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“Kobushi Ageroo! (=Pump Ya Fist!)”: Blackness, “Race” and Politics in Japanese Hiphop

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“Kobushi Ageroo! (=Pump Ya Fist!)”: Blackness, “Race” and Politics in Japanese Hiphop “KOBUSHI AGEROO! (=PUMP YA FIST!)”: BLACKNESS, “RACE” AND POLITICS IN JAPANESE HIPHOP By DAWN-ELISSA TIYE IGHOSOTU FISCHER A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2007 1 © 2007 Dawn-Elissa Tiye Ighosotu Fischer 2 For my son, Xola Dessalines Amilcar Fischer, and my mother, Cheryl Fischer, with love, respect and eternal admiration 3 ACKNOWLEDGMENTS Anything productive that comes of this work is because it is multi-vocal and made possible by much support and guidance from a number of people, programs and institutions. Any mistakes are the sole fault of the author and so, in advance, I say, mea culpa, as this project was initially inspired by and continually driven by only good intentions as well as dreams of hope, healing and human equality. I am most grateful to the many people whose work, presence and support made this document possible. Writing to express my gratitude has been such an emotional process that I have actually –in the spirit of Hiphop—produced an “underground” and “commercial” version of Acknowledgements! What follows is the concise and commercial version. However, I still hope that readers will enjoy this part in the true spirit of a mixtape, and play your favorite instrumental sample while reading this academic version of the Hiphop “shout out.” In a final mixtape move, I send sincere apologies to all I may have forgotten to thank. I got you next time! One love; let’s get free. I am eternally thankful to all of the institutions, foundations, programs and people who financially supported my development and this research: the Mellon Mays Fellowship Program and the Social Science Research Council, the University of Florida Alumni Fellowship, the Japan Foundation, the Hiphop Archive, Stephen Fischer, Donald Fischer and Cheryl Fischer. I am eternally grateful for all my mentors, teachers, motivators, leaders, theorists and other folk who helped me make a way in the spirit and likeness of how I imagine Harriet Tubman led members of my ancestral community to the river Jordan: Marcyliena Morgan, Faye Harrison, Kesha Fikes, Irma McClaurin, Gina Ulysse, Mark Reid, Michael Heckenberger, Jon Yasin, Marvin Sterling, Raymond Codrington, Dionne Bennett, Jon Jackson, Jeff Johnson, Maria Grosz-Ngate, Enoch H. Page, Don Matthews, Chuck D, Bakari Kitwana, Nakazawa Mayumi, Mark Anthony Neal, Theresa Adkins, Carla Stokes, Scott Heath and Stephany Rose Spaulding. 4 My advisory committee in particular, Faye Harrison, Kesha Fikes, Irma McClaurin, Michael Heckenberger and Mark Reid, and the Founder and Director of the Hiphop Archive, Marcyliena Morgan, deserve a special “shout out” and “bow down” for being supportive and challenging as well as “the bomb” theorists and phenomenal educators. I sing a special spiritual song for each of you, as you all inspire me. I am fortunate to have been mentored by these great theorists and researchers. Finally, I express immense gratitude to Marcyliena Morgan, who not only founded the Hiphop Archive, which serves as an important resource for scholars and educators who study and teach Hiphop, but she has also been a pivotal mentor to a large cohort of Hiphop generation Hiphop researchers. I bow down in thanks and reverence for my various crews, who helped me to pull through as we collectively figure out the Underground Railroad of life. Much props to my tight “Gator” crew: Lonn Monroe, Tracey Graham, Theresa Adkins, Nakamura Mutsuo, Fujino Yuko, Nishant Shahani, Sybil Dionne Rosado, Daphine Washington, Ermitte St. Jacques, Rosana Resende, Harun Thomas and the University of Florida Hip Hop Collective! I love all ya’ll—your spirits are what I miss about the “Swamp.” Much props to my Yay Area/ Lower Bottoms/ Club Knowledge crews: Danae Martinez, Imani Williams, Sonni Collins, Chaka Smith, Tesa Rigaud, Miesha Hillard, Ameelah El-Amin, Curtis “Boze” Riley, Jr. & Hairdoo, Tigi Bihon, Blu, Zotunde, Liv, Tedra, “Lower Bottoms Mayor” Raymond from across the street, Tarus Jackson (RIP), Chaundra, Fat Rat, Makini, Susan, Tani Nagaoka, Lisa Moon (RIP), Sato Mirei, Joel Tan, Ricky Vincent, Jeff Chang, Adam Mansbach, Jeriel Bey and The Architektz, Dorothy Tsuruta, Nedra Ginwright, Shawn Ginwright, Antwi Akom, Lem Lem, Anita Johnson and Davey D and the rest of the Hard Knock Radio fam, Wade Nobles, Elnora Webb, Serie McDougall, Andreana Clay, Jon Rodriquez, Jessica Norwood, 5 Victor Thompson, Daniel Zarazua, Melanie, Shawntae, Joyce, Pamela, Kevin Washington, Ken Monteiro, Johnetta Richards and the rest of the SF State Africana Studies & College of Ethnic Studies family, and finally all the Hiphop Archive staff and crew from Stanford University!!! To my “right thurr” (STL throwback and Midwest) crew: Amoretta Itunde Morris, Donica England, Chandra Williams, Jessica