My Book will be released this Fall 2014, by 2Leaf Press!!
Introduction by Gerald Horne
Foreword by Velina Hasu Houston
Cover Art by Kenji Chienshu Liu
Here are just a few preview comments about the book:
Fredrick Douglas Kakinami Cloyd has written a profoundly moving and thought-provoking book. He courageously challenges our neat categories of identity, going beyond broadening our understanding of mixed race to touch what is human in all of us. This book will shift readers’ perceptions and assumptions and may change many lives. Above all, Cloyd is a master story-teller who honors and respects memory.
–Roxanne Dunbar-Ortiz, historian and writer
This is a mature book that moves fluidly, as the mind moves, untroubled by traditional distinctions between writing considered to be academic vs. creative, memoir vs. personal essay, sure-footed in unexpected ways. This genre-bending book is not “experimental writing.” The author knows what he wants to say and he knows how he wants to say it, seeking, in his own words, “restoration and reclamation” for silenced voices and histories never erased because they have not yet been written. Dream of the Water Children demands that its reader rigorously consider the constructed nature of memory, identities, and historical narrative. And it is also an enormously kind and passionate chronicle of a son’’s long journey with his mother. To read it is to marvel, to learn, and to discover anew what surrealist poet Paul Éluard said: “There is another world, but it is in this one.”
–Patricia Mushim Ikeda Buddhist teacher / activist Oakland, California
Can be read as a ghost story, a meditation on how to disassemble the heartbreak machines; a catalog of copious tears and small comforts. This is a challenging example of personal bravery and filial love. It puts the “more” in memory.
–Leonard Rifas, Ph.D Communications, University of Washington
Some folks have noticed that I am not posting as intensely as I was a year ago. This is because I am focusing increasingly on my presentations and work on my multimedia project and book:Dream of the Water Children.
I will continue to work here, on my ainoko blog but I will be posting on my Water Children blog, which means I will be on this ainoko site a tiny bit less frequently. Please continue to follow me. If you’re interested in following progress on my book and to hear the underpinnings of the project, the historical and cultural legacies and thoughts that will continue to form this multi-layered project, please visit both my website on the book, and the blog.
Pat Parker (1944-1989), poet, teacher and activist, wrote this poem: For the White Person Who Wants to Know How to Be My Friend and had this wonderful line:
The first thing you do is to forget that i’m Black. Second, you must never forget that i’m Black.
For any social difference that exists in any society, we can place it there, in the space of “Black.” In any case, color-blindness, gender-blindness, mixed-space blindness, sexual orientation blindness, socio-economic class blindness, neighborhood blindness, body-size blindness, nationality blindness etc. etc. — we have to pay attention to how quickly we may subsume, make invisible, refuse (ignore), make trivial, something that makes a difference. Sameness is too valorized in the globalizing society. It’s not about any particular choices we have in holding on and letting go—-because even this is an action and a series of action (holding or letting go, that is), that come from political positionings that rely on privilege, luck, ability, amount of trauma, fear, violence, and a host of other things that come from oppression and social constructions of society.
Let us not forget how completely and utterly different we are from each other. This way, we truly understand diversity. If we “understand,” then perhaps we do not understand difference at all. We just consume, co-opt, and bring into our own history and culture and language and values, that OTHER. This is a violence to that Other.
But in saying they are different, do we automatically become AFRAID? Or do we automatically become ANGRY? Do we automatically IGNORE? Do we assume we can translate, communicate? Yes we can communicate, but understanding its partiality is important.
Honor you. Honor me.
In our difference. Utterly different. Utterly ourselves. Yet somehow, we are related as humans, as that who has experienced pain.
Perhaps other things. But do not assume equality.
There . . . . . . Can we allow difficulty, struggle, powerful connection and dissonance?
The Song TEGAMI 手紙 (the Letter) was a huge sensation in Japan in 2007.
It was sung by Hapa White-Japanese singer Angela Aki, who sings in fluent Japanese and English in many of her recordings. The song Tegami, thrust Angela Aki into the limelight for its poignant and almost all-encompassing power to bring school children of junior and senior high schools across Japan in communicating its all-too-familiar message to encourage strength through alienation, loneliness, bullying, and the compulsory examination systems through which tremendous pressures are thrusted into the lives of the Japanese youth for its capitalist machinery. This song touched millions. It was also a social change, social consciousness project connected to money-making as well, let us not be mistakenly naive or purist.
