[PB 17.1 (2016) 94-95] Perfect Beat (print) ISSN 1038-2909 doi:10.1558/prbt.v17i1.30031 Perfect Beat (online) ISSN 1836-0343 © Equinox Publishing Ltd 2016, Ofce 415, The Workstation, 15 Paternoster Row, Shefeld S1 2BX. Review Wang, Oliver. 2015. Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area. Durham, NC: Duke University Press. ISBN 978-0-8223-7548-7 (pbk). 218 pp. Reviewed by: Niel Scobie, University of Western Ontario, Canada nscobie@uwo.ca Keywords: DJ; DJing; ethnic identity; Filipino; Filipino-American youth; music history; San Francisco Bay Area Legions of Boom is a valuable addition to scholarship specifc to DJ culture and Filipina/o-American involvement in hip-hop (Villegas et al. 2013; Tiongson 2013). Wang chronicles the Filipino mobile DJ scene from the late 1970s until its demise in the mid-1990s. Central to the story is the role the Filipino community played in building a ‘soft infrastructure’ that provided space, funding and opportunities for aspiring DJ crews to perform. Wang considers this support system ‘as much part of the scene story as the DJs themselves’ (57). According to Wang, the scene developed based on three distinct ‘social precon- ditions’: the development of non-stop DJ mixing styles in the 1970s; immigration patterns that led to an infux of Filipino families to northern California; and subur- ban spaces, notably garages, that allowed DJs to perform without the need to enter the tightly-controlled club culture downtown. Additionally, the DJ crews fostered an entrepreneurial spirit enhanced by their family networks that provided both the capital and the occasions (parties, weddings, christenings) to keep the DJs busy. Also central to the book is the male camaraderie and mentorship within the crews. Wang observes that within popular culture the depiction of the DJ is often as a lone fgure, when the reality is many DJs, regardless of genre, are part of larger afliations. The Filipino mobile DJ crews fourished because of their external and internal support systems. Because mobile DJing requires numerous speakers, lights and promotional eforts, the crews were efectively mini-corporations that hired numerous people to help load, set up and promote each event—not to men- tion the DJs that played the music. On the topic of maleness in DJing, Wang attributes the overwhelming per- centage of males among the crews, and DJing in general, to the embodiment and reifying of popular ideals of hegemonic, Western manhood (66). DJing’s empha-