I admit, I don’t know Cho that well, so I am glad there are other readings to be had!
And if he is just calling it out simply because he’s tired of it and he feels comfortable doing so even on his own films now, I think that’s fantastic. There’s certainly plenty for him to be calling out.
Heh. Well, I don’t know John Cho either. But he has talked about race & representation before* (and not in a ‘we’re all human, it doesn’t matter’ way), so it’s not completely ‘out of character’ for him to bring it up. I think it probably would be easier on him if he didn’t say anything, but I’m glad he does.
*Re Harold & Kumar (https://www.youtube.com/watch?v=NHEkLBZI1IM 4:07 mark): If you have a Korean and an Indian guy as your leads, you must address race at some point in the movie. You must, because the audience is noting it, really. The other thing is, I think, comedy at its best, treads in taboo waters a little bit. It has to have that transgressive quality to it, and race is the biggest taboo in America. I mean, people are very reluctant to talk about race and yet when you do jokes about race, uh, that work, people are very happy to release tension and laugh about it. But it has been interesting. I’ll make an observation. During the first tour for the first movie, we were talking about race all the time with journalists. It was almost like a process— looking back, the first movie was more concerned with race, but we talked about it so much, I felt that it was in a way…a way of justifying our presence in a motion picture.
And from an interview in 2009 http://www.asiaarts.ucla.edu/090703/article.asp?parentID=110145>:
JC: I recall from the Harold and Kumar movies is my struggle with the advertisers.
APA: What happened there?
JC: There was all this racial humor in the movie, and the advertising department wanted to say “Starring the Asian guy in American Pie, and the Indian guy from Van Wilder…” and they did go with that, and they submitted that to me for approval, and I said, “I don’t like it.” They asked me why, and I explain it to them, and that was tricky because it’s difficult explaining to my own representatives, why that didn’t jibe with me, because everyone kind of felt like it was keeping in tone with the movie. And I said, “I don’t like it. We’re poking fun at racism in the movie all the time, but it puts the audience on the wrong side of the racism joke.” So they were playing with the wording a little bit in the edits, and they kept coming up with versions to make me happy, but they were essentially the same thing, and I finally said, “you are not going to make me happy. You’re dancing around it, and you’re clearly attached to this idea, and I want you to know that no version of this idea will make me happy. And if you’re afraid that I won’t show up to do promotion because of this bitterness, you can rest assured that that’s not true. I consider promoting a movie part of my duties, and I will show up nevertheless. But you can either use this campaign and know that I’m unhappy, or you can change it and know that I’m happy. That’s it. Stop trying.” And eventually they went with it, and it’s one of those things where I look back and I’ve very proud of the movie, but that’s the thing I remember.
APA: Last question…for Harold and Kumar Escape From Guantanamo Bay, Viva La Union recorded a song for the soundtrack with the line, “I want my own Chinese baby” — what’s that about?
JC: When I was thinking about it, I thought of a literal baby. There’s a kind of lack that children fill, that’s just the dark side of being a parent, I think. And there’s an accessory quality to Chinese babies in America, and I just think it’s funny. I just liked it. And you know, I would know people who would fawn over Asian babies more, and it got me to thinking, there’s this belief that Asian babies are really cute, and it got me thinking that our whole race is infantilized to some degree, and it manifests itself in different ways. You infantilize a woman, and she becomes eroticized. You infantilize a man, and he becomes emasculated. You infantilize a baby [laughs] — and it’s possible, it appears that you can infantilize a baby even more. [laughs] The babies need to be cuter than white babies. And it’s just a weird thing that I felt like said something about mainstream America’s relationship to Asians in general. So that’s where it came from.
Also this interview: http://blog.angryasianman.com/2008/04/q-with-john-cho.html
“And yes, I do feel a responsibility, and always have, and it’s been an odd burden for me. Even when I started and no one gave a shit, I was trying to avoid doing roles—and it’s no accident that I’ve never done something with a chop suey accent. It’s no accident that I’ve never played those parts. I strongly believe there are a lot of Asian American actors who think that that’s the price to pay before you get to wherever you’re going. And I take real issue with that. Because you have to maintain integrity from the start, and on a personal level, you have to not do something that’s going to make you sick to your stomach.
But on a political level, how are things supposed to ever change if there’s someone willing to do it? I can tell you now, having worked in the business, that you can gather an army of people to hold picket signs and stand outside the studio, and say, “we destest this portrayal”… but it doesn’t matter if there’s a guy—who they know, a peer—who’s willing to do it, who stands in front of the crew and does the buck-tooth accent. If he or she is willing to do it, it makes the protestors look like extremists. It makes this guy look like the normal guy. Because we all work in the same industry. So the willingness of one actor negates a thousand protestors and a thousand angry letters.”
(So I can see why Butawhiteman Cantbekhan playing Khan would be deeply upsetting to him, even if Cho wasn’t in this movie.)
VOLUME holds several meanings. First, that there is an abundant amount of excellent fiction in English currently being written by the younger generations. Second, that these stories must be read and shared. And third, that they deserve a place in bookcases and classrooms all over the country.
