TGNR: Regarding a Jesuit university, and I am obviously very biased as an alumni of Loyola Chicago, it was a very special experience specifically for the undergraduates. We experienced the product of what Ignatius of Loyola initiated; essentially the beginning of the Western model of education. What about Fairfield University and the Jesuit Order did you find so appealing, as opposed to anywhere else you could have possibly taught?
BT: Well, I am an educational back-door man.
TGNR: How would you define that?
BT: Do you know what a back-door man is? It’s not the nicest term. The husband would leave, and the other guy would enter through the back door.
TGNR: I got it.
BT: In a way, I kind of came in the backdoor. I went to Fairfield at a time where they were teaching virtually no courses in American popular music. So they gave me the keys to the car and said you take off, and I did. I began with a Jazz ensemble curriculum and basically said we have to tell the whole story. Not just the European side. One thing lead to another, and here I am teaching Jazz, and Rock, and all this kind of stuff.
I really respect the emphasis on education and on the mind. I am half Jewish, and that background is also one I feel is very much inside me. Even though I am not terribly religious or spiritual.
TGNR: In my experience, I found the modern Jesuits to be very inclusive.
BT: Yes, yes. The idea of being in the physical body, but also having the mind being consistently developed. So I found that attractive when I started to teach at Fairfield. Social justice is extremely important. Sometimes it can be misused and misguided I think depending on how its being used. Though I think ultimately we ask the bigger questions, and that’s in my teaching. My father was a pro bono civil rights lawyer in the 1950’s in Illinois. Illinois has a history of being one of the most racist places the country has ever known.
So I think that is part of who I am.
When students get me as a teacher, they’re not just getting a course in music. They’re getting a course in American history, race, and politics. I have to bring it all in, because if you don’t you’re missing the picture. You really are. I am passionate about teaching in a holistic way. You can talk about Hendricks, or Dylan, or Miles, or Duke. Though if you don’t examine the context of their lives, you’re missing the picture.
“New Duke is Brian Torff’s vision. His excellent arrangements are challenging, hip, creative, and meaningful. I am really proud to be part of this musical family. I like to think Duke himself would be pleased.” – Darryl Tookes of New Duke, and albums such as “Travels Of An Ordinary Man”, “Red Bird”, and countless other master works.
TGNR: Though the greater aspect of his world view and work is not terribly important to our conversation as a whole, are you familiar with the military historian, political commentator, philosopher, and master of Classical studies, Victor Davis Hanson?
TGNR: Long story short, he is THE master in Classics study. Greek and Roman literature, politics, warfare, the whole deal. He is an authority on that period of human history.
Some time ago he co-authored a book called, “Who Killed Homer: The Demise Of Classical Education And The Recovery Of Greek Wisdom” It was about the lack of teaching the Classics in primary and secondary education. I know this to be true, because I did not encounter Classics studies until I arrived at university.
In my personal experience, music and the curriculum in music prior to the university level I felt it was limited. We learned a lot of holiday related music as it pertained to many religions, and we also experienced a lot of Broadway. These are of true value, no doubt. Yet it is hardly the whole picture.
How do you feel the standard K-12 curriculum can be enhanced beyond the otherwise limited purview of music education today?
BT: Wonderful question. Well, I am 61 years old, so I come from an education background, and I feel that whether it’s back then in my time, or your time, or a younger time, we have totally let down and failed at American culture and its music in terms of K-12. Yes its great to have a marching band, a jazz band, and an orchestra. That’s all wonderful, but we still fail to teach our culture and our heritage. You will play a piece by Duke Ellington in your Jazz band, and no one will say two words about who Duke Ellington was. It was no different in my time.
Muddy Waters lived right in the town right next to us. I grew up in Hinsdale, and Muddy Waters eventually moved out to Westmont. Did we ever talk about Muddy Waters in school? No. Did we ever bring him in to talk to the students? No. So we are a wonderful country that is always creative, but it always devalues culture, devalued our own American voice, and we suffer from social amnesia. It’s never changed. It’s never changed.
So what can I say? Education is very cyclically oriented, so we intensely teach to the test. Math and science! Math and science! You have seen it. Occasionally we hear that music is really good. You have heard it all.
We have created this array of wonderful American art of all kinds. It should be part and parcel of every curriculum in the United States, in addition to every subject we teach. They do it in others counties. You never have to lecture the French about their food, their music, their wine, their art.
TGNR: They lecture you!
BT: Yes! They’re going into the Louvre at the age of two or three years old. I am not exaggerating. So I think we have a lot of re-evaluating of who we are, and what we have done. Because what you just said is important. It’s not until college that you encounter these things. It’s not until college that most of my students realize American music is pretty much black music. You know that, you have a father who is a master student of music.
TGNR: I would say it was part of the mandatory curriculum growing up in that household, among other things…
BT: Exactly, but you have an unusual background.
TGNR: I have unusual parents!
BT: You do!
So we need to provide that service to our students in this country. So when they come into the world they’re a better audience, more aware individuals of who we are, and what we have done. They shouldn’t have to get it from me in their senior year of college. It shouldn’t take that long. I am sure there are schools that do this to a certain extent, though overall we have done a very poor job of teaching this.
