Cover

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pp. 1-1

Title Page, Copyright Page

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pp. 2-5

Contents

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pp. v-vi

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Acknowledgments

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pp. vii-x

First and foremost, I want to thank my mother—affectionately known as “Malou” to her friends—for her steadfast love and support at every stage of my career in academia. This book is dedicated to her. I also want to acknowledge Mian, Papa (R.I.P.), Tita Lil, Tito Fred, and the Ramos and Cunanan families for their support through the years, ...

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Introduction: Claiming Hip-hop

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pp. xi-xxiv

On September 7, 1997, the International Turntablist Federation (ITF) held its second annual World Championships at the Palace of Fine Arts in San Francisco in various skill categories: scratching, beat juggling, team or DJ bands, and best all around.1 In all these categories, Filipino DJs made up the bulk of the competitors, ...

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1. The African Americanization of Hip-hop

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pp. 1-16

In recent years, scholarly and popular discourse addressing hip-hop and its various articulations has grown exponentially to the point where there is now a fairly substantial body of work that can be categorized under the rubric of “hip-hop studies.” The growth of this literature, however, has not proven to be seamless. ...

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2. The Racialization of DJ Culture

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pp. 17-32

In the ongoing debate over the racial scope and boundaries of hip-hop it has been underspecified how the African Americanization of hip-hop has largely been an uneven process with particular elements (i.e., MCing and DJing) more closely aligned to blackness at particular historical moments, ...

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3. “The Scratching Is What Got Me Hooked”: Filipino American DJs in the Bay Area

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pp. 33-48

Filipino youth involvement within DJing only makes sense in relation to the cultural landscape of the Bay Area. It is very much a function of developments specific to the region at a particular historical juncture. In particular, the DJs I interviewed were very much influenced, one way or the other, by the burgeoning mobile DJ scene ...

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4. “DJing as a Filipino Thing”: Negotiating Questions of Race

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pp. 49-64

The DJs I interviewed are well aware of the history of hip-hop, or what has come to be constructed as the conventional narrative of hip-hop. They are very much aware of the racialized discourses that have come to define the contours of hip-hop, and they acknowledge hip-hop’s black antecedents and subscribe to the notion ...

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5. The Normative Boundaries of Filipinoness

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pp. 65-88

In claiming hip-hop as their own, the DJs I interviewed are engaging in a practice that is not completely new. Instead, these DJs are building on a tradition when they look to new cultural options and alternatives and claim as their own an expressive form not considered Filipino in a way that speaks to their specific circumstances and concerns. ...

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Conclusion: Reimagining the Hip-hop Nation

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pp. 89-102

It has now become commonplace to refer to hip-hop and its constituency as part of a nation: the hip-hop nation. In an article on hip-hop nationalism, Jeffrey Louis Decker traces the initial usage of the phrase “hip-hop nation” to a Village Voice article published January 19, 1988. ...

Notes

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pp. 103-118

Index

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pp. 119-126