Download e-book for kindle: Alien Encounters: Popular Culture in Asian America by Mimi Thi Nguyen

By Mimi Thi Nguyen

ISBN-10: 0822339102

ISBN-13: 9780822339106

Alien Encounters showcases leading edge instructions in Asian American cultural reviews. In essays exploring themes starting from pulp fiction to multimedia artwork to import-car subcultures, participants examine Asian american citizens’ interactions with pop culture as either creators and shoppers. Written via a brand new new release of cultural critics, those essays replicate post-1965 Asian the US; the participants pay nuanced cognizance to problems with gender, sexuality, transnationality, and citizenship, and so they unabashedly get pleasure from pop culture.

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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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.

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Alien Encounters: Popular Culture in Asian America by Mimi Thi Nguyen


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