TGNR: There is something from history that I believe you will appreciate as such an accomplished Jazz historian, and one who appreciates that immense menagerie American culture has generated in the 20th century specially.
Historically in totalitarian governments, and for this case we will use an example most people are familiar with; The Third Reich. Nazi Germany strictly outlawed the playing of American Jazz. What was so powerful about it that they found the need to completely outlaw it? Completely forbidding citizens to listen to it, and brutally enforcing that policy.
BT: Firstly they termed it, “Judeo-Negroid Music.” They saw it as a threat because it encourages the individual to think for themselves, to improvise, and to encourage the concept of freedom as an ideal in their own lives. That is precisely what a totalitarian regime does not want.
So lets circle back to Ellington. Someone asked Ellington, “can you define American music?” He said, “Freedom in sound.”
BT: That is what we do. Freedom in sound. It’s no wonder that the Nazi regime had Gestapo officers standing there in the dance hall making sure you didn’t break out into music that encouraged free thinking.
TGNR: In the end, would it be fair to say that based on the nature of Jazz as you described it; a destructive element in a totalitarian society, the encouragement of free thinking, that those elements were ultimate what attracted you to Jazz?
BT: Yes. I think underneath all of that which I couldn’t perceive because I was too young. Though I think I was attracted to it because I like living the life of the improviser. I like not having a set score. I respect classical music, and I admire greatly classic composers. Though I think I need to put my own line on the score. Call it evil, or stubbornness, or rebellion, or whatever it happens to be. I was attracted to Rock, Blues, and Jazz for that reason because I felt like the American experience is one of the improviser.
We imagine the destiny. You’re imagining your destiny as a writer with your website. You’re imagining and realizing your own destiny. That is to me what the American experience is all about. It’s possible if you’re willing to work for it.
TGNR: The way I am going to round this up has to with Ellington, it has to do with you, it has to do with everything. I believe his last credited words were to the effect, “Music was my life, and that’s always what I’ll be remembered for.”
It’s clear that a man like Duke Ellington is one that you have immense reverence for, given your profession and the life that you live. Does Brian Torff retire? Or does he just move on to the next word?
BT: I will never retire! When you love passionately something like music, its your life. Its not a job. Ellington was asked many times, “Are you going to retire?” To which he responded, “Retire to what? I’m sure stagnation ain’t gonna look good on me.”
TGNR: Neither you nor Ellington could tolerate stagnation.
BT: Oh no! So I have this conversation with other people, and they can’t wait to retire. They’re just waiting until 65 comes along, and they can retire. I don’t feel that way at all. I love teaching passionately, I love playing passionately, I love writing. Hearing it played back, or performing it. I may redirect things as I get older, but to me retirement is just not an option when your job is your life.
TGNR: I can certainly understand that.
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TGNR: For the benefit of the reader who may not be familiar with you personally; I want to share an anecdote that my father remembers with great fondness in the countless conversations you had together over many years. If he didn’t ask you 5,000 questions in that time, he did not ask you one.
With great respect and admiration he asked you, “If you were in charge of a major recording label in 1964, and the Beatles had crossed your desk, would you have signed them?”
You sat back and gave it deep thought, and you gave a very honest answer. You said, “No.” I feel with great conviction that answer embodies the sincerity and integrity of the man sitting across the table from me right now. I would like to believe it gives deeper gravity to the reader regarding the wonderful conversation and immense insight you have shared this afternoon.
TGNR: As a rule – because you have been so generous with your time today – and of course promotion, promotion, promotion. Always show the product. Why should the reader come see you perform? Why should they explore your discography of work? Why should they buy your previous published autobiography, as well as your upcoming work? I always like to give the plug.
BT: I think what a composer does and what a writer does is add responsibility. Their responsibility is telling the reader what they should know. That is our job, and this is my job. So I think if someone goes to a New Duke concert, they will not only be entertained and enjoy the night, they will become more informed by the end of it. They might walk away curious and say, ‘Hmmm… I didn’t realize that!’ I’ll go! Its all about the start. Its all about the start, Paul.
When I write, there are better writers than I am, I try to do my best. If I feel that if I have a talent for something, I must shine that light. I must say, ‘look at that!’ ‘Let’s do something about that,’ ‘let’s think about that.’ That is what I have to offer. It isn’t about popularity, or being in vogue, or anything like that. It is my vision.
TGNR: Duke Ellington’s legacy in one sentence? If that’s possible…
BT: He inspired us to do better, and to keep going forward.
TGNR: Awesome. Thank you for your time Brian. It has been a wonderful hour speaking with you.
BT: Absolutely to you Paul. Thank you.
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“Name Explain”: How YouTube’s Patrick Foote Made Etymology Cool Again
Its no small accomplishment opening up interest in etymology and linguistics outside of the select cadre who call it their profession, nor is it the only thing that Mr. Foote has gotten right.
This past March, TGNR’s Managing Editor Paul K. DiCostanzo interviewed creator and host of the channel Name Explain, YouTube’s Patrick Foote. Name Explain is a channel dedicated to unraveling the etymological and linguistic origins of many notable places, people or subjects that define the world. Through his channel Mr. Foote has popularized linguistics and etymology – traditionally viewed as dry and pedantic subjects by many – to a large and constantly growing audience. How does he keep viewers clicking “subscribe?” Simple: Name Explain makes these subjects accessible in a way few others have seldom accomplished. Patrick chatted with Paul about the origins of Name Explain, his background, and the challenges of building a new channel from its very foundations.
