the paniolo, the samurai and the young monk
characters from a really important project that i want to do in the future. one of my goals is to make this comic series/graphic novel that will be in the school curriculum in Hawaii. most Hawaiian history books cover ancient Hawaii and its mythology and then skip towards the overthrow and then to the white guys who took the Islands over.
i want to explore that time period, between 1880-1900, when there were people coming from all over the world, either of their own free will or forced, to try and make a better life there. there were Japanese, Chinese, Portuguese, Puerto Ricans, Maori and Phillipinos all struggling to make a life there and in that struggle they made a new culture, developed a pidgin language they could all speak.
but schools don’t teach that and history books don’t explore this time very much because it was all about the sugar and pineapple industries booming, all about the The Big Five.
anyway, this is something i wanna do soon because i would have killed to learn about this insanely important part of hawaiian history in school when i was younger. hopefully i can make this happen…
I asked how can you ever be sure
that what you write is really
any good at all and he said you can’t
you can’t you can never be sure
you die without knowing
whether anything you wrote was any good
if you have to be sure don’t write
I said Goddamn!
The aggressive and unfeeling Draper is largely confided to work related activities but comes out whenever a paternalistic figure is needed to resolve a conflict such as when Betty’s grubby younger brother refused to take responsibility for their father’s condition or when Don found out what happened to Peggy at the end of season one. The profoundly weak Whitman usually presents itself whenever Don’s secret identity is in danger of being revealed but it also makes an appearance whenever Don engages in an assignation. While Draper’s practiced swagger allows him easy sex, Whitman’s lonely little boy craves true intimacy. What makes Hamm so impressive is that he can play the two facets of masculinity simultaneously.
Wow: this episode is unwatchable and embarassing.
Do you ever look at celebrities and think about how “if they die, the internet’s going to pretend the last 20 years of their career never happened” or whatever, and that’s all you think about with them…? If Eddie Murphy were to die, we would all be really, really sad— even though he stopped making good movies in … I’d say his run of good movies ended with 1994’s Beverly Hills Cop 2 (which isn’t even that good really— maybe ‘92’s The Distinguished Gentleman? I definitely think Boomerang is super-underrated). Sure, I’d make an exception for Bowfinger (where I remember thinking that was his comeback movie), and I guess kids liked the Klump stuff— but that’s not really the era a person would normally point to, to describe What He Was in his prime… which was, what, ‘80 to ‘92/’94. Now? If someone were to walk up to you on the street, and ask if you wanted to see the new Eddie Murphy movie, you’re legally allowed in Blue States to head-butt them in the groin. But if he were to die? How sad would you be? You would be so sad! Spoilers, it’ll turn out you were Eddie Murphy’s biggest fan this entire time. And not on a “every life is sacred” level— part of you’d be like, “His 40’s and 50’s were bad but I really thought he was going to turn it around at age 60.” (He’s 52 now which… wow). See also, to a much lesser extent, Jim Carrey. Remember when people loved Jim Carrey…? Like, maybe two of those movies have held up, though, is the difference. So yeah, I’m spending my Saturday thinking about what-it’ll-be-like-when-celebrities-die, so I will turn off my internet now…