An axis for artistic and creative-types of the Asian persuasian… Redefining Otaku Culture.

Soho House Interview: Chef May Chow and Little Bao (Hong Kong)

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Soho House: 

Chef May Chow pairs traditional ingredients from Hong Kong with Western cooking techniques to create her stuffed, steamed buns – fans queue around the block for the slow-braised pork belly bao, served with leek and shiso red onion salad and hoisin ketchup.

We sat down with Chow to find out more:

Q: Where’s the best place to eat in Hong Kong right now and what is your favorite dish on the menu?

A: I love The Chairman because of my favourite dish, which is steamed crab with aged Shoaxing wine, chicken oil and flat rice noodles.

Q: How did you get to where you are today and who inspired you?

A: I had a very singular vision about the kind of food I wanted to cook and who I wanted to be very early on in my career. I have to thank Matt Abergel (owner of Hong Kong’s Yardbird) because without his guidance during my restaurant development, Little Bao wouldn’t have been possible. He was honest when he believed something wasn’t good enough and I trusted his opinion.

Q: Tell us about Little Bao and the inspiration behind it.

A: Little Bao is my life translated into a restaurant. It takes inspiration from the best of both Chinese and American culture but most importantly it’s a place to have fun – so expect good food; loud, upbeat music and great cocktails.

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Q: How has your background influenced your cooking?

A: I grew up in a traditional Chinese family and I’m influenced by Chinese culture. When I moved to the US, I was influenced by the freedom of speech and, of course, the food. My cooking draws on both cultures and I love taking traditional ingredients and putting an original spin on them.

Q: What made you decide to open your own restaurant and how did you go about launching it, finding funding and finding the perfect venue?

A: I always knew that I wanted to be a restaurant owner because I felt I had a story to tell through food. The opportunity came when I was offered a booth at a market. The response was great and I started to daydream about opening a restaurant.

I developed a business plan and gained financial support from my family and friends. We scouted for a Hong Kong location for over six months and I ended up taking over a space that was occupied by a hideous Thai restaurant. That was the first right decision I made because it was in my favorite neighborhood in Hong Kong.

Q: Have you ever faced any sexism in the industry?

A: I’m such a positive and happy person that I don’t feel that I’ve ever felt discriminated against, especially in a city like Hong Kong. I am quite an empowered woman and I generally see sexism as ignorance but I don’t experience much of it.

Q: What advice would you give to other pop-ups who are looking to launch their own restaurant?

A: I started as a chef working in restaurants, so my story is slightly different because I already had a basic understanding of the DNA needed for a successful restaurant.

The first step is to develop a detailed business plan and have legitimate solutions for all the questions that crop up. How do you make sure there is consistency in your service, food and experience? Have you developed your service manual? How will you make sure food and drink cost is controlled? Where is the best location for your target market? Who is your target market? Who is your competitor? What is your PR and marketing strategy? What music should you play? How much funding do you need?

Most importantly, though, listen to the people who will provide you smart insight.

Q: How do you think the London food scene measures up to Hong Kong?

A: Both Hong Kong and London have great food scenes but I think while Hong Kong offers the best of every type of Chinese cuisine, London has a bigger array, from great modern British food like St. John and Gordon Ramsey to fantastic Middle Eastern and Indian cuisines. London also has a wonderful farmer driven open market that Hong Kong doesn’t have.

Washington Post: How it feels when white people shame your [Asian] culture’s food, then make it trendy

Washington Post (by Ruth Tam):

When I’m craving comfort food, I’ll take my father’s ngau lam over mac and cheese any day. Although it takes the better part of a day to prepare, his Cantonese braised brisket stew always soothes my stomach and my soul.

I love the cooking process almost more than the flavor. My father cuts a square of cheesecloth and adds cinnamon, star anise, cloves, peppercorn, ginger, orange peel and a sweet root with no English name to its center. He ties it into a neat bundle and lets me hold it to my nose before dropping it into a rich broth in which brisket, tripe and tendon simmer for hours until tender.

Before all the ngau lam ingredients converge in a giant pot, the brisket, tripe and tendon must be blanched. It gives off a hot, heavy stench that permeates every room of the house and adheres to every fiber.

My childhood home in suburban Chicago always smelled like whatever we were cooking. Visiting us meant cloaking yourself in the scent of haam daan ju yoke beng, a dish of steamed pork and salted egg, or the perfume of mapodoufu, tofu and minced pork with a spicy chili and fermented black bean sauce.

I didn’t mind the smells growing up because I wasn’t aware of them. That is, until a high school friend declared my house smelled of “Chinese grossness.”

The comment clung to me like the smell in my home. My embarrassment hit a peak when my father installed a 5-foot-long fish tank in our family room so he could steam fish at home — extra fresh. I tried to pretend the blue fish swimming around in the murky green water were pets, but the lack of tank accessories gave away our true intentions, stunning my white friends.

My hunger for my family’s food was overpowered by my desire to fit in, so I minimized Chinese food’s role in my life and learned to make pasta instead. Little did I know that Americans would come to embrace the dishes and cooking styles that once mortified me. The Cantonese foods of my childhood have reappeared in trendy restaurants that fill their menus with perfectly plated fine-dining versions of our traditional cuisine. In some cases, this shift has been heartening. But in too many others, the trend has reduced staples of our culture to fleeting fetishes.

The shame associated with immigrant foods (until they become foodies’ favorites) isn’t unique to me or Chinese dishes. In her new book, “Maangchi’s Real Korean Cooking,” Korean cook and YouTube star Maangchi writes fondly of Korean soup soy sauce. In South Korea, all of her neighbors would boil their own. In the United States, though, the soup was received differently:

“I remember boiling my Korean soup soy sauce when I lived in Missouri, and my apartment manager knocked on my door. ‘What’s that smell? I got a complaint from your neighbor.’ I was so embarrassed that I didn’t make soup soy sauce again for a long time, even after I moved back to Korea.”

