Pan Asian is a throwing a White racist fraud to lure Yellows to see how much Tisa Chang and Ken Narasaki hate John Okada’s NO-NO BOY, in the unauthorized rewrite of a finished work. The Pan Asian pitch is stupid doubletalk:
TISA CHANG SAYS: “N0-NO BOY is especially topical in this election year, where the questions of allegiance and what it means to be an American are asked again.”
KEN NARASAKI SAYS” EVEN TODAY, THE TERN (NO-NO BOY) CAN SPARK BITTER EXPLOSIONS AMONGST PEOPLE WHO REMAIN ANGRY ABOUT THE KINDS OF REAL LIFE ARE DEATH DECISIONS THEY AND THEIR GENERATION WERE FORCED TO MAKE…
Tisa Chang and Narasaki don’t know what they’re talking about. Citizens are not required to give their allegiance to anybody for anything at any time. Allegiance is defined by the master who demands the surrender of individual will to the master. The oath is judged by the master, not the soldier. Sun Tzu says: All religious practices are banned. Follow the leader.
The JACL declared itself secret agents of the gov over L.A. radio on December 7,1941. Mike Masaoka “conscripted” the JACL into the JACL before congress in 1942, and accepted his people’s guilt.
Minoru Yasui asked Masaoka to stand for Nisei rights and Masaoka jealously refused to stand for the law, and said good publicity was more important than the law. He convinced the Portland JACL to abandon their first lawyer and Lt in the National Guard. Gutless JACL.
Tisa Chang’s Pan Asian Rep and Ken Narasaki refuse to respect Okada’s NO-NO BOY and use the name to make good White racist publicity and Yellow self-hatred.
East West Players and Pan Asian believe White racism is right for Asian America. Look at the plays the 30 years of plays they’ve done since Mako left. All boo hoo we’re so bad and White so pretty.
Seattle artists should stand for John Okada as art. But, for some reason, they’re singing in tune with the White racism of Yellow theatre. The JapAms of Seattle have been shamed by the Whites to a state where they don’t recognize Seattle writer John Okada who lived it all and wrote it all about home, Seattle.
Rather than criticize Okada in a signed new work, the self-appointed artists put on the hoods of an anonymous Theater coalition with no works but a lot of White racism to back them, and jointly condemn him to White racist stupidity. They wouldn’t correct Shakespeare. They claim to know Shakespeare as well as they know Okada. They flunk Okada, He doesn’t know what he’s talking about they say.
Why Okada? His book hits home. All the others miss. All the others are gov sponsored JACL.
Has the JACL and George Takei’s ALLEGIANCE, and Ken Narasaki’s ugly distortion of Okada’s NO-NO BOY and the anti-Mako thrust of the EAST WEST PLAYERS wiped out the most alive and living work of Japanese America, as a favor to the Whites? See what we’re doing, White Man? We killed our Kurt Gerron for you, White Man. You like? You likee?
I appeal to individual Yellow American writers and intellectuals of colored cultures to look to the care of a brother writer’s writing being treated with no respect for the author.
Not to brag, but no other people but the Yellows, all Yellows, are defined by writers who know everything White and nothing Yellow, and the degree they’re not Yellow is more important than indidividual White knowledge. Being born here is enough for the White man.
What I’ve just described is the pscychology of the Yellow unique to the Yellow. But there are no Yellow shrinks for the Yellow mind.