In listening to the lyrics and the melody and emotion, it is clear that this song is moving and touches upon something deeply engrained, resisted, endured, and made to become something the youth of Japan (and other countries) must fight against with body and mind, in order to become something our global system of dominance deems “adult.”
It was written to encourage young teenagers in Japan, suffering from the pressures of society in those school years.
Masami Goto, of Japan National Public Broadcasting System — NHK, has this to say about this song (in 2007):
This year is the 75th anniversary of the NHK Schools Chorus Contest. We asked a popular singer-song-writer, Angela Aki, to write a compulsory song called Tegami (Letter) for the junior high school division. The song is based on a letter Angela Aki wrote as a senior high school student to her future self. A related project called Tegami starts in May, in which we ask junior high school students to send in their thoughts on this song and related personal anecdotes. Angela Aki visits junior high schools and interviews the pupils for a documentary feature that will be shown on General TV at 10:00 p.m. on May 9 and again in September. We have asked Naoki Award winning non-fiction writer Eto Mori to write lyrics for the compulsory song in the elementary school division, and an another author, Hiroyuki Itsuki, to do the same for the senior high school division.
Who’s reading this letter
Where are you and what are you doing now?
For me who’s 15 years old
There are seeds of worries I can’t tell anyone
If it’s a letter addressed to my future self,
Surely I can confide truly to myself
Now, it seems that I’m about to be defeated and cry
For someone who’s seemingly about to disappear
Whose words should I believe in?
This one-and-only heart has been broken so many times
In the midst of this pain, I live the present
I have something to tell the 15-year-old you
If you continue asking what and where you should be going
You’ll be able to see the answer
The rough seas of youth may be tough
But row your boat of dreams on
Towards the shores of tomorrow
Now, please don’t be defeated and please don’t shed a tear
During these times when you’re seemingly about to disappear
Just believe in your own voice
For me as an adult, there are sleepless nights when I’m hurt
But I’m living the bittersweet present
There’s meaning to everything in life
So build your dreams without fear
Keep on believing
Seems like I’m about to be defeated and cry
For someone who’s seemingly about to disappear
Whose words should I believe in?
Please don’t be defeated and please don’t shed a tear
During these times when you’re seemingly about to disappear
Just believe in your own voice
No matter era we’re in
There’s no running away from sorrow
So show your smile, and go on living the present
Go on living the present
Who’s reading this letter
I wish you happiness
Romaji Lyrics TEGAMI
Haikei kono tegami yondeiru anata wa
Doko de nani wo shiteiru no darou
Juugo no boku ni wa dare ni mo hanasenai
Nayami no kanae ga aru no desu
Mirai no jibun ni atete kaku tegami nara
Kitto sunao ni uchiake rareru darou
Ima makesou de nakisou de
Kieteshimaisou na boku wa
Dare no kotoba wo
Shinji arukeba ii no?
Hitotsu shika nai kono mune ga nando mo barabara ni warete
Kurushii naka de ima wo ikiteiru
Ima wo ikiteiru
Haikei arigatou juugo no anata ni
Tsutaetai koto ga aru no desu
Jibun to wa nani de doko e mukau beki ka
Toitsu dzukereeba mietekuru
Areta seishun no umi wa kibishii keredo
Asu no kishibe e to yume no fune yo susume
Ima makenai de nakanai de
Kieteshimaisou na toki wa
Jibun no koe wo shinjiaru keba ii no?
Otona no boku mo kizutsuite
Nemurenai yoru wa aru kedo
Nigakute amai ima ikiteiru
Jinsei no subete ni imi ga aru kara
Osorezu ni anata no yume wo sodatete
La la la, la la la
Keep on believing
La la la, la la la,
Keep on believing, keep on believing, keep on believing
Makesou de nakisou de
Kieteshimaisou boku wa
Dare no kotoba wo shinji arukeba ii no?
Aa Makenaii de nakanai de
Kieteshimaisou na toki wa
Jibun no koe wo shinjiarukeba ii no
Itsu no jidai mo kanashimi mo
Sakete wa torenai keredo
Egao wo misete ima wo ikite yukou
Ima wo ikite yukou
Haikei kono tegami yondeiru anata ga
Shiawase na koto wo negaimasu
I cried this past weekend, from seeing and hearing the African-American singer JERO in San Francisco on the night of April 8th at the Mini-concert he gave for the Hapa Japan Conference held at UC Berkeley.
