrack for The Music Lovers

"Polovtsian Dances"
from "Prince Igor"
Composed by Alexander Borodin

"SCHERZO BURLESQUE"
Conducted by André Previn with London Symphony Orchestra

"DANCE OF THE CLOWNS"
Conducted by André Previn with London Symphony Orchestra

"PIANO CONCERTO IN B FLAT MINOR"
(slow movement)
Piano soloist: Raphael Orozco

"THE LETTER SONG"
from EUGENE ONEGIN
Vocalist: April Cantelo
"6th Symphony"
(excerpts)
Conducted by André Previn with London Symphony Orchestra

"MANFRED SYMPHONY"
(excerpts)
Conducted by André Previn with London Symphony Orchestra

"STRING QUARTET No. 3"
(adante)
Conducted by André Previn with London Symphony Orchestra

"ROMEO AND JULIET"
(overture)
Conducted by André Previn with London Symphony Orchestra

"MINIATURE MARCH"
Conducted by André Previn with London Symphony Orchestra

"1812 OVERTURE"
Conducted by André Previn with London Symphony Orchestra


Tchaikovsky-Piano Concerto no. 1 in b flat minor op.23
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Posted By: Kidist P. Asrat
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