Even now, as an accomplished cook in New York City, Maangchi doesn’t boil soup soy sauce in her home. Instead, she takes it to a creek at the base of the Henry Hudson Bridge and boils it in a portable gas burner “where no one will complain.”

This experience is so universal that it recently became canonized in pop culture. New York chef Eddie Huang retold the story of his daily lunchroom shaming in a scene from “Fresh Off the Boat,” an ABC sitcom based on his memoir. When young Eddie takes a carton of noodles out of his lunchbox, his white classmates react with disgust: “Ying Ming’s eating worms! Dude, that smells nasty!” Back at home, Eddie demands his parents start packing him “white people lunch.”

The lengths to which immigrant families have gone to hide the way we feed ourselves break my heart. But something has changed. In cities big and small, Asian dishes and flavors have become popular among foodies at chic eateries. Foods that were once considered too strong, too spicy, too smelly or too obviously-from-an-animal for my white friends are now on Restaurant Week menus nationwide.

A month ago, I saw a kimchi burger on the menu at Macintyre’s, a new bar in Washington’s upscale Woodley Park neighborhood. It’s just two miles north of Drafting Table, which sells a duck-and-hoisin-sauce grilled cheese. And a few blocks from there is Masa 14, which features crispy chicken wings and meatballs on its “Dim Sum” menu. Downtown, Wolfgang Puck’s The Source offers lobster bao buns and “Chinoise-style” chicken salad.

In one way, this is a positive change. Now that I’ve gotten over my fear of stinking up my kitchen, the growing number of Asian grocery stores means I don’t have to visit home to get ingredients for homemade Chinese food. Greater acceptance of international eateries allows immigrants, professional chefs and otherwise to explore their culture and dual identity proudly, instead of behind closed doors or at the edge of the Henry Hudson Bridge.

Gravitating toward “new” cuisines is understandable, and when done well, immigrant food can provoke discussions about personal history and shared diasporas. I’ve seen this happen at restaurants such as China Chilcano, which describes the history of Chinese and Peruvian fusion that influences its menu, a bare minimum that many restaurants ignore.

But while some eateries get it right, the United States’s take on “ethnic” food often leaves a bad taste in my mouth.

Recently, I discovered I can order bone broth, like my grandmother used to make, in New York City — the same way I would order a cold-pressed juice.

“2015 is the year of bone broth!”  the “Today” show declared in January. “These days, the hottest food trend is a steaming cup of soup.” The morning show touted bone broth as a newly discovered wonder food of “Paleo dieters and wellness enthusiasts,” making no mention of its grounding in Chinese culture.

In the United States, immigrant food is often treated like discount tourism — a cheap means for foodies to feel worldly without leaving the comfort of their neighborhood — or high-minded fusion — a stylish way for American chefs to use other cultures’ cuisines to reap profit. The dishes of America’s recent immigrants have become check marks on a cultural scavenger hunt for society’s elite. One conspicuous example is an upcoming eatery in Washington’s Petworth neighborhood that packages discount tourism and high-minded fusion into one menu. The as-yet-unnamed restaurant seeks to re-create Southeast Asia’s “expat experience” — not for Asian residents in D.C. but for D.C. residents who crave the feeling of visiting Asia with other foreigners.

“When you travel in Southeast Asia, you have two experiences: the cultural experiences with the temples, food, and people, and then a phenomenal traveler’s culture, too,” chef Alex McCoy told Washingtonian. “That’s the inspiration for this place. We want to introduce people to Thai cuisine, but frame it in the eye of a traveler.”

This cultural appropriation stings because the same dishes hyped as “authentic” on trendy menus were scorned when cooked in the homes of the immigrants who brought them here. Fashionable food from foreign cultures may satisfy a temporary hunger, but if you’re trying it for shallow reasons, you’ll be culturally unfulfilled in the long run.

Instead of attempting to expand our palates with best-restaurant lists and foodie fads, we should find deeper ways to explore the diversity of dishes that have come to the United States.

We need food writers like Monica Bhide, who appreciate not only diverse tastes, but also the cultures that produced them. We need more cookbook authors like Maangchi, who documents traditional recipes so fans of Korean food can participate in culinary rituals. We need more publications like Lucky Peach, which treats immigrant food with the same complexity that is bestowed on the all-American burger. And we need more films like “The Search for General Tso” that examine our relationship with “ethnic” food.

Americans are increasingly interested in where food is sourced. Surely, that interest should extend to a meal’s cultural roots as well as its biological origins.

My dad’s ngau lam is not gross, but I never want it to be given the “fad” treatment. You should try it the way he likes to prepare it — after he blanches the cow stomach, adds the bag of spices and lets it cook for hours.

The best meals are more than the sum of their ingredients; their flavors tell the stories of the rich cultures that created them. When the same respect is afforded to immigrant food as traditional “American” food, eating it will sate us in more ways than one.

Audi customer Siobhan Yap offered free lunch after car gets damaged, racks up epic $1100 bill

audifeatFoodBeast/Next Shark:

An Audi dealership in the U.K. offered a 27-year-old woman a free meal to make up for her new car being damaged in the showroom, but when she presented them with her bill, they were completely floored by how much she spent.

Siobhan Yap had recently purchased a new Audi A3 convertible from Audi Watford outside of London for about 20,000 pounds, or just over $30,000. Before she picked up her new car however, a delivery truck accident left the brand new car damaged.

audidealerTo apologize for the “inconvenience caused,” the dealership offered to pay for a  free meal for two. What they didn’t know was that Yap would go HAM with her free meal.

Yap took her mother out to the Michelin-starred L’Atelier de Joel Robuchon restaurant in Covent Garden in the heart of London.

restaurantFor their epic meal, they enjoyed four glasses of rosé champagne, two $106 bottles of wine, a $54 black truffle tasting dish, scallops, risotto and $132 in cocktails, among many other dishes for a total of 21 different items.

recieptAudi was expecting a modest bill of about 100 pounds, which works out to just over $150. Instead, Yap slammed them with a bill for 714.61 pounds, which works out to $1103.93, including a 13% tip.A Watford Audi spokesman explained that the bill was an ”excessive expenditure for two diners” but they were “keen to make amends” by agreeing to cover half the bill. The spokesman continued:

“We believe this is a fair and reasonable amount given the circumstances, and we stand by the decision taken.”

