Tuesday, December 05, 2017

LA Times Articles by Frank Chin

The following articles (and links) by Frank Chin come from the LA Times. Enjoy:

November 06, 1988

David Henry Hwang is the writerly equivalent of Charlie Chan's Number One Son and Gunga Din ("Hwang's Metamorphosis," by Sylvie Drake, Oct. 30).

The China and Chinese America he writes of in "F.O.B.," "Dance and the Railroad" and "M. Butterfly" are the products of a white racist imagination, not any encounter with the facts or the reality of the warriors whose names and lives he forces into the white racist stereotype of a Chinese culture.

He should not be surprised at the popularity of "M. Butterfly." It's Charlie Chan as the whites originally conceived him. The good Chinese man, the best Chinese man, the manliest Chinese man is an effeminate homosexual.

Hwang always wrote like a white about the Chinese, freely faking it to create racist effects. I, for one, am overjoyed that he at last is giving up playing Joe Papp's Number One Son and writing about "just anybody."

Please, David, now that you have declared yourself white, stay white, write white about whites and get out of town.

Los Angeles

Charlie Chan's Number None Son
January 22, 1989

You had to go out and find Charlie Chan's Number None Son to review my Chinaman work (Douglas Sun reviewing "The Chinaman Pacific & Fresco R.R. Co.") (Book Review, Jan. 1). You'd probably get Gunga Din to review "Gandhi."

Your grad student, George (sic) Sun, writes as if he's grading my paper for Northrup (sic) Frye's junior high English class.

Supposedly Sun is a Chinese-American. Supposedly he is knowledgeable in the literary universe of the Chinese-American literary sensibility, but lo! all his literary touchstones are white! He doesn't know Chinese when he reads it.

In my work, the universals of the civilization founded on religion--Christendom--work with and against the universals of the civilization founded on history--Confuciandom. In Confuciandom, neither tragedy nor autobiography are literary forms. Tragedy and autobiography can only exist in a religious civilization, because they are religious forms. I play with them, but I don't write them. Against the mannerism of autobiography and tragedy and all that Western mysticism that has faked Asia and my history, I play with the universals of the Confucian ethic of private revenge and the ethic of collective revenge on which kingdoms rise and fall and nations come and go, known as the Confucian mandate of heaven.

The Chinese-American fiction Sun prefers seeks only white approval and acceptance; mine is more Chinese and literary in its intent. Like Kwan, the god of fighters and writers, and Monkey, I try to make the difference between the real and the fake.


The Big Mix
February 19, 1989

I was saddened and not surprised to learn Mako has resigned as artistic director of the theater he founded and ran while my kids were born, marriages came and went, the kids graduated high school, college and grad school, went into careers, fell in love and face marriages of their own (Victor Valle's stage article).

Mako stayed with East-West Players and turned down more work than he accepted to pursue content and art in Asian-American theater. There isn't an Asian-American actor or writer of the last 25 years who hasn't grabbed Mako's goodies and run, some to better things, some to nothing. Now seems a good time to thank the man for what he's done and the help he's been.

Los Angeles

'Ornamental Orientals'
December 15, 1991

Carolyn See's investment in the Christian stereotype of the Chinese as misogynist and morally despicable is personal and pathological (Nov. 3 interview with David Wong Louie, whose "Pangs of Love" won the Art Seidenbaum Award for best first fiction).

What she hears from her ornamental Orientals is not any silence being broken, not any Chinese stories being told, but the noise of the same old Pearl Buck, Fu Manchu, Charlie Chan.

She can hear the stories, or read them, or play with them, simply by walking into a Chinatown bookstore--as can any Chinaman who wonders if white people really teach their children sexual roles with "Cinderella," which in some early German versions is the story of a bisexual who does things with three bears, by checking the book out of the library.

Louie deserves whatever awards he gets on his own merits, not because of the company or the enemies See chooses for him. Louie has not fabricated texts of despicable Chinese morality like Maxine Kingston, Amy Tan and Gus Lee; he has not appropriated the names of the heroes or heroines of Chinese fairy tales and children's stories and stuck them onto the white stereotype of Chinese. Nor has he used Chinese fairy tales and stories to inform the intelligence driving his stories.

He neither rides in my gang, nor invites me to choose him out. It's Carolyn See, the demagogue-messiah maker, who saddles him with the Christian stereotypists.


Thursday, November 30, 2017

Remember 1978- the Sunday after Thanksgiving?

