By Mimi Thi Nguyen
This interdisciplinary assortment brings jointly individuals operating in Asian American experiences, English, anthropology, sociology, and paintings background. they give thought to problems with cultural authenticity raised by means of Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. adolescence tradition, and the circulate of Vietnamese track sort indicates. They research the connection among chinese language eating places and American tradition, problems with sexuality and race delivered to 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 finds how humans think and show their affective relationships to background, identification, 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
Lipsitz, Dangerous Crossroads. At the same time, other animated series that seem to be produced in the United States, including The Simpsons, farm their animation out to Asian illustrators. Lau, New Age Capitalism. Han with Morohoshi, ‘‘Creating, Curating, and Consuming Queer Asian American Cinema,’’ 87. Grewal, ‘‘Traveling Barbie,’’ 801. For a fascinating look at the changing uses of culture, see Yudice, The Expediency of Culture. Many scholars have noted these contradictions. See Sau-ling Cynthia Wong’s cautions in ‘‘Denationalization Reconsidered,’’ 1–27.
While there is some practical logic to this—often rappers will try to establish a core audience before branching out to others—given the topical speciﬁcity of their music, it seems more likely that their audience was always intended to be select. Although hip hop has subgenres that appeal to more discerning listeners, as a whole, the music has always been geared toward a populist agenda. Ever since ‘‘Rapper’s Delight’’ became a worldwide hit, most aspiring hip hop artists have sought to tap into as wide an audience as they can.
In their seminal (and oft-cited) essay ‘‘Racist Love,’’ Frank Chin and Je√rey Paul Chan write: ‘‘The white stereotype of the Asian is unique in that it is the only racial stereotype completely devoid of manhood. Our nobility is that of an e≈cient housewife. At our worst we are contemptible because we are womanly, e√eminate, devoid of all the traditionally masculine qualities of originality, daring, physical courage, creativity. We’re neither straight talkin’ or straight shootin’ ’’ (65– 79). Here Chin (and his fraternal compatriots) use problematic intimations of homosexuality to describe a humiliated posture of racial and masculine inferiority.