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Journals positions Volume 15 Issue 3

A Japanese rapper who calls himself Banana Ice released a song in 1995 called “Imitation + Imitation = Imitation,” in which he ridicules young hip-hop fans who darken their skin as a sign of respect toward African American musicians. “Your parents, your grandparents are Japanese,” he raps. “You can never be the black person you want to be.”1 Although the percentage of Japanese rappers, break-dancers, and hip-hop fans who tan their skin or wear dreadlocks is quite small, such body practices symbolize a dubious two-sidedness to the uses of hip-hop in Japan. Kreva, of the group Kick the Can Crew, put it succinctly when he explained of the dreads positions 15:3 doi 10.1215/10679847-2007-008 Copyright 2007 by Duke University Press positions 15:3 Winter 2007 he wore: “First, it’s meant as a sign of respect towards black culture, but secondly, I want to stand out [medachitai]” (personal communication, 1997). Banana Ice, rapping more generally about skin-darkened hip-hop fans, sees above all the mark of conspicuous, mercurial consumption: in summer, black at the beach natsu wa umi de kuroku in winter, black on the ski slopes fuyu wa yama de kuroku with free time, going to tan salons hima arya hiyake

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Yellow B-Boys, Black Culture, and Hip-Hop in Japan: Toward a Transnational Cultural Politics of Race

Condry, Ian
positions , Volume 15 (3)
Duke University Press – Dec 1, 2007

More Info
  • Publisher Duke Univ Press
  • Copyright Copyright 2007 by Duke University Press
  • ISSN 1067-9847
  • eISSN 1527-8271
  • D.O.I. 10.1215/10679847-2007-008
  • Publisher site Get PDF  

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