However, Yap apparently doesn’t think she went overboard and Audi actually skimped on their promise to pay for half the bill which would be about 357 pounds. She  explained:

“I asked for a courtesy car in the first instance which they said they did not have. They only gave me one because I kicked up a fuss with the MD.

I received a sum of £250 but I have had no further contact with them. The statement that they offered me half is incorrect.”

The New Yorker: “Home Cooking- Funny families on ‘Fresh Off the Boat’ and ‘Black-ish.’ ”

If “Fresh Off the Boat” emphasizes family warmth, it’s complicated by sharp details.

If “Fresh Off the Boat” emphasizes family warmth, it’s complicated by sharp details. (Illustration by David Saracino)

The New Yorker (by Emily Nussbaum): 

Like many pioneering TV series, ABC’s “Fresh Off the Boat,” a sitcom about a Taiwanese-American family running a Western-themed chophouse in Orlando, Florida, débuted to impossibly high expectations, hand-wringing, and prickly waves of preëmptive backlash. In an unusual twist, this hazing came from the man whose life the show was based on.

In an essay in New York, Eddie Huang, the celebrity chef, Vice TV host, and author of the memoirFresh Off the Boat,” merrily trash-talked his own collaborators, including a Chinese-American producer, whom he called an “Uncle Chan,” and the showrunner, Nahnatchka Khan, an Iranian-American. “What did you buy my book for?” Huang yelled, frustrated that the show had bowdlerized his story, which included whippings by his father, an immigrant restaurant owner. “Just make A Chinks Life . . . With Free Wonton Soup or Soda.” Thousands of words in, Huang tossed out a few lines of praise, but the impression he left wasn’t great—if he saw his sitcom as a sellout, who were viewers to disagree?

At the heart of this rant was the question of what makes TV bold: Huang wanted something pungent, like an FX anti-hero dramedy, or like the nineties sitcom “Married with Children,” the type of show that would underline (and maybe glamorize) his violent youth, his charismatic dick of a dad, and the roots of Huang’s own flamboyant persona. That desire wasn’t sheerly egotistical: Huang was eager to push back at the cliché of Asian men as passive, genitally cheated nerds (“the eunuch who can count,” as he puts it in the book)—a Long Duk Dong stereotype still visible on shows like CBS’s “2 Broke Girls.” Huang wanted “Fresh Off the Boat” to “go hard,” like his nineties hip-hop heroes. In the process, he was claiming TV’s own bad-boy role, the provocateur who shoves authenticity down the throat of The Man. Think Roseanne; think Louis C.K. and Dave Chappelle.

In reality, of course, the bad-boy provocateur very rarely gets final cut on a network family sitcom—it’s a genre more prone to compromise than a Senate bill. Even the edgiest shows have limits: Al Bundy never hit Peggy, after all. So it’s no surprise that, aesthetically, “Fresh Off the Boat” fits right into ABC’s sweet-tempered slate of comedies, which includes the subtly retrograde “Modern Family,” the wonderful “The Middle,” “The Goldbergs,” “Black-ish”—a smart new show that I’ll get to in a moment—and the unfortunately bland “Cristela.” Like all these shows, “Fresh Off the Boat” is brightly lit, with an A plot and a B plot. The jokes aren’t dirty and nobody gets his butt whipped. The parents—patriotic restaurant-manager dad, Louis (Randall Park), and proudly alienated mom, Jessica (the terrific Constance Wu)—love one another. There’s even a “Wonder Years”-esque voice-over, performed by Huang, and an ensemble of adorable children. It’s a comedy the whole family can watch together—which may be either an insult or a compliment, but is definitely a business plan.

Yet, even in its half-dozen early episodes, those burnt first pancakes of sitcoms, the show has a radical quality, simply because it arrives in a television landscape with few Asian characters, almost none of them protagonists. Khan, the showrunner (who wrote for Seth MacFarlane, and who produced the wicked ABC sitcom “Don’t Trust the B—— in Apartment 23”), is her own sort of provocateur, an expert at slipping rude ideas into polite formats. She uses the Asian-American family to reset TV’s defaults. The characters aren’t the hero’s best friends; they’re not macho cartoons or eye candy, either, as on some cable dramas I could name. This can be an unpleasantly clinical way to talk: it places the critic in the camp of the bean counters, not the gonzo rapscallions. But simply watching people of color having a private conversation, one that’s not primarily about white people, is a huge deal. It changes who the joke is on. “Fresh Off the Boat” is part of a larger movement within television, on shows that include the CW’s “Jane the Virgin” and Fox’s “Empire”—a trend that’s most influential when it creates a hit, not a niche phenomenon.

Reading the book, then watching the show, you get why Huang was frustrated: without a cruel bully for a father, Eddie’s taste for hip-hop feels more superficial—in the book, it’s an abused kid’s catharsis and an identification with black history. But, if the show emphasizes family warmth, that theme is complicated by sharp sociological details: the only black kid in the school calls Eddie a “Chink” and smirks at his hip-hop T-shirt; Jessica grabs every free sample at the supermarket, then gives the employee a hilariously dismissive wave; Louis hires a white host to attract customers (“A nice happy white face, like Bill Pullman,” he explains firmly). There’s no violence, but there are specific immigrant perspectives, shown through multiple lenses.

