Thursday, January 18, 2018

OUR TOWN - FRESNO TO UTAH TO - MASAOKA AND JACL - VIA WORD OF THE MORMON SAINTS -

MIKE MASAOKA THOU ART THE FIRST AMERICAN BORN CURSED BY THE ISSEI-

MIKE MASAOKA: THAT’S WHY I AM BORN IN ISSEI FRESNO CALIFORNIA AND SPIRITED TO UTAH.

ELBERT THOMAS: THOU KNOWEST THE ISSEI AS LONGING FOR THE OLD ROME.

MIKE MASAOKA: FROM WHENSE CAME THE ISSEI TO POLLUTE THE WHITEMAN’S LAND OF MINE YELLOW BIRTH.

DIVINE VOICE: AS A NISEI AMERICAN BORN FREE OF ROME – YELLOW – SOCIOLOGIST – SOCIOLOGY BEING THE SCIENCE OF MAKING YELLOWS FROM JAPAN- WHITE AMERICANS WITHOUT LEAVING A MARK - MAD WOULD-BE DR. OF SCI - MIYAMOTO IN SEATTLE, WORKS ON –HIS MASTERS- LIKE HOSOKAWA , BORN IN SEATTLE, NOW A REPORTER ON THE JAPANESE AMERICAN SEATTLE COURIOR – FIRST ENGLISH ONLY NEWSPAPER IN AMERICA, OWNED BY JAMES SAKAMOTO ALL REJECT THE SINS OF THEIR FATHERS AS NOSTALGIA –

CHUSHINGURA- THE STORY OF THE LOYAL 47 RONIN – HOW THE DISGRACED SAMURAI GET REVENGE AND KEEP THE DIGNITY OF THEIR CLAN IS TOO MUCH NOSTALGIA FOR SCIENTIFIC AMERICAN MIYAMOTO AND HOSOKAWA NISEI, TOO MUCH NOSTALGIA FOR SAKAMOTO’S RELIGIOUS WHITE SUPREMACY-

THE ONLY REAL NISEI JOURNALIST IN SEATTLE JAMES OMURA – LIKES CHUSHINGURA FOR WHAT IT IS AND IS HOUNDED OUT OF TOWN-

1947- war novels about war to end all wars APPEAR LIKE ULCEROUS SORES AND PIMPLES ON THE FRESH FACE OF THE BIG WINNER. NOVELS BY SOLDIER NOBODIES make Novelists Gore Vidal, Norman Mailer, James Jones, Irwin Shaw - EXPOSE! THE NOVELISTS MANY WARS HUSHED TO SILENCE IN THE WINNERS AS PEACE. Artists- painters FRANCIS BACON,

walter Sickert-1915-absurd left behind –the theater of war – began as actor – He had a black sense of humor- played Duetchland Uber Allez as he bathed every morning within earshot of his students – He says he approves the Italian invasion of Abbysinia – He sends Adolf Hitler an offer to teach him how to paint.. Hitler reply is a courteous, thanks but no thanks.

Why no spill of Yellow vomit and Yellow brains in art after WWII?

FIRST NO-NO BOY COVER APPROVED BY JOHN OKADA A FACE AND ARMS IN BLACK WITH FISTS AGAINST THE THE EYES. AN “X” IN RED OVER THE FACE - SECOND COVER: CARP EDITION: ROBERT ONODERA SLASHES WET-DRY BRUSH ON A TAN PAN OF SHIT AND A DEFIANT FULL FACE SPLASHES OF SHIT –NO HANDS UP- THAT RESEMBLES A YOUNG FRANK ABE with one eye a colored American flag and the other eye a Japanese flag- no hands – THE THIRD COVER – UNIVERSITY OF WASHINGTON PRESS EDITION IS SICKLY BLUE AND A MALE FIGURE IN PROFILE TO THE RIGHT AND DOWN- EYES OPEN NO FISTS OVER EYES. RIGHT SIDE ONLY- THE LEFT SIDE IS HIDDEN- FIRST ONE EYED JAP-AMERICAN- WITH THE BLUES – A most unchallenging, uninviting, Jap-hating book cover-



