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Sneak Preview SNEAK PREVIEW For additional information on adopting this title for your class, please contact us at 800.200.3908 x501 or [email protected] Bassim Hamadeh, CEO and Publisher Michael Simpson, Vice President of Acquisitions Jamie Giganti, Managing Editor Jess Busch, Graphic Design Supervisor Becky Smith, Acquisitions Editor Monika Dziamka, Project Editor Natalie Lakosil, Licensing Manager Miguel Macias, Interior Designer Copyright © 2014 by Cognella, Inc. All rights reserved. No part of this publication may be reprinted, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfi lming, and recording, or in any information retrieval system without the written permission of Cognella, Inc. First published in the United States of America in 2014 by Cognella, Inc. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Images found on cover and interior, adapted from the original: Copyright © 2012 Depositphotos Inc./Blinkblink Cover photo by Mike Dream Cover photo by Jonathan “Took” Evangelista Copyright © 2013 Allan Aquino Printed in the United States of America ISBN: 978-1-62661-283-9 (pbk)/ 978-1-62661-284-6 (br) Reviews of Empire of Funk: Hip Hop and Representation in Filipina/o America: “Hiphop has long been a culture that has brought together different types of people. We know its creators were African American, Latino/a, and West Indian. But what many do not know is the incredible and powerful contributions of the Asian community to hiphop, the most dominant youth culture on the planet since the late 1970s. Empire of Funk: Hip Hop and Representation in Filipina/o America is a very necessary and spectacular contribution to correcting that great omission. And it is my sincere hope that scholars, the media, and hiphop heads will all make Empire of Funk a necessary reference point in our understanding of who we are, the multi-cultural and multi-generational hiphop nation.” —KEVIN POWELL, President/CoFounder, BK Nation “You have to marvel at the evolution of Hip Hop. The music and culture that started off in the Bronx by disen- franchised and overlooked kids from the ravages of the South Bronx, one of the poorest, most desolate places in the country, is now 40 years old and global. During its evolution, we've seen folks of all shapes and ethnic stripes and from a variety of different regions step up and represent in the Global Cipher. We’ve seen folks rap, dance, show off their turntable skills and get busy with the spray can. Now folks are stepping forth and repping in the knowledge cipher. That means we are looking at history, contributions, cultural aesthetics, socialization, political and economic impact, etc. Stepping up to the proverbial mic and throwing down is Kuttin Kandi, Mark R. Villegas and Roderick N. Labrador. They are bringing serious scholarship and “dropping mad science” in this new, fascinating book called Empire of Funk, which chronicles the [infl uence] and contributions Filipinos throughout the diaspora have had on Hip Hop. From the early days of mobile deejays on the West Coast, to the fi rst rap record via Joe Bataan, to one of the fi rst Hip Hop radio shows via Nasty Nes, to the domination of turntablism with folks like DJ QBert, to indepth conversations around the challenges of identity, navigating America, and fi tting into a culture dominated by African Americans and Latinos, no stone is left unturned as this trio and their array of contributors do what Hop has always done and needs to do—Show and Prove—and, in this case, take the game and culture to higher levels. This is a must-read book.” —DAVE “DAVEY D” COOK, journalist, adjunct professor at SF State, host of Hard Knock radio “In Empire of Funk: Hip Hop and Representation in Filipina/o America, we have a new Hip Hop classic! Kuttin Kandi, Roderick N. Labrador, and Mark R. Villegas bring wisdom, awareness, and acknowledgment of Hip Hop's global tribe through the eyes of the Filipina/o community. Moving, historical, and powerful, the stories, the rhymes, the beats, the moves, the politics, the language, and the love all shine through and give voice to a critical part of Hip Hop's history. A must-read!” —JLOVE CALDERÓN, activist, social entrepreneur, and transmedia producer cognella® academic publishing TABLE OF CONTENTS I. STYLES UPON STYLES UPON STYLES: EXPLORING A FILIPINA/O AMERICAN HIP HOP AESTHETIC Feel the Funk 3 Mark R. Villegas Mixipino 5 Anna Alves “We’re up there performing a character” 7 DJ Qbert and Roderick N. Labrador A Note on Terminology ix FOREWORD For The Moment xi Jeff Chang II. CREATING COMMUNITY, BELONGING, AND VOICE My Hip Hop Creation Story 15 Janice Sapigao INTRODUCTION: Filipino American Dance Culture in A Hip Hop Story To Tell: It’s Just Begun xv Suburbia: The Story of Funki Junction 19 DJ Kuttin