What is in a name? That is a rhetorical question that has been posed throughout the history of the English speaking peoples – perhaps most notably in Shakespeare. Patrick Foote, creator and host of YouTube’s Name Explain, is answering that very question. Human beings think and understand the world in language. However, the significance behind the words and names human use to comprehend this world are often far more interesting than the average word monkey gives credit. Cue Patrick Foote, as this is precisely where Name Explain takes center stage.
YouTube’s Patrick Foote – A Name Explained
Patrick Foote’s passion for linguistics and etymology is a more recent discovery. The 23 year-old from southwest England first encountered this fascination when choosing an additional subject for his UK A-Level exams. The choice was a serendipitous personal revelation that revolutionized his entire life.
After briefly attending university for linguistics, Foote found the experience unfulfilling and moved on. What might have appeared like an ending at the time was actually a beginning.
Like many young Millennials, Patrick had prior YouTube experience in his adolescence. As such, the platform served as the ideal forum for his major foray into original creation – answering the question, “Where is Old Zealand?”
The video was precipitated by a family trip to the continent. While riding in the car, Patrick saw a sign for the Dutch province of Zeeland. That moment became a catalyst for Foote, an experience that yielded a chain reaction, which ultimately lead to his 2+ year YouTube project.
Professional vs. Autodidact Specialist
In speaking with TGNR‘s Paul K. DiCostanzo, Patrick Foote emphasized that he is not a professional linguist. However, with the modern democratization of media, Foote is reaching a considerable audience on a subject few others in history have been able to popularize. Like most successful YouTube creators, Patrick offers answers to unique questions; specifically he answers questions people didn’t realize they wanted answered. That being said, Name Explain is tackling this erstwhile dry subject in a singular style.
By combining original animation drawn on Foote’s iPad, with his own narration, Foote uses a well-honed voice and look to tell the history of each selected “name”. In a blend of well researched information, dry wit, and the authority only a British accent could assume, Name Explain has evolved into its own unique experience – staking a worthy claim to the growing genre of “edutainment.”
The World of Edutainment
In the YouTube universe, the genre of “edutainment” is experiencing exponential growth. There is considerable demand not only for new, high quality original content but there is also a blended insatiable desire for knowledge in a very digestible form. Channels such as The Great War, or AlternateHistoryHub are prime examples of those who have pioneered this approach on YouTube. When it comes to the vast sphere of linguistics and etymology, Patrick Foote is among those pioneers staking claim. In doing so, Foote is highly insightful in how he has made it so.
“If one person likes something, a million can also like it. If one person finds something funny, there is a continent of others who will also laugh.” – Patrick Foote’s advice to new or aspiring YouTube creators
It is no secret that creating original content for mass consumption is a complex process. Both in effort and the emotionally complex quagmire of putting oneself out there – it can be daunting. When asked what his mindset is when creating ones own content, Patrick Foote operates by the maxim that, “If one person likes something, a million can also like it. If one person finds something funny, there is a continent of others who will also laugh.” A simple and direct approach that is far from simplistic. Yet in a modern context, one requires more than excellent content and a fan base to continue making new content.
Like many fellow YouTube creators, Name Explain supplements its channel revenue through the crowd funding platform Patreon. Patreon operates on the basis of monthly donations from a creators fan base. With numerous possible monetary denomination options for supporters, creators reciprocate to their benefactors based on the amount they give. For example, Name Explain patrons that donate $5 a month, Patrick creates a unique drawing in the channels animated motif specifically of that patron. For $10, he will send a Name Explain postcard to any address in the world.
Within this arrangement, Patreon serves both the aim of generating revenue to support ongoing work, as well as being a medium that builds community between creators and fans. The interactions between creators and their contributors over time has constructed an intimate sinew that not only generates revenue, but also builds an unprecedented bridge between creators and fans in highly celebrated fashion.
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Becoming a Professional
Despite Patrick Foote’s assertion that he is not a professional linguist, he is indeed becoming a professional. As recently announced on Name Explain, Foote is transitioning to making his YouTube production a full time profession:
Patrick Foote is one of many who through their initial creative efforts has found his vocational calling. Such an opportunity is a very unique opportunity created by modern mass media, and is a new hallmark of possibility previously unknown. It is a tremendous journey into the unknown like any other major change in profession. Name Explain has anted up and is going all in.
When it comes to answering questions people didn’t realize they wanted the answer to, Foote is demonstrating undeniable skill. When it comes to answering the most important question all creators ask, “What if I do something different?” Foote’s response is clear. It is a question all of his 100,000+ subscribers are very pleased how Patrick Foote has answered.
Enjoy the video below “Why Do Austria & Australia Have Such Similar Names?” and checkout Name Explain for yourself!
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Keye Luke: An American Son
Following an in-depth look at American actor/playwright, the late Sam Shephard; Cadrecinematique examines another American film icon, Keye Luke.