Remember when most of Asian-America is proud of Chinese and Japanese mingling in their souls?
Thru Movies & History

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 reasoninng 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 the 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 Hayakawa owned Hayworth studio' s THE TONGMAN with Sessue Hayakwa 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! Singapore 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 Hays Code morals certification of the producers association. MGM- THE GOOD EARTH (1937) opens with a card signed by Irving Thalberg saying this is the first movie approved by the Code- The White racist morals Code. Where does Koreatown come from? The eyes of Code of Hollywood looks down on all Yellows, Down down down ever since.

Now the neglected actors act like the JACL – Moral Instuctors in the, White approved, proper portrayal Yellows before Whites. Yellows are wrong to criticize chickenshit Yellow actors. WHAT DO THE PEOPLE THINK OF ACTORS AND THEATERS THAT SCOLD THE PEOPLE TO BEHAVE MORE LIKABLE TO THE WHITES THAT RESCUE US PEOPLE THINK? “HUH?” A theater that tells the people it speaks to , and for, not to criticize it for fear the Whites might read. So don’t criticize. Don’t publish. AATheater of Tisa Chang and Ken Narasaki and the East West Players are bouquets of prayers to the White Man to Please Shit on Me. Shit on us please! Like St Thaomas Acquinas, Yellows have sinned heavily, naughtily, drunkenly while young and like Acquinas Yellows jumped from Sin into old age and redemption. Yellows that convert to White belief are SAVED! Hallelujah! And the Filps and Tisa Chang, Ken Narasaki, East West Players, and STAR TREK character George Takei demand Yellows confess their sins and the real resisters and journalsts and No-No Boys have no reason to like or obey or attend official AATheater.

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?

Ah! You find your way to the children’s stories on your own. The playwright driven to writing fiction meant to be read aloud - by his casts and newspeople, and spokesmen for the Yellow peoples – AAStudies boasts that Frank Chin Is NOT A Part of This Class - Yellow Journalists climb into your brains and deal in hard facts of the real and the emptiness of the fake.

Meantime Minetta has a monument waving the flag of Mike Masaoka as a Civil Right Advocate on US ground reserved for gov approved monuments over the objections of Japanese American scholars. The Sec of Interior, said his friend Menetta assured him the scholars were too young to know what they were talking about, and scolded the scholars and approved the monument sneakily honoring Minetta bro in law, the JACL ‘s Mike Masaoka. The JACL and Mike Masaoka are officially accepted as American heroes because they stand on ground designated as sacred to the nation: hallowed ground. What about monuments on private ground like headstones? Exactly. Who owns the land. Who erects a monument on their own land like a Bob’s Big Boy statue in front of Bob’s Big Boy, And verily! Verily! Maxine Hong Kingston’s THE WOMAN WARRIOR is taught across the grade school of America as the truth.

Why are JACL - George Takei’s trust the intent of the USA and Mad Max’s Woman Warrior truth the same? BY ORDER OF THE PRESIDENT OF THE UNITED STATES.

Verily! Verily! Pres candidate Trump compares Muslims in America and Japanese and say treat the Muslims the same Roosevelt Executive Orders the Japs into a program of ten concentration camps in states with swamps and deserts, from California to Arkansas. Arkansas has two camps of ten thousand souls each. Blaine and Rohwer. George Takei was five years old in Rohwer, Arkansas. The Japanese family traveling from farm to farm in Arkansas in Cynthia Kadohata’s THE FLOATING WORLD, is in a world with no memory of Blaine or Rohwer or where the Nisei mother preferred the company of a White man. White critics oooooh! And Ahhhh! Over the selective vision of Yellow self.

Alan Lomax traces the folksong, THE STATE OF ARKANSAS- to a wave of “Irish migratory workers who come to Arkansas in the early days of statehood, looking for a job. Having endured ‘swamp angels, canebrakes, chills and corn-dodgers as hard as any rock’ for a month, he escaped back into America and went on his way spreading his ‘ant-Arkansas’ propaganda.”

The song opens:

My name is Stamford Barnes, I come from Nobleville town./
I’ve travelled this wide world over, I’ve travelled this wild world round;/
I’ve met with ups and downs in life, and better days I’ve saw/
But I never knew what mis’ry were; till I came to Arkansas.

The last three verses:

I worked six weeks for this son-of-a-gun, Jesse Herring was his name,/
He was six foot seven in his stocking feet and taller than any crane,/
His hair hung down like rat tails on hos long lantern jaw,/
He was the photograph of all the gents who lived in Arkansas.
He fed me on corn dodgers, as hard as any rock,/
Till my teeth began to loosen and my knees began to knock,/
I got so thin on sassafras tea, I could hide behind the straw/
And indeed I was a different man, when I left old Arkansas.
Farewell to swamp-angels, canebrakes and chills/
Farewell to sage and sassafas and corn dodger pills,/
If I ever see this land again, I’ll give to you my paw,/
It will be through a telescope – FROM HERE TO/
Hear that wolf?


