In this lively ethnography Ian Condry interprets Japanrsquo;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 ldquo;yellow B-Boysrdquo; express their devotion to ldquo;black culture;rdquo; 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 ldquo;realrdquo; Japanese hip-hop. He discusses how rappers manipulate the Japanese language to achieve rhyme and rhythmic flow and how Japanrsquo;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 Japanrsquo;s education system; its sex industry; teenage bullying victims turned schoolyard murderers; and even Americarsquo;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 performedmdash;what musicians and fans call the genba (actual site) of the scenemdash;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.
#1908296 in eBooks 2002-11-27 2002-11-27File Name: B00EHK72DW
Review
0 of 0 people found the following review helpful. Wonderful bookBy ConnoisseurThis is not a superficial survey; but a rather detailed; in depth study of even the seemingly unimportant landmarks in music history. If you are a music student or a music lover; you will learn A TON from this book. The only con is the smaller print (looks like a reprint edition); but it is clear and in fact; makes the book less bulky.19 of 19 people found the following review helpful. Hucbald rocks!By Dr DaveThis is truly a great book. It is always astonishing to come face to face with a comprehensive one-volume work on any topic. Invariably; I ask myself; how is it possible that one person could study and write about so many things? Such books are rare; but this is one of them. The book begins with music of the Franks and takes a whirlwind tour through the centuries; revealing a wealth of insight into the major and minor genres in western music. Although the book is often pigeonholed as a standard reference work for musicology students cramming for exams; it is much more than that; and there are ideas here that you wont find elsewhere. In addition; anyone who has the patience to tease through a few complicated musical forms can read this book and learn from it--the prose is straightforword and not a bit sesquipedalian. There are those who say that the parts dealing with medieval and renaissance music are the most rewarding; but I found the whole book interesting. The book is fun to read alongside Gerald Abrahams "Concise Oxford History of Music."3 of 3 people found the following review helpful. Very well written; especially interesting is its way of ...By PABLOVery well written; especially interesting is its way of explaining the transitions; for example; from rennaisance to triadic music.