Japanese hip-hop
Although rather informal and small scale, the early days of Japanese hip hop provide the history for the emergence of the cultural movement.
In this respect, Japanese hip-hop offers a representation of cultural globalization, as it expanded despite criticism on the part of record companies and major media outlets.
In turn, the synthpop and electro music of Yellow Magic Orchestra and Ryuichi Sakamoto, and their use of the Roland TR-808 drum machine, had a significant influence on early key American hip hop figures such as Afrika Bambaataa[4] and Mantronix.
According to Takagi Kan, a first generation Japanese MC, "I couldn't tell what was with the rap and the DJing...but with the breakdancing and graffiti art, you could understand it visually.
[8] Crazy-A organizes the annual "B-Boy Park," which happens every August, and draws a large number of fans and dozens of break dancing groups.
"[This quote needs a citation] Ito Seiko, Chikado Haruo, Tinnie Punx and Takagi Kan were rappers that emerged from Japan at this time, and they proved to be rather successful.
The first hit was Schadaraparr's "Kon'ya wa būgi bakku" (Boogie Back Tonight) by Scha Dara Parr and Ozawa Kenji, followed by East End X Yuri's "Da.
[8] This sudden popularity of J-rap, which was largely characterized as party rap, sparked a debate over 'realness' and authenticity between commercial and underground hip-hop artists.
[15] An example of an underground attack on mainstream J-Rap is Lamp Eye's "Shogen," in which rapper You the Rock disses the more pop oriented group Dassen Trio.
Writer Ian Condry argues that the rappers on this track are closely emulating the traditional macho posturing of rap, citing influences such as Public Enemy and Rakim.
As movies like 'Flashdance' (1983) reached the islands, more and more young people began dancing on the street and other public arenas, which added to its cultural integration.
The Japanese would hear these rapper's music spinning in clubs, exposing to them a small, narrow view of American West Coast hip hop.
Some Japanese hip-hop fans would even go to tanning salons to darken their skin, and style their hair in afros or dreadlocks to imitate the "cool" looks of Africans,[19] although they are ridiculed by others, including other hip-hoppers.
[24] The appearance of these "Jiggers" has shown a growing popularity with the hip-hop subculture in Japan despite what can be viewed as racial ideological tendencies of the country towards Black people, and all non-Japanese in general.
It is important to note however, despite the seemingly racist tendencies toward Africans and the simultaneous embrace of black culture, the Japanese have a very different construction of racial ideology than the US.
"[dubious – discuss] Because of this context, "jiggers" and the young teens who wear blackface rebel by embracing individual identities that are different from the norm.
[19] People who tan in order to get a darker skin complexion (especially the females, mainly those who are part of the ganguro subculture) are considered blackfacers.
[19] Those partaking in blackface are "ordinary high school and college kids" and they pursue African American "blackness" with great passion.
[19] Their dedication to this cultural transformation is evident through their interest in even more underground American hip hop acts such as the Boot Camp Clik.
It is the wealth and prosperity characteristic of these demographic groups at these specific points in time that can lend us understanding to when, why, and how one culture can most fluidly assimilate into another.
The "Elvis Effect" occurs "when white participation in traditionally black avenues of cultural production produces feelings of unease."
[8] Rhymes were also added to Japanese hip-hop by altering the basic structure of the language by eliminating the final auxiliary verbs in raps and instead placing key words at the end of lines.
This made rhyming in Japanese far easier, both in basic language and in regard to themes like the concept of social responsibility versus emotional needs.
[31] Genba, also known as the actual site, is the place and space for established and future underground hip-hop artists to gain and maintain recognition.
Conversely, the business success of some rappers is not rejected but seen with a touch of envy, especially if they manage to go frequently to nightclubs such as Zeebra to sustain their networks and keep up to date on the latest trends.
According to Ian Condry, in his book[8] he outlines the idea and fact that, clubs have become one of the most convenient and top promoting places for Japanese hip hop.
KOHH has been mentioned several times as a major influential force to the Japanese hip hop scene in recent years.
"[8] The group has also written socially critical lyrics, in songs attacking the Japanese government, as well as the United States for invading Iraq.
[6] They used hip-hop to address social issues of the time, such as: the inability of college graduates to find employment and the media overload of advertising sex and violence.
Takashi Murakami paints Japanese cultural objects and icons repetitiously and markets them on all sorts of products including keychains, mouse pads, T-shirts and Louis Vuitton handbags.
