“Kanye West is white America’s worst nightmare. Because as much as one may attempt to dismiss him — by calling him an asshole or classless or deranged or various other adjectives that fill the comment sections of literally every article about him — you still have to turn on your regularly scheduled late night comedy program and stare him in the face. You can’t avoid Kanye. He’s made very sure of that. […] Kanye is not a “new slave” in the same sense as the victims of the prison industrial complex, but he is still trapped in a world that expects him to not only be complicit with the struggle of his people, but to be appreciative that he is not one of them. And on top of all that, while he gets to exist in the world of the 1%, having the money and signifiers of success still aren’t enough to make his (white) 1% peers actually even respect him. […] The ideals of Public Enemy are as relevant today as they were in the 80s, but hip-hop was nowhere near as dominant and omnipresent a cultural force as it is at this moment; to compare the reach of their messages is silly. Upper-middle class white families did not have to deal with Public Enemy if they didn’t want to. Similarly with politically-minded “noise rap” artists that have been name-dropped in reviews of Kanye’s new material — it’s all well and good for Death Grips and Blackie and even Killer Mike to espouse similar messages and sounds (and honestly, the sonic qualities of “New Slaves” and “Black Skinhead” are hardly at the top of the list of why they’re important), but none of them have anywhere near the amount of visibility and influence as Kanye, even if they did hit it first. […] People in current positions of comfort and stability are so willing to dismiss the transgressive thoughts of an angry black man that they will use any convenient excuse to diminish from them; if someone says something that makes you uncomfortable, why not immediately change the subject to his girlfriend’s ass or that time he yelled at a papparazzi or that time he got drunk and embarrassed a white girl? When was it exactly that Kanye shifted, in the eyes of the mainstream, from lovable polo-wearing backpacker to perpetually and unanimously An Asshole? When, precisely, did everything he said get immediately categorized as a “rant” or “controversial” regardless of the actual content? I want to say it was around the time when he said that George Bush didn’t care about black people on live tv. Hmm. Odd.”
dude, i will always love kanye west for what he said about bush. always. and that thing he did to that random white chick on stage was just funny…i didnt know who the fuck she was…but she was just the epitome of white chickness that it made my fucking day…
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.)
this is the pinnacle of the gif revolution, i think
no more gifs need ever be made
whenever I see these things on the show i think okay robb is in a tent somewhere in the middle of the riverlands why do you have these? did you just have them at winterfell pre-made for the off chance that a huge war started and you’d need them to strategize? if not: you’re in the middle of the war, who has time to make these fancy little perfectly carved house pieces just for your big map?
Maybe every holdfast has, like, a “war kit” that gets brought out when necessary
They could maybe use them as teaching aids for battles and things, to show how different units moved around the battle field and what house they were under?
saying ‘since you support gay marriage you must be gay’ is like saying ‘since you support obama you must be obama’
we are all obama
And I swear in that moment we were Obama
We accept the Obama we think we deserve
sometimes I wonder what the fuck is wrong with you people and then I realize I don’t care
My thoughts are Baracks I cannot fathom into Obamas.