I cried because of one song in particular called “Harebutai.” This song, which can be named “Gala” but has the concurrent meaning of a Performance Stage that is a wide-open, sunlit, clear sky. Please refer to my earlier posting which addresses who Jero is, in the history of traditional Enka music in Japan. He is a huge star at present, in a genre that was relegated to the dust-heeps of Japanese music history, as something passe. Much like how we treat elders increasingly everywhere, Japan–even as people like to think of it as a nation that reveres elders, is increasingly forgetting and with this forgetting goes history.
Jero performs this song, dedicated to his grandmother, with a sensitivity that records an inter-generational intimacy, where he wants to acknowledge the painful past in Japan (and also in the present) that Japanese women endured, when marrying western men, and in particular, African-American men. Like my own mother who protected me often from racist brutalization in Japan when I was growing up, the hardships that these women, our mothers and grandmothers endured, are ‘forgotten’ because they are too traumatic and unacknowledged by most of our young. with it goes knowledge and history that could help us, as human beings, get through our struggles with race, sexuality, socio-economic class and gender relations, among other violent hierarchies of identity, that continue to determine much of our social relations, silences, rage, grief, and international politics, not to mention how these are reflected in our family and communal dynamics.
I cried when I experienced this song. At the evening get-together after the day’s conference events, Jero was there, offering his quiet, gentle, yet strong presence. I had the opportunity to tell him that he was living out my own dream as a dark-skinned singer in Japan, considered ‘foreign,’ singing the Enka music which kept me alive and comforted through many dark times in Japan. These songs, often of sadness and longing, are soulful for me, of my generation, growing up as outsider in Japan. In addition, the song “Hare-butai” was written by Nakamura Ataru, for Jero, with Jero’s thoughts and sentiments regarding his singing as a way of an offering to his deceased grandmother, who did not get to see him perform on the ‘Kouhaku Utagassen’ show that runs every New Years’ Day in Japan since the Postwar era, celebrating the best of Japan’s popular singing stars. This show is a testament to artists who have ‘made it’ in Japan and Jero’s grandmother would’ve been proud.
I have included my version of the English translation of the lyrics to 晴れ舞台 “Harebutai”. You can see get a glimpse of honoring and care and inter-generational respect that has gone into this song. It is no wonder that folks like me, and especially the older women of that generation alive today, cry upon hearing this song. It is healing. And even those of the younger generation now, who had forgotten about the Enka and considered it stupid, are now listening.
Jero’s popularity is not only that he is such an anomaly as a race and nation outsider, who has now been considered legitimate as a singer in Japan, especially in a genre not dominantly considered “American,” ‘Modern” or “Black.” His singing is actually outstanding and nuanced emotionally in perfect pitch. His Enka singing is really really good!! It is not just that. He is also known for his good character. But it is also true that many young people in Japan are increasingly identifying and admiring Blackness as a way to resist their homogenization into the general Japanese identity-systems and are creating fewer ways in which the youth of Japan can exist with difference. This dynamic creates problems as well, because the notion of challenging racism is a fairly new aspect of reality that is only in its infancy in regards to dominant Japanese society. Histories of racism are complex because of European race-science and its role in the rise of Japan as a nation that could be seen as legitimate by white societies in history, and also its relation to the tightly woven caste system that has ruled Japan for hundreds of years.
I give to you the song and translation with notes, of Jero’s song “Hare Butai.” The Music video here, of the song “Hare Butai” is *NOT SUNG by JERO* but by a pretty good singer. Because I could not find the music video of the song online, I have included this version (with the original music background) by another singer, to give you the song. The other videos are of Jero’s performances, including the popular ‘hip-hop’ moves that are a part of his Live performances.
“Hare Butai” was written by Ataru Nakamura for Jero, both of them contemporary singers in Japan.
The song’s composer is Ataru Nakamura, who writes beautiful melodies and lyrics from the standpoint of her marginalized and often brutalized experiences as an outsider in Japan as a MtF (male to female) transsexual, especially during her middle and high school years.
Jero (Jerome White, Jr.) is a computer engineer/English teacher, African American and Japanese, who decided to fulfill a promise to his deceased Japanese grandmother that he would perform enka – the traditional popular music of Japan – on the big stage.
