Huong's 3/24 response
“Yeah, I’m Chinese. And what?” I think this opening line to Jin’s song, Learn Chinese represents the crux of the message he tried to get across to his audience. According to Wang, Jin “flips the race card back by embracing his racial differences and uses them to ridicule his rivals.” Listening to Learn Chinese for the first time, I didn’t pick up on some of the subtle references towards his ethnicity, but upon a closer listening, I heard the familiar pentatonic scales with the lowered 3rd scale degree playing in the background in a very twangy “Asian” way. But then over top of this very stereotypical Asian sound, Jin is rapping, “STOP, the chinks do it again/ This ain’t Bruce Lee, ya'll watch too much T.V” This creates for himself an identity as an Asian American rapper – but not one to be lumped with every other Asian American – he is unique.
I think Jin’s whole idea of uniqueness and breaking away form stereotypes really comes across in the skit titled, Chinese Beats. Again, I think this track really hammers home Wang’s argument that Jin was flipping the race card to break free from stereotypes very well. The DJ that is supplying beats for Jin is under the impression that Jin would want to have all the very oriental sounding beats and effects in his music because in all the beats that he has laid down, there are these elements. In the first beat, you can hear the stereotypical cymbals and oriental sounding instruments somehow being altered to sound even more oriental. Then again in the second beat, you can hear the pentatonic scale with a zither like instrument also being altered to make it sound more foreign and oriental. Jin rejects all the beats that the DJ has laid down and says that “I am trying to change the game.” I really like the last line of the skit, “pshh. Aint you Chinese?” said by the DJ laying down tracks of which none were picked by Jin to use. I think it throws in the face of the listener the fact that Jin is not going to be your stereotypical Asian American artist, but that he is trying to break these bounds and create his own image.
Tuesday, March 24, 2009
Chris A Tuesday Resp
Listening first to rapper Jin's track "Chinese Beats" and reading the skit's lyrics/conversation, I immediately picked up on Jin's use of sly humor but also, his maintenance of a distinct seriousness essential to hip-hop songs and the quintessential rapper image. Since Jin is Chinese, the opposing character in the skit who proposes multiple beats proposes all which aim to express Asian identity through the music and instrumentation. While hearing the beats the [guy] is dropping for Jin, Jin maintains his sanity and his patience in hearing these ignorant representations of 'Orientalized' music. After multiple beats resounding repetitively with synthesizers of somewhat nasally timbred plucked strings, Jin finally exclaims “I need that fire yo I need something different: I'm trying to change the game.” After one final try of a beat with the same instrumental characteristics and including a small flailing female voice, the producer displays total misunderstanding of Jin's goal in finding a beat, calling her “Chinese Caroline”: mocking the tasteless blend of cultural elements and eventually calling it absolute garbage.
In the rhythm of “Learn Chinese” (another Jin track which resonates with Asian-American self-awareness and pride), Jin's ethnic identity is conveyed through the song's lyrics as well as the musical imagery, yet the style melds more into contemporary hip-hop than those beats heard in “Chinese Beats.” In “Learn Chinese,” the beat gravitates more around the bass movement, which seems to have a uniquely twanged timbre compared to the excessively booming bass many rap beats strive for. As the chorus arrives, its distinctly plucked and highly “Orientalized” tone displays a smoother blend of cross-cultural elements, unattainable in “Chinese Beats” due to their highly Americanized sounding appearance. In lieu in extracting the Asian-American identity of the performer as the highlight of the musical instrumentation, Jin (in “Learn Chinese”) promotes his identity by conveying it within the context of the hip-hop music, adding subtle “Orientalized” instrument lines which he cleverly raps over expressing his strength in Asian-American identity. By speaking the language of hip-hoppers (using traditional contemporary templates for his songs(including a booming bass, memorable chorus, and also a verbal rap hook), his message becomes clear and resounds with the listener following a listen.
Oliver Wang, in an analysis of “Learn Chinese” highlights Jin's ability to verbally debunk cultural stereotypes of Asians in his rap. Not only are his lyrics as mainly positive on this front, but his music conveys this same point as well. Through his seemless blend of notoriously African-American hip-hop elements with some foreign, almost “Oriental” timbres, Jin is able to exact his identity as an Asian American hip-hopper in two ways: on both musical fronts. In an earlier example in this same article, Chops of the Mountain Bros. (Asian American musicians) sang, on "Invisible man": “sit in the aisle in the back of class silent//'cause I can't relate//debate is about race, today that makes me out of place//only a two-sided coin so me I'm thru trying to join...//I'm disagreein with steven believin even the blind could see//that ebony and ivory could never be applied to me" (pg 7), summing up American racial awareness and also displaying the dichotomy of race in our society. Relating directly to the lyrics of Jin, which also echo the same feeling unnecessary of disclusion in the highly dichotomous racial view of mainstream society, both lyrics attempt to attack Asian-American mis-representation in extremely clever ways. Although their commercial successes have not attainable on the large scale of superstar-dom, both groundbreaking acts definitely blaze the trail for not only Asian-American, but also, other minority musicians to show their own unique identity through song and lyrics.
