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On Race and Obama

Presidential candidate Barack Obama explicitly discusses the issue of race for the first time in his campaign speech last Tuesday (3/18/08). He does so in part responding to a speech made by Reverend Jeremiah Wright. Obama puts forth his definition of race as a color-based ideology that leads to inequalities and social divisions. Recognizing the history of black oppression – slavery, Jim Crow, Brown vs Board of Education, Obama makes clears that he is aware of the fact that minorities in the United States still experience the social, political, cultural and even psychological consequences from this racist history. Obama taps into the current discourse regarding social emotionality as he diagnoses the causes of “black anger” and “white resentment.” He then attributes the conflictual sentiments to the issue of race “that we cannot afford to ignore right now.”

Obama is quick to point out the racialized response to the presidential election campaign, i.e. the bipolarization between African American and white votes split between Obama and Clinton, the prediction of white majority’s favoring McCain. This conspicuously leverages his campaign strategy of promising a “union” across the racial and economic divide. This union is a union of “the people,” particularly for and from the children, with the central issue being education. Pitted against the “people” are implicitly the immoral corporations and political lobbyists with self-interested motivation and power to advance for profit. I like that he targets the corporations and the politicians. But I ask, who are these “people”? The American people? The citizens? I dare asking, what about the non-citizens? What about the immigrants?

The compelling effects of Obama’s speech have much to do with the colorblind discourse presently dominating the American public. He’s right to say that there is much cynicism in the current cultural and political atmosphere, and not enough serious discussions about racial equality and justice. He is even progressive-hip to censure the neo-conservative contradiction in “reverse racism” and American public’s compulsory to be politically correct. But unfortunately, this is where he stops.

A good student of American history perhaps, Obama draws the cause-and-effect relations between the historically known facts about African American oppression and the current racial inequalities in the U.S. Obama understands the “white resentment”, particularly toward pro-minority policies such as the Affirmative Action, as a reaction to white American citizens’ claim to their “immigrant story” and the American Dream. Obama criticizes the majority’s blind faith in “equal opportunity.”

The immigrant story is not just a story, it’s a reality. In the resolution portion of his campaign speech, Obama advocates for a sense of hope for change. To the African American voters, he promotes hope and stands behind their grievances for justice. He conflates the conditions of an economically disadvantaged “immigrant father” to the minority side of the divide.

It seems, the immigrant figure can flip-flop from the white majority to the African American minority side of the picture rather conveniently. Obama apparently side-steps the issue of immigration most pertinent to Latinos and Asians living in the U.S..

Race is not just only an issue related to the domestic black-white relations. Race is also central in the polemic about immigration and foreign policies. When Obama denigrates corporations for outsourcing, he ignores an important part of the story: both working Americans’ animosity toward “foreigners” working within the border of United States as migrant workers, or working for an U.S.-based company. The discourse around the War with Iraq and anti-terrorism is undeniably tainted with racializing ideologies about the people of the Middle East and the Islamic faith, both abroad and domestically. Immigrant rights as well as race-based profiling and hate crimes against American citizens and immigrants of Central Asian ethnic and religious affiliations have been downplayed in presidential debates.

Race and Racism come in various shapes and colors. Some are black; some white. And some are brown, some yellow. Whiteness (or blackness) is sometimes defined by while being pitted against brown-ness, yellow-ness, or Muslim-ness. Obama’s “new politics” fails to address an age-old problem about the interethnic and interracial tensions within the United States and abroad. Until the issue of race is addressed multi-dimensionally with nuances regarding citizenship and border, race remains a stultifying divisive force. There is conceivably no true union, if the union is based on hate and exclusion across various borders within and along the U.S., and not on the domocratizing ideals of this country.

If you haven’t watched it yet, please do:

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This entry was originally posted on March 28, 2008 on Yellowbuzz.