Seattle is Florence of Lorenzo di Medici- a city of art and artists encouraged by Medici. The Ornamental Orientals and Masaoka’s JACL preach White supremacy as the enemies of Yellow truth as Savanarola fanatic Catholic predicts art of Lorenzo di Medici (bro Giovvani a Pope that cost him $$ ) Savanarola gives deathbed damnation of Lorezo) Lorenzo dead at 43- Savanarola takes over – arts in Florence withers to Savanarola predictions – Whores beaten make-up and jewelry forbidden- - homosexuals burned – Masaoka following Savanarola leads the Nisei Florence Japanese America ,to create the Kingdom of God on Earth by any means necessary -- Florence burns books, figurines, jewelry, wigs, paintings in THE BONFIRE OF THE VANITIES - Jan 25 1504 –DAVID SLAYING OF GOLIATH MEDICI – The proof of JACL Sociology muddling of John Okada are the book covers with his name only, and the sickening one eyed University of Washington cover taking authority, with the addition of the name, Ruth Ozeki, on the cover.

Wednesday, December 20, 2017

Publishing Co.?

Email exchange dated December 5th, 2017:

From Ishmael Reed to Frank Chin:

Frank, They're tired of [David Henry] Hwang. He got a bad review in the Times. Send yr play the way you wanted it printed. We have a new design and web master.

Best,

Ishmael

From Frank Chin to Ishmael Reed:

Thanks. I've shouted to the Yellows that I've published out of White tolerance of Yellows. For some reason the Whites refuse to publish a Yellow American telling of Yellow stories from the old country. The Yellows will prove the people know who and what they are, where and what they come from, and what combined to make them identifiable as Yellow folk, by 'telling their child's garden of stories dear to identifiable children.. Sorry to say, the Yellow children's stories I know, are trash to Yellows out for White fame, power, and money.

Let's wait a little longer. One of the new Yellows in politics or the news will spill the truth and start Yellows thinking.....That's my hope. But I know, it's nope. Yellows are me me me and live well and die. Their kids hate themselves and dream the dreams of Ornaments.

The baker that refuses to bake a cake for a gay couple says baking such a cake is against his art. In THE WATER MARGIN- the stars of Heavenly Spiritls are the Professions. And the star of Earthly Fiends is the TRADES. Tradesmen make goods for trade. He's in the business of trade. Artists produce works that serve no use or purpose till the artists identifies or doesn't identify it, or sell it. The artist is taken by the people, and that's what makes an artist an artist. A cake by an professional artist is not food.

A solid gold working replica of the Buntline Special made for Wyatt Earp, custom built in the Colt shop, confiscated from a corrupt and greedy Commie Provincial boss,, and stolen, turns up to having been sold for a ridiculous pile green showoff money money money. Money makes a gun I wouldn't touch and feel icky for having looked at in conspiracy with art and experienced AWE! Wow! Art. There are people who collect photos of corrupt Chinese collection of gold guns on the phone. Art and people's art is squirrel.

The 36 stars of Heavenly Spirits includes a thief - thievery is a profession- all 105 are murderers or accused of murder - but they have standards of moral behavior - The towns around their hideout depend on the 108 for protection from the predatory corrupt Imperial court, and nomadic tribes of the north -

The baker is in business or he isn't. He bakes a cake. Customers buy a cake. A cake is a cake. Made for trade without ego.

FCC

From Ishmael Reed to Frank Chin:

Frank,

The publishers want assimilation from all ethnic writers. Black writers especially the males who've been scapegoated by academic feminism or daughters of patriarchy posing as feminists, have been declared rowdy and so they've imported African writers to scold us and Britishfy our vernacular. Most of them write like Jane Austen because colonial schools in Africa teach 19th century English. Yellow, Brown, Black and Red academics have enough resources to start a Yellow publishing co. Make you the head. Ishmael ps I saw one of their tokens, a Native American at the Library of Congress. She got up and praised the disgusting Saul Bellow, a bigot and an idiot. I wanted to vomit.

