By Frank Chin
(Note from the Editor: Always provocative, never dull, Frank Chin is the winner of three American Book Awards and is renown as a pioneer in Asian American theatre.)
Oh my! Hear that Mike Masaoka and brother-in-law Norman Minetta? George has blessed the JACL with the Spirit of Gene Roddenberry.
Here’s the cowards and crybabies of the JACL betrayers. Where are the No-No boys of 1943 and the Draft Resisters of 1944 who get the Nisei the rights the JACL gave away. The White racists gave Masaoka the self-contempt of the Jap slant vs the White American purity to use as strategy to divide city shiverers against the country farmers. The City was White and right. The country was old country.
The “artists” from another side of Yellow – the Religious Masaoka-Minetta White side of Yellow seem to have the run of the remnants of “the community” There are a few ghosts who communicate with yours truly -I wish they’d speak for themselves – but Yellows have been bred scared for too long. The receptivity to art has gone dud in the American Yellow. What’s a Yellow full of his people to do? Sing another man’s song loudly? Yell? I’d like to see Yellow art, like a play, be played by different casts across the land at the same time-each perf valid, exciting, controversial in relation to the times should be questioned for shady reasoning called storytelling.
Yellows of the old country told stories, and had stories told about them, and knew how to tell the diff twixt folk and the official national taught-
‘Note that the Masaoka-Minetta -NCRR camp never, never, never tell a children’s story from the old country. Never have. Never will. They just don’t know themselves. Michi Weglyn come back! Walter, talk to her.
THE JACL STRATEGY Masaoka – via Hosokawa logic seems to be – Japs because of Yellow race splashed all over them IN SPITE OF being born in the :USA – before citizenship, must earn it. ( In the Womb? ) Only Whites are born or endowed with citizenship. Citizenship is a state approved by Whites. The JACL rejects the Issei and their civ and culture, and declare their clean slate preference for White gods, in an act of surrender of Jap ways and submission to White concentration camps for tests of White racist loyalty. WHAT ARE YOU TALKING ABOUT? WHADDAYA TALK?
How many Yellow films in all the years of Yellow films at the Yellow festivals tell a story of a Yellow male in love with a Yellow female who is in love with the Yellow male? How many of yesterdays Yellows of today show Yellow looks at Chinatowns and J-Towns of Yesterday. How many films like Ince’s The Tongman with Sessue Hayakawa looking like a Tongman of the 20’s. White women in the Midwest swooned in the silent moviehouses. Sighed and swooned. Then Valentino arrived. Then Somerset Maugham hit it lit! Sinagpore and the Colonizing east Asia makes the movies. The Letter, of 1929 with Jeanne Eagels and The Letter with Bette Davis and an ending written to satisfy The Code. The White racist Code. Where d Koreatown come from? Down down down ever since.
Now the neglected actors act like the JACL – Instuctors in proper portrayal Yellows before Whites. Yellows are wrong to criticize chickenshit Yellow actors.
A journalist would check the names of people I say are prominent in their community circles, in the Internet. Check my facts about Far Mulan and the Heart Mt Fair Play Committee.
You call yourself Asian or Chinese, at least, or finally. Whose Poon Goo? (Pangu) Mmmmmm?
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