Monday, October 30, 2017

Frank Chin Legacy Event This Thursay -- Here's More Info!

Dear Readers,

I (Eddie) was sent more detailed information for this Thursday's event.  You're all invited to come and it's free!  Don't miss it:

TCG and UCSB to Host Screening Event to Honor

Frank Chin, Founder of the Asian American Theater Company

New York, NY - Theatre Communications Group (TCG) and the University of California, Santa Barbara (UCSB), are proud to announce a screening event to honor Frank Chin, founder of the Asian American Theater Company, as part of the Legacy Leaders of Color Video Project (LLCVP).  The free event will be held at 2pm on Thursday, November 2nd, at the Multicultural Center at UCSB, 494 UCEN Rd, Isla Vista, and include a screening of Chin’s LLCVP video, and readings from his plays.

“Frank Chin’s unflinching voice and fearless championing of authentic Asian/Pacific Islander (API) images deserves celebration,” said Emilya Cachapero, director of artistic and international programs, TCG. “Along with his fellow visionaries Mako, founder of East West Players in Los Angeles, and Tisa Chang, founder and artistic director of Pan Asian Repertory Theatre in New York City, Chin is a cornerstone of today’s robust API theatre community. Although Frank founded AATC primarily as a writer’s theatre, there are scores of producers, actors, directors and designers who developed their artistic voice there and benefitted from the sense of community. All of our paths were positively altered by his work and we are forever indebted to him.”

“UC Santa Barbara is pleased to host the Frank Chin Legacy Event,” said Professor Carlos Morton of the Theater and Dance Department. “Chin is not only a graduate of UCSB, but the Davidson Library holds his papers in its Special Collections.”  The campus sponsors include: The Hemispheric South/s Research Initiative; Division of Humanities and Fine Arts; Office of the Executive Vice Chancellor; Office of the Associate Vice Chancellor for Diversity, Equity and Academic Policy; Asian American Studies, Davidson Library, and the Department of Theater and Dance.

TCG created the LLCVP over a two-year period. With support from the Doris Duke Charitable Foundation to work with video production company MOPED, TCG filmed a series of interviews chronicling the stories of founding leaders of theatre of color, including Douglas Turner Ward. Screening events will be held in the leaders’ communities to further celebrate their legacies and galvanize support for their enduring impact.

The nine leaders featured in the videos are: Lou Bellamy, Penumbra Theatre, St Paul, MN; Tisa Chang, Pan Asian Repertory Theatre, New York, NY; Frank Chin, Asian American Theater Company, San Francisco, CA; Miriam Colón, Puerto Rican Traveling Theater, New York, NY; Woodie King, Jr., New Federal Theatre, New York, NY; Muriel Miguel, Spiderwoman Theater, New York, NY; Jackie Taylor, Black Ensemble Theater, Chicago, IL; Luis Valdez, El Teatro Campesino, San Juan Baptista, CA; and Douglas Turner Ward, Negro Ensemble Company, New York, NY. 

“Our theatre field and broader culture owe an enormous debt to the artistry and activism of these extraordinary leaders,” said Teresa Eyring, executive director, TCG. “We hope these videos and screening events not only honor these nine leaders, but raise awareness more broadly of the essential role played by theatres of color in our field. As more and more theatres make equity, diversity, and inclusion central to their work, we must remember the theatres that have been working with artists and communities of color for generations.”

The Legacy Leaders of Color Video Project is one of the key elements of TCG's Equity, Diversity and Inclusion (EDI) Initiative’s “Establishing a Baseline” programming, which also includes REPRESENT, a demographic survey that thinks outside the checkbox, and The Well, a hub of EDI-related resources.“Establishing a Baseline” programming received Phase I and Phase II support from the Doris Duke Charitable Foundation’s (DDCF’s) Fund for National Projects.

Doris Duke Charitable Foundation Program Director for the Arts Maurine Knighton said, “Each of the nine leaders whom TCG has interviewed has made tremendous contributions to the American theatrical canon. We are confident that by capturing their firsthand accounts and addressing the under-documentation of their work, this project can greatly encourage current and future theater-makers creating pioneering work that expands the community of theater.”