Ishmael-

From Frank Chin to Ishmael Reed:

On a ride to panel of Yellows at the U of Chicago, Hutchin’s U of Chicago- I am picked up by a Sri Lanka writer – who’s story about a Sri Lankan girl who has eyes for Blonde Bigpecs and Blue eyes – and wins a prize – I ask her to tell a Sri Lankan children’s story she’s against learning Sri Lanken culture and complains she’s not responsible for a culture that causes her complaints – I want out of the car – Yellows on the make as writers of the now! And future tell me to acknowledge that cultural symbols change over time- like Kingston’s Mulan from an unmarked baby to tattooed at birth by her savage parents – Don’t the Asians of Chicago hear themselves? The head of what amounts to the Yellow playwriting dept turns out to be taught by a Rose Hum Lee, Betty Lee Sung 60’s sociologist. The U of Chicago is a White Racist Indoctrination Center- A handsome Korean short story writer shows his handsome face and gently brags about being the first to write about his affairs with White women. WHAT? IT’S THE 1990’S AND JUST NOW HE LUCKS OUT WITH A WHITE WOMAN? He’s never glimpsed Vegas comic entertainer Johnny Yune? “How do I like White men? I like Whitey women better.” Pat Morita did a Johny Yune impression. Cruel! Mean! And Funny funny.

The most influential Japanese American sociologists believed in White superiority over the Yellows from Shotaro Frank Miyamoto, SOCIAL SOLIDARITY AMONG THE JAPANESE OF SEATTLE (1939) to Harry Kitano , to the White newspapers to 1939 model Mike Masaoka , and the Japanese American Citizen League. ASSIMILATION was an Issei duty, but they keep the contents of their culture. As he wrote his praise of Assimilation, the sounds of the all girls production of CHUSHINGURA rehearsed a block up Sixth Avenue. Miyamoto hates CHUSHININGURA. Hates all Jap stories. Hates with his toes. Hates with his ears. Hates with his words. SOCIOLOGY RULES THE WORLD! Sadly the Japanese America built by the self-hating Yellows loosed by the U of Chicago – prove you’re not a Jap – volunteer for camp - reduced to todays smelly JACL, the Japanese American National Museum going intellectually and monetarily bust and sold to Japan and the White racist Smithsonian Institution. The proof is really strange. George Takei pleads the Jap case as a gay activist, whose husband is snubbed by Capt of Star Trek, on stage at the JAMN.
George Takei is only Jap voice to call Trump out for saying the Muslims should be treated like the Japs in 1941. The only Yellow voice of correction and protest. If my children;s garden of stories reaches book stage, it should take the stage at the beginning of Yellow hope, not the end.

Anyone hear a wolf? WOLF? THE NEWSDOG IS COMING. The Newsdog? THE YEAR OF THE ROOSTER IS ENDING. LOOK AT THE SKY. IT'S DARK AS PITCH AND ONLY 5 O'CLOCK. LET'S HOPE THE YEAR OF THE NEWSDOG TELLS MORE THAT'S TRUE.

FCC

Thursday, December 14, 2017

Election Day

Ishmael Reed,

I’ve been learning about Blacks, yes, Whites have Lorded in over the Blacks, and the Mexicans that lived within sight of Chinatown, accused of passing –what? – the border –and Indians here, and Indians there, different Indians (damn stubborn) some like Chinamen. Some have stories-

Can’t we read each other – work our common history & knowledge of the Trumpian White Race of America and civilize the slobbering White’s who dominate and call it Democracy?

ELECTION DAY IN ALABAMA- MOBILE LIL, THE BEAUTIFUL TWA STEWARDESS FROM ALABAMA & L.A. PHIL , THE HANDSOME PHOTOGRAPHER (CLASS COMPETITION FOR CORKY LEE OF NEW YORK.) BEAUTIFUL PEOPLE –“ I AM A LOVER” A PHOTO BOOK by Jerry Stolll jr and Evan S. Connell OF NORTH BEACH OF THE 50-60’S WHEN THE BEACH WAS BASQUE, ITALIAN, (FROM GENOA, WHERE THEY MAKE PESTO, NOT NAPOLI WHO DON’T AKE PESTO) SPANISH FROM SPAIN, CHINESE. THE PICS SPEAK-FLAMENCO IS IN TOWN IN A BIG WAY- FREDDIE MEJIA AS A BOY PLAYS THE GUITAR IN A CROWDED COFFEE HOUSE AND DRAWS EVERY EAR TO HIM. ONE CAN SEE IT IN THE PIC. THE CAMERA IS ACROSS COLUMBUS STREET STANDING ON THE CHINATOWN SIDE OF THE STREET, A FREEZE LOOK AT STREAKS OF TRAFFIC RIPPING GHOSTLY OVER THE FOGGY BIG WINDOW OF THE HOT COFFEEHOUSE. GUITAR NECKS STICK UP LIKE RIFLE BARRALS.