VOLUME 1 will be the first book in an anthology series that will showcase fiction by Filipino writers, age 45 and under, selected without regard for boundaries or genres. VOLUME 1 will be launched in September 2013.
1. Submissions are open to all Filipino citizens 45 years and younger as of the end of 2013.
2. Submit only original unpublished short fiction written in English. ‘Unpublished’ is defined as not having previously appeared in part or in full in any print or digital media (including online refereed markets, blogs or any social media).
3. No multiple submissions. Submit only one piece of fiction for consideration.
4. Short stories only. Open theme, any genre.
5. Story word count cannot exceed 7500 words. Our preferred word count is in the range of 3500 to 5000 words.
6. Submissions should be formatted as Word Document files (.doc, .docx) or in Rich Text Format (.rtf) in simple fonts.
7. Submissions must be accompanied by a cover letter that includes your name, your preferred byline and contact information.
8. Send your submissions to firstname.lastname@example.org or email@example.com. We will confirm receipt of your work within 24 hours.
9. Deadline for submissions is midnight of June 30, 2013. Our reading period begins immediately afterwards. Letters of acceptance or regret will follow.
10. Contributors will be paid Php5000.00, as well as 2 copies of the book, for the exclusive first print rights to their story, as part of the anthology.
We look forward to your stories and appreciate your help in spreading the word.
Dean Francis Alfar & Angelo R. Lacuesta
For months, every morning when my daughter was in preschool, I watched her construct an elaborate castle out of blocks, colorful plastic discs, bits of rope, ribbons and feathers, only to have the same little boy gleefully destroy it within seconds of its completion.
No matter how many times he did it, his parents never swooped in BEFORE the morning’s live 3-D reenactment of “Invasion of AstroMonster.” This is what they’d say repeatedly:
“You know! Boys will be boys!”
“He’s just going through a phase!”
“He’s such a boy! He LOVES destroying things!”
“Oh my god! Girls and boys are SO different!”
“He. Just. Can’t. Help himself!”
I tried to teach my daughter how to stop this from happening. She asked him politely not to do it. We talked about some things she might do. She moved where she built. She stood in his way. She built a stronger foundation to the castle, so that, if he did get to it, she wouldn’t have to rebuild the whole thing. In the meantime, I imagine his parents thinking, “What red-blooded boy wouldn’t knock it down?”
She built a beautiful, glittery castle in a public space.
It was so tempting.
He just couldn’t control himself and, being a boy, had violent inclinations.
Her consent didn’t matter. Besides, it’s not like she made a big fuss when he knocked it down. It wasn’t a “legitimate” knocking over if she didn’t throw a tantrum.
His desire — for power, destruction, control, whatever- - was understandable.
Maybe she “shouldn’t have gone to preschool” at all. OR, better if she just kept her building activities to home.
I know it’s a lurid metaphor, but I taught my daughter the preschool block precursor of don’t “get raped” and this child, Boy #1, did not learn the preschool equivalent of “don’t rape.”
Not once did his parents talk to him about invading another person’s space and claiming for his own purposes something that was not his to claim. Respect for her and her work and words was not something he was learning. How much of the boy’s behavior in coming years would be excused in these ways, be calibrated to meet these expectations and enforce the “rules” his parents kept repeating?
There was another boy who, similarly, decided to knock down her castle one day. When he did it his mother took him in hand, explained to him that it was not his to destroy, asked him how he thought my daughter felt after working so hard on her building and walked over with him so he could apologize. That probably wasn’t much fun for him, but he did not do it again.
There was a third child. He was really smart. He asked if he could knock her building down. She, beneficent ruler of all pre-circle-time castle construction, said yes… but only after she was done building it and said it was OK. They worked out a plan together and eventually he started building things with her and they would both knock the thing down with unadulterated joy. You can’t make this stuff up.
Take each of these three boys and consider what he might do when he’s older, say, at college, drunk at a party, mad at an ex-girlfriend who rebuffs him and uses words that she expects will be meaningful and respecte, “No, I don’t want to. Stop. Leave.”
The “overarching attitudinal characteristic” of abusive men is entitlement.
Angelina Jolie had a double mastectomy, in case you hadn’t heard. How dare she remove those ticking time bombs from her chest, amiright? Like, hasn’t she learned by now that her body is public domain and we all get to vote on what she does with it? Sheesh, how selfish can ya get.
[Please take note that the commentary is just for fun. Bunch of sarcasm. Don’t take it too seriously. I am getting tired of these outfits, though.]
1. The classic Bikini Armor. If you’re lucky you might get an actual shoulder-pad! If the designers even bother doing…
|—||Kymia Nawabi (via builtbylasers)|
Looking for funny books? Check out our humor in YA fiction flowchart.
by Gabriel Hardman
$.99 – Ages 12+ – Frustrated with his dead end career as a chicken feed rep, Joe is looking for something. Turns out that “something” is a four-month-old black lab puppy named Kinski. Joe is going to save this dog. What at first seems like a simple rescue mission escalates into a righteous crusade…but crusades don’t usually work out so well, do they? Kinski is written and drawn by Gabriel Hardman.
Evolution of female upper body underwear in China