In one of Khan’s most effective gambits, we see Eddie through his mother’s eyes as often as we see her through his. In the book, Jessica is a brazen, mysterious goad to her son; on the show, she’s a full character, Eddie’s equal in cultural alienation, even if her escape is Stephen King, not the Notorious B.I.G. In one of the most interesting early episodes, mother and son are both drawn to Honey, a trophy wife who lives next door. Eddie sees a hot MILF he can show off to the boys; Jessica sees a kindred spirit who will eat her “stinky tofu” and bond over “Dolores Claiborne”—then pulls away when she realizes that Honey is the town home-wrecker. The show hits every awkward angle of this triangle, including a surreal fantasy sequence in which Eddie, inspired by his hero Ol’ Dirty Bastard, sprays Capri Sun on gyrating video vixens. (His mom intrudes, complaining that he’s wasting juice, while his father offers the women free samples from the restaurant: “Come on, Fly Girls. Try a rib! Tell a friend.”)

In the final scene, at a block party, everyone’s loneliness collides, as Eddie gropes Honey, and Jessica sees her neighbor’s humiliation. Opening her heart to a fellow-outsider, Jessica seizes the karaoke mike to serenade Honey with an awkward, earnest rendition of “I Will Always Love You.” The sequence doesn’t “go hard”; it goes soft, quite deliberately. But somehow it still manages to find strangeness within its sentimentality. “Fresh Off the Boat” is unlikely to dismantle the master’s house. But it opens a door.

ABC’s other new family sitcom, “Black-ish,” created by Kenya Barris and Larry Wilmore (who left to do “The Nightly Show,” on Comedy Central), has had fifteen episodes, giving it more of a chance to grow than “Fresh Off the Boat”—and in that time the series has transformed from hokey formula into one of the goofiest, most reliably enjoyable comedies around. Early on, the show kept aggressively re-stating its thesis: Andre (Dre), a successful adman, is worried that his four kids aren’t black enough. Growing up rich in a white suburb, they don’t remember a time before Obama; Andre Junior is a nerd, not a thug. Andre’s biracial wife, Rainbow, an anesthesiologist, is less concerned about race. Each week, Dre tries to toughen the kids up, terrified that if they don’t get “blacker” he’ll have failed as a father.

The problem with the show, initially, was that Andre himself felt so off-putting—childlike and abrasive, a man-baby in the Homer Simpson mode—that it was hard to buy his marriage or his success, let alone his lessons. Rainbow, played by the fantastic Tracee Ellis Ross, was trapped in the gruesome role of wife-as-mommy, the sighing goody-goody. It’s hard to even remember that version, though, because, once “Black-ish” settled in, it began, like so many smart sitcoms, a quiet reinvention. Andre got more insightful; Rainbow became a glamorous dork with a temper and her own loose-limbed charisma; the kids clicked, too; and Andre’s workplace became a reliably hilarious setting for him to brainstorm about his troubles. It helped that he began to acknowledge his own outsized personality, too, rather than presenting it as interchangeable with authentic urban blackness. “I’m a lot,” Andre says, about his parenting. “If they can get past me, they can get past anything.”

A funny Valentine’s Day episode featured a date night that went downhill—a sitcom chestnut that paid off, miraculously, owing to sharp dialogue and the couple’s great chemistry. Andre and Rainbow sniped over his mispronouncing the word as “Valentimes.” They revisited a childbirth scenario so awkward that the doctor asked her, “You mean he’s actually part of your life? Because plenty of women successfully raise children alone.” They argued over whether or not Andre saw Gene Hackman at a roller rink. (“You think everyone is Gene Hackman!” Rainbow fumes.) In the best tradition of the mainstream sitcom, the show felt both new and familiar, giving the show’s marriage emotional roots.

As these relationships became more organic, “Black-ish” also got looser with its ethnic humor, with plots about Andre competing to be a black Santa Claus (he loses out to a Mexican woman) and microaggressions on a baseball field. When Rainbow notices a gray pubic hair, Andre tells her, “You look distinguished, going all Frederick Douglass down there.” When their daughter dates a French boy, a co-worker of Andre’s says, “I cheated on my husband with a French-Canadian. His Frenchness was so powerful that I forgot he was Canadian.” Andre’s mother tells Rainbow, “You are too hard on the kids. If I didn’t know you were mixed, I’d swear you were Chinese.”

In the show’s most outrageous episode, a ski trip becomes an outlandish parody of Martin Luther King Day. Rainbow throws sardonic air quotes onto “Doctor,” because King had no medical degree; Andre Junior admits that he’s never fully absorbed King’s “I Have a Dream” speech, because “I always kind of zone out when people start to tell me about their dreams.” The jokes overlapped, turning flippant, wild, verging on misfire—an elbow in the ribs of boomer earnestness. In a safe sitcom structure, it was a different kind of risk: inside jokes in an outside voice.

A look inside Eddie Huang’s Chinese New Year feast, topped off with Hennessy Milk Tea

Eddie Huang’s Chinese New Year menu was complemented by an endless amount of Hennessy’s Red Ram cocktail. 

The Daily Meal: 

Chinese New Year… If you’ve never celebrated before, here’s a look at one Chinese chef’s interpretation.

Last week, a few days in advance of the real start of the Year of the Goat, Baohaus chef Eddie Huang hosted a New Year’s celebration in partnership with Hennessy, a label which will be especially familiar to anyone who’s attended his or her share of Chinese weddings.

Huang’s menu for the evening, a six-course affair put together in the tiny kitchen of No. 7 Restaurant in Brooklyn, featured lion’s head chicken soup, Hainan lobster salad, chili miso-braised fish, and Szechuan roasted black garlic chicken. As an interlude, guests were treated to a traditional lion’s head dance typically reserved for boisterous Chinatown streets around New Year’s.

The evening’s sponsor made sure that every glass was full of Red Ram, a cocktail created especially for the evening. Eddie, who has partnered with Hennessy in the past, even created a Hennessy Privilege Milk Tea (paired with egg tarts from Taipan Bakery in Chinatown) that actually made this author appreciate milk tea (black tea sweetened with condensed milk).

When we sat down with Eddie to talk about his love for the holiday, he brought over a full plate of roasted chicken and recalled his early role in the kitchen.