Jerry Stoll taught himself photography shooting this book. Evan S. Connell is a stoic writer from the Midwest ( MR. BRIDGE ) who edits fiction at CONTACT magazine out of Sausalito, and buys and publishes my first short-story FOOD FOR ALL HIS DEAD. I am 19 years old.

NORTH BEACH IN PICS LOOKS LIKE THE GATHERING OF OUTCASTS AND GANGS AT THE WATER MARGIN.

BUT THE WATER MARGIN IS A CHINESE PEOPLES REFUGE FROM THE MONSTROUS PRESS OF THE FOREIGN EMPIRE. EVERYTHING CHINATOWN ISN’T.

THE NOISE OF CULTURES CLASHING AND FORMING IS AT THE ITALIAN END OF THE ADLER ALLEY, IN LAWRENCE FERLINGHETTI’S (AND SHIG MUROW’S) CITY LIGHTS BOOKSTORE AND NORTH BEACH AT THE END GRANT STREET. AT THE OTHER END OF VERY SHORT AND NARROW AND DAMP ADLER ALLLEY IS THE CHINATOWN END GRANT STREET AND ACROSS BROADWAY AND COLUMBUS GRANT STREET DISAPPEARS INTO NORTH BEACH. NORTH BEACH IS NOT CHINATOWN.

NOT- CHINATOWN GLITTERS AND SHINES AND SMILES FUMES OF OLD BLACK BEANS AND SMELLS OF ITSELF ALL IN SILENCE.

1975- PREVIEW COPIES OF THE WOMAN WARRIOR, BY MAXINE HONG KINGSTON FOR REVIEW FLY OUT OF NEW YORK.

MS. MAGAZINE LOVES MAD MAX’S MADNESS. Ms. Magazine founder Gloria Steinem flies to the West to embrace Mad Maxine Hong Kingston, who fakes Chinese history, culture and customs to bug her father who claims to be a Literatus – a Scholar-official –who passed the Imperial Exams last given 1905-

Where is Gloria Steinem’s support of the Maxine Hong Kingston’s White racist lies convincing Pres Clinton and Obama’s awarding Kingston Humanities and Arts Medals?

Read Kingston for the TRUTH . IGNORE CHINESE CHILDREN’S LIT AND THE HEROIC TRADITION WHERE LIANG HONGYU, THE LITTLE DRUMMER GIRL (SHE WASN’T LITTLE, BUT SHE WAS A SIGNAL DRUMMER AND STRATEGIST WHO DIRECTED HER HUSBANDS MANUVERS FROM THE HIGH GROUND- also she is wrestler and an archer, and leads a horseback unit ) AND MU GUIYING, THE BANDIT QUEEN, WHO BEATS A YANG FAMILY GENERAL IN SINGLE COMBAT, MARRIES HIM, IS APPOINTED SUPREME COMMANDER OF THE SEVEN YANG ARMIES BY THE YANG MATRIARCH, RETIRES AFTER BECOMING A GRANNY THEN, AT 47 IS ASKED TO LEAD THE IMPERIAL ARMY AGAIN. PLEASE! THEY REFUSE TO FIGHT FOR ANYBODY BUT MU GUIYING. WHAT KIND OF FEMINIST IS GLORIA STEINEM?

WILL SOMEONE ASK HER? SOMEONE SCHOLARLY ON UNIVERSITY LETTERHEAD – SOMEONE FRIENDLY – SOME CHINESE OR KOREAN OR JAPANESE AMERICAN OR NOT – WOMAN WRITER? MMMMM?

OR, HOW BOUT YOU, GEORGE? Mr, Sulu Invites Gloria Steinem and Maxine Hong Kingston to join him on C_SPAN-AT THE JAMN in conversation on “feminism “ the word of the year an English language Dictionary society says. Fuck, go for broke! Invite Jeanne Wakatsuki and James D. Houston, Karen Tei Yamashita, ( “ ‘i’ Hotel” is about the hotel built from bricks from the 1906 Earthquake and Fire on the corner of Jackson and Kearney, and housed the jazz and comedy club The Hungry “i” in the basement, Filipino business on the shop level, and Filipino Scouts waiting for the US Citizenship and back pay from the US Gov ) and Amy Tan, who just adores her imagination.