In the rhythm of “Learn Chinese” (another Jin track which resonates with Asian-American self-awareness and pride), Jin's ethnic identity is conveyed through the song's lyrics as well as the musical imagery, yet the style melds more into contemporary hip-hop than those beats heard in “Chinese Beats.” In “Learn Chinese,” the beat gravitates more around the bass movement, which seems to have a uniquely twanged timbre compared to the excessively booming bass many rap beats strive for. As the chorus arrives, its distinctly plucked and highly “Orientalized” tone displays a smoother blend of cross-cultural elements, unattainable in “Chinese Beats” due to their highly Americanized sounding appearance. In lieu in extracting the Asian-American identity of the performer as the highlight of the musical instrumentation, Jin (in “Learn Chinese”) promotes his identity by conveying it within the context of the hip-hop music, adding subtle “Orientalized” instrument lines which he cleverly raps over expressing his strength in Asian-American identity. By speaking the language of hip-hoppers (using traditional contemporary templates for his songs(including a booming bass, memorable chorus, and also a verbal rap hook), his message becomes clear and resounds with the listener following a listen.
Oliver Wang, in an analysis of “Learn Chinese” highlights Jin's ability to verbally debunk cultural stereotypes of Asians in his rap. Not only are his lyrics as mainly positive on this front, but his music conveys this same point as well. Through his seemless blend of notoriously African-American hip-hop elements with some foreign, almost “Oriental” timbres, Jin is able to exact his identity as an Asian American hip-hopper in two ways: on both musical fronts. In an earlier example in this same article, Chops of the Mountain Bros. (Asian American musicians) sang, on "Invisible man": “sit in the aisle in the back of class silent//'cause I can't relate//debate is about race, today that makes me out of place//only a two-sided coin so me I'm thru trying to join...//I'm disagreein with steven believin even the blind could see//that ebony and ivory could never be applied to me" (pg 7), summing up American racial awareness and also displaying the dichotomy of race in our society. Relating directly to the lyrics of Jin, which also echo the same feeling unnecessary of disclusion in the highly dichotomous racial view of mainstream society, both lyrics attempt to attack Asian-American mis-representation in extremely clever ways. Although their commercial successes have not attainable on the large scale of superstar-dom, both groundbreaking acts definitely blaze the trail for not only Asian-American, but also, other minority musicians to show their own unique identity through song and lyrics.
the undefeated champ, the asian american lyricist: jin
In attempts to cross boundaries placed on the hip-hop industry (attributed to its origins and roots as primarily an African American art form), a large majority of Asian American hip hop artists have decided to emphasize their talents, rather than focus on their racial identity, as if not to allow their ethnicity to function as a gimmick for their success. This allows audiences to focus on their talent as an artist as a means to counteract the opinions of their critics. This phenomenon plays a role in obtaining success for other non-black hip-hop artists. I can easily recall Eminem’s debut and how hip-hop fans received him: “He’s pretty good for a white boy.” But was it the Eminem’s race that made him a successful rapper overnight, or was it the concept of his “real” or “gritty” upbringing that made him relatable to hip hop audiences?
Similar to Eminem, Jin crosses racial boundaries by becoming one of the most famous Asian American rappers. I remember watching BET’s 106 & Park each Friday to see who he would challenge and even how ecstatic I was upon his induction into the Rap Battle Hall of Fame, after being undefeated for (7) weeks. Looking back I have to question what was the “it” factor that made Jin so successful? What made audiences acknowledge his potential? Oliver Wang argues that, “[R]ather than downplaying these [racial] differences as previous rappers had, Jin strategically embraced them, drawing attention to his race, in attempt to minimize it” (Wang 55). It was no secret that Jin was Asian American and he consequently chose not to neglect his identity in his quest to become a successful hip-hop artist. Wang argues, “Jin recognized that his audience could not ignore his racial difference, and he was effectively daring potential critics to make an issue of it” (Wang 56).
Jin directly addresses his racial identity several of his rap songs; he tackles race by intending to refute stereotypes of Asians (or Asian-Americans). Listening to at least one track on Jin’s debut album The Rest is History offers substantial evidence as to how Jin goes about proving himself as a rapper. Wang’s analysis of Jin’s first single “Learn Chinese” supports the notion that Jin “racialize[s] himself without being prompted” (Wang 56). He opens the track with the line: “Yeah, I’m Chinese […] and what?” Here, Jin lays it out on the table that he is Asian and it’s almost as if he dares any contender to challenge him. The track’s rhythm is very much a typical hip-hop beat, “laced” with an Oriental riff, one would say. In addition to the music, Jin’s lines are full of countless stereotypes of the Asian, followed by lines that reject these stereotypes. Instead of the Chinese delivery man, Jin asserts this new identity of the hypermasculine Chinese man; a gangster who, in turn, represents all Asian Americans, which is portrayed through the lyrics of “Learn Chinese”: “The days of the pork fried rice and the chicken wings / coming to your house by me is over” or “and the only po-po we know / is the pigs on the hook out by the window.”
I do agree with Wang’s analysis and would even go beyond it to say that the reason for Jin’s success can be attributed to his approach and attempts to merge two identities that don’t necessarily fuse well: his Asian-American identity and rap as an African-American form of music. Whether or not this fusion functions as a gimmick, it certainly can account for Jin’s mainstream success and his existence in the rap industry. Even the title “Learn Chinese” alludes to the idea that audiences will accept Jin, as an Asian American and as a rapper.
Jin-
What is Jin trying to do? What does he contribute to the rap? Well, he has demonstrated with his songs and his style that even Asian American can conform to the rules of the rap game. His style, music, and the story he tells appear to be just as contrived as any other rapper out there. He has contributed nothing but the sterotypical rapper in an Asian American wrapper.
