Filipinos Represent: DJs, Racial Authenticity, and the Hip-Hop Nation
Readers of this text will find the discussions of diaspora, appropriation, belonging, and authenticity fascinating, while learning how and why Filipino and Filipina hip-hop DJs in the San Francisco Bay Area negotiated their identities through the music and the performance art they love. Tiongson sug...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Shawn M Higgins [verfasserIn] |
|---|
| Format: |
Artikel |
|---|---|
| Sprache: |
Englisch |
| Erschienen: |
2015 |
|---|
| Schlagwörter: |
|---|
| Übergeordnetes Werk: |
Enthalten in: Journal of Asian American studies - Baltimore, Md. : Johns Hopkins Univ. Press, 1998, 18(2015), 2, Seite 224 |
|---|---|
| Übergeordnetes Werk: |
volume:18 ; year:2015 ; number:2 ; pages:224 |
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Readers of this text will find the discussions of diaspora, appropriation, belonging, and authenticity fascinating, while learning how and why Filipino and Filipina hip-hop DJs in the San Francisco Bay Area negotiated their identities through the music and the performance art they love. Tiongson suggests that their innovations in mixing, beat-juggling, and scratching changed the face of DJ competitions indefinitely in terms of not only technique but also the public (racial) image of hip-hop. [...]Q-Bert and other Filipino DJs gained the all-important "respect" for "purportedly embodying the 'true' essence of hip hop" and bringing back "the original tenets of hip-hop: community, creativity, and above all fun" (31). |
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Readers of this text will find the discussions of diaspora, appropriation, belonging, and authenticity fascinating, while learning how and why Filipino and Filipina hip-hop DJs in the San Francisco Bay Area negotiated their identities through the music and the performance art they love. Tiongson suggests that their innovations in mixing, beat-juggling, and scratching changed the face of DJ competitions indefinitely in terms of not only technique but also the public (racial) image of hip-hop. [...]Q-Bert and other Filipino DJs gained the all-important "respect" for "purportedly embodying the 'true' essence of hip hop" and bringing back "the original tenets of hip-hop: community, creativity, and above all fun" (31). |
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Readers of this text will find the discussions of diaspora, appropriation, belonging, and authenticity fascinating, while learning how and why Filipino and Filipina hip-hop DJs in the San Francisco Bay Area negotiated their identities through the music and the performance art they love. Tiongson suggests that their innovations in mixing, beat-juggling, and scratching changed the face of DJ competitions indefinitely in terms of not only technique but also the public (racial) image of hip-hop. [...]Q-Bert and other Filipino DJs gained the all-important "respect" for "purportedly embodying the 'true' essence of hip hop" and bringing back "the original tenets of hip-hop: community, creativity, and above all fun" (31). |
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<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a2200265 4500</leader><controlfield tag="001">OLC1960587242</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20220214153257.0</controlfield><controlfield tag="007">tu</controlfield><controlfield tag="008">160206s2015 xx ||||| 00| ||eng c</controlfield><datafield tag="028" ind1="5" ind2="2"><subfield code="a">PQ20160617</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)OLC1960587242</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)GBVOLC1960587242</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(PRQ)p513-850c2ff8a51b64ea6cfeb0171f1286ff49df5b3549b7e2bccd9316c9122a16600</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(KEY)0352425620150000018000200224filipinosrepresentdjsracialauthenticityandthehipho</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1=" " ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="082" ind1="0" ind2="4"><subfield code="a">820</subfield><subfield code="q">ZDB</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">15.87</subfield><subfield code="2">bkl</subfield></datafield><datafield tag="100" ind1="0" ind2=" "><subfield code="a">Shawn M Higgins</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Filipinos Represent: DJs, Racial Authenticity, and the Hip-Hop Nation</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2015</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">ohne Hilfsmittel zu benutzen</subfield><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Band</subfield><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Readers of this text will find the discussions of diaspora, appropriation, belonging, and authenticity fascinating, while learning how and why Filipino and Filipina hip-hop DJs in the San Francisco Bay Area negotiated their identities through the music and the performance art they love. Tiongson suggests that their innovations in mixing, beat-juggling, and scratching changed the face of DJ competitions indefinitely in terms of not only technique but also the public (racial) image of hip-hop. [...]Q-Bert and other Filipino DJs gained the all-important "respect" for "purportedly embodying the 'true' essence of hip hop" and bringing back "the original tenets of hip-hop: community, creativity, and above all fun" (31).</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Books</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Filipino Americans</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Race</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Diaspora</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Hip hop culture</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Hip hop music</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Authenticity</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">Enthalten in</subfield><subfield code="t">Journal of Asian American studies</subfield><subfield code="d">Baltimore, Md. : Johns Hopkins Univ. 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