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Asian Americans and Hip Hop by Kai Hsu


Newspaper or Magazine Articles

  • Beith, Malcolm. "It's a Hip-Hop World." Newsweek 10 Nov. 2003: 58.
    Beith explores relationships between Asian Americans and African Americans through a discussion of museum exhibits. The exhibits focus on how hip hop links these communities and reveals commonalities based on their struggles. One exhibit titled, "Black Belt" examines the connections between Asian American hip hop and martial arts. Another exhibit utilizes photos of Tupac Shakur to explore solidarity against oppression as a popular hip hop theme. To some extent, African Americans are able to understand and empathize with the struggles of Asian Americans. Many Asian Americans settled in urban areas as they emigrated from their native countries after wars in Korea and Vietnam. Of special significance, Beith argues that hip hop draws strength from globalization becoming more diverse and vibrant as different cultures interact.
  • Chan, Erin. "Slim Shady, Watch It: Asian Rapper's Got It." New York Times 12 Aug. 2003: E1.
    Chinese American rapper Jin is an up-and-coming artist on the hip hop scene. Not only must he prove his skills, but also fight racial stereotypes. The young rapper is unashamed of representing Asian pride, but he does not want to use the idea as a gimmick. Only time will tell if Jin's talents are enough to break through racial barriers and create a pathway for emerging Asian American artists.
  • Chan, Janna. "Best Nightlife Subculture." Seattle Weekly 15 Oct. 2003: 40.
    Asian Americans are making their mark on all aspects of hip hop. They are MCs, DJs, dancers, and rappers. Over the past few years, major clubs in the Seattle area have witnessed this growing subculture. Some view the trend as a mere party culture rather than a movement with real meaning. On the other hand, young Asian Americans who pack Seattle's clubs every weekend understand hip hop as a "global language" for everyone to enjoy. Hip hop also offers an outlet for personal expression and resistance against society's expectations. Hip hop is a way for Asian Americans to express their struggles through a common medium with which others can relate. While hip hop is gaining ground in America, the Asian hip hop scene remains mostly an underground phenomenon.
  • Clark, Michael D. "The Eminem of the East; Texas-Born Rapper Takes Act to Asia." San Diego Union-Tribune 7 Jul. 2003: D3.
    Houston rapper Jeremy Huang faces challenges trying to make it big in America. He explains difficulties faced by Asian Americans trying to succeed in the American music industry. Huang has been forced overseas to pursue his music interests in Taiwan, not knowing when he will return to the United States. Mainstream American culture has yet to recognize a popular Asian American hip hop artist. Although the Mountain Brothers and Jin Tha MC achieved some success in the U.S., they are largely an underground presence.
  • Hackett, Regina. "Hip-Hop, Asian Style: Wing Luke Exhibit Expresses this Cultural Phenomenon in Art." Seattle Post-Intelligencer 5 Jul. 2003: E1.
  • Kessler, Ted. "Ted Kessler Finds the Latest Sounds Are the Oldest." Guardian 25 Oct. 2003: 21.
  • Kim, Hyun. "Jin the Challenger." Vibe 7 Jul. 2003: 87.
  • Knoll, Corina. "Where My People At? Desperately Seeking Asian Americans in Hip-Hop." KoreAm Journal August 2003: 74-81.
    Over the past decade, the American hip hop industry and its audiences have expanded greatly. Knoll addresses the growth of hip hop in American culture and its appeal among Asian Americans. The author also addresses the emergence of Asian American artists as hip hop lifestyles intertwine with American culture. However, Knoll recognizes the obstacles faced by many of these new artists. She highlights several artists who experience few real successes after entering the American hip hop scene. Inadequate marketing efforts to promote Asian faces in the hip hop community result in negative attitudes toward Asian American artists. Regardless of talent, many powerful record executives do not think Asian American rappers will sell records. According to Knoll, an exception to this rule is Jin Tha MC. Jin recently signed with a major record label in the U.S., a rare occurrence in the hip hop industry. However, as Knoll explains, this is only one small step in the larger struggle of Asian American artists. For now, Asian Americans remain on the fringe of hip hop.
  • Liu, Marian. "'Asiatic' Honors Trailblazing 'Angels' in West Coast Rap Game." Milwaukee Journal Sentinel 29 Nov. 2002: 14E.
    Liu highlights a new Asian American hip hop compilation, one of only a handful available in the United States, honoring a fallen fellow hip hop artist. The compilation features a collaboration of both Asian and non-Asian artists hoping to break new ground. These artists want to challenge the association of hip hop and race, making music less about appearance and more about talent. Liu mentions race related difficulties faced by Asian Americans breaking into the U.S. hip hop industry and expresses hope that hip hop will soon allow Asian Americans to succeed.
  • Lowery, Steve. "A Part of a Room of His Own." OC Weekly 13 Nov. 2003: 14.
    Nineteen-year-old David Nguyen began work on a website project at the age of sixteen. Without prior programming knowledge, Nguyen managed to create what is now an online hub for Asian American hip hoppers around the world. His website, Aznraps.com, is the "internet's foremost Asian hip hop website," offering a plethora of goodies for its visitors. The website allows users to download the music of local artists and chat in forums about hip hop or other topics. Aznraps.com is creating interest in Asian American hip hop, reaping praises from the music community.
  • Mok, Davena. "Me and My Big Mouth." South China Morning Post 7 Dec. 2003: 1.
  • Nilson, Dave. "DJ Kaori Spins Def Jam Grooves." Daily Yomiuri 8 May 2003: 14.
  • Petty, Andrew. "Tigers Roar, Who's Listening?" Korea Herald 25 Apr. 2003.
    Petty writes about the plight of Asian Americans attempting to break into the hip hop industry. Using the Korean American hip hop group Drunken Tiger as an example, Petty explains the continued existence of stereotypes that impede Asian American rappers from succeeding in the United States. Asian Americans as martial art experts and studious bookworms are two such stereotypes. Although Drunken Tiger is highly respected in Korea, they have not experienced success in the U.S. Even for the talented group Drunken Tiger, race unfortunately plays a significant role in acceptance. Petty notes that stereotypes must be broken before the U.S. will accept and embrace Asian American hip hop artists.
  • Potterf, Tina. "The Spin on Asian-American Hip-Hop: A New Exhibit Pays Tribute to Artists Who Were Instrumental in Shaping Seattle's Scene." The Seattle Times 20 Jul. 2003: K1.
    Potterf highlights an exhibit at Wing Luke Asian Museum showcasing how Asian Americans helped shape Seattle's hip hop scene. Asian Americans continue to influence Seattle's hip hop community with this exhibit commemorating individuals who were instrumental in building its foundation. Over time, Asian American involvement in hip hop has steadily grown. For many Asian American teens and young adults, hip hop is an important outlet for creative expression and rebellion. The exhibit discussed in Potterf's article accurately reflects this phenomenon.
  • Wartofsky, Alona. "Rap's Fresh Heir: Panjabi MC, Making Some Noise on the Hip-Hop Scene with a South Asian Sound." Washington Post 13 Jul. 2003: N01.
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Websites

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Asian American Studies Program
University of Maryland Undergraduate Studies