PIPELINES AND TIGHT RHYMES: VIRTUAL MEDIA AND HIP-HOP IN JAPAN & NEW ZEALAND

This thesis looks at hip-hop as a contemporary pop cultural phenomena and its relationship with media in the construction of underground hip-hop communities in Japanese and New Zealand settings. My work on hip-hop in Japan illustrates how global networks influence a traditionally mono-cultural society reckoning with a style connected to African-American experience. A New Zealand setting illustrates how virtual networks allow connections to wider hip-hop culture from a geographically isolated setting and legitimises the local scene. In looking at both settings side-by-side, this thesis underscores the various ways that virtual networks and their increased visibility are used contemporaneously in the construction of local hip-hop scenes as a tool to understand and promote hip-hop music. Based on a mix of virtual fieldwork, fieldwork in New Zealand, as well as fieldwork in Japan, this thesis shows that questions of authenticity in hip-hop have become more complex through different manifestations of hip-hop culture that challenge traditional understandings of the genre’s meaning. This is a result of the varying levels of user-agency in virtual networks. In a Japanese setting, we see an increased importance placed on virtual networks, allowing hip-hop fans and musicians alike to be part of the immediate conversation. Language barriers to hip-hop’s dominant English vernacular mean that this conversation is generally filtered through the most dominant networks and ‘mainstream’ culture. These impressions of hip-hop are the driving forces of style for the Japanese scene, leading to a collapse of the dichotic underground/mainstream divide seen in the earlier generations of Japanese hip-hop. In a New Zealand setting, virtual networks are used to connect with English speaking hip-hop musicians overseas, allowing musicians to operate in ‘underground’ virtual communities that are not physically manifested in New Zealand. By drawing attention to the ways that hip-hop culture is formed, legitimized, and understood in these two geographic and cultural settings, this thesis demonstrates that hip-hop culture exists in an integral relationship with virtual media and explores questions of appropriation, imitation, and authenticity

PIPELINES AND TIGHT RHYMES: VIRTUAL MEDIA AND HIP-HOP IN JAPAN & NEW ZEALAND

This thesis looks at hip-hop as a contemporary pop cultural phenomena and its relationship with media in the construction of underground hip-hop communities in Japanese and New Zealand settings. My work on hip-hop in Japan illustrates how global networks influence a traditionally mono-cultural society reckoning with a style connected to African-American experience. A New Zealand setting illustrates how virtual networks allow connections to wider hip-hop culture from a geographically isolated setting and legitimises the local scene. In looking at both settings side-by-side, this thesis underscores the various ways that virtual networks and their increased visibility are used contemporaneously in the construction of local hip-hop scenes as a tool to understand and promote hip-hop music. Based on a mix of virtual fieldwork, fieldwork in New Zealand, as well as fieldwork in Japan, this thesis shows that questions of authenticity in hip-hop have become more complex through different manifestations of hip-hop culture that challenge traditional understandings of the genre’s meaning. This is a result of the varying levels of user-agency in virtual networks. In a Japanese setting, we see an increased importance placed on virtual networks, allowing hip-hop fans and musicians alike to be part of the immediate conversation. Language barriers to hip-hop’s dominant English vernacular mean that this conversation is generally filtered through the most dominant networks and ‘mainstream’ culture. These impressions of hip-hop are the driving forces of style for the Japanese scene, leading to a collapse of the dichotic underground/mainstream divide seen in the earlier generations of Japanese hip-hop. In a New Zealand setting, virtual networks are used to connect with English speaking hip-hop musicians overseas, allowing musicians to operate in ‘underground’ virtual communities that are not physically manifested in New Zealand. By drawing attention to the ways that hip-hop culture is formed, legitimized, and understood in these two geographic and cultural settings, this thesis demonstrates that hip-hop culture exists in an integral relationship with virtual media and explores questions of appropriation, imitation, and authenticity

PIPELINES AND TIGHT RHYMES: VIRTUAL MEDIA AND HIP-HOP IN JAPAN & NEW ZEALAND

This thesis looks at hip-hop as a contemporary pop cultural phenomena and its relationship with media in the construction of underground hip-hop communities in Japanese and New Zealand settings. My work on hip-hop in Japan illustrates how global networks influence a traditionally mono-cultural society reckoning with a style connected to African-American experience. A New Zealand setting illustrates how virtual networks allow connections to wider hip-hop culture from a geographically isolated setting and legitimises the local scene. In looking at both settings side-by-side, this thesis underscores the various ways that virtual networks and their increased visibility are used contemporaneously in the construction of local hip-hop scenes as a tool to understand and promote hip-hop music. Based on a mix of virtual fieldwork, fieldwork in New Zealand, as well as fieldwork in Japan, this thesis shows that questions of authenticity in hip-hop have become more complex through different manifestations of hip-hop culture that challenge traditional understandings of the genre’s meaning. This is a result of the varying levels of user-agency in virtual networks. In a Japanese setting, we see an increased importance placed on virtual networks, allowing hip-hop fans and musicians alike to be part of the immediate conversation. Language barriers to hip-hop’s dominant English vernacular mean that this conversation is generally filtered through the most dominant networks and ‘mainstream’ culture. These impressions of hip-hop are the driving forces of style for the Japanese scene, leading to a collapse of the dichotic underground/mainstream divide seen in the earlier generations of Japanese hip-hop. In a New Zealand setting, virtual networks are used to connect with English speaking hip-hop musicians overseas, allowing musicians to operate in ‘underground’ virtual communities that are not physically manifested in New Zealand. By drawing attention to the ways that hip-hop culture is formed, legitimized, and understood in these two geographic and cultural settings, this thesis demonstrates that hip-hop culture exists in an integral relationship with virtual media and explores questions of appropriation, imitation, and authenticity.</p