My mom worked, so she would call me on the way home, and I would get things ready so that when she got home, she could just cook. I was always my mom’s prep cook.”

Quickly, that role expanded to one of household handyman.

My mom bought a pressure washer and had me pressure wash the house. She would see other people get services, like this guy pressure washing or this guy cleaning the pool, and she would be like, ‘What chemicals do you use? Where do you buy the machines?’ and she would be like, ‘Guess what? You’re now pressure washing the house and cleaning the pool.’

There are lots of things you wouldn’t think kids can do until parents force them to, I offer.

Mulan joined the army,” Eddie says in agreement.

On Fresh Off the Boat, the ABC sitcom inspired by Huang’s memoir of the same name, we’ve yet to see a young Eddie face these challenges. The chef has made it clear that the resemblance between the show and its source material continues to diverge. Will there be, for instance, an episode of the show that features this holiday — the most important one of the Chinese calendar?

I don’t know if any of this will be on the sitcom because they never do any of the real s–t on that show, but on Vice we’re gonna do it. You’re on Vice right now.”

And, lastly, who in Huang’s family is known for being the most generous giver of the all-important red envelope?

Grandparents.”

Haters Gonna Hate: An Interview with Constance Wu of “Fresh Off the Boat”

Haters Gonna Hate: An Interview with Fresh Off the Boat's Constance Wu

The Muse:

Constance Wu is living the dream of every up and coming actor—landing the lead on a hit sitcom on a major network with a rapt audience. But Wu’s role as Jessica Huang, Taiwanese mom of three boys on Fresh Off the Boat, is more than just a sweet gig—it’s historical, as FOTB is only the second Asian American-centric sitcom in 20 years after Margaret Cho‘s All-American Girl in 1994. Add to the pot the outspoken opinions of the show’s creator Chef Eddie Huang, who went from bashing the show to supporting it in a matter of days, Wu’s first big break is breaking color lines and studio systems. But the 26-year-old is taking all of it in stride because haters gonna hate, you know?

For your first sitcom, your comedic timing is great without trying too hard. How do you strike that balance with Randall Park, who plays your husband Louis Huang, and the three boys Hudson Yang, Forrest Wheeler and Ian Chen?

This is only the second comedy I’ve ever done and it didn’t work until I stopped trying to be funny. That’s the trap. Whenever you’re trying to be funny, it becomes cloying and manipulative. My goal with my performance is to be as true as possible.

People think that Jessica’s accent is funny but no one writes jokes about her accent. The humor comes from the writers giving me very funny situations and lines. What makes her so refreshing is that she has an accent and doesn’t know perfect English but she doesn’t think that’s a reason for her not to have a voice and a very loud one at that. That’s what’s interesting and fun about her and playing against Randall and the boys because we’re all just trying to have a good time and tell a specific story.

Speaking of the accent, some felt it was very controversial for you to portray Mrs. Huang with her Taiwanese accent. Why do you think accents in general are so divisive when it reflects actual humans?

Asians have been so rarely represented in mainstream media and historically, especially in the early stages, the accent was used as a humor tool with jokes written about it. But now I would challenge people who say that Jessica’s accent is stereotypical and ask what does that mean? An accent is not a stereotype, it’s just a set of linguistic phonetic changes that happen when your mother tongue has a different set of phonetic constraints than the newer language that you are now speaking. Stereotype enters when that accent is used for the purpose of humor. Of course there are people who are laughing at my character’s accent for very coarse reasons, but we aren’t writing jokes about the accent. It’s an important shift to make.

Recently, a lot of Asians actors want to neutralize their roles on television and say ‘This person is playing a character who happens to be Asian and that has nothing to do with their identity.’

That is a trend that is flying across all minorities, it seems…

My grandfather was an illiterate bamboo farmer and my dad really had to work himself up academically to get a full ride scholarship and a Ph.D in biology in America. He didn’t have a leg up anywhere, he had to work to get that. To even say that that type of journey has nothing to do with my place and opportunities now is dishonorable.

I don’t think that identity is purely determined by race and if a story wants to focus on other things that are important to the narrative, that’s great. But it’s not harmful to say that ethnicity plays an important part in identity and that that part of the story matters. It’s not fodder for humor, it’s just another unique and beautiful element of humanity. Hopefully, we celebrate that. And we’re also a comedy! We want that comedy to be great and warm in our show, which Randall and I both found important.

How’s Fresh Off the Boat been as your first TV experience, between participating in the first Asian American sitcom in 20 years and the tumultuous process creator Eddie Huang had making it?

Eddie and I are new to network television. Before this show I’d done one guest star on Law & Order when I was in college. The network system is established, so being a newbie in this already established constrained situation, we struggled to find our footing. There can be the danger of gratitude becoming complacency which Eddie wasn’t willing to let happen. I think he had to realize which battles he needed to lose in order to win the greater war of representation. Even for myself as an actor, there were certain parts that I was uncomfortable with in terms of lines I was given.

As someone new to television, I wasn’t sure how openly I was allowed to express my opinion. I certainly didn’t want to tread on the toes of people who have more experience than I but I didn’t want to let that inexperience be why my voice and opinion were not valid. Straddling that line was nerve-racking. I didn’t protest too much, instead I found a way within my character work to make it work.

Then last week I emailed our show runner Nahnatchka Khan about a live reading I gave in episode nine or ten. In the first takes, I was trying hard to be clever and improved these funny lines and then on the last take—the scene was with Hudson (Eddie’s character)—for the first time, I actually heard what Hudson said to me, which was ‘You did good mom,’ and I had a genuine response to it. So I emailed Nahnatchka and wrote ‘When I’m doing that series of takes and I’m trying really hard to be clever and funny, and I know that it came off, but if you don’t mind, could we use the last take because I have plenty of times during the series where I’m clever and funny. The last one was the only take in which I actually heard what Hudson was saying to me.’ She emailed me back like, ‘We did use one of your clever takes and we just re-watched it and you’re right. The last take you did was good and it was lovely for a different reason and if that really means something to you, we’ll change it.’

