Asian Comics Who’ll Change The World
“I know exactly how every single Asian in the audience felt because you looked at me like, ‘Oh God, please be funny. Please be funny.’ Before it was just comedy, now I’m doing it for the nation. It’s political. Now I do a punch line, I’m like, ‘Yeah, take that, whitey! Ha!’”
- Eliot Chang
Eliot Chang
When I think of “Asian comedy,” I wish I conjured thoughts of intelligent, witty Asians or Asian Americans. But that’s not what comes to mind.
Instead, I think of a yellow-faced Rob Schneider as the gay Asian priest in I Now Pronounce You Chuck and Larry.
Or James Hong’s character in Balls of Fury: the blind, perverted Ping Pong master.
James Hong
David Carradine’s return to his yellow-face roots in Crank 2.
David Carradine
And for the life of me, I can’t get Chris Tucker’s annoying, nails-against-a-chalkboard, rather-throw-myself-to-a-hoard-of -rabid-hamsters-than-listen-to-him-voice, out of my head as he cracks another Asian joke.
There are the classic examples, too: the overly dissected scenes with Mickey Rooney and Gedde Watanabe in Breakfast at Tiffany’s and Sixteen Candles, respectfully.
That’s not Asian comedy though - it’s comedy at the expense of Asians.
There are people who are working to turn the tide, however. These are artists who rely solely on their insight into human nature to entertain. They aren’t one-trick, plug-’n-play ponies with Asian gimmicks, like not speaking good Engrish, or a perverse infatuation with a blonde-haired bombshell, or are so “foreign” they don’t wear the right outfits/hairstyle/and designer underwear.
They are Asian comics - who could follow in the footsteps of Jerry Seinfeld, Chris Rock, George Lopez, and others - if we give them the chance.
The Good
These guys are talented comics. Their careers have a long way to go - but I wonder if their material will ever take them mainstream. A lot of it is zeroed in directly on Asia America (which isn’t a bad thing.) They’re working within their niche, and if that’s the space they want to carve for themselves, they’ll succeed. As far as reaching mainstream American, however, a lot of people simply might not relate.
I hope they prove me wrong.
The Better
These comics have star potential. Heritage and culture are components of their material, but it’s not heavy handed. They don’t use race as their well-of-inspiration. Instead, they use it like a tool, to help shape and define their routine into something unique unto itself. They’re creating an experience you’ll only get by watching them - precisely what it takes to be a star.
The Ugly
It’s easy to hate on Esther Ku and her particular brand of comedy. If you take an honest look at her material, though, you see why. There’s little merit to be found:
- “Asians look the same.” 00:35
- “Everyone has Asian fetishes.” 01:03
- “Asian men can’t get dates… and will go extinct.” 01:37
- “We use chopsticks.” 02:20
- “Koreans eat dog.” 02:42
Ku doesn’t bring anything new to the arena of Asian comedy. It’s not even an original perspective on self-disparaging humor: you’ll hear the same Asian jokes on a middle school playground. Combined with her stage presence and comedic timing (or lack thereof,) all that’s left is her gimmick: a cute, Korean-girl persona who wears pigtails and “is so American she’s against immigration.”
Which could work! The purpose of a gimmick is to get your attention, and Ku does that with the certain sex appeal she brings to the stage. But a gimmick alone won’t hold an audience’s attention - you need quality content.
Compare Ku’s act to Beau Sia’s, Give Me A Chance:
http://www.youtube.com/watch?v=bmiTaofCwr0&feature=related
A different medium, but an example of self-disparaging humor at its finest.
Sia’s last words sum up the impact these Asian comics will have if we support them, cheer for them, and most importantly, believe in them:
“Give me a chance, and I’ll change the world.”
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You guys forgot KT Tatara. He’s half-Japanese, and he’s amazing. Vulgar, so vulgar, but soooo good.
btw, great site.
Comics only reflect the status quo with their unique, biting observations of the events, attitudes, and people around them.
Their’s is the zing of zeitgeist.
Comics draw a caricature of society, they don’t change the world. They can’t. By their very nature, like in high school, they’re far too dependent upon what people think, whether they want to or not, they’re very existence is based on either/or (and sometimes both) propping up or maligning what makes them funny.
They either make it more tolerable by frankly pointing out people’s foibles with contrasting frankness, or give a silent, reassuring pat on people’s back to what ever knows to be true to begin with.