A Quote by Pearl Tan
My friends often say I'm the most racist person they know against Asians. And it's sort of like, "If I make the joke first, then I have the power and I'm holding the cards and you're not going to put me down for that."
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Scripts are a house of cards and you can't just reach in the middle and pull out the middle card because the house of cards will fall down. But at a certain point you almost have to allow that house of cards to get knocked down a few times because you need to make it sturdier. How many times do you hear, "No, that doesn't make sense," or "Why would this happen?" That was a mistake. You shouldn't have those moments, because the moment you're knocked out of the story, then you're dead. And all you can go is moment to moment,or joke to joke. And that's gonna wear people out.
I rebelled against the Mormon Church by going to other churches. I rebelled against my parents by not eating meat. I rebelled against my friends and myself by doing drugs. And I rebelled against everything that was holding me down by playing music with these guys.
Most credit cards provide some sort of protection against a defective purchase, and with gold or platinum cards, you'll often get double the manufacturer's warranty. You're also not immediately out your own money if something goes wrong.
For the most part, the roles Asians can get aren't necessarily well-rounded, and more often than not, they're stereotypes. But that's all we have. And then we see each other all the time at auditions, because we're all going for the same role. I've made a lot of friends that way.
It's like I'll sit down and put my hands on the piano or the guitar, and then I'll hear a sound or I'll feel a chord that will resonate and then I'll get something happening in my voice. My voice is like a car that I get into and drive but I don't know where I'm going. And I record everything. And often, I sort of get into a state, a creative state that is, where I'm just feeling around melodically, and playing things off the top of my head. Then I go back and listen to it and for the first time, hear what I just did. It's like Elvis has left the building while the thing is happening.
I guess my feeling is is that if you're going to make a joke, that's fine, but you should also sort of stand behind it, you know? A joke should be more than a joke, it should be a point that you're trying to make.
I guess my feeling is that if you’re going to make a joke, that’s fine, but you should also sort of stand behind it, you know? A joke should be more than a joke, it should be a point that you’re trying to make.
Comedy can be silly and gross and offensive, as long as there's sort of a point. You can make a joke that, on the face of it, is racist. Ostensibly someone can appear to be racist, but if you know you're making a point about race, and not just being pig-headed, then you can do that. I think some people who don't understand comedy will have a knee-jerk reaction to some stuff, and will always be offended by it because they don't understand it. Some people react to it in a vociferous way, which is unsophisticated, but there's always going to be those people out there.
What is the point in going into a stand and singing a song that you know is racist and then going out into the street and saying to me, 'I'm not racist. Come to Tottenham.'
You know, I liken it to - when you write a joke for somebody else, it's like you - you know, like the Wile E. Coyote dynamite plunger, where he pushes the plunger down and then you see the fuse go then there's an explosion in the distance? That's like writing a joke for somebody. When you tell the joke, you're in the explosion.
We've all been there, where it seems like all the cards are stacked against you, and you can't seem to do anything right. But you still have to say to yourself, 'You know what? That's not going to stop me. I still have to find a way.'
Sometimes if I really want to get someone's attention, I'll start a sentence with something like, "I'm not racist, but..." I say, "I'm not racist, but you look great today." They say, "That wasn't racist at all." I said, "I know. I said I'm not racist. You never listen. Typical Mexican."
We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.
I am kinda like, if I don't really know people I am a little passive and a little quiet, and you know most of my friends they know a different side of me, so I guess that's what kinda Twitter gets to see a little bit, things that I would say around my friends and joke around with.
My grandmother is the type of person, I'd be down playing cards in the park, and she'd take the dog and walk down to the park, like 10:30 or 11 at night. I was 12 years old. She'd come down yelling for me. I'd be embarrassed in front of my friends. She'd grab me by the hair on my head.
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