front cover of Hip-Hop Japan
Hip-Hop Japan
Rap and the Paths of Cultural Globalization
Ian Condry
Duke University Press, 2006
In this lively ethnography Ian Condry interprets Japan’s vibrant hip-hop scene, explaining how a music and culture that originated halfway around the world is appropriated and remade in Tokyo clubs and recording studios. Illuminating different aspects of Japanese hip-hop, Condry chronicles how self-described “yellow B-Boys” express their devotion to “black culture,” how they combine the figure of the samurai with American rapping techniques and gangsta imagery, and how underground artists compete with pop icons to define “real” Japanese hip-hop. He discusses how rappers manipulate the Japanese language to achieve rhyme and rhythmic flow and how Japan’s female rappers struggle to find a place in a male-dominated genre. Condry pays particular attention to the messages of emcees, considering how their raps take on subjects including Japan’s education system, its sex industry, teenage bullying victims turned schoolyard murderers, and even America’s handling of the war on terror.

Condry attended more than 120 hip-hop performances in clubs in and around Tokyo, sat in on dozens of studio recording sessions, and interviewed rappers, music company executives, music store owners, and journalists. Situating the voices of Japanese artists in the specific nightclubs where hip-hop is performed—what musicians and fans call the genba (actual site) of the scene—he draws attention to the collaborative, improvisatory character of cultural globalization. He contends that it was the pull of grassroots connections and individual performers rather than the push of big media corporations that initially energized and popularized hip-hop in Japan. Zeebra, DJ Krush, Crazy-A, Rhymester, and a host of other artists created Japanese rap, one performance at a time.

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front cover of A Righteous Smokescreen
A Righteous Smokescreen
Postwar America and the Politics of Cultural Globalization
Sam Lebovic
University of Chicago Press, 2022
An examination of how the postwar United States twisted its ideal of “the free flow of information” into a one-sided export of values and a tool with global consequences.

When the dust settled after World War II, the United States stood as the world’s unquestionably pre-eminent military and economic power. In the decades that followed, the country exerted its dominant force in less visible but equally powerful ways, too, spreading its trade protocols, its media, and—perhaps most importantly—its alleged values. In A Righteous Smokescreen, Sam Lebovic homes in on one of the most prominent, yet ethereal, of those professed values: the free flow of information. This trope was seen as capturing what was most liberal about America’s self-declared leadership of the free world. But as Lebovic makes clear, even though diplomats and public figures trumpeted the importance of widespread cultural exchange, these transmissions flowed in only one direction: outward from the United States. Though other countries did try to promote their own cultural visions, Lebovic shows that the US moved to marginalize or block those visions outright, highlighting the shallowness of American commitments to multilateral institutions, the depth of its unstated devotion to cultural and economic supremacy, and its surprising hostility to importing foreign cultures. His book uncovers the unexpectedly profound global consequences buried in such ostensibly mundane matters as visa and passport policy, international educational funding, and land purchases for embassies. Even more crucially, A Righteous Smokescreen does nothing less than reveal that globalization was not the inevitable consequence of cultural convergence or the natural outcome of putatively free flows of information—it was always political to its core.
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