SAY! HOW BOUT A RADIO PLAY OF A MEETING OF THE MOST INFLUENTIAL ASIAN AMERICAN PHILOSOPHSICAL LITERARY , THEATRICAL , MUSICAL, ARTISTIC THINKERS OF THE AGE? YELLOWS DOING YELLOW VOICES ON THE AIR. DOESN’T YOUR VOICE WATER, YELLOW ? OR DRY UP, AS THE VOICES OF ORNAMENT PASS A FEAR OF WHITES DISCARDING YELLOW ORNAMENTS, FOR ANOTHER COLOR, AMONG FELLOW YELLOWS LIKE A VIRUS, AND LIKE A VIRUS IT PASSES AND STAYS.

AMERICA MAYBE HOME – BUT EVERYWHERE I GO, I’M TOLD TO KEEP MOVIN BY MY OWN. I’M THE SHOWOFF OF YELLOW THEATER REDUCED TO A THEATER OF ONE STORYTELLER AND ONE STOOL, FOR HEIGHT - JUST A LOOKIN FOR A HOME – I HAVE STORIES OF THREE MEN OF THE OATH IN THE PEACH GARDEN , ONE MAN WAS HEAVENLY SANDAL MAKER WHO WANTED AN EMPIRE/ONE MAN WAS AN EIGHT FOOT TALL MAN EVERYONE WANTED – ONE WAS A RICH MAN WITH EVERYTHING – EVERYTHING FORGED FORMED TOOLED, WOVEN –DREAMED IN CONCERT WITH THE EARTH-

THE SANDAL MAKER AND THE RICH FARMER ARE DRINKING AT A CROSSROADS TAVERN WHEN KWAN KUNG STEPS INTO THE DOORWAY CHEERILY BELLOWS, GREAT DAY! TODAY I VOLUNTEER TO FIGHT THE YELLOW TURBANS , DIRTY NORTHERNERS! BRING ME WINE! SOMETHING ABOUT THE BIG MAN MAKES EVERYBODY CHEER AND WAVE HIM TO THEIR TABLE.

THE FARMER IS ON HIS FEET AND INVITES KWAN TO SIT AT HIS TABLE WITH THE SANDAL MAKER. THEY LEARN THAT KWAN KUNG WAS LOCKED UP BY HIS PARENTS BROKE THE HOUSE DOWN AND BURNED IT, RUNAWAY INTO A GIRL BEING FORCED TO MARRY BY HER GREEDY FATHER, HE KILLED THE GROOM AND GREEDY FATHER, AND REFUSED THE GIRL’S OFFER OF HERSELF, RAN OVER THE MOUNTAINNS WHERE HIS FACE DARKENED AND EYEBROWS TAKE OFF LIKE BLACK MOTHWINGS- THE THINGS I LEARN FROM THEN TO HERE MAKE ME MAD.

“WHAT DO YOU THINK OF THE FARMER AND MY RAGGEDY SELF?” Liu Pei asks. He listens for an answer milking the question for martial content.

Kwan Kung says, “I’M A MAN WHO DRINKS BUT NEVER GETS DRUNK . YOU’RE THE FIRST MEN I’D BE HAPPY TO GET DRUNK WITH.”

Jiang Fei says, “LET’S GO TO MY PLACE. IT’S QUIET THERE. THE PEACHES ARE RIPE. LET’S GO THERE AND DRINK IN THE BREEZE OF SWEETENING PEACHES AND SONG OF MATING BIRDS.”

FCC

Wednesday, December 13, 2017

LET US NOW PRAISE FAMOUS MEN: WOOD MOY

(photo by Nancy Wong, 1981)

by Frank Chin

Wood has me to dinner and asks me if I have read The Water Margin, when I have not. Like everyone else, I have heard and can’t figure out what The Water Margin is. He’s the only yellow actor to ask about where the Yellow River slows to maze of slow moving smelly marsh of rot and fat and the hideout of the 108 outlaws who displaced the cowardly emperor in the people protected by the outlaws, in Shantung Province.

I read the cartoons of Chinese comic books POW! And ARRRRRGGH! Water Margin and three translations and from the Shapiro trans of Outlaws of the Marsh published by the Chinese Foreign Languages Press- verified by children’s stories. [CONT'D]

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.

FRANK CHIN
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.

FRANK CHIN
LOS ANGELES


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.

FRANK CHIN
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.

FRANK CHIN
LOS ANGELES

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/
ARKANSAS. Owooo!/
Hear that wolf?

FCC

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 Col√≥n, 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.

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