Scholarship in the field of hip-hop studies has convincingly argued against a
“cultural grey out” and in favor of “local idiosyncrasies” in the mobility of cultural
forms. That said, no published study has focused on the movements of the
artists themselves in a transpacific context that places scenes in Japan, South
Korea, Indonesia, Cambodia, and Vietnam in conversation with one another.
Varying histories of colonialism and postcolonial movements are essential aspects
of each social context. I argue that the transpacific lens allows scholars to
draw out the movements of individuals, influences, and emergent trends in the
art form to better understand how artists are, metaphorically, scratching back
and forth between representing originality on the one hand and the need for
popular appeal on the other. I draw on vinyl itself as a metaphor for this article,
which is framed as an EP.