I was stunned because I thought, ‘She’s been doing this forever but this means something to me. So I’m gonna say it with as much respect as possible and if she says ‘No’ at least I tried.’ But she said yes and added ‘Don’t be afraid to ask things like that, I really want to run this with an open door.’ Because Eddie has been so vocal from the beginning—and in the beginning, maybe they didn’t listen to him as much—I think it’s making the system change a bit. People were quick to stigmatize the conflict that Eddie was expressing but that’s just people trying to do better and figuring out how. And of course he’s gonna be sensitive about the show, it’s about his family.

You spoke earlier of stereotypes and a bit of the Tiger Mom trope arises in your portrayal of Jessica Huang when she begins tutoring her three boys after school. Was that something you had to negotiate?

We have real source material in Jessica Huang. I don’t think I should play against a stereotype just to fight the war against stereotypes. Because I’m playing a role that carries the show and a character that has an arc, occasionally elements of Jessica’s personality do fall into a Tiger Mom stereotype. But I’m playing them because they are true to her, not because I am exploiting a stereotype. I’m never doing that. You have to serve the truth of the character and Jessica Huang does what she digs, whether or not it falls into a stereotype.

Chris Rock said that if Tom Hanks does a project, he’s free to fail, but if Denzel Washington does something, he’s representing the entire black race. How are you handling the pressure of being the first Asian American family on network television in 20 years?

I feel that pressure but it’s not something that’s manifesting itself in my work. Sure, there is a burden of representation but the burden shouldn’t be to represent every Asian ever. The burden is to represent an Asian story with as much truth as possible that it touches something in other people and strikes up a curiosity for an experience that is different than your own. Then that gets the ball rolling for others to make individual stories based in truth, intelligence and compassion. My job is not to give you a watered down McDonald’s version of an Asian family so that your next door neighbor thinks, ‘Oh they’re just like me.’ I’m not like freaking out, haters gonna hate, lovers gonna love. People like authenticity and courage, that’s why people like Eddie. Haters will always hate, they’ll see a beautiful flower and be like ‘Ugh, look at that flower!’

Fresh Off the Boat airs Tuesdays at 8/7 Central on ABC.

Fusion: ‘Fresh Off the Boat’ uses black culture to talk more candidly about Asian culture

Fusion: (by Molly Fitzpatrick)

It’s clear from the first ten seconds of Fresh Off the Boat, the new ABC sitcom about a Taiwanese family moving from Washington D.C.’s Chinatown to Orlando, Florida, that 11-year old Eddie Huang is an anomaly and he just doesn’t fit in.

In the opening scene, the camera pulls back to show his tiny figure swathed in the baggy, brightly colored clothes synonymous with the hip hop uniform of the time, and little Eddie struck a now-familiar pose: he defiantly crossed his arms high across his chest and nodded, not unlike the way Kool Moe Dee and Run D.M.C. used to do at the end of a knowingly dope rhyme. This universal symbol of defiance was now being deployed to signify a little kid’s discomfort with his recent relocation from Washington D.C.’s Chinatown to the bright, bland landscape of suburban Florida. Young Eddie fully intends to shock with his wardrobe, using it to intimidate bullies and parents alike. A massive part of Eddie’s real life and onscreen cultural assimilation rested heavily on his affection for hip-hop culture.

But if there’s a difference between cultural appropriation and cultural appreciation, which one was this?

I went to Los Angeles in November to have a warm weekend with an old friend. On our last night in town, we went to see a benefit show at comedy hotspot Nerdmelt. Towards the end of the show, a buttoned-up white guy got on stage. He was nerdy in a way that reminded me of the nerds I grew up with in the 80s—light-washed jeans hemmed a little too high, a bulky, gray sweater with a generic winter pattern printed around the shoulders, and the kind of plain white, shell toed sneakers that you buy when you care more about cost than fashion. His short brown hair was pulled to the side, the way boys used to do on picture day in junior high with one of the hundreds of black plastic combs the photographer pulled out of a box for each student. It didn’t feel like a costume, but it could have been.

The first 5 minutes of his set were entirely comprised of his telling the audience he was going to “smack dat ass.” He made his voice deep when he used that phrase, like Geoffrey Holder or Barry White, and said “smack dat ass” over and over again until I wasn’t sure if I was watching a comedy routine or if I was part of an elaborate prank. I wasn’t annoyed by the repetition; I was surprised that the entirety of this comedian’s joke so far was that he was a white man affecting a black man’s voice, and that his act was predicated on the asynchronous visual of his being a white guy talking like a black guy. It made me deeply uncomfortable; I crossed my arms and sunk lower in my chair, waiting for him to finish. As far as I could tell, I was the only black person in the audience. I was also the only person not laughing.

I had a similarly uncomfortable feeling when Eddie stepped out of the dressing room to the beat of MC Breed’s “Ain’t No Future in Yo’ Frontin’” at the start of the pilot, begging his mom to buy him the pinky ring, stacks of gold chains, and Starter jacket he was trying on at JCPenney’s. Was the only thing funny here that he was biting a cultural style that didn’t necessarily belong to him? And if so, what’s so funny about it?

I liked these first episodes of Fresh Off the Boat, and I’m not just saying that because ABC cuts my paycheck. It’s as funny as any other family-oriented sitcom and shocking in all the right ways — a fellow student lobbed the word “chink” at Eddie in a lunchroom scene in the very first episode. It’s moments like this that remind you about the different set of rules minorities are often asked to follow and how uncommon it is to see them showcased on TV; when Eddie’s parents came in to discuss the racial slur, they flipped the usually apologetic script and asked the principal how he could allow such language in his school. It was a teachable moment that preferenced the wisdom and anger of Eddie’s parents instead of bolstering the racist system they were trying to work within. They were just parents sticking up for their kid, but that’s harder to do when part of your parenting includes an extraordinary effort to assimilate to white culture. There hasn’t been a primetime sitcom starring an Asian family in 20 years (the first one was Margaret Cho’s short-lived All American Girl in 1994, also on ABC), meaning an entire generation of Asian-Americans have grown up without seeing their faces or their cultural values represented on the small screen in a big way. This scene, from the moment Eddie is called a racial slur to the second his parents are done talking to the principal, does more to evoke the multi-layered, intersectional reality of most immigrants and minorities, that constant push and pull between wanting to fit in and wanting to break out, than almost anything else on TV right now.