When Jero performs this song in Japan, many people of my generation and older, especially mothers of the mixed-race children, or who were from poor families, for instance, who went through the tremendous hardships in war-time and postwar Japan where generational experience was dislocated and displaced by forgetting, cherish this song and often cry openly.
Indeed, during the recent mini-concert Jero gave in San Francisco at the Hapa Japan Conference at UC Berkeley on April 8, 2011, I cried, and almost the entire row in the concert hall who could understand Japanese, cried when we heard this song. As I have been working on publishing a manuscript about my relationship with my mother, as a mixed Black-Japanese boy being raised in 1950s Japan, I had begun to realize how much my mother has gone through in order for me to be able to live and how often women’s and other marginalized peoples’ and communities’ experience is relegated to the backroads of history. In hearing this kind of song, there is a healing and inspiration. I hope that other young people, who understand those whose backs we stand on, can take inspiration from Jero’s example.
Other videos to begin: a Reuters introduction in English, of Jero and a video of his live performance, complete with the hip-hop a la Japan moves, of his Debut Hit “Umi Yuki” which means “Ocean Snow.”
Here is a Link to an Interview with him from the Discover Nikkei website:
Live Performance of is DEBUT song "UMI YUKI"
Note on English translation of HAREBUTAI:
I have taken a bit of liberty with the translation to show the emotion that would be lacking in a literal English translation. I have translated ‘Oira’ as ‘young-one’ or “ol’ me.” It could be “Me—the young bumpkin” or something like this. It is a term used by people in the informal form, and is a term used often by people in the rural areas of Japan to refer to “I” and “self” and “we” and “us.” It is a very intimate, tender term, most often used by youth. So in other words, ‘oira’, all simultaneous include all meanings of Me, I, we, your children, your child, us young ones, we the outsiders, the younger generation, the forgotten generation or people (the rural people), little ol’ me, etc. in this context.
The Term “Hare” is also difficult to translate. It is usually translated as ‘clear weather.’ It is used to refer to a sky that is blue and open and sunny (as opposed to a rainy day, cloudy day, etc.). It connotes most adjectives in western languages that may describe the state of a clear blue, expansive, sunlit sky: unfettered. I have translated it as “clear sunlit, but we must include all other qualities simultaneously: Sunlit, clear, expansive, cloudless, blue, bright, etc.
In Japanese language, much like many languages, the meanings are embedded in the words themselves, unlike dominant forms of English, for instance, where it must be ‘inferred’ or ‘alluded to’ as a ‘metaphor’ or ‘simile’ etc. In Japanese, many of the words carry multiple meanings simultaneously. Therefore, in my translation, I played with the many meanings to give more of the texture of the song in my own interpretation, rather than giving a literal translation, which is always contested when crossing languages, cultures, histories, etc.)
The below is a Link to the video of his performance of ‘Hare Butai’ at the Japan Society in New York City.
Remember: This is *not* Jero singing the song, but is a well-done cover because I’ve not found this done by him in video online.
Circulating the Imaginary of Okinawa in the Military Diaspora
Mitzi Uehara Carter, Anthropology
My paper will explore how U.S. military personnel and their families, currently or formerly based in Okinawa (re)create and circulate narratives of Okinawa within military communities both in and outside Okinawa. I will focus on how those narratives are shaped against their own identities as US soldiers, veterans, racialized/gendered citizens, spouses, and tourists within Okinawa. Michael Taussig described the cultural productions of fear and the processes of sustaining Otherness in his work on colonial Colombia as a mix of “Indian understandings of white understandings of Indians to white understandings of Indian understandings of whites.” Likewise, I argue that Okinawan militarized and transnational space is a mix of military understandings of Okinawan understandings of US/mainland Japanese understandings to Okinawan understandings of military understandings of Okinawans.
This presentation will point to some of my general findings thus far, focusing on the framing of Okinawan difference. For instance, I argue that local Okinawan difference from mainland Japan is emphasized and celebrated within military literature and welcome videos/blogs about Okinawa for military newcomers to Okinawa, a long used political and cultural tactic that was so effectively encouraged and orchestrated by US military administrators directly following WWII to try to quiet Okinawan dissent and slow the popular momentum to revert to mainland Japan. However, when military and Okinawan relations are enflamed, the framing of difference is erased and the discourse shifts to a more global scale and fits in more with the US-Japan power bloc configuration of power.
