By Mimi Thi Nguyen
This interdisciplinary assortment brings jointly individuals operating in Asian American reviews, English, anthropology, sociology, and artwork historical past. they give thought to problems with cultural authenticity raised by way of Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. formative years tradition, and the movement of Vietnamese tune style indicates. They learn the connection among chinese language eating places and American tradition, problems with sexuality and race dropped at the fore within the video functionality paintings of a Bruce Lee–channeling drag king, and immigrant tv audience’ dismayed reactions to a chinese language American chef who's “not chinese language enough.” The essays in Alien Encounters show the significance of scholarly engagement with pop culture. Taking pop culture heavily finds how humans think and show their affective relationships to historical past, id, and belonging.
Contributors. Wendy Hui Kyong Chun, Kevin Fellezs, Vernadette Vicuña Gonzalez, Joan Kee, Nhi T. Lieu, Sunaina Maira, Martin F. Manalansan IV, Mimi Thi Nguyen, Robyn Magalit Rodriguez, Sukhdev Sandhu, Christopher A. Shinn, Indigo Som, Thuy Linh Nguyen Tu, Oliver Wang
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Additional resources for Alien Encounters: Popular Culture in Asian America
That single appeared on an album (also in 1975) entitled Afro-Filipino, thereby settling any ambiguity as to how Bataan self-identiﬁed. The album’s version of Bataan’s best-known composition, ‘‘Ordinary Guy,’’ changed the lyrics to reﬂect his ethnic state of mind: ‘‘I’m an ordinary guy . . Afro Filipino . . ’’ Produced by Arthur Baker—a seminal hip hop ﬁgure who later produced Afrika Bambataa’s ‘‘Planet Rock’’ and other old-school rap hits—‘‘Rap-O, ClapO’’ was Bataan’s ﬁrst foray into hip hop, recorded at the very beginning of the music’s recorded history.
Rivera’s basic argument is that this tension between the two identity poles—blackness and latinidad—has dominated the ways in which Puerto Ricans have to negotiate their position within hip hop. Neither completely black or brown—in the simpliﬁed discourse of hip hop’s racial politics—Puerto Ricans have had to ﬁght against a racial binary that rarely o√ers a middle ground. ’’≤≤ In other words, forced to choose between worlds, some Puerto Ricans have instead sought to reject the binary logic of declaring one’s allegiance to either blackness or latinidad at the expense of the other.
In fact, Bataan himself has claimed that the song was recorded prior to the release of both the Fatback Band’s ‘‘King Tim III (Personality Jock)’’—recognized as the ﬁrst rap record—and the Sugarhill Gang’s ‘‘Rapper’s Delight,’’ the ﬁrst breakout rap hit. ∞ For the next twenty-ﬁve years, Bataan would be one of the ﬁrst and last Asian American rappers to ﬁnd such a popular welcome. ≤ Becoming a rapper, like any professional musician or entertainer, is a highly competitive process. Out of thousands of aspirants, only a handful will see a recording contract, let alone a commercially produced and distributed album.
Alien Encounters: Popular Culture in Asian America by Mimi Thi Nguyen