Magazine Interview about Asian Pacific American (APA) Music

I recently participated in an interview conducted by Inkstone, a UVa-based, student-run magazine devoted to Asian Pacific American (APA) literary arts and culture. The coming issue will feature a few UVa scholars (faculty and graduate student) who research APA arts. The issue will be released in late Spring this year. Below are contents most relevant to Yellow Buzz:

// What is Asian-Pacific-American music the way you understand it? //
Oh gees. This sounds like one of the questions on my comprehensive exams! APA music has yet to be canonized, although a number of academics and record labels have attempted to do so. For instance, Itchy Korean Recordings, based out of Houston, TX, released a compilation titled Wok and Roll featuring 14 multiethnic or Asian American punk and hardcore rock bands. Similarly, New York-based label Born in Chinese put out a compilation titled CompilAsian: A Collection of Asian American music, featuring 12 Asian American recording artists and groups of rock, pop, soul, and R&B. These recordings, in part, seek to shatter the silence or invisibility of Asian American representation in mainstream media. Also, MTVchi, an offshoot of the MTV network that broadcast program featuring Chinese American and other Asian American artists and VJ’s in order to cater to and create an Asian American audience, is another example of an institutional attempt to define APA music. This network, however, went off-air in 2005.

In many ways, I think, we’re still struggling with the baggage that otherizes Asian (or Orientalizes) culture inherited from the historical structures of the U.S. music industry. Specifically, the oppressive black-and-white racial binary still to this day informs our commonsensical understanding of commercial musical genres. There are white music genres such as country (historically known as “hillbilly” records) and rock. And there are music categories associated with African American performers and listeners, for example, hip hop and R&B, or the historical genre of “race records.” The racial binary that governs music genre division leaves a conundrum or a dilemma with which Asian American musicians grapple in their everyday struggle to express themselves authentically through the idiom of music.

Contrasting the general lack of APA musical representation is the active presence of Asian American musical production (consumption) at the grass-roots level. The current musical heterogeneity in Asian America resonates with the social diversity of the community. This makes it difficult to derive any generalities about the sound or content of this music. I personally resist the notion of APA music because it has not had a prominent existence in practice. What’s undeniable is the presence of APA musicians, professional, amateur, performing in all musical genres. Part of my academic (and musical) effort is to conjure (however) truthful images and narratives about the lives – and music – of these below-visibility APA musicians. For now, my working definition of APA music is the music made and listened to by individuals of Asian descent in the U.S. The broadness of this definition marks the yet exploratory state of this research.

// What does a reader/listener of APA music have to look forward to? //
Some of the most interesting music in Asian America emerges from the creative ways in which musicians have played with genre conventions. Anime punk (rock) is an example of this. Anime punk is the general subculture of anime in North America. Anime punk bands, mostly based out of New York, LA, and Tokyo, make frequent appearances at anime conventions in the United States.. Many of these bands perform in “character” in ways to resonate existing characters in familiar works of anime or more abstractly, to represent the general aesthetics of anime fashion and imagery. Peelander-Z, a self-identified “Japanese Action Comic Punk” band from Brooklyn, usually dress up in costumes and combine the raw sounds of punk and the interactive techniques from Japanese (as well as Korean and Taiwanese) game shows in performance. Their interactivity with the audience is astounding. I went to their show in Richmond last November and had a blast banging on pots and pans and watching them do “human bowling” offstage. By the way, they are coming to Charlottesville on March 5.

There are many other APA musicians who are doing innovative genre-bending. Carol Bui from DC blends in elements of Vietnamese pop singer Khanh Ly’s vocal style in her Sonic-Youth-and-Riot-Grrrl-inspired post-punk songs. And on her new album Everyone Wore White, Carol covers a traditional Vietnamese folk song a capella. Also, indie experimental rock band Kite Operations, led by Korean American Joseph Kim, just recently covered a Korean pop song in a free-jazz, late-Coltrane style. And, the Korean members of the feminist art rock band Taigaa! from Brooklyn cite “bbong jjak”, a pre-80s style of Korean pop music, as one of their main influences.

Musicians sometimes use conventionally Asian instruments in the context of American pop or rock music. For example, Jack Hsu of the Hsu-Nami fronts a New Jersey-based hard rock band playing amplified erhu, a traditional Chinese 2-string bowed instrument. Jack plays the erhu standing up with it clipped to his waist. He even shreds on his erhu! His main influences include Steve Vai and Slash of Guns N’ Roses.

