Annoying Orange Poker Face
Angry Creamsicle, Comrade Cheetolino, Mango Mussolini, Agent Orange – these are just a few of the nicknames that Donald Trump has picked up along his presidential road. Trump may ethnically identify as “white”, but his skin is categorically and scathingly portrayed as orange.
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When Trump was elected in 2016, succeeding former president Barack Obama, I remember references such as “orange is the new black”. At once an allusion to the popular Netflix series and a bold comment on race, colour here functions as an important form of satire. And this satiric use of colour has persisted throughout Trump’s presidency. His recent UK visit witnessed the orange baby balloon and orange-faced protesters continuing this in full force.
My specialism is the history of tanning, so I find this particular form of humour fascinating. It’s striking that Trump’s skin tone, above all else, has prompted such a level of derision.
- Harland Williams, Actor: Fudgy Wudgy Fudge Face. Comedian and actor Harland Williams is known the world over for his hilarious movie roles and outlandish stand-up and sketch comedy routines. Williams was born in to Toronto, Ontario, Canada, to Lorraine Mary (O'Donnell), a social worker, and John Reesor Williams, a lawyer who served in the Ontario legislature. Williams has starred in numerous.
- Select your orange photo and swap the foreground and background as needed. Size your face elements to what you like. Keep opacity up, but choose a blend mode that you like.
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Fake it to make it
Orange is a colour with such comedic value because it is impossible, disingenuous: it is a mark of artifice. Tanning enthusiasts speak of achieving a healthy “glow”, looking “bronzed”, and one’s (implicitly and necessarily once white) skin “browning” in the sun. “Fake bake” would seem, and is marketed as, the safer alternative to true exposure to the sun’s UV rays, which we know can cause cancer.
But the problem is it remains just that: fake. The colouring is a dye, sitting on the skin’s upper surface layer, not a natural alteration of pigment embedded deeper within the cells. Unlike red lipstick, violet hair dye, or blue eye shadow – which are also clearly “unnatural” aesthetic additions and colour modifications to the human face – the orange fake tan (or serious overuse of bronzer) is widely viewed as unacceptable within popular culture. The natural progression of skin “phototypes” does not include orange as a colour “value” on this light-dark spectrum.
Less a subtle browning than a fluorescent face plant, we find the colour funny because it’s an all-too-obvious applied coating that fails to convince anyone of natural pigmentation. Orange is not bronze, not brown, not black (and never will be). It is laughable, therefore, because it is a mark of failure, an act of mimicry gone wrong. Put simply, orange isn’t “of value” to us because it isn’t a “value” as a skin colour at all.
And let us remember why it exists in the first place. It is a normalised belief in white Western culture that dark skin is to be envied, that altering (however temporarily) one’s original colour by darkening it several shades down the colour line will make it look more beautiful, healthier, sexier, younger. This is the case for both women, especially young white women in the US and UK, as well as men, not least male bodybuilders.
It’s not surprising, then, that Trump believes altering his natural skin colour will improve his appearance and, hence, sense of self. The belief in a “healthy tan” has existed since the early 20th century, and continues to drive tourism just as it drives the tanning bed and fake tan industries.
Getting below the surface
I’d argue that there is something very serious about Trump’s orange face – something serious about the superficial. Scottish artist and writer David Batchelor argues that colour has been feared and marginalised as trivial, as artifice, as “other”, throughout the history of Western civilisation. He terms this “chromophobia”, describing the prejudice against colour as operating two ways:
In the first, colour is made out to be the property of some ‘foreign’ body - usually the feminine, the oriental, the primitive, the infantile, the vulgar, the queer or the pathological. In the second, colour is relegated to the realm of the superficial, the supplementary, the inessential or the cosmetic. In one, colour is regarded as alien and therefore dangerous; in the other, it is perceived merely as a secondary quality of experience, and thus unworthy of serious consideration. Colour is dangerous, or it is trivial, or it is both.
Like his combover (his thinning hair suggesting lost youth and virility) or his sourpuss pouts (lost composure under intense media scrutiny), Trump’s orange skin is a target of ridicule – of a man obsessed with vanity yet marked by signs of failed masculinity. And yet there is danger here, too, for they are implicitly signs of weak and worrisome leadership, of a man out of control of his appearance and perhaps, by extension to his opponents, his country.