Yes, he confronts his Asian American appearance head-on. Wang states that Jin's goal was by "tackling his racial difference head on...he attempted to get his potential audience to look past his race and focus on his talent" (Wang 57). But the problem I see here is that, we don't get any deeper than he's Chinese. What unique experience does he bring to the table other than the fact that he doesn't look like the average rapper?
"Chinese Beats" is interesting as it plays up the Asian sounds using a high pitch "ting" and picking sound that is associated with China. It's a funny skit that just repeats the same sound over and over again in a different rhythmic form. Jin goes from irritated to completely angry, as he states he's "trying to change the game" and the beatmaker keeps giving him the same thing.
"Learn Chinese" is an oversexualized, overly violent version of Chinatown. The beat grooves easily underneath Jin's witty rap with Chinese phrases and words thrown in between the chorus. The bridge consists of a chorus of women first singing and some Chinese and then immediately goes into the women singing in English about the sex appeal of "Mr. Jin" Jin tries to dispel the image of Chinese men being weak and unmasculine by surrounding himself with hoards of beautiful, exotic black and Asian women who praise him.
Well, I guess if Jin's goal was to "change the game", he hasn't changed much of it.
Yes, he confronts his Asian American appearance head-on. Wang states that Jin's goal was by "tackling his racial difference head on...he attempted to get his potential audience to look past his race and focus on his talent" (Wang 57). But the problem I see here is that, we don't get any deeper than he's Chinese. What unique experience does he bring to the table other than the fact that he doesn't look like the average rapper?
"Chinese Beats" is interesting as it plays up the Asian sounds using a high pitch "ting" and picking sound that is associated with China. It's a funny skit that just repeats the same sound over and over again in a different rhythmic form. Jin goes from irritated to completely angry, as he states he's "trying to change the game" and the beatmaker keeps giving him the same thing.
"Learn Chinese" is an oversexualized, overly violent version of Chinatown. The beat grooves easily underneath Jin's witty rap with Chinese phrases and words thrown in between the chorus. The bridge consists of a chorus of women first singing and some Chinese and then immediately goes into the women singing in English about the sex appeal of "Mr. Jin" Jin tries to dispel the image of Chinese men being weak and unmasculine by surrounding himself with hoards of beautiful, exotic black and Asian women who praise him.
Well, I guess if Jin's goal was to "change the game", he hasn't changed much of it.
responding to Jin
I believe Oliver Wang is wrong when he accuses Jin of "willingly racialized himself without being prompted." It's true that "Learn Chinese" opens with the statement: "Yeah. I'm Chinese ... and what?" Oliver Wang interpreted this as both an affirmation and a challenge, effectively "daring potential critics to make an issue of it." However, even before listening to the tracks, it was my interpretation that this song wasn't starting with challenge, but a continuation of a meta conversation and his answer with a dismissal. After listening to the two tracks, which also happen to be sequential, one notices that the end of track 8(Chinese Beats) ends with the line "psh! ain't you Chinese?" This confirms my original thought that this wasn't a challenge but a response. It makes sense that Jin composes and arranges his tracks as a whole, and this was just a way to bridge two tracks.
I think that Steven and Mia's interpretations of Chinese Beats amply describes what Jin was trying to do with this track. My basic interpretation of it is that Jin doesn't want his race to be the only characteristic that people know about him. I think by having this track as a skit on the album instead of a song highlights the importance of the meaning. Jin easily could have created a song with lyrics that express the same meaning. However, often a song with a meaning hidden in the lyrics, the meanings go misinterpreted or even missed. I think by conveying his message by this skit, it would be hard for a listener to miss or misinterpret.
I find it interesting that no one thus far has offered up a full interpretation of "Learn Chinese" and that most have only focused on the first line "Yeah, I'm Chinese and what?" I admit I don't listen to rap, nor do I know anything about lyrical analysis but I thought it would be fun to try. While, I don't get the point of this message, I feel that some parts have more meaning than the literal translation. For example the chorus "Ya'll gonna learn Chinese" I don't believe it can be taken literally that someone is going to learn the language Chinese, I take this as a play on the sometimes ambiguous meaning of the word "Chinese." Does "Chinese" refer to the language or the people? I think in this case, Jin is saying he is going to educate the listener on Chinese people. The line "When the pumps come out, ya'll gon' speak Chinese" I believe this means that when you see the truth about Chinese people, it's going to be scary like going face to face with a pump shotgun, and you'll be speaking gibberish(like Chinese sounds like to most people, at least specifically to the audience Jin is singing to). This idea is reiterated with the lines "And the battle of the gun is gonna make you speak another language and amigo I ain't talking about Spanish". I see Jin as trying to break the model minority myth, to show that Asians can be dangerous, something to be feared. Jin seems to be saying, I might not be Bruce Lee but I'm still to be feared. "This ain't Bruce Lee, I watch too much TV. this is a game of death when I aim for your chest". I think the line "And the only po-po we know is the pigs on the hood out in the window" also has a double meaning. It first gives the imagery of a pig hanging outside a restaurant in Chinatown, however, pigs on the hood out in the window may be implicating a more violent scene of a policeman killed and splayed across the hood of a car. Either way, it seems with the line "the only po-po we know," seems to be saying that Asians have to look out for themselves, because they do not have law enforcement on their side. I bet that as a class we can probably do better than what I have done alone. I think it would be interesting to see what people think of some of my interpretations.