There are many musicians who consciously derive musical inspirations from contemporary popular music genres in Asia such as JPOP, CPOP (MandoPOP, CantoPOP, and TPOP) and KPOP. Of course, there are many musicians of other genres that are transgressing ethnic/national boundaries. Yo Yo Ma’s Silk Road Project example is a well-known classical music example. Generally speaking, many of these musical links between US and Asia lead to or are products of actual transnational social connections between APA musicians and their Asian peers. This is especially made possible when APA musicians tour in Asia or when Asian groups tour in the U.S. This kind of transpacific social and musical connection – particularly the grassroots ones – is totally exciting to me.

// What will a reader/listener of APA music be disappointed with? //
I think the general lack of visibility of Asian Americans in music is disappointing. Hardly ever we see an Asian American person on mainstream TV network or on the cover of Rolling Stone, Spin or Vibe. There have been, of course, a few iconic Asian/Asian American figures in the U.S. cultural landscape: James Iha of Smashing Pumpkins, Joseph Hahn and Mike Shinoda in Linkin Park, Tony Kanal of No Doubt, Joey Santiago of the Pixies, Allen Pineda in Black Eyed Peas, Karen O of the Yeah Yeah Yeah’s, Lyrics Born, etc.

One thing that I find quite disappointing is there is much Asian American internal solidarity in music. While there are hip hop groups comprised of all Asian American members, such as the Mountain Brothers, most Asian American musicians perform and collaborate with white American musicians. So far I’ve only encountered a few bands composed of all Asian American members. I would like to see more of that.

// Describe the great and not-so-great moments of APA music history. //
One great moment in APA music history has to be Yoko Ono’s 2007 album release of Yes, I’m a Witch. Ono has unfortunately bore the onus for breaking up the Beatles for the last 35 years (which by the way was constructed mostly by media rumors and gossips). The vast and stimulating works of art and music has yet to be received much positive attention. This 2007 release consists of recordings of Ono’s music re-rendered and re-produced by leading indie rock, hip hop, and electronica figures including Cat Power, DJ Spooky, Le Tigre, Peaches, Flaming Lips, Antony (of Antony and The Johnsons), and many more. This album introduced Ono’s ahead-of-her-time songwriting skills and vocal style to a wide audience. And it has inspired listeners and critics to take Ono’s music and art seriously, possibly for the first time in history.

The appearance of William Hung on American Idol and subsequently in media marked a peculiar moment in APA music history. On the one hand, his performance yielded an array of responses. Some people uncritically embraced him for comic relief or commended him for being “clever” and achieving instant fame. Others vehemently censured his image and accused him of reinscribing the stereotype of the “Asian gook.” There were of course individuals who took his image literally thus perpetuating the Asian model minority myth. This was a very awkward moment for me. I felt like on the one hand, I had to come forward to assert my opinions about the William Hung “phenomenon”. On the other hand, I was intellectually curious about the complex construction and reception of his stardom. Politically, I would say, it was a not-so-great moment for Asian American representation in music.

Other than that, there are quite a few moments that scholars have discussed: the musical Flower Drum Song, with a mostly Asian cast, depicts the bicultural social life of Chinatown in San Francisco on Broadway and big screen first time in history; the Grain of Sand’s political folk songs that led and reflected the spirit of the Asian American identity politics movement in the early 1970s; and the Chinese American rapper Jin’s winning of “Freestyle Friday” on BET and his subsequent record deal with Ruff Ryders.

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This entry was originally posted on February 24, 2008 on Yellowbuzz.

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Who’s on tour: the have’s or the have-not’s?

There is a theoretical caveat that I can take with my project on touring musicians. As media technology develops in late-capitalist society, some theorists argue that the experiences of everyday life become more mediated. This assessment seems too simplistic to me. Besides the increasing access to mediated cultural material, the circulation of music recordings via the Internet, for instance, what comes with technological development is people’s mobility across geographical boundaries.