But the efficacy of their parenting and disconnect from American pop culture (at least generationally) comes to a head when Eddie displays a love for hip-hop, and particularly his clothes. While his parents happily sing along to Ace of Base, Eddie is a renegade in a Nas T-shirt. When his mother asks, “Why do all of your shirts have black men on them?” Eddie responds, “It’s Notorious B.I.G. Both me and him are two dudes with mad dreams, just trying to get a little respect in the game.” The joke lands (here’s a little kid talking like a streetwise adult about “the game”) but an unspoken discomfort is wedged in there, too — why are you wasting your time on black culture when whiteness is the clear pathway to respectability? Why are you rallying so hard against cultural assimilation? This is complicated by the fact that his mother, Jessica, is also having a hard time with their move to Orlando — when she first meets the mob of blonde, white, rollerblading neighborhood moms she asks if they’re all sisters, and Eddie’s insistence that he take Lunchables to school instead of noodles has her uncomfortably entering an American grocery store for the first time in an attempt to have help him fit in. Eddie’s family is a Matroyshka doll of outsiders; his dad is a wild west-loving Asian steakhouse owner who left D.C. to escape the oppressive cultural values that would have him working for his brother-in-law forever, his mother doesn’t fit in with the cookie-cutter Barbie version of the stay-at-home mom, and Eddie doesn’t fit in anywhere.

 

In this way, it’s easy to understand how hip-hop is crucial to the development of Eddie’s personality and outsider status. He’s trying to find a pathway to respectability on his own terms, which fits in completely with the hip-hop ethos. In a tense cafeteria moment, a potential fight with a loudmouthed white kid is diffused when he sees Eddie’s Notorious B.I.G. t-shirt. He perks up and says, “I bought Ready To Die the day it came out!” to which Eddie replies, “You bought it? I STOLE it.” He’s using the language and posture of hip-hop to cement his social status as a subversive badass when he needs it most. A black kid sitting nearby witnesses the exchange, and scoffs incredulously, saying, “A white dude and an Asian dude bonding over a black dude?” as if it’s the craziest thing he’s ever seen.

2015 Winter TCA Tour - Day 8

But it’s not too farfetched, considering what I remember about the year I graduated high school. In 1995, hip-hop was already mainstream, and having fictional Eddie shop for his hip-hop uniform in JCPenney is indicative of how mainstream the genre had become. Snoop Dog and Dr. Dre were on the cover of Rolling Stone in 1995, and Tupac was on the first cover of 1996, following Ice T’s cover in 1992. Notorious B.I.G. had four top singles on the Billboard Hot 100 chart in 1995, and that was the year the Grammys added the Best Rap Album category. White suburban kids were already huge consumers of hip-hop and rap, which may have been why Eddie’s mom found it particularly troubling to see him walk around in Wu-Tang Clan t-shirts — suburban parents were terrified by the rise of hip-hop. They were similarly upset about heavy metal, but its loudness reminded them of a loose connection to rock music. Hip-hop was completely foreign to them, and brought with it a violence they couldn’t access or explain. It was also, at times, absurd and funny and just good music, but the parts that put people on edge glorified and discussed a very real kind of violence. No one wants to see their baby boy lip-synching to songs about shooting someone in the face, least of all the white parents who largely moved to the suburbs to escape that kind of urbanized violence.

But the reason white parents felt terrorized by hip-hop is the same reason I still get uncomfortable when I see someone outside of black culture using the language and posture of hip-hop culture, why the hairs on my arm stand up when white women describe their friendships as “ride or die,” and why Iggy Azalea incurred the wrath of Azealia Banks —hip-hop and rap were born of a specific place, and made for a specific group of people. It was music that was socially stigmatized precisely because of who was in control of the message as well as what they were saying, with lyrics portraying with brutal honesty the systemic racism that created ghettoized conditions to begin with. Hip-hop has since gone global, but in 1995 we were still on the cusp, enough so that people in my predominantly white suburban town commonly used the word “wigger” to describe any white kid in my high school wearing a Cross Colours jacket and listening to Ol’ Dirty Bastard. You weren’t just someone appreciating a style of music or a way to dress—you were a white nigger. You were racially transgressive.

There is a difference between cultural appropriation and cultural appreciation, the crux of which are the historical lessons of dominant culture and the power structures that uphold them. As Tami Winfrey Harris said in her 2008 article on the topic:

A Japanese teen wearing a t-shirt emblazoned with the logo of a big American company is not the same as Madonna sporting a bindi as part of her latest reinvention. The difference is history and power. Colonization has made Western Anglo culture supreme–powerful and coveted. It is understood in its diversity and nuance as other cultures can only hope to be. Ignorance of culture that is a burden to Asians, African and indigenous peoples, is unknown to most European descendants or at least lacks the same negative impact.

[…]

It matters who is doing the appropriating. If a dominant culture fancies some random element (a mode of dress, a manner of speaking, a style of music) of my culture interesting or exotic, but otherwise disdains my being and seeks to marginalize me, it is surely an insult.