Being a Black MP in Postwar Japan:
Memory and Identity through Resistance and Accommodation
as a Subaltern Occupier
Fredrick Cloyd, California Institute of Integral Studies, Anthropology
The positioning of the US as a victorious occupier over the subordinate and pliant people of Japan as the defeated was a carefully choreographed affair after WWII with its precursors in imperialism, colonialism, and neo-liberal capitalist expansionisms. In Japan and Okinawa, during and following the official occupation, steady anti-US violence by the Japanese was barred from being reported in the strictly controlled military and civilian media while the different racial groups in the Allied and US military were also living in violent relations with one another on and off bases in Japan, Okinawa and Korea. In this atmosphere of the occupation, my father re-imagined himself from poor African-American man to occupying military police. My mother wanted desperately to escape the ruins of Japan, both imaginatively and literally. In researching for a book on my family’s life and legacies, in thinking/writing nation, culture and race–colliding together through war and re(de)-construction, how has my father viewed himself through the lens of race and nation/husband and father? What becomes prioritized? What becomes linked with frames and thoughts previously unrelated? What becomes new forms of dominance and resistance that continue or resist certain forms of justice and survival?
Event: Blackness in Flux in Okinawa + Black Japanese Guest Artist
Time: Friday, February 11 at 4:00pm - 6:30pm
Location: UC Berkeley, Barrows Hall, Rm. 691
Organizers: PHD students, Co-recipients of UC Center for New Racial
Eriko Ikehara (UC Berkeley Ethnic Studies)
Mitzi Uehara-Carter (UC Berkeley Anthropology)
"Making Race in Between Racial "States of Being"
Two black-Okinawan graduate students at UC Berkeley will
present some of their research findings and their works in
progress on race, space, and US militarization in Okinawa.
This forum will also bring together several black- Japanese
who will share their poetry, art, and other creative works
which speak to blackness in flux in their own lives.
Mitzi Uehara Carter
Program A: 4-4:45 pm
Mid-Year Grant Report
Ariko Ikehara: “Situating black-Amerasian Okinawans in
mixed space/race history”
Mitzi Uehara Carter: “Nappy Routes and Tangled Tales of
Blackness in Okinawa”
Program B: 5pm-6pm
A New Year!! Another useful and constructed moment in our passing of life and time. Can we use it? And in using—what do we repeat? What do we do that we think is great but repeats some kind of problem? What do we do that would be fantastic if it weren’t for someone or something, some force–crushing it at its birth? What have we not thought of? What can we do if we’re too busy caught in traps of what we’ve inherited? What can we do if we’re too busy not acknowledging and perhaps honoring our ancestors and how they live in us? The photo on this blog is an example. The Black-Asian ‘beautiful’ is made into something. By what for what?
Celebrate and lament? I am happy for the new categories that now proliferate across America, then to the world, on identity formations, labels and then political jostling. Re-shuffle, renew, engage, dismantle….yes the new identity categories for mixed-race peoples are growing in our globalizing, corporatizing, shifting world. But people forget so easily, that each of our nations, countries, cultures, come from what has passed–what is good and bad. I, for one, wish that we would become more educated and more ethical. Knee-jerk, spontaneity is great but can also hurt, debilitate, crush, annihilate, make invisible, as well as create the ‘new.’ Too much speculative forms of intellectual play can disconnect, hurt, debilitate, crush, annihilate, make invisible, as well as constructing the ‘new.’
Just to mention the different labels and ways of being in the world with race and racial terrain, in culture and nation, subaltern and dominant, we have created many things. For those of us whose heritages are of African/Black and Asian, living in the US, there are now a host of different cultural and heritage labels: Blasian, Blackanese, Blambodian, Amerasian, Hapa, Blorean, Blietnamese, AfroAsian, Black-Asian, Japa-nigga, Blilippino, on and on and further. We can see, also in the US, that identity is often about ‘feeling happy with our self’ and wanting the world to ‘accept us.’ It’s almost always about the ‘self.’ Often, we may connect this to a color or race, memories. But where is social justice? I’m not talking about getting what we want in the USA. Is race and color enough for unity? And if it isn’t, then arent’ we participating in the very disconnecting, isolating structure of individualism – that is devoid of history? I’m all for individuality. But extreme individualism is often the result of the isolating ‘self’ and glorification of a hero-self; successful ‘self’, the happy ‘self’ and the perfect ‘self.’ In the US, often, this is how identity and life is supposed to be lived. Or it’s the nuclear family version of making our specific families happy, glorious, accepted.