The politics implicated in mobility, however, should be qualified here a bit. Some movement patterns are induced by labor migration. Working-class migrant workers belong to this category where movement is voluntary only to an extent and is mostly based on economic necessities. On the other end of the power spectrum are people who move or travel out of leisure, i.e. tourists. In other words, motivation of movement or the social requisites for mobility are tied to the socioeconomic positions of the individuals.

Where do musicians fit in? Are musicians migrant (presumably working-class) workers, or are they more or less music-making tourists? According to my observations so far, many indie touring musicians fall somewhere in between. As the structure of the music industry becomes more conglomerated, there are fewer musicians out there signed to major labels. Thus fewer and fewer musicians have the funds provided by their labels to tour. In this sense, touring is no longer a means to sell records, the profit-driven end from the perspective of the record companies. Then what does touring mean to musicians who tour and subsist out of their own pockets, oftentimes the savings from a day job? Sometimes if you get lucky, and if you’re popular enough, you barely break even from ticket and merchandise sales.

To musicians working at this level of the (amorphous) music industry, touring often means a personal aspiration, whether this serves the end of fulfilling the “rock star dream” or “getting my music heard by real people”, or making social network for fans and other musicians. I think, what compels musicians to get out there is precisely the personal, oftentimes intimate (especially if you’re really indie and low-budget) connections established in the live music setting.

I’m personally guilty of some of these motivations. And our Pinko Communoids tour of Taiwan this past summer was certainly not funded by a record label (our CDR was released by our own “label”). Our very costly trans-Pacific tour to East Asia was funded by student loans (another perk of being in grad school) and university funds, combined with the gracious financial assistance from our friends and families. [If you’re curious, here’s a list of people who made our trip possible, some of whom offered financial support while others emotional support.]

So – back to the beginning, music as heard in the postmodern, late-capitalist, Internet-mediated age is not just highly mediated and impersonal. Music can only be experienced in intimate, live music performances by indie-level musicians on tour. Sure, this dream is not lived out by everyone musician of all social positions. Not everyone can afford a tour around the world (living expenses) and being off from work.

The issue of class is looming though other forms of inequalities can intersect with socioeconomic positioning. Not everyone can feel safe on the road – as there are still lots of social spaces that are quite dangerous to gender (yes, this includes women, still!!), sexual and ethnic minorities. Trust me.
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This entry was originally posted on October 4, 2007 on Yellowbuzz.

Afterthought on “Are You Japanese?”

Here’s a little bit of afterthought on the “Japanese” ethnic capital in experimental or improvised music scene in the US. [Caution – this entry is slightly inflammatory.]

There’s a distinction between being racialized as Asian/Japanese and being understood as being from Japan as a place from where many renowned improv or experimental musicians are from. (Some of these figures include Merzbow, Yoshimaru Nakamura, Otomo Oshihide, and those associated with John Zorn and his label. Here’s a compiled list of some of these individuals.)

I should decompress this statement a bit. Being racialized implies an alignment with the historically Western Orientalist gaze on all people of non-Western features or otherwise known as “Eastern” or “Asian” affiliation. This perspective enables the lumping of all people of Asian descent into one large despite the ethnic, national, and class differences or sometimes conflicts among them. In the US, this perspective has much to do with the stereotype of “perpetual foreigner”, a cultural trope familiar to many of us living here. How many times have I been asked, “oh, where are you from?” If I said, “Virginia,” there would be another question that follows invariably, “but, no, which country are you REALLY from?”

In a slightly different way, being associated with the past and present internationally renowned Japanese musicians is not necessarily a racializing act. To some people, this could be a favorable or “positive” stereotype, although I do wonder how much mileage one gets from being associated with the particular line of Japanese artists. The issue of representation is a big deal in this day and age as movements toward equality seem to be motivated by multicuturalism. This doesn’t shun the possibility of tokenistic representation. After the implementation of Affirmative Action, the identity of Asian Americans conveniently slips in and out of the definition of “minority” depending on the context of representation. Asian Americans sometimes add a nice third color to the fortuitous representation of All-American racial harmony; other times, Asian Americans are called out for being “over-represented” (mostly because the Asian American presence simply overwhelms or even threatens the historically defaulted social dominance of Whiteness)

In real life, this distinction – between being racialized and being aligned with the renowned Japanese musicians – may be collapsed. On the part of the non-Asian observers, it doesn’t matter if the Asians or Asian Americans of ethnicities other than Japanese are grouped or lumped together. It’s not like the non-Asians can lose their social status by mistaking the national or ethnic association of a single individual, although there is the risk of breaching the implicit rules of social interactions and diplomacy, or just experiencing personal embarrassment.