The mission of the Doris Duke Charitable Foundation (DDCF) is to improve the quality of people's lives through grants supporting the performing arts, environmental conservation, medical research and child well-being, and through preservation of the cultural and environmental legacy of Doris Duke's properties. The Arts Program of DDCF focuses its support on contemporary dance, jazz and theater artists, and the organizations that nurture, present and produce them. For more information, please visit www.ddcf.org.

MOPED is a full-service digital media and video production company that intersects stories that matter with technology — to catalyze conversation, mobilize audiences and drive impact both on and offline. We help you achieve heightened visibility, audience understanding and greater success, by developing your story as a vehicle, and then leveraging the platforms you’ll use to share it with the world. http://mopedproductions.tv/.

For over 55 years, Theatre Communications Group (TCG), the national organization for U.S. theatre, has existed to strengthen, nurture, and promote the professional not-for-profit theatre. TCG’s constituency has grown from a handful of groundbreaking theatres to over 700 member theatres and affiliate organizations and more than 12,000 individuals nationwide. TCG offers its members networking and knowledge-building opportunities through conferences, events, research, and communications; awards grants, approximately $2 million per year, to theatre companies and individual artists; advocates on the federal level; and through the Global Theater Initiative, TCG's partnership with the Laboratory for Global Performance and Politics, serves as the U.S. Center of the International Theatre Institute. TCG is North America’s largest independent publisher of dramatic literature, with 15 Pulitzer Prizes for Best Play on the TCG booklist. It also publishes the award-winning American Theatre magazine and ARTSEARCH®, the essential source for a career in the arts. In all of its endeavors, TCG seeks to increase the organizational efficiency of its Member Theatres, cultivate and celebrate the artistic talent and achievements of the field, and promote a larger public understanding of, and appreciation for, the theatre. www.tcg.org.

# # #

Monday, October 16, 2017

Frank Chin Legacy Event!


Thursday, November 2nd at 2:00PM-4:00PM


Multicultural Center, UCSB,
494 UCEN Rd,
Isla Vista, CA 93106


SCREENING of Frank Chin Legacy Video (trailer here)

SYMPOSIUM - “Relevance of Chin’s Work in American Drama” (Moderator: Carlos Morton) Participants: Professors Diane Fujino, Calvin McMillin, David Hur.

STAGED READING of Chin’s Work - Year of the Dragon / Chickencoop Chinaman

Tuesday, July 25, 2017

Friday, June 09, 2017

Do Not Sell Your Children to Monsters

(picture by Corky Lee)

Chinese writer does the coast and takes on icons
By Frank Chin, March 23, 1995

My first novel is in the bookstores. My name and, here and there, my picture pop up in newspaper book reviews and Asian-American weeklies. “Are you famous?” Sam asks. What is fame to a five-year-old kid? How am I, the almighty daddyisimo, to explain it to my son? Someday he’s going to leave home—for college, or to go to war, or take a job, or marry a woman out of state or on the moon. If he grows up thinking I'm famous, he might not want to go. (Cont'd)

Monday, April 03, 2017


[The following was written on April 1st:]




Frank Chin proposes a storytellers storytelling for children. A flurry of what is he after? Iʼm after the Yellow stories you tell Yellow Storyteller. I tell three stories from the Yellow book of I00 folk (childrenʼs) stories. The 3 stories will make the listener proof against being fooled by a fake Yellow childrenʼs story that emerges in the Heroic Tradition (the promotion of opera to folk literature. Reading leads me to say the Heroic Tradition is the literary equal of the Bible, The Torah, the Koran.

WHAT? NO! No ! resounds from AsianAmericanStudies coast to coast, border to border.




From: Ishmael Reed
Subject: till painting controversy
Date: March 26, 2017 12:02:13 PM PDT

To: Frank Chin
Emmett Till controversy. Your piece is up at Konch, ishmaelreedpub.com

I hv no control over oakland fair. gentrifiers run it. i don't show up unless i am paid.IR

To the Editor:

Re “Painting of Emmett Till Draws Protests” (Arts pages, March 22):

It is far more important to hang a painting of Emmett Tillʼs body beaten and killed by a mob of white men — even though painted by a white artist — than to show nothing at all of this racial crime, which occurred in Mississippi in 1955. What are the alternative paintings these protesting artists offer?

Better to get busy and paint one themselves than advocate the removal of this one.

Do we want to deepen the divisions among us or face and accept our responsibility for whatever part we have played in our countryʼs history of racial violence?
And destroy this painting, as one of the artists suggests? I never thought that I would see the day when any artist advocated censorship of any kind.