Keye Luke and Philip Ahn, two of early Hollywood’s biggest Asian American movie stars, wound down their careers portraying Zen masters on the popular TV series “Kung Fu”. Almost fifty years had passed since anti-miscegenation laws had prohibited Asian actors from playing romantic leading roles opposite white women, and Luke and Ahn were once again playing Asian stereotypes in support of a white actor in yellowface. As playwright Frank Chin asks, “From Fu Manchu to ‘Kung Fu’ – Is that progress?”
However, unlike Frank Chin, Keye Luke was genuinely satisfied with his Hollywood career and what he viewed as the transitioning representation of Asian Americans in Hollywood films. Interviewed by the New York Times in 1985 Luke stated that he was satisfied with the progress of Asian representations:
“The Chinese laundryman and the Japanese gardener may still be with us, but most Chinese and Japanese now find themselves in the mainstream of American life.”
Keye Luke was not the first Asian star in Hollywood. Sessue Hayakawa, a favorite actor of Cecil B. DeMille, roared to stardom in 1915. Hayakawa’s performances, like those of other Asian American actors of the early studio era, were valued for their intrinsic otherness. Hollywood played up the exoticism of American born Asian actors such as Anna May Wong who was cast as the proverbial ‘Dragon Lady’ in such films as Daughter of the Dragon (1931).
Keye Luke, although an actor of the same generation, never embraced these stereotypes. Throughout his studio era film career Luke always remained a distinctly American presence. In a career that spanned sixty years and over a hundred films, Keye Luke transitioned from playing brash young Americans to more traditional Hollywood representations of Chinese. This implies that identity is conceived through binary oppositions. One can only be Chinese or American. Keye Luke believed progress in the cinematic portrayal of Chinese and other ethnic groups would be incremental.
Towards the end of his life Keye Luke remarked that no role was ever more satisfying than his role in “Kung Fu”; he was finally able to share Chinese philosophy with the general American public. Keye Luke transcended the dichotomy of being trapped between two dissonant cultures. He remains the exuberant boy next door and the kindly paternal sage for a society in which identity is not solely conceived through race.
Keye Luke: An All-American Boy
Keye Luke was born in Guangzhou, China in 1904, but grew up in Seattle. Luke studied architecture at the University of Washington, dropping out in order to work, after the death of his father. A gifted artist, his first job was designing sheet music covers for a local Seattle music shop. He soon moved to Los Angeles and began working as a newspaper illustrator. His illustrations were highly praised. In a 1928 Los Angeles Times article written by art editor Arthur Miller; Lawrence Binyon, the director of prints and drawings for the British Museum, was quoted as saying,
“I expect that in vitality of line, Mr. Keye Luke altogether surpasses Beardsley… but I confess I fear for the future of this young artist if he remains in the West… I would like to see him back in China bringing new life and inspiration to Chinese art.”
Although critics hold Luke in high regard, few publishers had hired him as an illustrator for Western stories. Miller would ask a question of Luke’s art that holds true regarding his work in film,
“Can oriental and occidental art be blended successfully? It remains for Keye Luke, perhaps, to be the proving ground for or against this question.”
During Luke’s time in Los Angeles he also painted several murals in the Grauman’s Chinese Theater. In 1930, after returning to Seattle to paint murals for department stores, he was hired by Fox West Coast to draw artwork for their theater chain. Soon he was moved to the publicity department where he ironically drew illustrations for early Charlie Chan films. In 1931 he moved to RKO where he drew advertising art and billboards. At RKO he illustrated the press-book for King Kong.
In 1933, Lou Brock, an RKO producer, was packaging a sequel to the Fred Astaire and Ginger Roger vehicle Flying Down to Rio, and wanted Luke to play a love interest for Anna May Wong. Keye Luke remembers turning to Brock and saying, “Lou, I am an artist not an actor.” In a 1934 interview with the LA Times, Luke admits being immediately hooked on the idea of becoming an actor. He believed that his performances could have a positive effect on the Chinese American experience,
“This is something that I suppose -that I hope-I’ve always been headed for…I think I can accomplish much more as an actor than as an artist, because of the wider reach of the medium. I want to play good, representative types, so as to help clear up the debris of misunderstanding and misconception of the Chinese which Americans may have, and vice versa. And I want to be a real credit to the industry…”
Brock did cast Luke in a series of short subjects. Luke’s eloquent command of the English language led to being cast in The Painted Veil with Greta Garbo and his future Charlie Chan co-star Warner Oland. Luke recalls that doors suddenly started opening for him,
“The thing that helped me so much was that all my former advertising bosses and so on opened doors for me. And the newspaper columnists – like Hedda Hopper and Louella Parsons and Jimmy Starr – they gave me lots of publicity because I had done artwork for their columns.”
Number One Son
After filming The Painted Veil he was called by one of his former publicity bosses at Fox, who said,
“Come out here and we’ll see what we can do now that you’re a Cantonese ham.”
Luke headed down to the older Fox studio on Western Avenue, and was greeted by Jim Ryan, a casting director, who said,
“Keye, do you know we’re going to put a Number One Son in the Charlie Chan pictures and there’s no reason why you shouldn’t play it.”
