#then immediately comes to the wrong conclusion that he's simply transcended romance through the power of friendship

[starship-buccaneer]

Steve: Well yeah, Eddie flirts with me constantly and touches me all the time and I do it back and everything, but we're just two guys horsin' around, y'know?

Everyone: No Steve. We do not know.

Steve: Yeah, Eddie's fruity with me, so what? Just because I'm a guy and he likes guys doesn't automatically mean he's into me. He's just comfortable being himself with me!

Everyone: Steve. He's sitting in your lap, playing with your hair. He calls you pretty boy, Steve. He's wearing your sweater, Steve. Steve, please.

[moldybanana-blog1]

Hasan Minhaj and Identity Politics

After Hillary Clinton lost the 2016 presidential election last November, Democratic strategists and citizens throughout the country were faced with one devastating question: What went wrong? In the weeks that followed some commentators hypothesized that Clinton’s proclivity towards identity politics as a political paradigm, or her tendency to appeal to women, African American, Latino, and L.G.B.T voters at the expense of courting the white working-class vote, was a major factor in her defeat. For a further description of the aforementioned conclusion I suggest reading Mark Lilla’s op-ed, “The End of Identity Liberalism” in the Times. In the Trump presidency liberals have grappled with how to reflect the authentic experience of people of color, while ensuring that such dialogue remains inclusive. Last week I re-watched Hasan Minhaj’s stand-up routine, Homecoming King, which recently was released on Netflix. Minhaj, who is most famous for his work on The Daily Show and his speech at the White House Correspondence dinner, masterfully illustrates how this balance can be achieved.

Throughout the special, Minhaj illustrates that issues of race and culture only exist within larger, human themes. He seamlessly intertwines his Indian Muslim background with more universal experiences, combatting the divisiveness that Lilla wrote about. The most striking example of such storytelling also happens to be the center of the show. Minhaj tells how he developed a crush for the new girl in his calculus class, Bethany Reed. The two immediately hit it off. Their study sessions at each other’s houses morphed into a secret romance. As senior prom rolled around, their calculus teacher insisted that the entire class attend, for their own social well-being. Bethany and Hasan decided to go together. On the night of the dance Hasan sneaked out of his room – God forbid his parents find out he went to prom – and biked to her house. Mrs. Reed opened the door with a confused face. She politely informed him that because photos would be taken and shared with their family her and Mr. Reed decided that Bethany needed to attend prom with someone more “appropriate,” implying that Hasan’s dark skin posed a threat to their daughter’s special night. Devastated, Hasan biked home and played Mario Kart the rest of the night. The anecdote reveals how racism can come in the way of love and passion. At that moment, discrimination and rejection were inextricably mixed. We can all immediately identify with crushes that broke our hearts. By infusing racial tension with a love story, Minhaj prevents the special from becoming unrelatable and accusatory. Human experiences and events related to identify collide in other instances as well, especially when he talks about his father or sister.  

Stylistically, Hasan also merges two separate worlds to create a special that remains authentic, while still connecting with non-Desi audiences. The special is peppered with Hindi and Urdu. For example, early in the set he goes into a lengthy exposition about the use of the phrase “log kya kahenge,” which means, “What will people think?” His use of foreign language contrasts sharply with his otherwise urban vocabulary. Slang like “baller” and “savage” are accompanied by pop culture references about Drake and the Taken movie series. Minhaj’s use of language compounds the effect of his stories; he demonstrates how racial or cultural differences, while integral to our identity, are all built on a foundation of shared experiences. Whether Minhaj is speaking in Urdu or English, his humor and enthusiasm is ever present. Along with criticizing white America for its treatment of minorities, Minhaj uncovers the complexity and hypocrisy within his own community. Such self-awareness is crucial for a productive dialog. Minhaj recounts his recent marriage. Fulfilling the nightmares of many Muslim parents, Minhaj married a Hindu woman. Although his family was initially supportive, his father soon regretted his endorsement. Hasan, his sister, and parents were outside his girlfriend’s home, where Hasan was going to propose, when his father got cold feet. He insisted that their extended family would forever look down upon the matrimony. It was not until his sister, Ayesha, interrupted her father that Hasan got the guts to disobey his father’s pleas to stop the proposal. The bigotry shown by an otherwise remarkable dad, who sacrificed immensely for his children, is a testament to the universality of discrimination. Furthermore, Minhaj is not afraid to admit when he, himself is on the wrong side of racially charged issues. Years after the prom fiasco, Minhaj met up with Bethany with anger still in his heart. Bethany told Minhaj how she was dating another Indian man, Raj, who she eventually married, despite her family’s collective protests. Minhaj was disgusted by his own inability to forgive someone who had obviously moved on in her life. Minhaj’s self-awareness prevents the special from becoming didactic and makes it even more powerful. More than anything, Homecoming King is funny. Since the Greeks, stereotypes have been the basis of many jokes. Minhaj is not above using racial stereotypes in his comedy. He embraces the characterization of Indian parents as solely focused on their children’s educational and financial success, at the expense of their emotional development. His father’s reluctance to let him simply talk to a girl resembles the typical South Asian father. Minhaj’s use of stereotypes shows how he is ready to have serious discussions about race, without being so blind as to deny the humor in harmless racism. This dichotomy is another example of Minhaj’s self-awareness. Through stories, style, hypocrisy, and stereotypes Minhaj crafts a special that highlights the devastating effects of discrimination and creates an honest depiction of life as an Indian-Muslim-American, while insisting that issues of identify are inferior to issues of humanity, that for better or for worse there is no emotion or feeling that is the exclusive property of any one group. I want to make it clear: there are most definitely times when accessibility to white audiences or appeals to the universality of life aren’t appropriate, especially in a time of such racial unrest. However, Minhaj should be commended for reminding us that love will always transcend creed, class, and color.