1.After reading Justice Stephen Field'sdecision inChae Chan Ping v. United States(also titledThe Chinese Exclusion Case), write a letter to Justice Field about the case. You should draw on your analys

1.After reading Justice Stephen Field'sdecision inChae Chan Ping v. United States(also titledThe Chinese Exclusion Case), write a letter to Justice Field about the case. You should draw on your analysis and understanding of the case, lectures, andMaking Asian Americato inform your letter. Your letter should demonstrate a command of the case--its reasoning, its context, and its effects--and an understanding of how it fits into Asian American history and immigration history. To write the letter, you can choose to write it as yourself from today looking back on the case or you can write as though you are a contemporary of Justice Field. If you write as a contemporary, be sure to include a sentence (or clause) or two about who you are (e.g. "As a newly arrived merchant from Rome, I am writing to congratulate you on ..." or "I come from Amoy and I have been studying business and English in Connecticut for two years now and I must tell you ..."). You may use quotations from the decision, but any information or argument fromMaking Asian Americaor lecture must be paraphrased. The letter should be formatted as a letter, double-spaced, in a standard 12-point font, with regular margins, 2 page minimum, 3 page maximum. Please name your file using this convention: Last Name_First Name_ASAM1_Essay 1. Please upload the file to Gauchospace as a Word doc or a PDF.

2. Reading Response

(on Frith and Garofalo)

Please answer each of the following questions, drawing from the readings where applicable. Responses to each question should be a minimum of 100 words.

1. Frith’s chapter focuses on deconstructing popular narratives of musical meaning. He critiques the idea that rock and roll is inherently sexual or sensual music, and asserts that this association is ultimately rooted in racist discourses that equate blackness with the (primitive) body and whiteness with the (civilized) intellect. What evidence does he draw on to develop this argument?
2. How are styles politicized and racialized in popular culture through the civil rights era, according to Garofalo? Why does Garofalo focus on sound, instrumentation, and style over lyrical content?
3. In his chapter, Frith distinguishes between the “musicological” and “sociological” aspects of music. Reflecting on our last three weeks of readings, and on your own experience with music, do you think that “musicological” and “sociological” aspects of music are ever fully separable? Why or why not?

(below is the reading for question)