I think that Steven and Mia's interpretations of Chinese Beats amply describes what Jin was trying to do with this track. My basic interpretation of it is that Jin doesn't want his race to be the only characteristic that people know about him. I think by having this track as a skit on the album instead of a song highlights the importance of the meaning. Jin easily could have created a song with lyrics that express the same meaning. However, often a song with a meaning hidden in the lyrics, the meanings go misinterpreted or even missed. I think by conveying his message by this skit, it would be hard for a listener to miss or misinterpret.
I find it interesting that no one thus far has offered up a full interpretation of "Learn Chinese" and that most have only focused on the first line "Yeah, I'm Chinese and what?" I admit I don't listen to rap, nor do I know anything about lyrical analysis but I thought it would be fun to try. While, I don't get the point of this message, I feel that some parts have more meaning than the literal translation. For example the chorus "Ya'll gonna learn Chinese" I don't believe it can be taken literally that someone is going to learn the language Chinese, I take this as a play on the sometimes ambiguous meaning of the word "Chinese." Does "Chinese" refer to the language or the people? I think in this case, Jin is saying he is going to educate the listener on Chinese people. The line "When the pumps come out, ya'll gon' speak Chinese" I believe this means that when you see the truth about Chinese people, it's going to be scary like going face to face with a pump shotgun, and you'll be speaking gibberish(like Chinese sounds like to most people, at least specifically to the audience Jin is singing to). This idea is reiterated with the lines "And the battle of the gun is gonna make you speak another language and amigo I ain't talking about Spanish". I see Jin as trying to break the model minority myth, to show that Asians can be dangerous, something to be feared. Jin seems to be saying, I might not be Bruce Lee but I'm still to be feared. "This ain't Bruce Lee, I watch too much TV. this is a game of death when I aim for your chest". I think the line "And the only po-po we know is the pigs on the hood out in the window" also has a double meaning. It first gives the imagery of a pig hanging outside a restaurant in Chinatown, however, pigs on the hood out in the window may be implicating a more violent scene of a policeman killed and splayed across the hood of a car. Either way, it seems with the line "the only po-po we know," seems to be saying that Asians have to look out for themselves, because they do not have law enforcement on their side. I bet that as a class we can probably do better than what I have done alone. I think it would be interesting to see what people think of some of my interpretations.
You want to say I'm Chinese/ son, here's a reminder/ check your Timberlands/ they probably say "Made in China"
“I’m no Eminem/ but I’m not wack either/
The only reason you compare me to him/
Is because I’m not black either.”
These lyrics from the song “I Don’t Know” are a clear indication of Jin’s awareness towards his Asian identity and its function in the hip-hop world. As Oliver Wang stated, “Jin was intimately aware of how race played into perceptions of him…both [he and Eminem] played up their racial difference as a way to disarm potential critics” (56).
In his song “Learn Chinese,” Jin acknowledges the issue again with his terse and introductory exclamation “I’m Chinese…and what?” According to Wang, this is both a challenge and an acknowledgement of his Asian identity, his way of “calling-out” the critics before they do it to him. The lyrics also point to a desire from Jin to establish his own place in the rap world as an MC not modeled not on others. Jin does not want to be aligned with Eminem, the other non-black rapper, but rather prefers being “China man.” Finally, he challenges Chinese stereotypes in his song hoping to create a Jin devoid of such images as a delivery boy or Bruce Lee and instead build one on the ideas he provides like, “And your girl, she love the Jin motion, rub it on her body like body shop lotion.” While he confronts the effeminate Asian male stereotype often lamented by the Asian American community, the alternative he offers is not necessarily any better. Is a nerdy, feminine Asian man any better than a hypermasculine misogynistic Asian male? In my opinion, no. It’s simply trading one bad fortune cookie for an old piece of watermelon – in other words, he switched stereotypes: “Jin failed to create an alternative to the problematic construction of black masculinity; he was merely changing the face of it” (Wang 56).
An interesting part of Jin’s “Learn Chinese” is the typical Orientalist riff he utilizes, a rhythm often associated with Asians and what was examined earlier in the year in Flower Drum Song. His intentions are unclear on whether incorporation of the stereotypical sound was meant to be satirical, but it would logically follow from Jin’s attentive lyrics and his racial awareness that he employed this background against his words for a reason. Perhaps this was his juxtaposition of traditional (or what has been traditionalized for Asian American) versus new, American’s vision of the East living in the West as oppose to Jin’s vision of the East/West embodiment.
“Chinese Beats (Skit)” offers an insight into Jin’s struggle to effectively and comfortably fuse his race and his music. His rejection of the “Chinese Beats” at the end of the track and his vocal frustration speak to the obstacles he faces: the always prevalent suggestion of using Orientalist riffs and the expectation for him to like Orientalist riffs because he is Asian. While I commend Jin for his smart rhymes, I cannot but agree with Wang on his statement concerning Jin’s face over black masculinity. His “black” masculinity does not hide the fact that women are moaning his name while embracing his “Jin motion.” Should we celebrate? The new Asian American male paradigm is a Chinatown gun-totting, sex machine. But in order to be fair, Jin’s lyrics should then be held to the standards of his peers, which, if anything at the time, were more than willing to encourage this machismo behavior. Should the responsibility fall on Jin, as an Asian American male, to uphold different virtues? Or does this suggestion just circle back to the model minority?
The only reason you compare me to him/
Is because I’m not black either.”