HONG KONG 97 – Remember?

TIA LING YANG is retired from the Chief Justice of the Hong Kong Supreme Court, given up his British citizenship, his British “Sir” at the Queens head of his name, to mountainstop of the University of Hong Kong, In 1995, JOINT PUBLISHING (H.K.) CO. LTD.

He begins his preface with a childhood memory of visiting Yue Feiʼs tomb, stopping outside to piss on the stone statues of the couple in charge of Yue Feiʼs jail and jailhouse murder. He began translating Qian Cai, a writer of the Qing Dynasty, who writes a history-fiction of General Yue Fei of the Southern Song Dynasty. Heʼs lived the life of a Chinese in Hong Kong and lawyered from the long day of British Colony, to 1997, till the big day, glossy heavy paper covers and new printing of Chinese women and girls pulling up their shirts and revealing all. Hong Kong mags toward the 1997 show and flash tit and oooh coochie coo. Chinatown liquor stores fill up with Chinamen at the mag racks. T.L.Yang runs for the Hong Kong Executive, allowed by a vote of Communists on the mainland. He does surprisingly well in the rigged election. The former Chief Justice of the Hong Kong Supreme Court (and the first Chinese on the all WHITE Court. The only English “Sir” to say in a dignified insulting way to the Queenʼs son, “take your Sir and stuff it.” There were Chinese that know their Chinese lit, who liked what they heard. T.L. Yang devoted his life to Hong Kong works within the system in power, pushes it as far as he can, and now eyed by the Mainland Commies, he graciously retires to the woods and mountains. Self-styled Yellow professors of Yellow culture in Australia and New Zealand and Singapore tell me the translator of GENERAL YUE FEI is a former CHIEF JUSTICE and doesn't see just anybody. / Fuck them. The fakes. The Yellow professors donʼt know the Chinese childrenʼs story is always told from the pov of a semi-stupid, who lets a wolf talk him into dumping the books, and filling the bag with the wolf. After getting past the Imperial wolf hunters, the wolf tells the semi-stupid, heʼs going be eaten, because the wolf got hungry in the bag. Thatʼs not fair! Cries semi-stupid. Ask anyone, the wolf protests. The wolf chooses three characters- in this case, an apricot tree, a blown horse, and a drunken monk. Two say itʼs more than fair for the wolf to eat the semi-stupid. The third doesnʼt understand a thing and backtracks, step by step to Stupid meeting the snake, tying the snake in the bag, and leaving. The story is structured to teach strategy. How do you get along, on the road.

Aesop and the Greeks and Romans tell stories in the voice of authority. Do what the Big I says, or die! Thatʼs THE BOY WHO CRIED WOLF.

The Chinese wolf story teaches self-reliance. Aesop teaches obedience.

The Japanese KAGUYA HIME (Princess of the Moon) Kaguya Hime, learns to tell the difference between, playboys who have never laid eyes on the Kaguya Hime, but plead undying love for her beauty. The playboys threated Kaguya Himeʼs “parents.” They find her , abandon by her Father, the Moon, inside a node of bamboo. The father asks Kaguya Hime to at least meet the playboys. She will meet the playboy who goes to a land of story and return with an item myth that has been seen by humans. Five fantastic, wonderful tales. The Buddhas bowl does not glow in the dark. The unburnable Chinese Fire Rat burns up. The gold branch with twigs of silver and fruit of precious stones turns out not to be natural but manufactured by unpaid jewelers.

The King of Japan hears of Kaguya Hime. He must meet every citizen of his kingdom. He commands she be available to him on such and such a date and time. She obeys because he is the King. He commands she marry him. Sheʼll obey because he is the King, but once married, she will begin to fade. He takes his command back. He begs her not to tade.

A period of normal get acquainted though and exchange of letters poems, jokes, visits, till August 15th and the Harvest Moon. Moon comes to take his daughter back to the moon-

The old man writes the King. The King sends his Samurai, his owls to fly the night, but nothing stops the Moon.

The Moon rises. Kaguya Hime is drawn out of her room and walks on moonbeams. She asks permission to say goodbye.

The old folks that raised Kaguya Hime, protest. The Moon tells them to shut up, the Moon made them rich with silver and gold and jewels for loyal servants.

The childless couple raised Kaguya Him with love – the Moonʼs love was gold and silver for the old folks to hire servants.

Kaguya Hime drinks one half of the elixer of life that restores her immortality. She asks to give half the elixir to her parents. They can live forever on the moon with her. The Moon says no. She gives her parents a kimono from the moon.

