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The open letter also expressed problems with representing Pilipina women on a global scale. The girls weren’t told to do anything perverse like strip or freak a guy.the director just told everyone to have fun and act as if they were really at a party." There wasn’t some higher authority telling us to think and be sexy for the video or else we wouldn’t be in it…There was no wardrobe person, all the girls came dressed on their own. The depiction of the 1930s ‘dime dancers’ was also cast in an unproblematized light, as these women seem to exist solely for the sexual pleasure of the manongs." Elisa Estrera, UC Berkeley student and dancer in the Bebot videos, emphasizes that "…some people fail to see that this is just how people (more specifically the girls) were acting and depicting themselves. The signatories of the letter expressed that they were "utterly dismayed by the portrayal of hyper-sexualized Pilipina ‘hoochie-mama’ dancers, specifically in the Generation 2 version, the type of representation of women so unfortunately prevalent in today's hip-hop and rap music videos. Ginelsa did not direct the mother (a comedian) to use an accent. " can’t expect a short music video to represent a whole culture-just a subset of it," Dang added. By getting rid of your accent, you might be destroying part of your cultural identity." What if they replace it with a perfect English accent? I know some people are proud of their accents. James "Slim" Dang, a Vietnamese American dancer and a participant in the video, does not agree with the signatories’ comments, noting the difficulties to encapsulate ethnic identities: "The open letter discusses the exaggerated accent of the mother.
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She is not like a tough or strong mother, but almost like a coarse asexual mother, and it is telling that she is the only female character in the video with a full figure." The open letter claimed that the video utilized restricting stereotypes of Pilipina women like "the whore and the shrill mother." An excerpt from the open letter reads, "The mother character was also particularly troublesome.She seems to play a dehumanized figure, the perpetual foreigner with her exaggerated accent, but on top of that, she is robbed of her femininity in her embarrassingly indelicate treatment of her son and his friends. The open letter is directed to the artist apl.de.ap, director Patricio Ginelsa, and Xylophone Films, the group who helped produced the videos. Other academics requested to add their signature to the open letter. In September 2006, a month after the release of the videos, an open letter criticizing the videos for perceived cultural shortcomings was put in circulation for people to read. This is where the controversy begins and some people start getting upset. In effect, it fits in with the majority of popular hip-hop videos in the mainstream media with sure-hit selling points: glamour and sex. The second video, "Generation Two," also celebrates Pilipino pride, but primarily appeals to a more modern crowd. The video also intended to raise awareness of the Little Manila Foundation, which is in need of $1.5 million to build a museum for recently restored buildings of the historic town.
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Elaborate costumes and backgrounds give viewers a sense of what life was like as a Pilipino immigrant during that period.
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The story depicts the average day of Pilipino asparagus farmers who work hard during the day and party for a night on the town. The first video, called "Generation One," is set in historical "Little Manila" located in Stockton, California, during the 1930s. Unlike with most tracks, there are actually two music videos for "Bebot." The videos showcase the generation gap for PilAms. Bebot translates into "beautiful woman" or more loosely "hot chick." With Pilipino American (PilAm) director Patricio Ginelsa, who has directed music videos to tracks like "The Apl Song," "The Debut," and "Lumpia," the videos are meant to introduce a positive representation of Pilipinos/PilAms into the mainstream and instill PilAm pride. Funded independently of their record label, Interscope Records, the music group embarked on making not one but two videos for the song "Bebot" rom their 2005 album "Monkey Business." The lyrics of "Bebot" are completely versed in Tagalog, the national language of the Philippines. apl.de.ap of Black Eyed Peas fame, helped make a huge contribution to the Pilipino community. This is from hardboiled, a magazine from UC Berkeley.