LaShawn, Ms. Chasity, Michelle Purdy, Stephanie Baker, Lanetta Greer, Phyllis Broussard, Tony Stephenson, Jude Bordeaux, Cameron White, TJ Crawford, Robin Terry, Jamilla Upchurch and Julia-Feliz Sessoms, and all the other activists, educators and organizers that I worked with back in da day! Nuff respect and eternal gratitude to my family, friends, colleagues and inspirational folk in Japan: King Zulu Tone, Seiko, DJ Yutaka, Mayumi, DJ Kaori, K Dub Shine, Astuko, Ai, Kyle, Keiko, Satchiko, Ricky, Curtis, Spanky, Master Key, Shingo, J-Roc, “Bobby,” Tony, Mayuko and everyone with much humble, grateful love and respect. おせわになりました! I must give an extra special thanks to my formal research consultants and the people I lived and worked with in Japan. Mad props and sincere gratitude to the translation teams over the years: Fujino Yuko, Nakamura Mutsuo, King Zulu Tone, Wesley Uenten, VSOP, and Cheryl Fischer. These folks also engaged me in dialogue and analysis that gave birth to the final product that follows. Other specific and valuable research assistance and analysis was graciously supplied by Rakaa Taylor, Daniel “Dan” Zarazua and VSOP. Rakaa was extremely patient and efficient as he helped me to navigate formal music industry challenges and perspectives; his insight and philosophical contributions were most helpful. Daniel and VSOP were especially supportive with data collection in the latter parts of this project. Daniel has done so much, it’s easier just to say, “Dan, you da man! Thanks being a great research partner and comrade.” VSOP 6 also lent his ill skillz as a master artist/ activist and was a key researcher in this project. I am humbly indebted to all ya’ll! I received wonderful editorial assistance from Anna Otieno, Pat Barker and AC Racette. They were most gracious with their “mad” editorial skills; I am grateful for their help editing the final document. I am extremely indebted to the kindness of Jon Rodriquez. He is a “dissertation angel” who supported me in amazing ways during the final weeks of this project. For real, Jon, Harriet Tubman style. Much love and gratitude! Jon held me down like family. I thank ALL my ancestors, especially the African-descent women who completed undergraduate work despite the hostile and violent environment that followed slavery in American history. These women began my family legacy in the profession of teaching at least four generations back, beginning with Rachel McCoy Sanders and her daughter, Mildred Sanders Glover, continuing through my mother, Cheryl Glover Fischer, and her sister, Catherine Glover, and now through me. I give thanks to my brave ancestors who brought us through the tough trials of slavery, segregation and other structural violence. Special thanks to “Free Bob” Vernon. I also thank my determined ancestors who tilled land in Oklahoma, labored for family, and began my paternal lineage of university professors with my grandfather, John Fischer, followed by my father, Donald Fischer, and now continuing through me. My Grandpa Fischer’s advice throughout my trajectory as a student of anthropology has been especially motivational, and he continues to teach me the importance of ethics, research and teaching in everyday life. I give major shouts out to my exceptionally supportive family and especially my immediate family members. I have all love, respect and gratitude for my mother, Cheryl Fischer, who is the central inspiration for this project and who supported me intellectually and physically, not only by being my first Japanese teacher, but also with endless help caring for my son so that I 7 could write and work. I give thanks and love to my father, Donald Fischer, who kept it real as a university professor, read and edited drafts of my work and debated with me about everything from gender theory to field methods. I give special loving thanks to my three elder brothers who also helped to raise and support me throughout this project. Douglass, you taught me to follow my dreams and be healthy. Stephen, you challenged me to always “do better” and you funded much of this research. Scott, you found my lost bibliography file, helped me with editing and served as a general sounding board, and it has meant so much. Shout out to my brothers’ partners: Nina and Cali, who have listened to me drone on about this project and have helped me with my child. I give much love to one of our future leaders, my niece, Josephine Fischer, and her younger sibling who is on her or his way to join us now. And most especially, I give eternal love to my son, Xola, my greatest blessing to date. Xola, thank you for choosing me to parent you: you inspire a peace in me that your name signifies, and it is my hope that our world knows a similar peace and joy, as we work collectively toward human equality and social justice. 8 NOTE ON LANGUAGE When last or family names are provided for Japanese nationals, I follow Japanese practice with last name first followed by given names.
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