This meeting was his big break. Fox signed him to a contract. Luke would work opposite Warner Orland in eight Charlie Chan films. Warner Oland’s worsening alcoholism and failing health prompted him to leave a ninth Charlie Chan collaboration which was re-written as a Mr. Moto film albeit with Keye Luke’s Lee Chan playing a large role.
Luke subsequently left the Charlie Chan series when the title role was recast. He respected Warner Oland, and over the course of their eight films together, the Swede had become his mentor. He jumped from Fox to Monogram where he starred in the low budget serials The Green Hornet and The Phantom of Chinatown.
A Chinese Andy Hardy
After those serials ended, Monogram cast him as a supporting character in a series of comedies built around their star Frankie Darro. The success of the Darro pictures prompted MGM to sign Luke and cast him as a young All-American intern in the Dr. Kildare films. His character, Dr. Lee Wong How, is a revival of Luke’s Son Number One star image – brash, enormously positive, and sweet. He also appeared as Dr. Lee in Andy Hardy’s Blonde Trouble, which is fitting because Lee Chan’s all American relationship with Charlie Chan parallels Andy’s relationship with his father, Judge Hardy.
The Dr. Kildare series ended in 1947 with Dark Delusion. Luke returned to Monogram and was cast once again as Lee Chan, playing opposite Roland Winters as Charlie Chan, who was six months younger than Luke. The film roles began to dry up for the youthful looking, but middle-aged actor. Throughout the 1950s and 1960s Luke shifted to television work and voice acting; although, in 1958 he performed on Broadway in The Flower Drum Song to critical acclaim. Nonetheless, it was not until the 1970s that he experienced a career resurgence.
Keye Luke was cast as Master Po in “Kung Fu” which ran from 1972-1975. The show was extremely popular and his character was a pop-culture sensation. For the first time in his career, Keye Luke’s visage was adorning lunchboxes.
In 1984 Steven Spielberg and Joe Dante cast Luke as the wise Grandfather, Mr. Wing in Gremlins. His last role was as the sage herbalist in Woody Allen’s Alice. In effect, Son Number One became Charlie Chan. Keye Luke, who played highly energetic All American characters for the first half of his career, ended his career by playing a series of traditional (some would argue stereotypical) Chinese characters.
Just as these old men sought to teach Confucianism and natural order to their students, Keye Luke sought to share Eastern philosophy with mainstream America. In a 1985 interview with the New York Times, Luke contends that he was never happier than when performing these traditional roles,
“I was giving the actual sayings of great Chinese philosophers like Confucius for dialogue. It worked for me on every level.”
Within the Chinese-American community Keye Luke’s career is divisive. He is recognized as the Chinese-American actor best known to American audiences. As a contract actor in the studio era he played many different types of characters. Many Chinese-Americans lauded him as a man who broke through a racist system and demonstrated that Chinese-Americans were little different from any other Americans.
“I have played many…. characters in the mainstream. Because of my appearance, or because of my personality, or whatever it may be, I was always put into good Boy Scout roles — lawyers, doctors, business executives and tycoons, the nice Chinese guy down the block.”
However, some Asian-American scholars have demeaned him for appeasing institutional racism. Television scholar Darryl Hamamoto decries that:
“With few exceptions, Keye Luke’s outstanding career was predicated upon his ability to portray the stock array of Asian domestic servants, laundrymen, mystics, gangsters, and enemy soldiers.”
While it is true that Luke has played stock characters over the course of his long and varied career, the Chinese launderer in Manhandled and an evil communist soldier in The Bamboo Prison as examples, these excursions do little to diminish the distinctive American-ness of his star image for the first thirty years of his career. Hamamoto is correct to label Luke’s television output as more problematic. During the 1960s Luke was forced to play an array of stock Asian characters. These roles were all that were available to a middle-aged Chinese American actor at that point in Hollywood’s history.
Focusing on these roles is to ignore Luke’s achievements. For the majority of his career he played characters “lawyers, doctors, businessman,” that were strong role models for young Chinese Americans.
Allan Luke, Keye’s nephew and a theorist studying multi-literacy linguistics at Queensland University of Technology understands Hamamoto’s position but defends his uncle,
“…my Uncle was no dupe, no sellout, no Uncle Tom, no Banana… He was many things. He was a mirror. He was a prism. …And perhaps like so many migrants – he was an actor… he worked to survive in good faith, within and through a fundamentally racist medium.”
The Charlie Chan films are not inherently racist. Charlie Chan is a character of the highest ideals. He is intelligent, resourceful, respected, and modest. He is a family man and shares a strong bond with his eldest son. He is also played by a white man. This did not bother Keye Luke. He understood this type of casting was a commonplace at that time. To Keye Luke, what was important was the portrayal of the Chinese ethic.
In a 1985 interview with the New York Times, Luke was asked about his opinion on yellowface in classical Hollywood films. He replied,
“I didn’t see anything odd about it at the time and I still don’t. Acting is an art that transcends race and color. When I came to Hollywood there were only a few Chinese here and no other Orientals.”