These lyrics from the song “I Don’t Know” are a clear indication of Jin’s awareness towards his Asian identity and its function in the hip-hop world. As Oliver Wang stated, “Jin was intimately aware of how race played into perceptions of him…both [he and Eminem] played up their racial difference as a way to disarm potential critics” (56).
In his song “Learn Chinese,” Jin acknowledges the issue again with his terse and introductory exclamation “I’m Chinese…and what?” According to Wang, this is both a challenge and an acknowledgement of his Asian identity, his way of “calling-out” the critics before they do it to him. The lyrics also point to a desire from Jin to establish his own place in the rap world as an MC not modeled not on others. Jin does not want to be aligned with Eminem, the other non-black rapper, but rather prefers being “China man.” Finally, he challenges Chinese stereotypes in his song hoping to create a Jin devoid of such images as a delivery boy or Bruce Lee and instead build one on the ideas he provides like, “And your girl, she love the Jin motion, rub it on her body like body shop lotion.” While he confronts the effeminate Asian male stereotype often lamented by the Asian American community, the alternative he offers is not necessarily any better. Is a nerdy, feminine Asian man any better than a hypermasculine misogynistic Asian male? In my opinion, no. It’s simply trading one bad fortune cookie for an old piece of watermelon – in other words, he switched stereotypes: “Jin failed to create an alternative to the problematic construction of black masculinity; he was merely changing the face of it” (Wang 56).
An interesting part of Jin’s “Learn Chinese” is the typical Orientalist riff he utilizes, a rhythm often associated with Asians and what was examined earlier in the year in Flower Drum Song. His intentions are unclear on whether incorporation of the stereotypical sound was meant to be satirical, but it would logically follow from Jin’s attentive lyrics and his racial awareness that he employed this background against his words for a reason. Perhaps this was his juxtaposition of traditional (or what has been traditionalized for Asian American) versus new, American’s vision of the East living in the West as oppose to Jin’s vision of the East/West embodiment.
“Chinese Beats (Skit)” offers an insight into Jin’s struggle to effectively and comfortably fuse his race and his music. His rejection of the “Chinese Beats” at the end of the track and his vocal frustration speak to the obstacles he faces: the always prevalent suggestion of using Orientalist riffs and the expectation for him to like Orientalist riffs because he is Asian. While I commend Jin for his smart rhymes, I cannot but agree with Wang on his statement concerning Jin’s face over black masculinity. His “black” masculinity does not hide the fact that women are moaning his name while embracing his “Jin motion.” Should we celebrate? The new Asian American male paradigm is a Chinatown gun-totting, sex machine. But in order to be fair, Jin’s lyrics should then be held to the standards of his peers, which, if anything at the time, were more than willing to encourage this machismo behavior. Should the responsibility fall on Jin, as an Asian American male, to uphold different virtues? Or does this suggestion just circle back to the model minority?
"Chinese Beats" and "Learn Chinese"
According to Oliver Wang’s article “Rapping and Repping Asian,” Jin has been called “the Golden Child” perhaps largely due to his success and exposure in the hip hop world. Since hip hop is an industry that has closer ties with the African American community, both Jin and other rappers such as Eminem have had a more difficult time being accepted. One reason for their success, according to Wang, is that “both played up their racial difference as a way to disarm potential critics.”
Listening to Jin’s tracks “Chinese Beats” and “Learn Chinese,” both tracks display the fact that he is Chinese very openly and address and attack some of the prejudices against being Chinese. In “Chinese Beats,” Jin displays his power and influence since the track is mainly about how he does not approve of the beats or material that he is presented with. Unlike the stereotypical images of the Asian male, Jin really asserts himself in this song and voices his opinions. By doing so, he portrays an image that is the opposite of the passive, demasculinized Asian male.
In “Learn Chinese,” Jin does add certain “Asian” elements within the music. The rhythm of this song is especially interesting. They seem to be syncopated, which is a common expectation of Eastern Music that is not necessarily true. However, in closer examination, the beats are not actually syncopated, it just sounds that way. The issue is in the 3rd beat as the rhythm goes 1, 2, 3+, 4. At times the 3rd beat is de-emphasized by using a quieter percussion instrument or left out all together. Other times, the 3rd beat is emphasized with a louder instrument. This unexpected twist creates an illusion that the beats are syncopated when they are actually fairly straightforward. This song also includes certain Asian elements such as the use of pentatonic scales in certain riffs. What’s also interesting is that the song was produced by Wyclef, so this is another example supporting the idea that non-African American rappers need African American producers to be successful.
Jin’s ethnic background is made obvious in these songs. Wang’s analysis only focuses on the lyrics and not the music itself. He states that in a way, Jin kills “the archetype of the Chinese delivery boy in favor of a hypermasculine Chinatown gangsta.” Wang also says that Jin may have portrayed Chinatown in a negative manner since he emphasizes the dangerous aspects of the neighborhood, a stigma that residents of Chinatown have been trying to get rid of for years.
I agree with Wang in that Jin does come across as hypermasculine through the use of sexual images such as. I also agree with Wang in that Jin falls into “problematic constructions of black masculinity” by rapping about being a gangster in a dangerous neighborhood. However, Jin does combat the discriminations and stereotypes placed against him and does include some aspects of his ethnicity in his music.
As for the negative images, hip hop music is a genre that portrays hypermasculinity, violence, and is demeaning to women. So unless people decide to stop buying music with these negative images and the genre changes, successful hip hop artists and artists who are trying to become successful will continue to make music with these themes.