The reference to Trump as “Agent Orange” is particularly relevant. Used by the US military in the Vietnam War to destroy foliage, this chemical also contained the carcinogen, TCDD, which seriously harmed many local inhabitants and their future unborn children. For artists like Busta Rhymes, Trump is envisioned as a dangerous weapon or force of destruction that threatens global peace.
Above all, there is a crucial irony that the orange-saturated skin that has become so characteristic of Trump’s image is totally at odds with the overt xenophobia and racism that saturate his words and actions. Yet here, too, are historical parallels: Hitler equally praised the “bronzed”, sculpted bodies of the ancients and encouraged his soldiers to tan and exercise in the open air while simultaneously spouting of the purity of the Aryan race.
I am not arguing that Trump is a modern-day Hitler (even if others have). What I am arguing is that orange is a colour not of comedy but of contention, even provocation. Protesters wear orange paint like a war mask, mocking Trump’s unstable character and confused “values”. His odd, even toxic, colouring may seem trivial, but its meaning is more than skin deep.
Chapter 115 of the book Self-Help Stuff That Works
by Adam Khan
RONALD RIGGIO, PHD, HAS BEEN doing research at the California State University at Fullerton for over seventeen years. He's been trying to find out what makes a person attractive to other people. He officially studies charisma. One important factor Riggio has discovered is the importance of 'emotional expressivity': the ability to show your emotions on your face so people can easily read how you feel. People who don't show much emotion on their faces don't attract us very much. That's one of his findings
that seems pretty obvious.
But Riggio found something that's not so obvious: Charisma also requires the ability to not show emotions. He calls it 'emotional control.' It's what I'm calling a 'poker face' because when you play poker and you get an exceptionally good hand, you don't want anyone else to know. Likewise, if you get a poor hand, you don't want them to know - it gives your opponents an advantage in betting against you. While you're playing poker, the basic rule of thumb is to not ever register your feelings overtly. The only thing that might give you away is the look on your face, so you have to show as little emotion on your face as you can.
Annoying Orange Poker Facebook
Improving your ability to have a poker face when you need it (and only when you need it) can increase your effectiveness with people. Why? Because emotions are contagious when they can be seen. When you look at someone who is laughing, it tends to make you feel like laughing, doesn't it? Sure. And when you see someone crying, it can make you feel a little sad. Naturally. That's why good actors are so highly valued. They can make us feel emotions. We all have a tendency to experience the emotion we see on someone's face.
But, you may ask, what's wrong with that?
Nothing really, except sometimes. The problem is that there are some emotions you wouldn't want another to have. Two examples are anger and social awkwardness. When you're angry and you show it, the other person will probably become angry or defensive or afraid to some degree - they can see on your face your blood pressure is up, and their body will respond by increasing their own blood pressure. This rising intensity tends to interfere with communication.
Something similar happens when a person feels socially awkward. When you talk with someone who feels awkward because they don't quite know what to do and it shows, you feel somewhat awkward, too, don't you? Or how about when someone giving a speech feels uncomfortable up there in front of the group? Don't you also squirm in your seat a little just watching?
In these kinds of circumstances, the people would be better off and the people they're talking to would be better off if they would learn to conceal those particular emotions when they feel them.
We have all learned there are times when it is not appropriate to say certain things. You don't say to a widow at the funeral 'the dude owed me money.' At certain times and for certain situations, we all know some things are better left unsaid. Well, the emotion on your face is nonverbal, but it is still communication, and sometimes it is counterproductive to say nonverbally 'I'm angry' or 'I feel awkward.'
The good news is that you can learn to put on a poker face when you need it. I'm not suggesting phoniness or pretending you're happy when you're angry. But there are times it helps to show no emotion on your face. It's a skill like any other, and it can be improved with practice.
Practice having a 'poker face' when you feel negative emotions.
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APA Reference
Staff, H. (2008, October 20). The Power of a Poker Face, HealthyPlace. Retrieved on 2020, December 15 from https://www.healthyplace.com/self-help/self-help-stuff-that-works/power-of-a-poker-face