Kandi Cheryl Cambay Soul in the Whole: The Successes and Challenges of Representation from Kaba Modern and Beyond 23 Arnel Calvario The Struggle & Survival of Empress III. Milan: Excerpts from an Interview THE STREETS IS EVERYWHERE: with Milan Zanotti 29 DJ Kuttin Kandi GEOGRAPHY AND HIP HOP IN FILIPINA/O AMERICA Getting Schooled: Lessons From Researching Filipino American Mobile DJ Crews 37 In a Strange Land 81 Oliver Wang Mark R. Villegas The Golden Age of the Filipino-American Travelling Man … 85 Party Scene in New York City 43 Mario “Nomi” De Mira Cindy L. Custodio Y’all Want This Party Started Right?: Knowledge of Self: From Islam through Fil-Ams Getting Down in Hip-Hop to Freedom 47 Jacksonville, Florida 91 Freedom Allah Siyam Leo Esclamado humming.bird.in.paradise.livingARTfully 55 A Certain Style: A Conversation on Malaya LP Virginia Beach 99 With DJ Kuya D, DJ Delinger, Martin Briones, Jah Light and Love 59 and DJ Kuttin Kandi Seph One Tunnel to Jersey: Guerrilla Words and Upset the Set-Up: A Path Towards the Hip-Hop Crossover in the Northeast 105 Self-Determination Rooted in Jason “Encite” Hortillas Conscious Hip-Hop, Pin@y, and Panethnic Communities 63 Something Out of Nothing 113 Benji Chang Michael “Suitkace” Capito All the World’s a Stage … And All Building Hip Hop from the Bay of Us Merely Soldiers 71 to the World 117 Brian Buño Rob Nasty The Introduction 75 Critical Nostalgia and the Deep Foundation Transnationalism of Apl.de.Ap 121 Ethel Regis-Lu From Queens to the Philippines 127 Knowa Lazarus “A melting pot full of diverse styles” 133 Creed Chameleon and Roderick N. Labrador IV. MASCULINITIES, POWER, AND HIP HOP PINAYISM Hip Hop Pinayism Front and Center: V. Claiming Space, Existence, and the VISUALIZING FILIPINA/O Soundtracks of Our Lives 139 DJ Kuttin Kandi AMERICAN YOUTH CULTURE Resistance and Struggle are Sisters 145 Filming Appeal: A Conversation on Filipina/o American Representation 173 Allyson Tintiangco-Cubales and Dawn B. Mabalon With Gene Cajayon, Patricio Ginelsa, The Queen is Dead… 155 John Castro, DJ Kuttin Kandi, and Mark R. Villegas Bambu Party Flyers 183 Writing Wrongs 159 Glen Parin, Mark Pulido, and Eric Sanford Hopie Hip Hop, Films, and Being Filipina/o: Booty Pop Madness: The Negotiation of Excerpts of a Conversation with Space for Gay Pilipino American Males Filmmakers and Producers 187 and Choreographed Hip Hop 165 With Rik Cordero, Eric Tandoc, Joseph Ramirez Corinne Manabat, Christina Dehaven, and DJ Kuttin Kandi Leo Docuyanan 197 (Photography Series) Jonathan “Took” Evangelista 199 (Photography Series) Riana “Rudifi ed” Stellburg 205 (Photography Series) Aaron “Woes” Martin 209 (Photography Series) The Legacy of Mike “Dream” Francisco 213 (Commentaries by John Francisco) Art as Political Weapon 217 (Manila Ryce with Commentaries) PNOY Apparel/Kampeon 221 (Zar Javier Photography Series with Commentaries) VI. VII. ACTIVISTAS ON THE DOWN PESOS AND CENTS: BEAT: HIP HOP AS PRAXIS SURVIVING INDUSTRIES Towards Praxis-Oriented Filipina/o Performing to Survive: Accepting American Hip Hop 229 Truths and Finding Purpose 272 Roderick N. Labrador DJ Kuttin Kandi Can Hip Hop Be Political? 233 Rap Out Loud 277 Lily Prijoles Rocky Rivera Class is in Session: Hip Hop in “Put your hand up if you’ve never seen a Filipino the Classroom 237 dude rap” 281 Nate Nevado Geologic aka Prometheus Brown Crossing the Color Lines: “You need to defi ne your success Filipino American Alliances the way you want it” 285 Through Activism and Hip Hop 241 DJ Neil Armstrong and Mark R. Villegas Kevin Nadal Building Skills, Building Connections: Identity and Resistance 247 Lessons on the Business of DJing 289 Stephen Bischoff DJ Icy Ice Love and Justice: How Hip Hop Saved Me 251 Homesteady 293 Kiwi Illafonte Krystilez Critical Pedagogy and Filipino The Way of the B-boy: Immigrant American Hip Hop: Analyzing and Dreams, International Success 297 Honoring the Mixtape—A Song for Jerome “Jeromeskee” Aparis and Ourselves 259 Roderick N. Labrador Michael Viola AUTHORAUTHOR BIOSBIOS 303303 A NOTE ON TERMINOLOGY hroughout the book, authors use a variety of terms to refer to people whose ancestry can be traced to the Philippines. In Filipino American Studies, there has been healthy debate about what label should be used T for the identity formation. Are we “Pilipino” or “Filipino” (i.e. the P/F debates),1 “U.S. Pinoys” instead of “Filipino American” (to mark the exilic and diasporic condition of Filipinos as result of Spanish and American colonialism and the contemporary operations of global capitalism), Pin@y or Pinay/Pinoy? We acknowledge that identity nomenclature is politically fraught; what we call ourselves and how we and others label us says a lot about power, representation, language, and naming.
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