I don’t think that 11-year old Eddie is insulting, and he’s certainly not part of the dominant culture, which is why this question of appropriation/appreciation in this context is an interesting one. From a cultural standpoint relating to power, Young Eddie has more in common with black culture even if that’s not how he understands his fondness for rap T-shirts. He’s effectively powerless. Perhaps that’s why Eddie Huang has such an affinity for black culture, both in real life and on the show. His struggle seems to be as much about race as it is about just being an outsider, and, as he explains in the pilot, “If you were an outsider hip-hop was your anthem, and I was definitely the black sheep in my family.” He was trying to find a stronghold by honoring the parts about him that he already knew were unique, and hip-hop helped him express that. Huang has (now famously) railed against the TV show for being void of anything resembling his actual experience:

I didn’t understand how network television, the one-size fits-all antithesis toFresh Off the Boat, was going to house the voice of a futuristic chinkstronaut. I began to regret ever selling the book, because Fresh Off the Boat was a very specific narrative about SPECIFIC moments in my life, such as kneeling in a driveway holding buckets of rice overhead or seeing pink nipples for the first time. The network’s approach was to tell a universal, ambiguous, cornstarch story about Asian-Americans resembling moo goo gai pan written by a Persian-American who cut her teeth on race relations writing for Seth MacFarlane. But who is that show written for?

The show is missing is the violence that shaped Eddie’s young life, and consequently, his affinity for hip-hop culture. Huang writes very candidly about being beaten by his parents as a child, and a network sitcom will never be able to accurately reflect how that shaped him. It would be an entirely different show on an entirely different network.

Huang gave a TED talk about self-identity in March 2013; he enters the stage singing along to Kanye West’s “You Can’t Tell Me Nothing” but curiously doesn’t mention how hip-hop shaped his identity for the entire 5 minutes he’s up there. It’s not until two months later when he sits down with Ta-nehisi Coates at the New York Ideas festival that he has an in-depth conversation about race, identity and hip-hop. When Coates called him a hip-hop head and asked when Huang first felt like he was a kindred spirit to black culture, Huang made an eloquent connection to his life at home and violence in the music.

“I was drawn to it, and I felt a similarity with it, because I grew up in a home where my parents beat me, right? And I talk about it a lot in the book, and no one needs to feel sad or awkward—that’s what happens in an immigrant home a lot of the time. I’m not co-signing that, I think it’s wrong, but the thing is is that when I heard [Tu]Pac talking about these things, and I heard all this music that was at many times laced with violence, I was a little desensitized towards it. It didn’t put me off. It was not, like, a barrier to my entry. So I would listen. I wasn’t listening for the violence, though, because I think hip-hop is much deeper, but when that’s what you grow up with—parents hitting you and things like that—that’s part of your DNA and fabric whether you like it or not. And a lot of people ask me would you do it different, and I said yeah, I won’t hit my kids like my father beat me, right? But also, they ask me, would you be the same person that you are, and I say absolutely not. And this is the gift and the curse, and I have to be honest about it. I do not encourage people hitting their children, but I would absolutely not be the same person.”

Huang goes on to say that hip-hop made him feel “less weird,” that he could connect experientially to something larger than himself. He also noted that he felt left out of most conversations about race, which were about black people and white people exclusively, until he discovered hip-hop — small things like seeing black culture embrace martial arts in movies like The Last Dragon or the Wu-Tang Clan’s entire oeuvre showed him how someone else appreciated Asian culture. Coates brings up the important point that Wu-Tang’s Asian obsession might have been essentializing that culture, too, and that’s where we come full circle to the idea of what it means to be culturally appropriative once something becomes a global phenomenon. Is there a difference between Tom on Parks and Recreation adoring hip-hop and the rapping granny from an Adam Sandler movie using hip-hop as the punchline to a very obvious joke? The question isn’t what happens to the culture that created hip-hop, but what does it mean to the cultures that embrace it?

How does Fresh Off the Boat‘s hip-hop identity measure up to Fox’s Empire, ABC’s or Black-ish? Both of those shows, in different ways, feature black families looking for legitimacy beyond the constraints of hip-hop culture. In the pilot for Black-ish, advertising executive Dre Johnson is excited about his promotion until he learns he’s been promoted to the head of the “urban” division; in Empire, Lucious Lyon is looking for a way to leave a legacy of success far removed from the shadow of his thuggish beginnings. In both cases, Dre and Lucious still have to work within the boundaries of black culture to achieve legitimacy, like it or not. In the video for the New York Ideas festival, Huang quickly mentions in passing that he is a lawyer, and spends a little more time talking about how much he disliked the constraints of business clothing. That’s the difference between a dramatized version of race and the reality of race; Huang can choose to identify with hip-hop but still go on to be a lawyer and successful business owner. He can hang up the cultural affectations whenever he wants to, simply because it’s something he’s allowed to grow out of. He may not like or prefer code switching, but it’s possible for him. On TV, Lucious and Dre can transcend class quicker than they can transcend culture, and in real life, Eddie gets to do both.

Does hip-hop still exclusively belong to black culture anymore? And does that even matter if it offers a weird little kid some solace? That we’re even able to have this conversation is a result of finally seeing a TV show about an Asian kid having a hard time fitting in. If one of the Modern Family kids suddenly started wearing FUBU and talking with a Bronx accent, it would be an open and shut case of abject racism and posturing, and I’d be yelling about it on Twitter instead of writing about it here. Fresh Off the Boat allows us to consider the experience of being a non-white person in America from a non-white perspective. It opens a window and lets us see how American minorities lean on each other to survive. It’s a little bit like a game of Telephone, but instead of getting a twisted, filtered version of the message about what it means to be a person of color in America after it goes around the rest of the group, you’re sitting next to the originator and getting it straight from the source.

Knowing more about Huang’s background helped me realize that his connection to hip-hop is solid and very much a part of him in a way that hasn’t been made clear on the TV show yet. Unlike the comedian I saw in Los Angeles, it’s also not an affectation; hip-hop music helped Eddie Huang get a foot in the door of what it meant to be American, and what it meant to be different. Those are all still real problems, possibly more so now that America has allowed the far right to pour its poison directly into the melting pot that used to sustain us culturally. It may not be exactly the show Huang wanted, but I can’t help but feel like Fresh Off the Boat is going to help another generation of kids feel like they’re a little less alone.