I’ve been chewing onBabe’s Aziz Ansari story for the last couple of days. The story, detailing a 23-year-old photographer’s sexual encounter with the comedian, has caused a splinter in the #MeToo movement, which I expected. Ansari is generally regarded as a male ally to the feminist movement. So just as people came to the immediate defense of George Takei, I knew there would be an army of Aziz defenders. However, I didn’t realize female journalists would join in on the chorus of victim-shaming and, essentially, defend “Grace” and Ansari’s interaction as “normal.”
The interaction that took place between the two felt familiar: a sexual cat and mouse game between a horny male and his female date. The overly aggressive persistence of a guy trying to get laid, regardless of what his partner wants. Grace gave him non-verbal (and even verbal) cues that she didn’t want to fool around, but Ansari ignored them. Since none of us were in the room, we’ll never know if he noticed these cues and willfully ignored them, or if he felt like he was getting a green light to try and try again.
Much of the ensuing conversation around Babe’s article has been predictable. “Why didn’t she leave?” “Why would she perform oral sex if she didn’t want to?” “He’s not a mind-reader.” A lot of this Twitter commentary came from seemingly male-identifying people. Much to my surprise, there was a cacophony of self-proclaimed #MeToo supporters who echoed these sentiments.
Revelations about Bond came just weeks before Roosh V., another infamous pick-up artist and founder of the misogynist and anti-feminist website “Return of Kings” (linked via DoNotLink.com) announced a planned workshop series that would have spread Roosh’s pick-up artist philosophy — including his argument that rape should be legalized — worldwide. Roosh received enormous international backlash, and was forced to cancel the planned appearances.
Now, activists are hoping to place David Bond — whose videos include racism, as well as physical and emotional coercion of women — under similar international pressure.
I concluded that while misogyny, masculinity and misogylinity is America’s problem at-large, it is Asian America’s problem, too. In some corners of Asian America, radical misogyny incubates virtually unchecked.
Yesterday, a 23-year-old South Asian American man by the name of Keshav Mukund Bhide was arrested and held on $150,001 bail after posting numerous online comments idolizing Isla Vista shooter Elliot Rodger through YouTube and Google+, the latter through his account name “Foss Dark”. Bhide is a student at the University of Washington.
Bhide posted several comments calling Rodger’s “Day of Retribution” “perfectly justified”, and threatening to follow in Rodger’s footsteps. On May 30, Bhide wrote a comment on his own sharing of a YouTube video, saying that he “would have done exactly the same shit” but that he “would have killed only women”.
In explanation for his misogyny, Bhide cited a trope that again is all-too-familiar within the Asian American community: he rationalized his anger against women for society’s rejection of men who are “short” and who have an “ugly face”.
Artist David Choe is a local Los Angeles-area celebrity, who made his name as the artist who painted a mural for the small office of a little-known start-up called Facebook and who was paid by the man who hired him (Mark Zuckberg) in company stock; when the company went public in 2012, Choe became instantly independently wealthy with an estimated net worth of over $200 million dollars. Choe, who has collaborated frequently with Asian American magazine Giant Robot, also painted a portrait of newly-elected President Barack Obama that was chosen to hang in the White House.
Beyond his artwork, Choe also has aspirations of being a celebrity personality (i.e. “a person famous for being famous”): between 2007-2010, Choe co-hosted a web series called “Thumbs Up!” which followed his adventures hitchhiking across the country, and currently Choe co-hosts a podcast (available in both audio and video) called DVDASA with porn star Asa Akira, which is basically a poor man’s Asian American version of the Howard Stern Show.