Publication Type: Conference Paper/Unpublished Manuscript
Abstract: This is an ethnographic study of Asian American musicians in the American independent rock scene. As the second or later generations of Asian immigrants, they are trying to find their own voice and speak for the concerns of their community. Looking for Asian solidarity, they sometimes reach beyond national boundaries, making a revitalized connection with Asian 'homelands.' A new kind of diaspora that emerges from these musicians' efforts can be interpreted as a sign of global culture. Although the medium of rock music is not particularly well-suited for defining a racial minority's identity, Asian American indie rock is growing fast as a musicians' community.

Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Rock music in general, and indie rock in particular, has been characterized as ‘white
music’ in terms of both musicians and audiences. While the two biggest racial minority
groups – blacks and Latinos – have their own rich musical traditions that distinguish
themselves from the white-dominant rock culture, Asians do not seem to have something
equivalent in their musical culture. For many young Asian Americans, especially those
who were born in the U.S. soil, the music of choice often has the origin of ‘other races’
instead of some Asian ‘fatherlands’ where their parents or ancestors came from.

The popularity of hiphop culture among Asian American youths is well known, and
Asian American rap artists and turntablist DJs have been noted by some scholars. But a
lesser known fact is the Asian presence within the ‘white majority’ music community
known as the indie rock scene. This study draws an ethnographic sketch of Asian
Americans in the indie rock scene.
It goes back to the late 1980s, when Sooyoung Park started a band named Bitch
Magnet and later Seam in Chicago. Around the same time, Mike Park in the San
Francisco Bay Area, was leading the seminal ska punk band Skankin’ Pickle. Not only
their musical achievement but also organizational work for indie rock as well as for Asian
communities set the tone for the new Asian American musicians who followed suit.

Based on the interviews with these two Parks (not related) and other Asian American
musicians, I will trace the journey for a new musical-racial identity of Asian Americans.
As more and more bands with Asian descent, Asian-themed cultural festivals, and even
Asian American musical tours pop up recently, this journey is now fully in its course.