On the other end, Asian/Asian American musicians can navigate the fine line between the two. There are a number of different approaches or strategies to this. Personally, I have a few different tricks in my bag depending on the situation. I sometimes handle the situation with a playful response. Other times, I put on my teacher’s hat that I patiently break down the historical, social, and cultural relationship between Japan and Taiwan. Well, occasionally I just ignore the questions. Most of time, I manage to make interesting small talks out of these inquiries about my “being from Japan” without breaching the rules of social interactions. However, I would rather talk about music, aesthetics, gear, etc, than my ethnicity. Maybe this particular experience can become a common ground for Asian/Asian Americans residing/working in the non-Asian world, despite our distinctive relationship to Japan and Japanese artists.

I would be interested in finding out how others manage this kind of encounter. Please get in touch with me [wendy.f.hsu@gmail.com] if you think you can contribute anecdotes or ideas to my rant/musing about ethnic (mis-)identification by strangers.

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This entry was original on September 17, 2007 on Yellowbuzz.

Asian-American or Asian-Transnational?

I’ve lost track of how long I’ve been browsing the web half-aimlessly. Perfect activity on a Saturday afternoon assaulted by 100-plus-degree heat. I’m looking for music events while planning for my research trip to New York next week. Myspace seems to be logical place to start as it highlights the local affiliations of musicians and music events.

This presents an curious encountering of an online-offline contradiction: regardless of how “virtual” the Internet environment is, people use this virtual social space to construct a sense of local belonging or ties. Not only that, while musicians have a permanent tie to a physical home base, many of them have a transient status of being “on tour” in regions of the US or the world.

I’ve noticed a particular pattern: many Asian American musicians, particularly those who perform in the format of an indie or rock band, are touring or have recently toured Asia. For instance, Asobi Seksu, a Brooklyn-based indie rock band fronted by Japanese American Yuki Chikudate, just finished their tour dates in Japan and Taiwan (last performance at Formoz Festival in Taiwan) in late July. Also, Johnny Hi-Fi, Taiwanese-American Eric Hsu’s Britpop-inspired indie band based out of New York, toured Taiwan, China, and Japan last September and are about to release a bilingual (English-Mandarin) album.

This makes me wonder if Asian American musicians could mobilize their Asian social connections or capital better than those non-Asian Americans. How much of the “Asian tour” has something to do with the personal connections that Asian American musicians have themselves, how much of it has to do with the ethnicity factor? Can ethnicity be translated into a form of social capital?

My speculation is not meant to discount the successful reception of American bands with Asian American members in Asia by all means. I’m sure that there are other reasons (such as a musical compatibility) for Asian listeners to dig music by Asian Americans. (Could this be the reason that Johnny Hi-Fi’s “Familiar Voices Pres…” reminds me of Taiwanese indie sound?)

My recent experiences of touring Taiwan with my band (Pinko Communoids) made me realize that without my personal connections to Taiwan, our dream of an “Asian tour” would be halted by a slew of logistical difficulties. Perhaps, with unsigned groups, the possibility of touring Asia would be augmented when a member of the group has some sort of personal or cultural connections to the country. The ability to speak the language and having distant relatives in other countries on a tour could facilitate the international communication and travel arrangement. Believe me, even with that, we still were warped into the alienating universe portrayed in Sophia Coppola’s Lost in Translation. Perhaps this is the kind of social contact that allows the identity of Asian-American and Asian-transnational to mutually reinforce each other.

If this is the case, why not? It’s not like Asians or Asian Americans dominate the music industry in either the US or the world.

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This entry was originally posted on August 4, 2007 on Yellowbuzz.