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This chapter explores cross-racial performances of the mundane by focusing on the cultural conflict between African Americans and Korean Americans that came to the fore during the so-called Black-Korean conflict. It analyzes two works that both address the relationship between the everyday and the spectacular and its influence on interracial relations: Elizabeth Wong's play Kimchee and Chitlins (1990) and Anna Deavere Smith's solo show Twilight: Los Angeles, 1992 (1993). Kimchee and Chitlins and Twilight together demonstrate that performing the mundane across lines of race, gender, and class has the potential to bring to light the elusive networks of influence that make resolving interracial conflicts across those lines so difficult. This chapter shows how everyday behaviors that exemplify the contradictions of the racial mundane can embody both intractable differences and their potential attenuation through the retraining of individual conduct.

One day, Carol Van Dyk and Pascal Deweze decided they wanted to be Emmylou Harris and Gram Parsons. Not an unreasonable ambition, except that Van Dyk (of Bettie Serveert) and Deweze (of Sukilove) both hail from the Low Countries rather than the Appalachians. Recorded in Antwerp with a bunch of Belgian indie-rockers, \"Chitlin' Fooks\" is surprisingly convincing, if occasionally culturally tone deaf.

[...] records eclipsed live shows as the top moneymakers, new sounds grew on the road and in nightclubs, through the dance business rather than in the recording studio.

The inspiration of Gram Parsons and Emmylou Harris is officially an international phenomenon. How else to explain the surprisingly successful Americana harmonies delivered from Northern Europe via Chitlin' Fooks?

Multiply this scene a thousand times and you'd have the raw material for a documentary on the chitlin' circuit, that string of venues where black entertainers not only made a decent living in a segregated time but also honed their chops and got ready to raise the curtain on a new sound called rock 'n' roll.

In the first definitive study of the chitlin' circuit, Mr. Lauterbach uncovers a story as sensational as any day-glo circuit-show poster, featuring \"the numbers racket, hair straighteners, multiple murders, human catastrophe, commercial sex, bootlegging, international scandal, female impersonation, and a real female who could screw a light bulb into herself -- and turn it on.\"