Listening to Jin’s tracks “Chinese Beats” and “Learn Chinese,” both tracks display the fact that he is Chinese very openly and address and attack some of the prejudices against being Chinese. In “Chinese Beats,” Jin displays his power and influence since the track is mainly about how he does not approve of the beats or material that he is presented with. Unlike the stereotypical images of the Asian male, Jin really asserts himself in this song and voices his opinions. By doing so, he portrays an image that is the opposite of the passive, demasculinized Asian male.
In “Learn Chinese,” Jin does add certain “Asian” elements within the music. The rhythm of this song is especially interesting. They seem to be syncopated, which is a common expectation of Eastern Music that is not necessarily true. However, in closer examination, the beats are not actually syncopated, it just sounds that way. The issue is in the 3rd beat as the rhythm goes 1, 2, 3+, 4. At times the 3rd beat is de-emphasized by using a quieter percussion instrument or left out all together. Other times, the 3rd beat is emphasized with a louder instrument. This unexpected twist creates an illusion that the beats are syncopated when they are actually fairly straightforward. This song also includes certain Asian elements such as the use of pentatonic scales in certain riffs. What’s also interesting is that the song was produced by Wyclef, so this is another example supporting the idea that non-African American rappers need African American producers to be successful.
Jin’s ethnic background is made obvious in these songs. Wang’s analysis only focuses on the lyrics and not the music itself. He states that in a way, Jin kills “the archetype of the Chinese delivery boy in favor of a hypermasculine Chinatown gangsta.” Wang also says that Jin may have portrayed Chinatown in a negative manner since he emphasizes the dangerous aspects of the neighborhood, a stigma that residents of Chinatown have been trying to get rid of for years.
I agree with Wang in that Jin does come across as hypermasculine through the use of sexual images such as. I also agree with Wang in that Jin falls into “problematic constructions of black masculinity” by rapping about being a gangster in a dangerous neighborhood. However, Jin does combat the discriminations and stereotypes placed against him and does include some aspects of his ethnicity in his music.
As for the negative images, hip hop music is a genre that portrays hypermasculinity, violence, and is demeaning to women. So unless people decide to stop buying music with these negative images and the genre changes, successful hip hop artists and artists who are trying to become successful will continue to make music with these themes.
Jin Assignment - Mia
At the turn of the century (2000), Asian American hip hop artists began to use their Asian American identities in a new way -- to influence the way their audiences perceived race. Jin, arguably the most famous Asian American hip hop artist of the past decade, “strategically embraced them, drawing attention to his race in an attempt to minimize it.” (55)
At the beginning of “Learn Chinese,” Jin states “Yeah I’m Chinese…and what?” For Wang, this is both an affirmation and a challenge to his racial identity. By blatantly calling out his heritage to the public, Jin was “effectively daring potential critics to make an issue of it.” (56) Aware that “race played into the perception of him,” Jin sought to address the issue head on. (56) With the incorporation of pentatonic scale or “oriental riff” throughout “Learn Chinese,” Jin is further identifying his ethnicity and challenging critics to comment on his ethnicity.
In “Chinese Beats” however, Jin seeks to demonstrate something different. The producer continues to play tracks for Jin that have east Asian instruments as part of the beats including the zute family of sting instruments, specifically the pipa? This skit is a parody, as the producer cannot look past Jin’s ethnicity to provide him with a beat that does not include some kind of “oriental riff.” The two go through numerous tracks, as Jin states, “thats coo' u know but I need something different yo…” But song after song has an Asian sound that Jin seeks to distance himself from.
In this sense, we see too sides of Jin: one embracing his ethnicity and the other shying away from it. He knows that by using sounds that are associated with his East Asian heritage on EVERY one of his tracks, he will begin to hurt himself as he becomes more of a novelty and becomes less “universal.” Universal is something that Jin aims to achieve as he attempts to illustrate a commonality between himself and his audiences.
Wang goes on in the article to draw comparisons between Eminem and Jin in the hip hop world. Wang boasts “Jin and Eminem prodded listeners to confront the specter of race, forcing skeptics to confront their own biases.” (57) The two hip hop artists are able to make this very sensitive issue more identifiable. Jin asks his audience to find a commonality and “rather than broadcasting these issues just to an Asian American audience he sought to educate and entertain a broad, implicitly multiracial audience.” (59)
At the beginning of “Learn Chinese,” Jin states “Yeah I’m Chinese…and what?” For Wang, this is both an affirmation and a challenge to his racial identity. By blatantly calling out his heritage to the public, Jin was “effectively daring potential critics to make an issue of it.” (56) Aware that “race played into the perception of him,” Jin sought to address the issue head on. (56) With the incorporation of pentatonic scale or “oriental riff” throughout “Learn Chinese,” Jin is further identifying his ethnicity and challenging critics to comment on his ethnicity.
In “Chinese Beats” however, Jin seeks to demonstrate something different. The producer continues to play tracks for Jin that have east Asian instruments as part of the beats including the zute family of sting instruments, specifically the pipa? This skit is a parody, as the producer cannot look past Jin’s ethnicity to provide him with a beat that does not include some kind of “oriental riff.” The two go through numerous tracks, as Jin states, “thats coo' u know but I need something different yo…” But song after song has an Asian sound that Jin seeks to distance himself from.
