24 Bars to Kill : : Hip Hop, Aspiration, and Japan's Social Margins / / Andrew B. Armstrong.
The most clearly identifiable and popular form of Japanese hip-hop, “ghetto” or “gangsta” music has much in common with its corresponding American subgenres, including its portrayal of life on the margins, confrontational style, and aspirational “rags-to-riches” narratives. Contrary to depictions of...
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Superior document: | Title is part of eBook package: De Gruyter Berghahn Books Complete eBook-Package 2019 |
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Place / Publishing House: | New York; , Oxford : : Berghahn Books, , [2019] ©2019 |
Year of Publication: | 2019 |
Language: | English |
Series: | Dance and Performance Studies ;
14 |
Online Access: | |
Physical Description: | 1 online resource (204 p.) |
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Other title: | Frontmatter -- Contents -- Figures -- Acknowledgments -- Note on Language -- A Hip-Hop Introduction to Other Japans -- Chapter 1. Down in the Ghetto -- Chapter 2. Hypermasculinity and Ghetto/Gangsta Authenticity -- Chapter 3. Represent JP Koreans! Ethnic Identity in Zainichi Hip Hop -- Chapter 4. Rapping for the Nation -- Afterword -- References -- Index |
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Summary: | The most clearly identifiable and popular form of Japanese hip-hop, “ghetto” or “gangsta” music has much in common with its corresponding American subgenres, including its portrayal of life on the margins, confrontational style, and aspirational “rags-to-riches” narratives. Contrary to depictions of an ethnically and economically homogeneous Japan, gangsta J-hop gives voice to the suffering, deprivation, and social exclusion experienced by many modern Japanese. 24 Bars to Kill offers a fascinating ethnographic account of this music as well as the subculture around it, showing how gangsta hip-hop arises from widespread dissatisfaction and malaise. |
Format: | Mode of access: Internet via World Wide Web. |
ISBN: | 9781789202687 9783110997729 |
DOI: | 10.1515/9781789202687?locatt=mode:legacy |
Access: | restricted access |
Hierarchical level: | Monograph |
Statement of Responsibility: | Andrew B. Armstrong. |