Wu said, “I am not offended by those typefaces, rather intrigued by them.” Quito wrote that, according to University of California historian Yong Chen, “it is not the font, per se, that’s the issue - but how it’s used.”Ĭhen wrote in an email, “The font issue never came up during discussions of the cover design,” referring to his 2014 book “Chop Suey, USA: The Story of Chinese Food in America,” which features the font.Ĭhen explained that problems only arise, for him, when the font is used to “depict Chinese Americans and Chinese food as the Oriental other.”Ĭhinese typography scholar Chris Wu “echoed” Chen’s thoughts, according to Quito, but in truth only validated the fact that not everyone is offended or otherwise negatively affected by these fonts. In short, thankfully, Quito’s answer was “no.” However, she coated it in such a way as to continue to vilify those who, typically harmlessly, use “chop suey” fonts. But such fonts perpetuate problematic stereotypes. There was not a specific consensus at the time against these fonts, and Quito attempting to speak for the entire Asian-American community is dishonest at its heart.įinally, the author asked the million-dollar question: “Can a font, in itself, truly be racist?”įor years, the West has relied on so-called "chop suey" fonts to communicate "Asianness" in food packaging, posters and ad campaigns. Others use these fonts for their businesses year-round, which Quito later noted in her piece. It shouldn’t have to be said, but one Asian-American’s experience absolutely does not characterize the thoughts and emotions of over 20 million people.Īsakawa, as Quito pointed out, started his career during a specific time of anti-Japanese prejudice. In my experience, the font has been associated too often with racism aimed at me.” “I see Wonton and I see the words ‘J p,’ ‘np,’ ‘ch k,’ ‘gk,’ ‘sl*pe.’ I can’t help it. She quoted Japanese-American journalist Gil Asakawa, who wrote of the fonts, “I think of words in anti-Asian or anti-Japanese signs.” Quito then took a step back from openly attacking Republicans, taking a look into the “racist undertones” of chop suey fonts, using it as a diving board to explore the question on everybody’s mind: Can a font truly be racist? Regardless of intentions, which in these cases do not seem pure, it’s simply ludicrous to say that a font - even when used in controversial material like these ad campaigns - is inherently racist or otherwise prejudiced. Andy Kim of New Jersey, which used a “chop suey” font. ambassador to the Netherlands Pete Hoekstra’s controversial 2012 congressional ad, which Quito said included “a caricature of a Chinese woman and a website with chop suey lettering.” Second, Quito mentioned a 2018 New Jersey Republican State Committee ad attacking Korean-American Democratic Rep. She attacked two ads in particular.įirst on the chopping block was former U.S. And, seemingly, none provide better examples than modern Republicans. Quito went on, writing that it’s “hard not to cringe” at the supposed racial stereotypes these fonts imply, “especially when seen through the lens of today’s heightened vigilance toward discrimination and systemic racism.”Īccording to Quito, critics have even said these fonts are “downright racist,” particularly - but not exclusively - when used by non-Asians. As the rule goes, if it’s been touched by a Caucasian male, it’s diseased. Never mind, of course, that Asian-owned and operated restaurants and businesses, albeit in the U.S., frequently use these “Asian” fonts as part of their brand. “But this has not prevented the proliferation of chop suey lettering and its close identification with Chinese culture outside of China.” “Neither the food nor the fonts bear any real relation to true Chinese cuisine or calligraphy,” Shaw added. She cited historian Paul Shaw, who traced these fonts to the Cleveland Type Foundry and the chop suey grandfather font of “Mandarin.” Shaw, in Print magazine, mocked the font itself, writing, “It’s a fitting name - just as chop suey is an American invention, so, too, are the letters of Mandarin and its many offspring.” Initially, author Anne Quito explored the origins of said “chop suey fonts,” the typefaces most Americans see used in logos and advertisements for Asian restaurants and kung-fu movies, in the article. Somehow out-woking its mainstream media allies, CNN published an article Wednesday entitled “Karate, Wonton, Chow Fun: The end of ‘chop suey’ fonts,” and the virtue-signaling is palpable. Home › Propaganda › CNN Concludes That Certain Word Fonts Are Now RacistĬNN Concludes That Certain Word Fonts Are Now Racist
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