In Japan, the self is assimilated into blending in, to doing what ‘Nihonjin-ron’ wants. Most Black-Japanese in Japan, for instance, are working in bars, as singers or are agents of entertainers and models. The most beautiful and ‘exotic’ looking ones are in singing and modeling. They are ‘forced’ into a version of ‘Blackness’ borrowed from Japanese images which are from the American commodified versions of Blackness. Indeed, in the US, most Blackanese struggle to be other than ‘only-Black.’ Often, I see Black relatives and friends of mine, accuse me and others I know that are Black and Asian mixed, of being afraid of or not proud or dismissing Blackness if we claim another heritage. “We’re BLACK.”
I’m afraid that those of us in my own generation, struggle to be part of the dialogue and mix on cultural heritage. This also means the PROXIMITY TO WAR CULTURE needs to be examined. Amerasians from Vietnam may be somewhat ‘better off’ in the USA but are still going through nightmarish existences under prejudice in Vietnam. Especially if one of their parents is Black. In Korea and Okinawa and the Philippines, there is the ongoing existence of American military bases. Around the bases, there are what is called ‘Base towns’- which have a culture all its own. Children of American military men and local ‘Asian’ mothers are plenty. Most of them without their fathers who have left their girlfriends with child. And there is the further reality of sex-work and survival for many of these women, who are stigmatized. The offspring of these women are ostracized and abused.
Laws, of course, don’t help in most cases. For instance, many of the children of Japanese mothers are considered STATELESS. They are nether citizens of Japan or the US, since they are born to single mothers. However, if they are children of JAPANESE MEN and American women, they are Japanese citizens. This creates horrific circumstances for both the mothers and the biracial children. Often, the US military refuses to take any responsibility for the tens of thousands of babies born to US military men and the local Asia-Pacific women. For Black-Japanese, Black-Okinawan, Black-Korean, Black-Filippino, Black-Vietnamese, Black-Cambodian biracial children, there are many hurdles and perhaps made impossible through the combination of local racism and anti-Americanism and both the local laws as well as US law.
I am a child born in the 50s in Japan, then able to come with my father and mother to the US in the 60s. I experienced tremendous violence in both Japan and in the US growing up. I also experienced tremendous support and love from certain individuals in both countries. I am a child whose proximities to World War II is very close. Those born in the 1940s and living, are even closer. Those born after these periods, still experience the residuals emotions and parenting from the parents and/or orphanages or foster homes or the streets in which their childhoods were formed. Many honor their fathers, but not their mothers. Or mothers are relegated to the label ‘war bride’ and are made tragic heroes who served lumpia or kimchi or takuan with some kind of ‘Black’ food and cuddled us at night. It’s an ‘exoticizing’ that works well into blending into American society, becoming entertainment for others to oggle us. It’s very gendered and unaccommodating to historical realities. When African-American men were fighting for their survival and dignity in the 1950s through 70s for civil rights in the US, it was a tremendous struggle. But for the mothers who often lived through devastation through bombings and then perhaps various ostracizing behaviors and abuses from their families and/or the general cultures, then perhaps experiencing displacement in coming to the foreign country, in fear and trepidation and confusion, then what is our family and how shall we honor?
Across generations, across proximities to wars and military bases, across gender, across nation and poverty and or wealth, across rank, across civilian/military divide, across language, how can we work together????? What is pride when it is not about raising our brothers and sisters in other places and other memories and existences? What about ourselves? Is becoming a middle-class success enough? In globalization, one of the key factors in globalizing, is FORGETTING. The reality of forgetting makes us weak, depressed, isolated, dishonoring, disconnected. Of course, there are some things that should be forgotten. However, there are things that some people cannot forget. Memory is in the body, forever there. For others in privilege, forgetting is normal and perhaps made superior. Often, we relegate social traumas (such as experiences of extreme violence, prejudice and war/genocide) to something that is abnormal and taken care of in therapy. It’s so convenient.
In the US, the victorious of World War II, the nation was created. People helped make bombs and planes. I am also grateful, lest Japan would have continued with their terrible weapons of imperial suicide. Now America plays out self-destruction. In being ‘Blasian’, or multiracial black-asian identity, what does this mean? So you are happy. Now what? What shall we do in this new year?