A Real American Icon
The Son Number One character was first introduced in 1935’s Charlie Chan in Paris. Lee Chan does not appear until almost twenty minutes into the film. After investigating a crime scene, Charlie Chan returns to his room. The door, which he left he open, has been locked. He unlocks the door and hears a sound from the bathroom. He pulls out his gun, and in his stereotypical manner says, “Come out, please.” A man comes out, a towel covering his head. Keye Luke finishes drying his hair and pulls away the towel. He looks up at his father and smiles, and immediately begins speaking in an upbeat unaccented machine-gun Hechtian cadence,
“Hello pop! What’s the matter? Did I scare you?”
The character is unlike any other in Hollywood film of the time. He is Chinese sans otherness. As soon as he speaks, the surprised audience pictures a sort of Andy Hardy-esque teenager. The proverbial boy-next-door. Ethnicity is transcended.
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To Hear, One Has Only to Listen
At the end of his career Keye Luke began playing sage older men, similar to Charlie Chan. The two most famous of these traditional characters are Master Po from “Kung-Fu” and the Grandfather in Gremlins. Both characters allowed Luke to channel Eastern philosophy to the American masses. A famous scene in “Kung Fu” revolves around Caine (David Carradine) meeting the blind master for the first time. As they talk, Master Po asks Caine if he can hear the grasshopper at his feet. Caine responds, “Old man, how is it that you hear these things?” Luke responds, “Young man, how is it that you cannot?” Luke was satisfied that this type of dialogue conveyed aspects of Chinese philosophy.
Critics like Frank Chin disagree, “The more brilliantly meaningless the lines, the more wooden, stilted and archaic the English, the more Chinese they (Americans) think it is.” It is pointless to argue whether these lines themselves have meaning. On the screen, infused with Luke’s warmth and humanity, “To hear, one has only to listen,” can inform a generation, no matter if it was written by a Confucian master or a Hollywood hack.
Towards the end of his life, Keye Luke was awarded with a star on the Hollywood Walk of fame, directly across from Grauman’s Chinese theater, which he helped design more than sixty years earlier.
Keye Luke belonged to the first generation of Asian-American actors. However, he stood out. Within a racist industry, Luke created a purely American star-image.
Keye Luke should not be demeaned for the demands of the studio system. He should be remembered for opening the door for a generation of actors that will never have to endure classical stereotyping and institutional racism.
Write to David Sporn at email@example.com
 Frank Chin. “Kung Fu is Unfair to Chinese” The New York Times
 Arthur Miller. “ROMANCE WEAVES AURA AROUND WORK OF YOUNG CHINESE-AMERICAN ARTIST” Dec 16, 1928
 The Sequel to be called Ho for Shanghai never materialized. Brock was fired off the project after studio in-fighting.
 Ken Hanke. Charlie Chan at The Movies. History, Filmography, and Criticism
 Los Angeles Times July 22nd 1934
 The New York Times. Keye Luke, Actor, Is Dead at 86; ‘No. 1 Son’ and ‘Kung Fu’ Master
 Darryl Hamamoto. Monitored Peril
 Allan Luke. “Another Ethnic Autobiography”
 In 1972 Keye Luke voiced Charlie Chan in “The Amazing Chan and the Chan Clan” an animated series by Hanna and Barbera. He fittingly became the first person of Chinese descent to portray the character.
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J.J. McCullough or: Everything You Always Wanted to Know About Canada (*But Didn’t Know Where to Ask)
Recently Paul K. DiCostanzo sat down and spoke with J.J. McCullough. J.J. is a popular Canadian political personality, YouTube vlogger, contributor for the Washington Post’s Global Opinion section, columnist for National Review Online, and a digital Canadian cultural ambassador. Among the myriad endeavors for this Vancouver native, J.J. is the sole creator, contributor and editor for the internet’s ultimate source of Canadian insight online, The Canada Guide.
Mr. McCullough has recently finished a successful Kickstarter campaign to completely renovate this popular internet encyclopedia answering questions to all things Canada. J.J. spoke to Paul about this undertaking, and his greater role as a cultural ambassador for Canada to the digital world.
TGNR Paul K. DiCostanzo: I’m here with J.J. McCullough of “JJ’s Guide to Canada”. Thank you for joining me.
J.J. McCullough: Thanks for having me.
TGNR PKD: What year specifically did the Canada Guide begin?
J.J.: So, this project began when I was in high school. So it would have been in the early 2000’s. Back when I was starting to talk to a lot to people on the internet, starting to make a lot of internet friends that were mostly Americans, who didn’t really know a lot about Canada. I was kind of keen to help, do what I could do to educate them, or at least do what I could to answer the most commonly asked questions that I got.
From there I just started to take the project a bit more seriously. I started adding more and more information to it. I kept learning more about Canada myself in order to expand it. It’s gone through a few renovations since then. I mean the most substantial one was in 2009, which was when I basically revised the site into what it looks like today.
Of course now I’m undergoing another major revision in which I’m doing a lot of editing, and redesigning the site. It is what I believe to be the fourth major renovation. So yeah, it’s been a project I’ve been working on for certainly more than a decade.
TGNR PKD: We’re going to get back to that in just a moment. Something we were speaking about the other day – what sparks your desire to learn and share so much about you country in this depth and fashion? On a fundamental level, where did this spark come from to ultimately explore your country as you have? Specifically on a level that engages readers on such a vast scope and depth found on the site?
