Recently, Mark Tseng Putterman wrote “Against Antiblackness as Metaphor” as a discussion of actor and comedian Margaret Cho’s use of the phrase “House Asian” in an email exchange with fellow actor Tilda Swinton. Cho and Swinton had been emailing in relation to months of controversy over Swinton’s casting as The Ancient One in Marvel’s Dr. Strange, wherein a traditionally male, Tibetan comic book character was rewritten as a Celtic woman to enable Swinton’s portrayal; many Asian Americans had criticized Swinton’s casting as the latest example of Hollywood white-washing of Asian American roles. Earlier this month, Cho weighed in on the controversy in a podcast by revealing a private email exchange between herself and Swinton, wherein Cho described feeling as if she had been put by Swinton into the politically dubious role of a “House Asian”. While many have since focused on Swinton’s methods and motives in approaching Cho in this exchange, Putterman offered a slightly different take: he wrote to criticize Cho’s choice to use the phrase “House Asian” in her emails with Swinton. Specifically, Putterman suggested that Cho, like many Asian Americans, should reconsider our use of metaphors of Blackness to legitimize racial justice issues associated with the Asian American community, and that our continued use of such tactics undermine solidarity efforts between the Black and Asian American community.
Based on his writing, I believe it was Malcolm X who coined the phrases “House Negro” vs. “Field Negro” to highlight the relative instability of the plight of all subjugated Black people. Along those lines, Ture and Hamilton’s work, Black Power, also assigned a commonality of experience of subjugation for populations of color across the globe, and coined the term “Third World.” This latter term has fallen out of favor since the 1990’s. Cho’s use of “House Asian” misses many of these nuances, and runs the danger of advancing an agenda where all experiences of discrimination, based on race or otherwise, can be viewed as equal.
Asian American Twitter has been abuzz this week with news that Tilda Swinton singled out Margaret Cho to explain to her the backlash surrounding her whitewashed casting as “The Ancient One” in Dr. Strange. On a recent episode of Bobby Lee’s TigerBelly podcast, Cho described the odd email exchange with Swinton, who she had never met, explaining that it left her feeling like a “house Asian, like I’m her servant.”
While many commentators have rightfully jumped on Swinton’s behavior as another example of white people expecting people (especially women) of color to perform uncompensated intellectual and emotional labor, few have discussed how Cho’s coopting of the term “house Asian” represents a parallel trend of non-Black Asian Americans repurposing Black movements, analyses, and terminology for our own purposes.
Yet, I have to confess: I don’t consider myself a fan of Ken Jeong’s body of work. I find Jeong’s most notable role — the sardonic, antipathy-fueled Leslie Chen of the Hangover films — racially unsettling for its flirtation with stereotype. I was deeply concerned when Jeong appeared in inexplicable Blackface for an episode of Community, a show that featured the comedian as a series regular. I also take issue with Jeong’s overall comedy persona; often, Jeong creates humour through racial dissonance by appearing as an Asian American while acting against expectation. Yet, he occasionally builds that dissonance through unchecked use of hip hop culture and slang; in a recent review of Dr. Ken, Christopher T. Fan recounts how Jeong entertained the writer and other visitors to the set over lunch by describing “his shit” as “on fleek”. Too often, I find myself so preoccupied trying to parse the racial play of Jeong’s comedic style to find the work funny. Thus, while Ken Jeong’s brand of humour is wildly popular and successful among mainstream audiences, it just really hasn’t been “my thing”; consequently, I had planned to pass on watching (and reviewing) Dr. Ken.
Then, when Fan (who apparently shares my unease over Jeong’s comedic work) wrote in his review of Dr. Ken that he unexpectedly found himself “laughing out loud”, I was intrigued enough to sit down and preview the first two episodes of Dr. Ken for myself.
Look, no one is ever going to mistake Adam Carolla with someone who has taste, tact, or wit.
These days, the washed up former host of The Man Show seems hellbent on staying relevant by saying as many offensive and inane things as he possibly can, and if the last few years are any indication, he’s failing: recently, he’s appeared on Dancing With The Stars and Celebrity Apprentice, and that’s the highlight of his resume.
Currently, he hosts Catch a Contractor, the exceptionally boring play off of To Catch a Predator where the sexual innuendo and moral outrage is inexplicably replaced with bad home improvement contractors.
So, to say I don’t really give a fuck about Adam Carolla would be something of an understatement. It’s clear that very few people in the world really give a fuck about Adam Carolla.
That being said, I really wish this guy would stop making fun of minorities in his desperate efforts to get attention.