She secrets the remaining half in a letter to the King and leaves the earth.

If the King takes the elixir of life he can go to the moon and be with his love forever. But he canʼt leave Japan. The King is the soul of Japan. Kaguya Hime is a princess of the moon. She is the soul of the Moon.

The King orders the letter and elixir be taken to the top of Mt. Fujii and burned.

The story ends with direct talk to the reader: When viewing Fujii – squint a little – if the light is right you will see a thin wisp white smoke rising from the top of Mt. Fujii to the Moon.

Every people has a story a phrase a way of saying that assures the sense of the people stays the same.

HONG KONG elects a woman – she emphasizes sheʼs for the One China two systems – Young Hong Kong voted electors who the Mainland Commies rejected- so Mainland rigged elections – Is there in Chinese history a band of patriots who raise a mass revolt against foreign oppression?

I hope the Kingston Frisco-Oakland slander of Mulan and the trashing of all the Chinese women generals is worth it to San Francisco-Oakland, the Chronicle and KRON Kingston and Amy Tan and David Henry Hwang and all the Ornamental Orientals hating themselves ornamentally on the Whitemans walls. You can come down off the 19th century now, you're dry.

As you watch Hong Kong, Singapore, S Korea, Japan , N Korea swing and sway to Asian music, does your attention stray to the sweet White men out Whiting each other?

TRUMP GLEEFULLY BRAGS HEʼS WHITE AND HEʼS RIGHT! WHITE MEN OF THE WORLD UNITE! WHITES RULE THE WORLD! Coloreds of the world, US Citizenship for sale! You get the Citizenship you pay Trump for. All Trump Whites brag about how they're going to screw the coloreds and the poor white rejects, by making them pay rent for citizenship. Trump does not have my American born consent to rule me. Where I come from, a fact is a fact; a spade is a spade. A Trump is a trump.

The remaining decent whites who care must do something to define their Whiteness as moreknowledgeable of the American people than the White racists. They have to demonstrate they know as much about colored core culture, as the coloreds know about the White man.

The Last Days oof the Republic, by P.W. Dooner ends in 1976, with the horror White women fucking Yellow scum like crazy!

Letʼs say Trump is as crazy White racist as New Yorker writer Jane Mayer says on Rachel Maddow tonight, and he believes there is no White racism, there is only Black racism against Whites, he knows, because the Bible tells him so.

White women have married the whole rainbow of colored men, resulting in half- coloreds.

Hagfish McCorrmec- Goggleyed suckermouth scavengerfish suckind old death out of the dead on every suck of every suckered word of old Kentucky water. His Ornamental Oriental wife is a Han Chinese who believes the wife assumes the race of her hagfish husband, Women of North China, the Mongol tribes following the moods of seasonal desert plains, and mix of tribe and Chinese of the Korean peninsula, where women were the equal of men, in managing wealth&family –
Look at the Korean story:

NUR WAW: WHERE OF WHERE HAVE ALL ME CHILDREN GONE? WHERE OF WHERE CAN THEY BE? . Their mommies and daddies teach then Yellow from the White Manʼs Holy of Hollies, and so the children are. And so they are.


Ah so! Yankee Trump! You are sooprise I know your daring Clinton-Obama sneak attack on Chinese FarMulan! I was add-jucat-ed at You See Yell Aay.

Whatʼcha gonna say White Man Trump? Whatʼcha you gonna deal, thatʼs real? Hmmmmm?

NINA FILIPINA OF THE COOP- IʼM colorful, collectable, Iʼm DELECTABLE,

The proof Whites canʼt stand the Yellows – as stealing the misery of the Jews, who were suffering the death camps in Europe at the same time the Japs and Yellows of the White America. Yellows donʼt count because theyʼre not White. The symbol of Yellow dignity acceptable to Hollywood is Charlie Chan. White scholars whoʼve spent all their lives living with Yellows whoʼve spent all their lives living with Whites and Yellows, have never become aware of the contents of the Yellows culture.

Hollywood and White newspapers over San Francisco-Oakland pushed Yellow contempt and neglect, and sobbed over the more numerous and continuous psychological damage of the Nazi campaign of Jewish eradication.

There was an official library in San Francisco. It had two librarians. One White. One Yellow. The Yellow had been in a camp. He read. He wrote. The White Librarian, read the Yellow work and advised. The White also wrote for specialty mags for connoisseurs of detective fiction. He is proud of San Francisco and his close eye on passages from HOUSE WITHOUT A KEY and a Chan novel where Chan admits he has become a Christian and thrown off Chinese ways, but so and so is unredeemed, he has remained (ugh) Chinese!