J.J.: I mean part of it is just a basic desire to educate other people. I think that a lot of Canadians by nature enjoy explaining Canada to people. I think that is a common cultural trait. I think there is a particular interest in explaining Canada to Americans that a lot of Canadians have interest in doing.
One of the best ways to become an expert on a topic is to focus on how you would teach that topic to someone else. So in order to become a good educator, you really have to focus on educating yourself. I just kind of view that as a positive end unto itself.
TGNR PKD: Would you consider yourself a cultural ambassador, and if so, why?
J.J.: I would like to think so. Another part of the motivation is that I do think that a lot of the conventional explain-ers, so to speak, on Canada are just not very good. I do think a lot of them are very biased. They are often very political, very partisan, very ideological. You know I’m a political, partisan, ideological person like everybody else, but at the same time I understand that conveying realities about Canada through that prism is not always the most helpful approach. It is not always the most useful, and does not always give an accurate picture of the country to people who are genuinely interested in hearing the real deal. They don’t only want to hear one side of the story.
So, I guess in the sense that I’ve tried to be a cultural ambassador, I’ve tried to be one that tells the truth about Canada, its imperfections, and its controversies. It portrays an honest picture of a place that’s not perfect, and that is not completely captive to only one side of the political spectrum. Or any of these other conventional narratives about Canada that you tend to hear.
So I’m trying hard to portray an image that is accurate, and is deep in a way that I think a lot of other information about Canada is not.
TGNR PKD: Now I was going to save this more for the end, but you seem to have crossed this bridge in a way. If there is one thing you could choose to teach people about Canada that they don’t know, what would it be?
J.J.: Oh, that’s a very good question! I suppose one thing I like to focus on when I teach other people about Canada is just the nature of the Canadian political system. It is very complicated, very distinctive, idiosyncratic, and cannot be easily generalized.
In the sense that I think there is a conventional sort of narrative about Canada. Certainly in America that Canada is just this very liberal country; that it’s very left wing in contrast to America. It has a lot of policies that are a lot more to the left. And that is true to a degree, but it’s always very important to understand why that is so, and the roots of that are more complicated than Canadians being disposed to one political opinion more than the other.
It has to do with how Canada’s parliamentary system works, and the way in which there are fewer checks and balances in Canada than there are in America. Canada is much more dominated by a strong leader; by the Prime Minister. The federal government is much more dominant vis-a-vis the provincial governments than the American federal government is vis-a-vis the state’s.
So there is a lot of complex power dynamics that go on in dictating how Canadian policy is crafted. And I mean, this is before we go into even more complicated things like the fact that Canada has the existence of a bilingual sort of ruling elite and the different ways that manifests.
So it is a complicated country whose governed in a complicated way. I think that is often lost in conventional telling.
TGNR PKD: Now regarding the project itself from a purely technological, digital standpoint: Specifically, how are you planning to upgrade the site?
J.J.: Well, I’ve raised a lot of money on Kickstarter for the redesign. Most of that money is going to hire a professional web designer, and you know the design is pretty much done. I’m now in the process of migrating the content. But the new look I want has a lot more photos, which are a lot larger. It has a lot more info-graphics, and visual display of information.
It is just a much more visually appealing site than it used be, which I think is important. When you’re learning about a new topic such as a new country, and the complexities therein like how the governance system works or things like that can be quite intimidating. I think it’s important that it has an attractive, accessible face. So that was really my first priority. That’s really what I think is going to be the biggest difference between how it is now, versus how it will be in a few months when I release the new version.
TGNR PKD: On a content level, how do you wish to expand?
J.J.: Well, I am certainly re writing a lot of it. I am re writing a lot of passages of it. Ultimately getting more information to make it more accurate. The fact is my own knowledge of Canada has improved since the last major redesign. There are some passages that are not entirely accurate, or perhaps somewhat lacking insight that I now have. So, the writing quality will be better, and the education quality should improve.
There’s a really cool new feature that I am quite excited about – the history of Canadian elections. We will really have a breakdown of every Canadian election. You know, maps with political parties and where they won their seats, with all 44 elections that we’ve had. That’s been done in a very visually attractive ways, in a way that really has not yet been done. There will be an election map or breakdown of elections that is as comprehensive as anywhere elsewhere available. I am most excited with that because its the most indisputably groundbreaking thing that will be introduced to the world.
TGNR PKD: You have said that most of the people that visit your site are Americans. You have also spoken about how Canada and the United States are incredibly similar on the whole. That being said, what do you believe are the most important similarities between the two nations? As well as the biggest differences?
J.J.: That’s a very good question, and that’s a very deep question that has consumed Canadians since the two countries existed.
I think the most important similarities, for all intents and purposes, is we share a culture. We speak English, and thus we consume English speaking media. We watch the same movies, we listen to the same music, play the same video games, read the same books, and all the ways that those sort of things impact Canadian and American culture are influenced in a similar way, and we have the same tastes.
You know, things like what is funny, what is gross, what is beautiful, what is ugly, what is scary. All of these cultural beliefs are pretty much the same. A Canadian can move to America, or an American can move to Canada, and you don’t feel as if you’re in a foreign place. That is very underestimated, because there are very few countries where you can go between the two of them with as little difficulty as Canadians and Americans do.
