By Guest Contributor: Sudip Bhattacharya
The acquittal of police officer, Betty Shelby, in the shooting death of Terence Crutcher was preordained.
The narrative follows a familiar pattern: A White individual (Shelby) encounters an unarmed African American man, and with no evident motive, chooses to end the life of the Black person standing before them.
“Crutcher’s death is his fault,” she later said. It is hard to imagine how that could be the case. Dashcam video shows that Crutcher was shot and killed while unarmed and complying with police orders.
After my visit to Ferguson last summer, I referenced the writings of Simone Browne, Christina Sharpe, and Alexander G. Weheliye, to argue that unless we understand how Anti-Blackness/Whiteness operate in the U.S., we will consistently fail in creating a society that would treat everyone with dignity and respect. Without this understanding, we will never build a place that honors the hopes and dreams of someone like Terence Crutcher.
By Guest Contributor: Sudip Bhattacharya
Recently, Brooklyn Nets star Jeremy Lin said to the New York Daily News, “A lot of times we have Asian girls go for non-Asian guys but you don’t see a lot of the opposite. You don’t see a lot of the opposite; you don’t see a lot of non-Asian girls go for Asian guys. When they said ‘Yellow Fever’ growing up, it wasn’t all these white girls going for Asian guys. It was the Asian girls going for the white guys.”
Although Lin was relatively thoughtful throughout his interview, his answers nonetheless reinforced a damaging myth: that Asian American women have more advantages than their male counterparts.
Lin represents a segment among men of color who have become obsessed with embodying a superficial and regressive “masculinity.” If our goal is to dismantle patriarchy, we must form a deeper, layered understanding of “masculinity” and its relationship to Black, Brown, and East Asian American men. That radical reexamination of the “masculine” must account for the marginalization that many men of color feel, while not absolving them of their role in perpetuating misogyny.
By Guest Contributor: Jan Lee
It was Valentine’s Day in New York City. While others were thinking about where to buy last minute chocolates and flowers, my thoughts were entirely elsewhere. I was reading restaurant reviews in the New York Times and found myself confronted with an article exploiting my community’s perceived exoticisms.
The review was from the New York Times (“Culinary Clashes End in Harmony at Chinese Tuxedo“), but I would have sworn I was reading a Chinatown caricature by Chuck Connors—the 19th century Rhode Islander who shamelessly profiteered by hawking exaggerated, cartoonish tales of exciting and foreign “ethnic” life in turn-of-the-century Chinatown to upper-class white tourists. National news correspondent Arthur Bonner described Connors as “a hanger-on in Doyers Street saloons who earned tips by showing thrill seekers tame wonders like the Joss House. For an added tip he would show them an opium den complete with a ‘fallen woman’.”
This treatment of Chinatown as a seedy den of foreign crime and taboo thrills to be packaged and sold as a form of ethnic tourism would be best left to the past. Yet, writers and editors seem perfectly willing to revive old stereotypes and evoke the worst of Chinatown’s history in a vain attempt to remain relevant, regardless of the consequences.
By Guest Contributor: Conrad Lihlihi (@clihilihi)
Editor’s Note: Earlier this week, entertainment news outlets reported that film project “Ni’ihau” was in pre-production and had cast actor Zach McGowan (Black Sails) in the lead role of Ben Kanahele, a Native Hawaiian man who featured centrally in the historic so-called ‘Ni’ihau Incident’. That announcement sparked accusations of white-washing and historical inaccuracies from online commentators.
In terms of the film production of “Ni’ihau” itself, there’s not much I could say that hasn’t already been said. Business-wise, I don’t see any support for this film from any communities (outside of hard core Zach McGowan fans). At this point, it seems almost certain that this project will fail.
However, news of the “Ni’ihau” film project re-raised a particular issue dealing with Asians and Pacific Islanders that I feel should be talked about. Specifically, does the term “Asian Pacific Islander” contribute towards a tendency for many Asians to claim Pacific Islanders as part of the same monolithic racial community, and thereby unknowingly erase the Polynesian narrative?
By Guest Contributor: Melissa Phruksachart (@mphruksachart)
Though Jordan Peele’s Get Out has been primarily read (and marketed) as an excoriation of white liberalism, Peele actually asserts the multi-racial nature of white supremacy through the character of Hiroki Tanaka (Yasuhiko Oyama), a Japanese man.
This post contains spoilers of the movie “Get Out”. Please read on with caution.
Since 2001, Reappropriate has been the web's foremost Asian American activism, identity, feminism, and pop culture blog!