In this sense, we see too sides of Jin: one embracing his ethnicity and the other shying away from it. He knows that by using sounds that are associated with his East Asian heritage on EVERY one of his tracks, he will begin to hurt himself as he becomes more of a novelty and becomes less “universal.” Universal is something that Jin aims to achieve as he attempts to illustrate a commonality between himself and his audiences.
Wang goes on in the article to draw comparisons between Eminem and Jin in the hip hop world. Wang boasts “Jin and Eminem prodded listeners to confront the specter of race, forcing skeptics to confront their own biases.” (57) The two hip hop artists are able to make this very sensitive issue more identifiable. Jin asks his audience to find a commonality and “rather than broadcasting these issues just to an Asian American audience he sought to educate and entertain a broad, implicitly multiracial audience.” (59)
Monday, March 23, 2009
Jin and his sick skillz
As a Chinese-American rap artist, Jin acknowledges that he is not only a member of the hip-hop community but also represents Asian America as well. Unlike the Asian rappers before him, Jin embodies the new breed of Asian rappers who take the initiative and “strategically embraces” (as Wang points out) his racial differences. Jin makes his ethnicity visible to his audience—making sure his listeners know that he is not afraid of being different. As Wang points out, rap and hip-hop both have close ties with the black community. Even though this creates many difficulties for Asian American rappers, Jin’s success is proof that there can be a “viable space of acceptance and success” for future Asian American rappers.
In looking at Jin’s single, Learn Chinese as well as the skit that precedes it on his CD, we can focus on the intricacies of Jin’s music, and see how he deals with the issues of race and identity. Starting with the skit, Jin purposely brings to the forefront the racism which he faces on a daily bases. Instead of glossing over such phenomenon, Jin uses the skit, in which an individual brings to Jin some beats and demos, to show the ignorance and assumptions of those around him in the industry. As the skit opens, Jin is heard being very receptive(and possibly optimistic) of potential material—but visitors comments reveal questionable tastes. As the beats start to play the individual states “it’s like my Chinese club joint,” and later exclaims to another sample “It’s Chinese Outkast…Chinese Caroline.” All the while, Jin becomes more dismayed at the samples lack of any quality or style. (And impatience at this individual’s shallow belief that since Jin is Chinese, everything he does must be somehow Chinese as well) These samples are purposely made to sound “Orientalist,” full of discordant plucks of strings and virtually pentatonic scales. Jin is eventually fed up and proclaims “When the fuck does the beat drop?!” Followed soon by “That shit is garbage!” The other individual, in a sincerely exasperated tone (seemingly shocked that Jin, the Chinese rapper, would be so against his samples full of “Asian style”) replies”Pssssh, ain’t you Chinese?”
The track then immediately transitions over to his song Learn Chinese. The first line has Jin, almost replying to where we last left off with the individual, “Yeah I’m Chinese, and what?!” We see through the skit (its overt sarcasm and witty use of the ignorant individual) as well as Jin’s reaction and reply that he is not afraid to address the issue of race. Furthermore, as Wang states, Jin “flip[s] the race card back on his opponents by embracing his racial differences and then using it to ridicule his rivals.” (53) Even though Wang is talking specifically about Jin’s freestyle approach, we can clearly see Jin’s use of his ethnicity in order to make those who are ignorant of the complexities of race (like the individual in Jin’s skit) appear as the real loser. In doing so, Jin forces the audience to recognize his ethnicity and respect him for it.
In looking at Jin’s single, Learn Chinese as well as the skit that precedes it on his CD, we can focus on the intricacies of Jin’s music, and see how he deals with the issues of race and identity. Starting with the skit, Jin purposely brings to the forefront the racism which he faces on a daily bases. Instead of glossing over such phenomenon, Jin uses the skit, in which an individual brings to Jin some beats and demos, to show the ignorance and assumptions of those around him in the industry. As the skit opens, Jin is heard being very receptive(and possibly optimistic) of potential material—but visitors comments reveal questionable tastes. As the beats start to play the individual states “it’s like my Chinese club joint,” and later exclaims to another sample “It’s Chinese Outkast…Chinese Caroline.” All the while, Jin becomes more dismayed at the samples lack of any quality or style. (And impatience at this individual’s shallow belief that since Jin is Chinese, everything he does must be somehow Chinese as well) These samples are purposely made to sound “Orientalist,” full of discordant plucks of strings and virtually pentatonic scales. Jin is eventually fed up and proclaims “When the fuck does the beat drop?!” Followed soon by “That shit is garbage!” The other individual, in a sincerely exasperated tone (seemingly shocked that Jin, the Chinese rapper, would be so against his samples full of “Asian style”) replies”Pssssh, ain’t you Chinese?”
The track then immediately transitions over to his song Learn Chinese. The first line has Jin, almost replying to where we last left off with the individual, “Yeah I’m Chinese, and what?!” We see through the skit (its overt sarcasm and witty use of the ignorant individual) as well as Jin’s reaction and reply that he is not afraid to address the issue of race. Furthermore, as Wang states, Jin “flip[s] the race card back on his opponents by embracing his racial differences and then using it to ridicule his rivals.” (53) Even though Wang is talking specifically about Jin’s freestyle approach, we can clearly see Jin’s use of his ethnicity in order to make those who are ignorant of the complexities of race (like the individual in Jin’s skit) appear as the real loser. In doing so, Jin forces the audience to recognize his ethnicity and respect him for it.