He corrected my GUNGA DIN HIGHWAY and doesnʼt realize my Charlie Chan quotes the White manʼs stupidity. The Yellow librarianʼs work is published but largely unread by Yellows.

The Yellows have no art! Yellow art is newly invented. No past, beyond Hollywood, and the JACL myth that Masoaka wisely lied to his people to save them from mobs of angry Whites, and wisely lied about the Nisei in camp that knew Masaoka and his JACL betrayed the Nisei into camp against their will.

The study of Sociology is different for the Jews of Germany and the Japs and Yellows of America . For the Yellows Sociology, Antrhropology,Psychiatry is White indoctrination. For the Jews of Germany Sociology is observation, discussion, cumulative facts understanding

Jewish studies of the psycho state of the Jews- notice the children of Jews suffer from the effects of 1932 - 1944- They turn their eye on Bettina Goering, great grand neice of Herman Goering, Hitlerʼs no two, in the Jewish Holocaust. She has her uterus removed to prevent the birth of another Goering with her face. There are others, Hoess who goes to the camp run by his grandfather and faces the grandchildren of Jews his gramps murdered.

Auschwitz is a camp whose ground is hallowed by the lives of Jews. Heart Mountwain Wyoing is run by the same Dept of Interior that ran the WRA during the WWII, with the same racist rules and affection for Masaoka-Minettaʼs JACL versions of history. Not at all interested in the people that occupied Heart Mountain. All gov words played to ears of White racists and Ornamental Orientals.

Just a coincidence that 1957 the same year Bettina Goering is born, the JapAmericans, stumble on John Okadaʼs NO-NO BOY that leads to the Heart Mountain Fair Play Committee. The Yellow psychiatrists say the new found is a pack of lies. Forget the names , dignify the JACL lies of Masaoka, Hosokawa, and Masaokaʼs bro in law, Norman Minettaʼs generation of Yellow chickens in city and state and national office. Appointed, of course.

WAYNE WANG, from Hong Kong, insists his stupid CHAN IS MISSING is just the beginners film likely to satisfy the White racists of San Franciscoʼs Cameron House. He buys the Hollywood myth, to “work for change from the inside.” The JACL and Cameron House are accused of fabricating lies about the Yellows designed to accomplish their self-eradication from the White manʼs earth. Yellows of my generation say with a voice of nobility, “Iʼm working for change from the inside.” Spoken like a disciple of Reinhardt Heydrich. Why does the Nisei vet convinced he was wrong to condemn the resisters, when he was young, say one of the reasons he volunteered was “civil rights” werenʼt invented yet. Hirabayashi- Yasui, and the Fair Play Committee, and the 264 resisters of 1944 were all civil rights cases. Why the hangdog, I didnʼt know any better self-flagellation, and insistence on taking over the interview with leading questions? He turns every interview with a resister or No-No boy, into their scolding him.

Cameron House dominates what has become the Hollywood stereotype of the Yellow as a defective White sycophant. He tries so hard, but tsk tsk just canʼt climb out of the gooey Yellow his (ick) lack of a so.

All this Me not them. Me new. ME. ME! ME! Leads to the generation of Yellow fame junkies. Yellow fame among Whites that is.

Yellows donʼt read nothing! Yellows compete for White eyes. There are no Yellow causes left alive for Yellow artists to emerge from. So some Yellows assert their Yellowness by identifying with a local , but otherwise unexplained, colored cause. Real Yellows join the Black Panthers. Or the escape of Latin America across the border with Mexico. Other peoples causes say Yellows are nothing and never were.

George Takei as the embodiment of the Fame Junkie- rises from a tv character , SULU, OF STAR TREK through every form of attention-getting FAME –to the state of being the only famous Yellow in the White press and media. See him August 30, 2017 - he appears at the Smithsonian associate the Los Angeles JapaneseAmericanNationalMuseum, now run by te Japanese gov, pushing George Takeiʼs personal fake history ALLEGIANCE written and acted by know- nothing Filipinos, suckered by George Takeiʼs machine voice.


In 1888 Van Gogh shaves his head to emulate THE APPEARANCE OF A BUDDHIST MONK- or Bonza. He writes his sister Will that represented himself as Japanese. He has never been to Japan. Trade with Christian nations was forbidden in Japan. The Tokugawa Shogunate brings 200 years without war. The same 200 years sees Europe riven by an average of 150 years of solid war. Keeping the White Christians out is the smart thing to do. Trade with the all business no religion Dutch from whom not a Christian word is heard, makes good sense to Japan. The west taking from the primitive East with eyes and no brain is as offensive and Roger Shimomura using all the colors and techniques of Western takeover of Japanese Ukiyo-E to paint the world as a boy imagines his grandmother sees it.

