By Mimi Thi Nguyen
This interdisciplinary assortment brings jointly individuals operating in Asian American stories, English, anthropology, sociology, and paintings background. they give thought to problems with cultural authenticity raised through Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. formative years tradition, and the circulate of Vietnamese tune kind exhibits. They study the connection among chinese language eating places and American tradition, problems with sexuality and race dropped at the fore within the video functionality artwork 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 display the significance of scholarly engagement with pop culture. Taking pop culture heavily unearths how humans think and convey 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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Extra info for Alien Encounters: Popular Culture in Asian America
The collegiate experience weighs heavily here because all of these artists convey social and political knowledge gained through university classes, especially Asian American studies courses. Moreover, in the late 1980s and early 1990s, when these artists were attending school, hip hop had just begun to cross into the mainstream, ﬁnding a welcome audience among politically charged college students, just as folk music had among collegians in the 1960s. , Radical Asian Woman) echoed Davis Yee in her desire to use hip hop as a tool for political agitation: ‘‘I was inﬂuenced by Public Enemy and it was a perfect form for expressing anger.
See Ling, Yellow Light; and Maira, Desis in the House. ’’ Marti, ‘‘Context Marketing,’’ 7–12. com/2004/05/ 13/mcdonalds — iam — asian (accessed October 15, 2004). Yoshikawa, ‘‘The Heat Is on Miss Saigon Coalition,’’ 41–56. ’’ See his The Postcolonial Exotic, 28. ’’ White-Parks, Sui Sin Far/Edith Maude Eaton. Inoue, ‘‘The Stealth Asian Shall Inherit the Earth’’; Wang, ‘‘Between the Notes,’’ 439–65; Wang in this volume. We don’t mean to suggest that questions of authenticity are unique to this period, just that they have become much more prevalent.
Yellow Peril’s Bert Wang, also known as Shaolin, expressed many of the same sentiments as the Apostles and Fists of Fury, explaining that ‘‘Rap, to us, is really about political expression. It’s about rebellion. ’’∂∂ In 1995, Yellow Peril released its own sampler tape with a song called ‘‘Asian for the Man,’’ which critiqued Asian stereotypes in the mass media. ∂∑ Like Fists of Fury’s ‘‘After School,’’ ‘‘Asian for the Man’’ is a dual critique. Yellow Peril attacked the ‘‘racist ideology’’ of American society and media, but it also took Asian American actors to task for accepting roles that the group deemed demeaning to the image of Asian American men.