Assignment: Analyzing Jin
Analyze Jin’s tracks “Chinese Beats” and “Learn Chinese” on his album Rest is History. Both tracks are posted on Collab. Read the lyrics:
"Chinese Beats"
"Learn Chinese"
Listen to the rhythm closely. Your analysis should focus on Jin’s expression of his ethnicity. Discuss what Oliver Wang says about Jin and “Learn Chinese.” Comment on Wang’s interpretation: you can support or challenge his claims by offering your own interpretation of Jin’s tracks.
Post your analysis on the class blog by 7pm, Tuesday March 24. And make sure that you read your peers' posts and comment whenever appropriate.
"Chinese Beats"
"Learn Chinese"
Listen to the rhythm closely. Your analysis should focus on Jin’s expression of his ethnicity. Discuss what Oliver Wang says about Jin and “Learn Chinese.” Comment on Wang’s interpretation: you can support or challenge his claims by offering your own interpretation of Jin’s tracks.
Post your analysis on the class blog by 7pm, Tuesday March 24. And make sure that you read your peers' posts and comment whenever appropriate.
Tuesday, March 17, 2009
Wikipedia Assignment 3: Sketching a Draft
Great work, everyone! Make sure that you take the time to read everyone's post and comment on them.
Here's the list of the guiding questions that will help you formulate the next draft. Some of these questions may be more relevant than others for you.
Here's the list of the guiding questions that will help you formulate the next draft. Some of these questions may be more relevant than others for you.
- What stands out the most in your research? Is it history? Number of figures? Important figures? Dates? Representational styles? Communities? Scholarly literature? Connections to historical/social events?
- Which scholars/writers have written on your subject? What do they say about it?
- What is the significance of this genre in Asian America?
- How are you defining "Asian American" in your research?
- What strategies are these musicians (or the music industry) using to represent themselves?
- Is everything empirical and factually supported?
- Is there anything that would fall into another section?
- Is there anything that would fall into the introductory section?
Asian American Hip-Hop
This is a very rough outline, but I've included the format that I'd like to include, as well as artists that I'd like to explore and their contributions to the hip hop community. I'm not sure if I want to include breakdancing or info about producers. I found several media clips that I'll plan to add
General History of Hip-Hop in Asian America
Timeline of Asians in Hip-Hop
Key dates
1990s emergence…politically charged groups
1995 release of Key Kool album
1998 re-emergence of music
2004 first Asian American to get signed to a major label
Influences/Contributions to the Hip-Hop Community & Culture
Fusion of traditional Asian music with American music
Transition into mainstream culture
Offering of new perspectives to Hip-Hop
Artists
Jin
Illmind
Mountain Brothers
Asiatic Apostles
Yellow Peril
Seoul Brothers
Key Kool & DJ Rhemmatic
Jamez
Tom Shimura
Visionaries
DJs
DJ Phatrick
Filipino American DJS
DJ Q-Bert
Regions
New York
Los Angeles
New Jersey
California
Breakdancing?
Media Outlets
Producers
Quote that I want to include in the general overview
"Hip Hop is American. I mean we're Asians, but the problem is we got to look at ourselves as American before we look at ourselves as Asians. Just because you're doing hip hop doesn't mean you're doing a black thing. You're doing an American thing", says Chung.
Sources
Le, C.N. 2009. "Martial Arts, Video Games, & Hip-Hop." Asian-Nation: The Landscape of Asian America. (March 17, 2009).
http://74.125.95.132/search?q=cache:93KTPAJcgocJ:yellowworld.org/arts_culture_media/282.html+asian+american+rappers&cd=5&hl=en&ct=clnk&gl=us&client=safari
Rap's freshest face is Asian American By Alona Wartofsky | Special to The Washington Post
http://www.modelminority.com/article924.html
http://asianweek.com/111298/coverstory.html
Asian Americans and hip-hop By Oliver Wang
Mog.com
General History of Hip-Hop in Asian America
Timeline of Asians in Hip-Hop
Key dates
1990s emergence…politically charged groups
1995 release of Key Kool album
1998 re-emergence of music
2004 first Asian American to get signed to a major label
Influences/Contributions to the Hip-Hop Community & Culture
Fusion of traditional Asian music with American music
Transition into mainstream culture
Offering of new perspectives to Hip-Hop
Artists
Jin
Illmind
Mountain Brothers
Asiatic Apostles
Yellow Peril
Seoul Brothers
Key Kool & DJ Rhemmatic
Jamez
Tom Shimura
Visionaries
DJs
DJ Phatrick
Filipino American DJS
DJ Q-Bert
Regions
New York
Los Angeles
New Jersey
California
Breakdancing?
Media Outlets
Producers
Quote that I want to include in the general overview
"Hip Hop is American. I mean we're Asians, but the problem is we got to look at ourselves as American before we look at ourselves as Asians. Just because you're doing hip hop doesn't mean you're doing a black thing. You're doing an American thing", says Chung.
Sources
Le, C.N. 2009. "Martial Arts, Video Games, & Hip-Hop." Asian-Nation: The Landscape of Asian America.
http://74.125.95.132/search?q=cache:93KTPAJcgocJ:yellowworld.org/arts_culture_media/282.html+asian+american+rappers&cd=5&hl=en&ct=clnk&gl=us&client=safari
Rap's freshest face is Asian American By Alona Wartofsky | Special to The Washington Post
http://www.modelminority.com/article924.html
http://asianweek.com/111298/coverstory.html
Asian Americans and hip-hop By Oliver Wang
Mog.com
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