He clings to the Masaoka myth of JACL by Bill Hosokawa of the JACL in face of the facts of the JACL betrayal. He creates and recreates images inspired by and forced by his belief in his childhood. Today Whites and Ornamental Orientals embrace him, and the people of Seattle are trembling in White racist fear. How else does one explain the defense of Yellow manhood by repeating the lies of the White Bone Demon?

He occupies an insistence on his childhood as seen by his grandmother- in 1942- 44- a combo of the expereincial real and wishful thinking in art. Heʼs stayed constant to changes in the White world . Heʼs a comment on White ego over colored peoples art, as primitive and backward, and is unaware of the behaviour modification programs hidden as Yellow Social Sciences. Or is he? He forces the Yellows who know the JapCamps to argue their beliefs. No other Japanese American painter keeps the Camp Years live into now.

The Japanese American artist of today accepts White racism and seeks White publication.

White acceptance as a mature JapAmerican writer is achieved in 1980 by Cynthia Kadohata, author of THE FLOATING WORLD, a JapAmerican author who says,”There is art. And there is activism. I write art.” Her vision of “art” is JapaneseAmerican history, without anything, or anyone Japanese. Her translation of Ukiyo-E is sheʼs paid by White publishers for “illusory Japanese”

The yielding of Japanese-America to the Gov of Japan is wrong. Japan still does not have a free press. Art is controlled, parceled out and fake, compared to the freedom artists have in America. Thanks to the Bill of Rights, artists and say and publish any crackpot idea they can say outloud or print. Shakespeare and the American and French Revolutions, and the writing of Thomas Paine (The Rights of Man) and Mary Wolstonecraft A Vindication of the Rights of Woman: with Strictures on Political and Moral Subjects (1792 ) A thousand years after The Ballad of Mulan starts girls thinking for themselves, reading strategy, choosing their men, and raising families that fight imposed national authority over their land . Liang Hongyu, and Mu Guying in the Song Dynasty before the takeover of China by Kublai Khan in 1271 and the amazingly short hundred year Mongol Yuan Dynasty, and Chin Liangyuk escape to Schezwan before the fall of the Ming to the “foreign” Manchu in 1566. The historical and poetic reality of the Four Beauties of China, against the historical and poetic stereotypes.

Mary Wolstonecraftʼs daughter is Mary Shelly the poetʼs wife, who authors FRANKENSTEIN.

There is no Kwan Kung inside the Wing Luke Museum, inspired by Ruby Chowʼs vision of Chinatown political participation in the White manʼs system. A vision violated by Ron Chew, a believer his fake degree in Journalism from UW, makes his every utterance in his fake newspaper the International Examiner, the printed truth, backed by Ruby Chowʼs Filipino enemy Bob Santos founder of Inter*Im, who wants to turn Chinatown-NihonMachi into the town dump for social rejects, and backs Ron Chew as the most knowledgable about Chinatown history perfect for the founder director of the Wing Luke Museum.

Interim housing agency becomes the permanent not “interim” source of Bob Santo’s power in Chinatown-NihonMachi. Ron Chew’d lies hokum self-pity and plain anf simple shit that make the “International District – Chinatown” what it is today.

If youʼve read me at all, you know the absence of Kwan Kung, is the withholding of the Chow familyʼs protection of this building and itʼs contents.

Theyʼve voted in the two system one Hong Kong and the Mainland humiliated the disallowed Hong Kong interpretation of the Mainland one interpretation of the two systems.

Your interpretation of Whatʼs what, in Japanese America and Chinese-America and mine. Letʼs see what happens to San Francisco-Oakland and the JACL and Clinton and Obamaʼs rep for being fooled by Maxine Hong Kingstonʼs contempt for Far Mulan? And I canʼt wait for AAStudies Depts around the Great American Uʼs folding and leaving campus in shame.

Why did the Chinese scholars leave the discovery of Mei Lanfangʼs 1930ʼs world tour of his Peking Opera , being a front for purchasing modern warplanes for China where ever he hobnobbed with celebs and stars? Why am I the only Chinaman to see the obvious? It takes an artist to recognize an artist. I write Tia Ling Yang at the U of Hong Kong, requesting an interview and send him a copy of DONALD DUK. He writes back, by hand, saying heʼs retired to the mountain. He thanks me for my book.