The biggest difference I think are entirely political. Almost entirely structurally political. The different ways Canada has organized its elections, or has organized its constitution than America has. That is really the root of the difference, which is to say they’re almost entirely political or entirely legal with the different ways the government has been organized. It makes it so different laws that can be passed, and their effects on the society.
There are people who try to argue it the other way, and say cultural differences percolate up to the government. I disagree with that argument. I think the differences peculate downwards, and the effect does not come from the bottom up.
TGNR PKD: Now, you’re a noted YouTube vlogger, one that I have found very poignant and funny. You’re also using it as a platform for cultural exchange. That being said, why have you chosen the topics you have? Moreover, you do not sit there simply ranting on the screen. I seem to remember an episode where you explored the Canadian “bag of milk” trend, and then called grocery stores all over Canada to test the so-called trend, and included it in the episode. Why have you chosen these topics and approach, and what has been the feedback from your audience?
J.J.: It’s all rooted in this Canadian desire for Canadians to explain Canada to Americans. I think that is a very deep seeded desire that many Canadians possess. It sparks competition in any Canadian whi has some public profile, or any degree of public forum.
So, this is rooted in how I see other Canadians trying to explain Canada to Americans. I see the kind of things that they emphasize, or don’t emphasize, and thus I have a desire to push back against that, and correct falsehoods as I see them.
One of them you see a lot is when you Google, “how are Americans and Canadians different?” Something that comes up again and again is that Canadians drink their milk in a bag, and Americans don’t! This is a very popular topic on YouTube. As I see in the video, that isn’t actually true! In all of western Canada, nobody drinks their milk out of bags, it is entirely an Ontario phenomenon. With Ontario being the largest province, and with Ontarian’s being – not to put too fine a point on it – somewhat sheltered from the rest of Canada. They tend to overgeneralize their ways to the rest of the country.
I like to push back against that and say contrarian things, and portray more nuanced things that are not being covered by other channels. I think its rooted in a Canadian desire to be the one authoritative figure about Canada. Ultimately to be the great explainer in telling Americans what Canada is all about.
TGNR PKD: Regarding the response you have received for your work, has there been any really memorable feedback regarding what you do?
J.J.: Certainly from the Canada guide website, I have received a lot of feedback from elementary school aged kids in the United States. I remember doing this kind of thing in school too, where you have a project on a foreign country. So today kids go on the internet to learn, and some kids come across my website, and thank me for my work. It’s fun, its easy to use, and so on and so on. That’s always very flattering to me because I see myself in some of those responses.
You know I see a desire to learn about foreign countries and stuff. I get emails from teachers that say similar things, and that’s very flattering and encouraging as well. It motivates me to make something that is high quality. I think there is a dearth of high-quality non-fiction writing on the internet as well. I find it to be a massively untapped market. Because its difficult to do quality non-fiction writing. It takes a lot of work, it takes a lot of research. When it does what it aims to do, which is helping to educate people in a way that people regard with credibility, that’s a real reward.
TGNR PKD: Now, you’re certainly a public figure J.J., and right now what is the next big thing you want to take on?
J.J.: That’s a good question. Once this new revised Canada website is launched, I definitely think I would want to create another major comprehensive website. One that I would spend a lot of time and money on, just like I have with the Canada guide.
I don’t know exactly what topic it would be, I have a few ideas kicking around. I think it might be interesting to do another country, I don’t know what country that would be yet. As I don’t have a country that I know as much about as Canada. That might require reaching out to writers, or people who know a lot about said country. I would like to approach it from an editorial role.
Or perhaps on some other topic. I have often thought that a topic having to do with science would be really cool. A real in depth look into something in the science field that really needs more in depth understanding, in an accessible and visual way. I am not an expert in scientific realms either, but I can certainly see the need for it.
So I think going after my next topic I have to ask, ‘what is the demand?’ ‘What do people want?’ What would be a useful educational resource on the internet that would fly? As opposed to specifically what I would want to do myself.
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TGNR PKD: You have traveled the United States a lot, as well as being a Canadian cultural ambassador. As we wrap up, what do you believe is one thing you would want your fellow Canadian countryman to know about their American neighbors to the south?
J.J.: I think there is a sense in a lot of other countries that Americans are ignorant about the rest of the world. You know, there is some truth to that. I think that it is important to realize there are few people that are more curious than Americans are. I have met people who are more curious about Canada, or more curious about me, and are more determined to correct whatever ignorance may exist through education.
I think Canadians should be a bit more forgiving when they come across Americans who don’t know things about Canada. So when an American is ignorant about that, they’re very self-conscious about that, and are eager to improve themselves in that way. So I think to be more patient and more tolerant would be a good thing.
There are a lot of things about Canada that Americans don’t know. There is also a lot of things about America that Canadians don’t know. So I think we should be a little less condescending, and a little more open exchanging knowledge and information about our two countries.
TGNR PKD: Thank you for chatting with me this morning, JJ.
J.J.: Thank you!
You can find J.J. on YouTube, Loonie Politics, Facebook, Twitter, and of course J.J.‘s Complete Guide To Canada.
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