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.
History and Hip-Hop Mobility in the Transpacific (EP)
William B. Noseworthy
Manijeh Nasrabadi, Maryam Aras, Alexander Djumaev, Sina Zekavat, Mary Elaine Hegland, Rosa Holman, and Amina Tawasil
among ethnomusicologists. The pioneering contribution to this sphere belongs to Razia Sultanova. Her work in the field of gender in post-Soviet Central Asian music continues to influence contemporary studies. The book under review is without exception to